Chapter 16 The Slim Foreign Candle" and Others—Reading Lu Xun

[thin candle] In "Old Master Gao", Lu Xun wrote: "Soon, a thin foreign candle was lit on the corner of each table, and the four of them took their seats." It is not new to describe the color of foreign candles; it is not new to describe the light of foreign candles.What's new is to describe the appearance of foreign candles: thin and thin.This is the observation of a very patient man.Of course, Lu Xun's novels are talked about most of its ideological significance, but Lu Xun's unique artistic quality as a writer is generally not paid much attention to.This is a shortcoming, which is caused by our subconsciously considering Lu Xun as only a thinker.We rarely think: If Lu Xun hadn't shown us his writing with his proficient art, would it be possible for us to get so close to him?

As a writer, Lu Xun has almost all the qualities a writer should have.Among them, his patience is the most outstanding. His gaze swept across everything and was extremely penetrating.For the existence of the whole, Lu Xun has the ability to generalize beyond ordinary people.No one in the history of modern literature can hold a candle to the broad vision of Lu Xun's novels, and this has long been a conclusion.But Lu Xun's eyes are by no means just sweeping.We must pay attention to the gaze during or after the sweep: that is, to focus the eyes highly and observe the details.At this moment, Lu Xun completely lost the anxiety, impulsiveness and anxiety of a thinker, but appeared to be patient, calm and calm.His gaze peruses every small point or part, and he sees the situation and meaning that the hasty gaze cannot see.At this moment, his eyes would bite the prey sharply, and he would never let go until he read the details.Because of this gaze, we read this text:

Siming opened his narrow eyes as wide as possible and stared at her until she was about to cry, then he looked away, and stretched out his chopsticks to pick up the choy sum that he had taken a fancy to earlier.But the cabbage heart was gone, he glanced left and right, and found that Xue Cheng (his son) had just stuffed it into his wide-open mouth, so he had no choice but to eat a chopstick of yellow cabbage leaves in boredom. ("Soap") The road was very leisurely, and a few dogs stuck out their tongues and gasped; the fat man was watching the dog's belly rising and falling quickly under the shade of Huaihuai trees. ()

Just as he was about to step through the gate, he looked down at the pot full of brand-new arrows hanging on his waist, and the three ravens and a shattered sparrow in the net. () Lu Xun wrote about human sweat in several works.One type of sweat he called "oil sweat."The word "oil and sweat" is hard-won and is the result of patient observation.These descriptions come from the gaze of the eyes, and some descriptions come from the fine imagination of the mind: ... An arrow suddenly flew towards him. Yi didn't rein in the horse, and let it run, but he also picked up his bow and set his arrows. He only shot once, and only heard the sound of clang. Squeeze upwards into a "person" character, turn over and fall to the ground again. ()

The novel attempts to show the whole, however, it is difficult to describe the whole that seems to exist and seems invisible.When we talk about "Hometown" or "Fei Gong", can we tell the whole of it?When you try to describe, you can only say bit by bit, and at this time, you will have a deep feeling: every bit of an excellent novel is very particular.Only when every bit of it is extraordinary and wonderful can the so-called whole be displayed vividly, and it will also appear extraordinary.The bit by bit here is not a simple accumulation in the warehouse, the relationship between them, mutual care, etc., are also infinitely particular.Behind them there is a common basic principle, basic aesthetic setting and a basic purpose.They are organically united, like the fruit of a tree hidden among the green leaves - each of them is pleasing to the eye, but they belong to the same tree - the fruit of a tree, or the tree bearing a fruit, we Both detailed appreciation and overall appreciation are possible.But the appreciation of the whole, no matter what, cannot be separated from the appreciation of the details.

As far as man's memory is concerned, he can only remember details.When we talk about Kong Yiji, our minds go blank. If we want to make the image of Kong Yiji come alive, we must rely on those details: "Stealing books cannot be considered stealing... stealing books!... the business of scholars, Can it be considered stealing?" Kong Yiji stretched out five fingers to cover the dish containing fennel beans, and said to the children begging for beans: "Not much, not much! How much? Not much."... Human The character and spirit come from the details one by one, and those wonderful thoughts and realms also come from the details one by one.

One of the wonderful things about Lu Xun's novels is that after we read his works, we can tell one, two, three or four details.These details carve the image into our memory. In the creation of novels, the relationship between big and small is always a subject that a writer faces.The big contains the small, and comes from the small, the big is greater than the small, and is smaller than the small... It is not easy to do the article here well. [fart plug] What is a fart plug? Note 6: After death, small jade and stones are often stuffed in the mouth, ears, nose, anus, etc. of the deceased. It is said that they can keep the corpse alive for a long time.

Among them, the seven local authority figures always hold "a piece of rotten stone" in their hands, and wipe their noses a few times from time to time.That Lao Shizi is the fart plug "stuck in the butthole when the dead are buried".It's a pity that the fart plug in Master Seven's hands has just been unearthed, and it is a "new pit".This fart plug is a prop and a symbol of Master Seven, it is connected with the image of Master Seven, without this plug, Master Seven is not Master Seven, its situation is like a pipe or It was a fat cigar in the corner of his mouth.The only difference is that the symbols and decorations of the latter are the beautification of that image - because of the pipe and cigar, they become personable, radiant, and show a unique personal charm, while fart Putting it in the hand is a uglification of that image.

Uglification—this is one of the techniques in Lu Xun's novels. Except for a few images such as Zijun, Lu Xun used aesthetic consciousness (Zijun's beauty is still morbid beauty: pale round face with dimples, pale and thin arms, striped shirt, black skirt) , under normal circumstances, Lu Xun rarely had an aesthetic mentality.Compared with Shen Congwen and Fei Ming, who loved to write about beautiful mountains and rivers, innocent girls and simple lives, there were few pure characters and poetic scenes in Lu Xun's works.This may not be uglification, life is like this.Bald man, lame man, fat man like glutinous rice balls, or thin woman like compasses... There are many ugly people in Lu Xun's works.In Lu Xun's works, such images as Cuicui (), Xiao Xiao ("Xiao Xiao"), and Xizhu () are absolutely impossible to come out of. His works can't even produce the names of these beautiful and watery people.There's not much beauty or grandeur here either, mostly mediocre, uninteresting, even a bit vulgar.Although there is Runtu ("a golden full moon hangs in the deep blue sky, and below is the sandy land by the sea, all are planted with endless green watermelons, among which there is an eleven or twelve-year-old boy with a silver ring on his neck, Holding a steel fork in his hand, he stabbed at a horse with all his strength, but Na Yun twisted his body and escaped from under his crotch."), but it is difficult to keep this picture of "holding a fork under the moon", As time went by, the handsome young man Runtu's "purple round face has turned grayish-yellow with deep wrinkles" and changed from lively to dull and dull.

Except for a few pieces of "Shexi", most of Lu Xun's novels are not aimed at pursuing artistic conception.The theory of "artistic conception" in ancient China only existed in some works of Shen Congwen, Fei Ming and Yu Dafu, but was not widely accepted by Lu Xun.It's not that Lu Xun didn't understand the essence of "artistic conception", it's just that he felt that this aesthetic idea conflicted too much with his thoughts and personal feelings. Darkness, the baseness of human nature, and the ugliness of existence.If he is indulging in artistic conception, he will feel a little weak, and his heart is rarely happy.He seems to be more inclined to the cognitive value of literature - for this cognitive value, he would rather be indifferent or even give up the aesthetic value.Of course, giving up aesthetic value does not mean giving up art.The "aesthetic value" we are talking about here is in a narrow sense, which is roughly equivalent to "beauty" and is not synonymous with "art".

From the perspective of literary history, it is quite difficult to have both, because they seem to be opposites.When Shen Congwen and Bunin created the artistic conception, they did lose the sharpness, profundity, gloomyness and heaviness of Lu Xun and Dostoyevsky, but when Lu Xun and Dostoevsky obtained all these, they did use the We can no longer enjoy the intoxication given to us by artistic conception.The reason why the later modernists poured all their pen and ink into indecent things to make people "disgusting" is also because it takes the pursuit of cognitive value as its sole purpose.Beauty and depth seem to be contrary to each other, and cannot be unified. Although the facts are not always true, people feel that this is recognized.Although the current Chinese writers have not seen this point rationally, they have instinctively noticed the mystery of it. Therefore, at the moment when the word "profound" is the main orientation, they have to use all possible poetic and picturesque The realms are all cleared, and the eyes stay on the ugly objects.The difference between Lu Xun and them is that Lu Xun has limits, while they have limits.Lu Xun's pen is ugly, but theirs is dirty.Ugly is not the same as dirty, it goes without saying. Lu Xun may still see some poetic charm from reality, which can be seen from some descriptions in some of his proses and novels. However, a thinker like him who wants to break with the society he lives in As a "warrior" confronted with the cultural environment, he will have to abandon these, and draw people's attention to the existing ugliness. In order to deepen people's impression, he even uglifies objects that are not ugly enough.This is probably the underlying reason why there are so many bald heads and manges in Lu Xun's novels. [Jajiangmen with crow meat] Yi, the legendary ancient hero who was good at shooting;However, Lu Xun ignored people’s habitual impressions, and put them into the worldly life scene at once: it was getting late, “twilight enveloped the mansion”, and Yi returned from hunting exhausted. After hitting a crow, Chang'e lacked the behavior and mentality of a beauty, and muttered incessantly: "It's the crow's fried noodles again, and it's the crow's fried noodles!" Zhajiang, a common seasoning in the north; Sauce noodles, a kind of civilian food in the north.Once this kind of food is put on the dining table, it is immediately doomed that we will never meet the aristocratic life again, and it will be difficult to be elegant.And what's worse, it's still crow meat noodles—not strawberry ice cream, not cream cake, not Proust's exquisite "Little Matellina" dessert, but crow meat noodles!When we see the words "jajangmyeon with crow meat" and the sound of these words, and we seem to see such food and smell the smell of jjajiangmyeon with crow meat (although none of us After eating noodles with crow meat), Yi and Chang'e will never be heroes and beauties again. We discovered an incredible phenomenon: heroes and beauties are actually related to food.It is impossible for the beauty Adala described by Chateaubriand and all other beauties in literary works (including Lin Daiyu, of course), to eat fried noodles, especially crow noodles or crow noodles. food.These people must drink the fine nectar, and if there is nowhere to find the fine nectar, literary works have to be cleverly avoided, not talking about eating and drinking.The beauties in the four major families of the Red Mansion often want to eat, but what they eat is not the food of ordinary people. The recipes of the Red Mansion have long been the object of study by scholars and cooking experts.We can't imagine Lin Daiyu eating fried noodles with crow meat, although this is unreasonable-Lin Daiyu may like to eat it in real life, but you just can't start from life.In fact, people not only look at characters in literary works in this way, even people in real life, once you regard someone as a hero and beauty, you will subconsciously ignore their life behaviors such as eating, drinking, and lying.I remember studying when I was young, a beautiful female teacher came to my father's school, she wore a white scarf and could play the flute, her skin was that of a city person, her hair was very black, her eyes were slender, and there was always a smile at the corner of her mouth, she was shy , is the beauty in my mind when I was a child, and also the beauty in the eyes of all our children—boys and girls.But one day, when we were reading in the classroom in the morning, a girl ran into the classroom and whispered to everyone mysteriously and disappointedly: Teacher Jiang also went to the bathroom, I saw it!Since then, we don't think she is beautiful—at least it is greatly reduced.A man purifies an image in his mind, just as he defaces a character in his mind.The former is omitted, and the latter is added.The former separates the image from the common people, which is a separation of promotion, and the latter also separates the image from the common people, but it is a separation of suppression.People look at the heroes and beauties in literary works, and they are more willing to purify than those in life.Writers are well aware of this, so when they write about heroes and beauties, they often avoid the daily and biological behaviors of ordinary people.Shen Congwen would never write about Cuicui going to the toilet.In fact, you can imagine that Cuicui, who lives in the countryside and by the big river, probably wants to defecate everywhere—you should slap her, because you have tarnished and ruined a beautiful image.Our mischief is just a reminder of the fact that elegance, refinement, and nobility in literature come at the expense (and must be sacrificed) of vulgarity. Theory way: from life, higher than life. However, Lu Xun can not shy away from all this at all, because Lu Xun has no beauties or heroes in his heart.Not only that, Lu Xun also wanted to restore those heroes and beauties who had been stereotyped in people's minds to ordinary life situations. Vulgarization is another one of Lu Xun's brushwork. Needless to say about the works collected in Yuzhong, most of those characters are secular people, so there is nothing to be taboo about.Almost all the stories in the book involve legendary or ancient heroes, great philosophers, saints and beauties.Passed down for thousands of years, these characters are as tall as mountains, and we must look up to them.And Lu Xun was probably the first time in the world, and removed the high steps for them, causing them to fall into the world, into the midst of all living beings.They seem to have come from a village where donkeys yelp and horses, or a wilderness inn where the air is stale and smells like tobacco. All of them are ashen-faced, and each of them can't hide their pedantic and shabby looks.There is no reverence here, let alone worship, only ridicule and laughter. They are no different from a man named Wang Laowu or a man named Li Youcai described by contemporary writers. They are ordinary people, not philosophers, saints, or beauties. Yu's wife (Lu Xun jokingly called Mrs. Yu) actually scolded Yu in our hearts: "This murderer! What kind of funeral is going to your funeral when you pass by the door of your own house without even looking in? Official, what’s the advantage of being an official? Carefully act like your Lao Tzu, who was exiled into the army, and then fell into the pool and became a fool! This has no conscience and kills a thousand swords!..." ("Li Shui") What about the great Yu who "passed through the house three times but never entered"? When King Wen of Zhou defeated Zhou, the brothers Boyi and Shuqi were indignant: "I don't bury my father when I die, but instead go to war, can that be called 'filial piety'? Can a minister be called 'benevolence' if he wants to kill his master?..." Reluctant to be diners in the Zhou Dynasty, he "walked out of the gate of Shanlaotang" and went straight to Shouyang Mountain. However, there was no Poria cocos here, and there was no Cangzhu for the two brothers to eat. As a result, he vomited continuously, and his condition was horrible.Later, I finally discovered that there are edible "Wei Cai" in the mountains, and gradually figured out how to make some Wei Cai: Wei soup, Wei soup, Wei sauce, clear stewed Wei, stewed Wei buds in original soup, raw and sun-dried tender Wei leaves... When roasting Wei Cai Boyi regarded himself as the eldest brother, and even "ate two pinches more" than his brother. ("Caiwei") What about the righteous man who "does not eat Zhou millet"? Mozi bid farewell to his family, took his wowotou, crossed the Song Dynasty, and came to Yingcheng in the Chu Kingdom. At this time, "the old clothes and the two feet wrapped in cloth are really like an old-fashioned beggar."I found Gongshu Ban who designed the ladder and wanted to encourage the king of Chu to attack the state of Song, and took great pains to start his topic. "Someone in the north insulted me," Mozi said calmly, "I want you to kill him..." Gongshu Ban was not happy.Mozi went on to say: "I will give you ten yuan!" This sentence made the host really angry, and with a sullen face, he replied coldly: "I will not kill people!" Mozi said "Then why do you want to attack Song State for no reason?" Gongshu Ban was finally persuaded, and introduced Mozi to King Chu.Before going to see the King of Chu, Gongshu Pan took the clothes and asked Mozi to change them, but Mozi still wanted to save face: "I don't really like to wear shabby clothes...just because I really don't have time to change..." I still put it on, but Too short, it looks "like a tall egret".Mozi finally got his wish, dissuaded Chu from attacking Song with his "non-attack" thought, and embarked on the way back to the country. , Since then, my nose has been stuffed for more than ten days." ("Non-Gong") This is Mozi who created the theory of Mohism and was worshiped by later generations. And what about Zhuang Zhou from Lacquer Garden and Zhuang Zhou from Mengdie? Passing by a cemetery, I wanted to drink water from the water slide, but was haunted by ghosts. Fortunately, I remembered a set of formulas for calling wind and rain, so I muttered: the world is mysterious and yellow, and the universe is prehistoric.The sun and the moon are in full bloom, Chen Su Lie Zhang, Zhao Qian Sun Li, Zhou Wu Zheng Wang.Feng Qin Chuwei, Jiang Shen Han Yang.Taishang Laojun is in a hurry like a law!Edict!Edict!Edict!The God of Siming floated up, and the ghosts had to flee everywhere, but Siming was not happy when he saw Zhuang Zhou: "Zhuang Zhou, what are you going to do with me? Have you drunk enough water and become restless?" ?” Zhuang Zhou and Si Ming talked about life and death: life is death, and death is life... It’s Zhuang Zhou’s dream of a butterfly again, whether Zhuang Zhou dreams of becoming a butterfly or a butterfly dreaming of becoming Zhuang Zhou.Impatient, Si Ming was determined to tease Zhuang Zhou, so he tapped his horsewhip into the grass, a skeleton turned into a man and ran out, but Si Ming left Zhuang Zhou and the others behind and disappeared.The man was naked and naked. Seeing that Zhuang Zhou insisted that Zhuang Zhou had stolen his parcel and umbrella, no matter how Zhuang Zhou argued, the man refused. Zhuang Zhou said, "Slowly, slowly, my clothes are old and very old. Brittle, can’t be pulled. Just listen to me: don’t think about clothes first, clothes are dispensable, maybe it’s right to have clothes, maybe it’s right not to have clothes. Birds have feathers, animals have feathers, but The king melon and eggplant are all naked..." Yunyun, I don't know what nonsense.The man does not admit that he has been dead for hundreds of years—this is absolutely impossible, so when Zhuang Zhou asked Si Ming to pay him back his death, he actually said: "Okay, you can give me back my death. Otherwise, I will I want you to return my clothes, umbrella and package, which contains fifty-two won coins, half a catty of sugar, and two catties of jujube..." Zhuangzi said, "You don't regret it?" "My brother-in-law just regrets it!"— Pay attention to this sentence, which is probably a northern dialect, and its secular and life flavor is so strong that it cannot be added. ("Rising to Death") The mountain of spirit that makes us look up, the father, just this sentence - although it is not from his mouth, but because he is talking to a person (ghost) who speaks this language, he is immediately knocked down to mediocrity In daily situations, he suddenly became a big layman, and a rather sad layman at that. Of course, Chinese literature did not start with Lu Xun to care about the secular and to write about the secular. The novels came out of the market, and there are traces and desires of the secular in their womb. Yes, probably not as well written and extraordinary as Lu Xun's. Whether Lu Xun wrote "Hometown", "Blessing", "The True Story of Ah Q", "Soap", "Brothers" and so on, or he wrote "Fei Gong", "Cai Wei", "Li Shui", "Qi Si" and so on. " and the like, all use vulgarity as an atmosphere, a style.Ordinary people, ordinary things, even a decent person, will try his best to turn him into a layman—the more decent a person, the more Lu Xun desires to turn him into a layman.Common people and common things cannot be separated from common things.Therefore, Lu Xun often included common people's foods such as noodles with fried sauce, chili sauce, green onions, and steamed vegetables in his works.The role of these foods must not be underestimated. Once the fried noodles with crow meat are mentioned, we will no longer be able to enter the elegance of the "Red Mansion" and the nobility described by Tolstoy.Where does a bowl of Zhajiangmian have the power to change elegance and vulgarity?Food and sex are also, food is a basic aspect of human life, and this basic aspect reflects the state of human existence.This is why Hollywood movies always reserve a lot of shots for the breakfast in the luxurious hall or the dinner party with wine and wine luminous glasses when presenting the life of the aristocrats. Lu Xun's behavior, in today's terms, is to deconstruct the sacred—deconstructing it in a way of ridicule.Some of the qualities of Chinese literature in the 1980s and 1990s already existed in Lu Xun, but the critics at that time failed to find appropriate words of criticism.What needs to be pointed out is that Lu Xun's works are substantially different from today's ruffian essays.First of all, when Lu Xun vulgarized everything, there was a coldness and arrogance in his bones.He is a kind of condescending looking down. For him, vulgarity is not a quality, but an interest. More precisely, vulgarity is his object—an object to be ridiculed.By mocking, he achieves a pleasure in which a sense of superiority flows through his heart and even through his entire body.Vulgarity is not a state in which he blends in—much less a state in which he likes to blend in, but a state of what he sees that arouses his desire to mock.When looking at these works, we can always vaguely feel that Lu Xun was smoking a cigarette and sitting quietly, his eyes were full of wisdom and sadness. The vulgarization (ruffianization) of contemporary Chinese literature is the result of the author's own vulgarization (ruffianization).In terms of ingenious conception, exquisite language, and sophisticated taste, the distance between contemporary literature and Lu Xun is even greater. Why did Lu Xun vulgarize everything?The explanation can be found from Lu Xun's attitude towards reality and traditional culture, etc., but one more item should be added: Lu Xun was born in a wealthy family, but he lived in an ocean-like vulgar life scene since he was a child.Such scenes were everywhere outside the Zhou family compound, and they were even brought into the compound along with the domestic servants. Lu Xun was familiar with all these, and even had a sentimental influence on them. [Mr Birdhead] There is a funny character in "Li Shui". Lu Xun did not give him a name, but only called him "Mr. Bird Head".Those in the know can tell at a glance that this is Lu Xun alluding to Jie Gang. The word "bird head" comes from the word "". "Shuowen Jiezi": "employment", the name of the bird; "" originally means the head. In "Li Shui" alone, Lu Xun alluded to Pan Guangdan ("a scholar with a stick"), Lin Yutang, Du Heng, Chen Xiying, etc., Gao Changhong, and "Qi Shi" again alluded to Lin Yutang. "Caiwei" has: "He likes to engage in literature, and the village is illiterate, and he doesn't understand the introduction to literature. , because he is also a poet, and he has already made a collection of poems." And: "It's fine to write poems, but you still have to express your emotions, and you don't want to be content with yourself, 'art for the sake of art'." Such words always make people suspicious: Who are you alluding to?As for how many people Lu Xun insinuated or simply named in his essays, there must have been dozens.Back then, Jie Gang couldn't take it anymore and wanted to ask the law for an explanation.At that time, Lu Xun was in Guangzhou, and he sent a letter to Lu Xun: "I plan to file a lawsuit after returning to Guangdong in mid-September, and wait for legal resolution."Lu Xun quickly replied: Please sue in Zhejiang, instead of traveling all the way to Guangdong, I will go to Hangzhou at any time.Lu Xun's method has been criticized by many people, but he did not give up this method in the end.Even in novels, this technique is often used.It is more or less reasonable to say that Lu Xun's novels are another kind of essays.However, we seldom think that Lu Xun's insinuations also contributed to the charm of his novels. "Spring and Autumn Brushwork" is a unique Chinese brushwork.Using words to express views on current affairs in a roundabout way, or insinuating others, or even killing people, in this regard, we have accumulated rich experience through thousands of years of practice, and even explored and created many techniques (some The skills are related to the Chinese script, and they cannot be learned by those who write in other scripts).With a long history, insinuation has become a common weapon passed down from generation to generation.From a human point of view, this weapon is an effective and lethal weapon in the face of China's unique social system, unique moral concepts, and unique national character. "Spoken on the sidelines", "innuendo", "pointing and cursing"... In a dictionary of idioms, there is a string of idioms used to summarize this tactic. Over time, this tactic has become part of the daily behavior of ordinary people.If it is restricted by some reason of inconvenient speaking, two Chinese people will still have a smooth conversation in a seemingly unobstructed situation. Rhetorical methods such as slang.People who are not in the context feel confused when they hear it, but both sides of the dialogue understand it.It's a pity that the Chinese people's speaking skills are not used in foreign affairs, but in daily life and political struggle.It is precisely because of such a literary tradition that during the "Cultural Revolution", there was a tragedy in which all literary works were regarded as allusions and condemned, until many people died. The method of insinuation has its own historical reasons, that is to say, it was forced out by the social situation in the first place.However, later, it evolved into a Chinese way of attacking, discourse and even a psychological desire, and insinuation became a kind of survival art. The highest state of insinuation is naturally: paradox.Specifically, the insinuated person knew that this was attacking him, but he couldn't take it right.To achieve such an effect, we must talk about concealment—the more concealed, the more authentic; we must talk about ingenuity—the more ingenious, the more sophisticated.The use of this qubi can be found in endless examples in the writings of predecessors. From an ethical point of view, the method of allusion, of course, cannot be commended, let alone appreciated, but we must see that it has created a good performance in the invisible in art: its obscurity (has to have obscurity), exactly coincides with the implicit nature of art.And because the author not only wants to maintain the shape of the insinuated person but also tries to erase its characteristics, quietly preparing a way out for himself, naturally there will be many unique and wonderful creations, and many things will be born and hidden in the works. .Lu Xun disassembled the word "" in  Jiegang and evolved it into "Mr. Bird Head". Jie Gang, perhaps it is difficult to have this kind of creation.And sometimes because I insist on alluding to something in the story, it will make readers feel abrupt and weird: Why did such an idea suddenly appear in this article?I feel strange, and when I feel strange, I am caught by the words. The insinuation also fits people's desire to spy and watch the fight.If we recall our reading experience of Lu Xun's works, you have to admit that the allusions in his works are always a kind of attraction that draws your attention and arouses your curiosity. Times have changed, and we don't have to blame Lu Xun for his methods back then—he used this method sometimes out of necessity and helplessness.More importantly, he incorporated "innuendo" into the way of art—perhaps unintentionally, but in terms of objective effects, it merged with the way of art, and in some respects he completed his novels. In a sense, all novels are insinuations—an insinuation of the whole. Therefore, the term "innuendo" can also be regarded as a commendatory term. [We used to be—much richer than you! ] "We used to be much richer than you!" Needless to say, we all know where this "famous saying" comes from. We have memorized many words from Lu Xun's novels: "Mother's...", "The son beats Lao Tzu", "Then why did Zhao's dog look at me? I am so afraid", "Save the child", "How much? Not much"...There are some words that have been slightly changed: "It is said that wolves eat people in winter, but how do you know that wolves in spring also eat people."... These words can be quoted by us on different occasions and from many angles. At that moment, we will feel that these words are accurate and meaningful in expressing our ideas, and the listeners will not understand.When quoting these words, we may sometimes think that they come from Lu Xun's novels, and sometimes we simply cannot remember them and regard them as our own language. Looking back at the history of Chinese novels, there are probably only two people who wrote novels for this purpose, one is Cao Xueqin, and the other is Lu Xun.Our life is very far away from us, but we still remember Jiao Da’s words: here, except for the two stone lions at the door, there is no one clean.There are many others that we remember.No other novelist, even the one we admire, has the same effect.Shen Congwen's novels are naturally well written. In the eyes of Xia Zhiqing and Zhu Guangqian, he is the only real novelist.However, even if we memorize those beautiful sentences written by him, we still can't take them out and use them in our dialogue - you say a sentence in the dialogue "Cui Cui grows in the windy day, and the eyes are green mountains and green waters ’, always feels strange—that’s another language, a language that doesn’t enter into our conversation, that can only be referenced in a particular context. There are many writers in the world, and some of the words in their works were later recited and quoted.But nine times out of ten these expressions are aphorisms.Needless to say, poetry, the situation of the novel is roughly the same.However, these words from Lu Xun's novels are not aphorisms, but some seemingly ordinary everyday language. Why does this language have such power?We never asked about this.It is a pity that the facts provided by Lu Xun's novels have not been clarified theoretically so that they can be transformed into experience. Some of these words may have been adopted by Lu Xun unconsciously, but some of them must have been rationally understood by Lu Xun.He must have seen something behind these extremely everyday languages—behind them are the roots of a nation, the attitude of a class, and even a human spirit and mentality that transcends nations and classes. "A son beats my father" is no longer a specific act.Lu Xun saw a kind of psychology behind "the son beats the father", and this kind of psychology can be extended.In the end, he saw the psychological mechanism of the spiritual victory method behind this sentence, and this mechanism is not owned by one person, but owned by a group of people or even a whole sense of people.Similarly, behind "We used to be much richer than you", there is also a huge potential that can be tapped.Lu Xun discovered a great secret, that people or a nation hide behind some unremarkable everyday language—not every sentence, but only a small part of it.This little part is mixed in, like sand mixed with sand.It takes a writer's eye to discover that they are bits of gold. Lu Xun was discerning. As symbols, these words represent a universal meaning or a basic state.They have a strong ability to cover and encompass.These words seem to be figurative, but they are highly abstract in terms of function.Because these words are meaningful, we feel these words as if we feel an idiom that contains a universal meaning.When we face a certain phenomenon or a certain state and know that it is very troublesome to express them, we immediately think of "we used to be much richer than you." Words such as , once spoken, we don't need to say more, because this sentence represents the meaning you want to say but can't say. It is naturally not easy for a novel to achieve such an effect on the land where it grows.仅此一点，鲁迅就是难以越过的高峰。 [咯支咯支] 鲁迅自然是严肃的。那副清癯的面孔，给我们的惟一感觉就是庄严、冷峻、穿透一切的尖刻。然而，他的小说却始终活跃在严肃与不严肃之间。我读《肥皂》——严格来说，不是读，而是听，听我父亲读，那时我十岁—— 四铭从外面回来了，向太太说起他在街上看到了一个十八九岁的姑娘，是个孝女，只要讨得一点什么，便都献给祖母吃。围着的人很多，但竟无一个肯施舍的，不但不给一点同情，倒反打趣。有两个光棍，竟肆无忌惮地说：“阿发，你不要看这货色脏。你只要去买两块肥皂来，咯支咯支遍身洗一洗，好得很哩！”四铭太太听罢，“哼”了一声，久之，才又懒懒地问：“你给了钱么？”“我么？——没有。一两个钱，是不好意思拿出去的。她不是平常的讨饭，总得……”“嗡。”四铭太太不等四铭将话说完，便慢慢地站了起来，走到厨下去了。后来，在四铭与四铭太太吵架时，四铭太太又总提这“咯支咯支”：“我们女人怎么样？我们女人，比你们男人好得多。你们男人不是骂十八九岁的女学生，就是称赞十八九岁的女讨饭：都不是什么好心思。'咯支咯支'，简直是不要脸。”“咯支咯支”这个象声词，在《肥皂》中多次出现。它第一次出现时，我就禁不住笑了。我的笑声鼓舞了父亲，再读到“咯支咯支”时，他就在音量与声调上特别强调它，让我一次又一次地去笑。几十年来，这个象声词一直以特别的意思储存在我的记忆里。这绝对是一个米兰·昆德拉所言的不朽的笑声。在这个笑声中，我领略到了鲁迅骨子里的幽默品质，同时，我也在这笑声中感受到了一种小市民的无趣的生活氛围，并为鲁迅那种捕捉具有大含量的细节的能力深感敬佩。 在现代文学史上，具有幽默品质的作家并不多，而像鲁迅这一路的幽默，大概找不出第二人。这种幽默也没有传至当代——当代有学鲁迅也想幽默一把的，但往往走样，不是失之油滑，就是失之阴冷。 鲁迅的幽默有点不“友善”。他的幽默甚至就没有给你带来笑声的动机。他不想通过幽默来搞笑。他没有将幽默与笑联系起来——尽管它在实际上会产生不朽的笑声。他的幽默不是出于快乐心情，而是出于心中的极大不满。他的幽默有点冷，是那种属于挖苦的幽默。鲁迅的心胸既是宽广的（忧民族之忧、愁民族之愁，很少计较个人得失，当然算得宽广），又是不豁达的（他一生横眉冷对、郁闷不乐、难得容人，当然算不得豁达）。他的幽默自然不可能是那种轻松的、温馨的幽默。也不是那种一笑泯恩仇的幽默。是他横竖过不去了，从而产生了那样一种要狠狠刺你一下的欲望。即使平和一些的幽默，也是一副看穿了这个世界之后的那种具有心智、精神优越的幽默。他在、《阿Q正传》中以及收在里头的那些小说中，都是这样一副姿态。那时的鲁迅，是“高人一等”的，他将这个世界都看明白了，并看出了这个世界的许多的可笑之处，虽然有着对弱小的同情，但他是高高在上的，是大人物对小人物的同情。 鲁迅的幽默是学不来的，因为那种幽默出自一颗痛苦而尖刻的灵魂。 二零零一年四月十日于北京大学燕北园