Kneeling for papers: essays of Lu Xun Feng and essays of various styles, the papers of this period, the content is not limited, about 2000~3000 words.

In the second decade of the development of modern prose in China, a large number of periodicals mainly published essays appeared. The discussion of essay theory and the formation of revolutionary realism essay theory system are important signs of the vigorous development and maturity of modern essay movement. As far as essay creation itself is concerned, the battle essays of left-wing writers and progressive writers represented by Lu Xun are growing in strength and influence, becoming the center of public opinion in this period. At the same time, the combat essays reflect the reality more keenly, widely and profoundly, and the style and artistic style of the essays are more diverse. Of course, the formation and development of "Lu Xun Feng" revolutionary realism combat essays represented by Lu Xun is the most important achievement in the history of modern essays. Nie Gannu once pointed out in the preface "Essays: Invading the Noble Literature Tower" to "Essays of China New Literature Series (1927- 1937)":

If Lu Xun is the only one, modern essays cannot constitute "history". A group of essays has indeed formed in the field of modern literature. Although there are many people who write essays, revolutionary, combative and healthy essays are the mainstream of China's modern essays, which are composed of essays created by left-wing writers and become an important wing of China's new culture movement.

Lu Xun is the pioneer of China's modern revolutionary realism combat essays. His essay creation and theoretical proposition have opened up a broad road of revolutionary realism in the field of essays. During the "Left-wing League" period, Lu Xun fought side by side with Qu Qiubai, Mao Dun and others, leading young people such as,, Nie Gannu, Wang, and Zhou Muzhai to attack all reactionary forces with revolutionary essays as a fighting weapon, which constituted the mainstream of essay creation at that time and showed invincible power. The essays called "Luxun Style" in the history of literature were formed in the period of "Left-wing League". The so-called "Luxun-style" essays are Luxun-style revolutionary realism combat essays. Although they can't cover everything in China's modern essays, they are undoubtedly the mainstream of China's modern essays. Lu Xun and Feng's revolutionary realism combat essays have the following three basic characteristics: guided by Marxism, with the basic content of attacking the enemy, correcting the current abuses, propagating the truth, and carrying out extensive, sharp and ingenious social criticism and civilization criticism; (2) Conscious aesthetic pursuit and creation, combining logical thinking with image thinking, paying attention to diversified and image reasoning and satirical essays in writing style, and pursuing a kind of "beauty of reason and interest"; (3) In terms of artistic style and stylistic style, essays are eclectic and shape with things, allowing a broad and free creative world. "Lu Xun Feng" revolutionary realism combat essay is a much broader concept than creative methods, artistic styles and artistic schools, and it is also a concept that constantly flows, enriches and develops in the movement of the times.

After Lu Xun's death, more essayists took Lu Xun as their mentor, adhered to Lu Xun's direction, studied Lu Xun's spirit, and inherited and developed Lu Xun's essay tradition. "Lu Xun's direction" has become the same direction of combat essayists, and the revolutionary realism tradition of Lu Xun's combat essays has been inherited by more people and further developed under the new historical conditions of War of Resistance against Japanese Aggression and the War of Liberation. For example, when Shanghai became an "island", Wang, Zhou Muzhai, Kong Youjing and others consciously inherited and developed the fighting tradition of Lu Xun's essays, and published them in the Herald, Translated Newspaper, Huamei Morning Post, Lu Xun Feng and other newspapers. Wang,,, Zhou Muzhai, An, Wen Zaidao's Prose Collection "Biangu Collection" (1938165438+10 month) and Wang,,, Zhou Muzhai, Li Zhouan, Wen Zaidao and Kong Yiji's Prose Collection were published. In their essays, they exposed the bloody crimes committed by the Japanese Puppet, praised the people's great cause of resisting Japan and saving the nation, criticized the slave consciousness of ordinary citizens, and denounced all kinds of perversions made by the Kuomintang authorities, expressing strong patriotic feelings and showing lofty national integrity, which wrote a glorious page in the history of anti-fascist literature and art of the people of China and even the people of the world. Their essays were called "Luxun Style" in the "Isolated Island" period, which is another new essay genre in China's modern essay history after Yusi, Modern Criticism, Taibai and The Analects of Confucius.

The "Lu Xun Style" school of essays in the "isolated island" period, composed of Wang and Wang, experienced a process from decentralization to unity, from spontaneity to consciousness. The period of "isolated island" in Shanghai began with 1937 and 1 2 when the national army retreated from Songhu, and ended with 194 1 Pearl Harbor incident, which lasted for four years1month. Before the "island" period, Wang and other seven people either didn't know each other or didn't communicate with each other. In the creation of essays, he either consciously inherited Lu Xun's fighting tradition or was spontaneously influenced by Lu Xun. After the fall of Shanghai, the anti-Japanese patriotic stance brought together these essay writers with different experiences, upbringing, thoughts and writing styles. They all inherited the tradition of Lu Xun's essays, opposing fascism, Japanese aggressors, traitors, feudalism and civic consciousness. 1938, Wang said in "bian":

Living in every corner, facing parents, wives and children, letters, or lonely shadows under the lights; Pitching between tall buildings, or wandering between shed walls, the six of us. We have our own different lifestyles and our own thinking world. I used to write down my style, mood and social miscellaneous feelings with a pen and publish them in newspapers and magazines. Maybe we have already integrated our thoughts and feelings, but our ties are far away and our strength is scattered.

However, the sound of guns on August 13 shocked our hearts. No, the whole nation's heart is shaking. The shock of anger, the shock of strength, the shock of justice and humanity-it was not until 1 1 month 12 that our hearts were shocked into one. We flow from every corner, like broken mercury, melting into a heavy piece. We are United and stand on the same front.

Wang's account tells us how the members of Lu Xun's school of wind essays changed from alienated and scattered stragglers to soldiers gathered on the same front, which actually declared that their essays had "merged into a heavy block" and formed. 1939 is the development stage of "Luxun style" essay genre. Seven authors of "Hengmei Collection" raised funds to set up a comprehensive literary periodical "Lu Xun Feng", which mainly published essays. It took nine months from the establishment of 65438+ 10/1to September 5, when it was forced to stop publishing. With the deterioration of the "isolated island" situation and the death of 194 1 Zhou Muzhai, Wang left Shanghai for Indonesia, and the school of "Lu Xun Feng" essays finally disintegrated.

Wang (190 1- 1972), whose real name is Ba, is from Fenghua, Zhejiang. From 1926 to 1946, he published essays in Literature Weekly. He wrote about 650 essays, five-sixths of which were written in the "isolated island" period of Shanghai from 1938 to 19465438. No writer can match the number of articles written by Wang in this issue. In addition to the anthology, his prose collections include: Talking about Lice (1939), Living, Thinking and Learning (1940), A Record of the Frontier Wind (1945) and Learning and Fighting (/kloc-0).

Wang's essays during the "isolated island" period revolved around the biggest practical problem of resisting Japan and saving the nation, covering politics, economy, military affairs, culture, education, people's feelings, customs and morality from home to abroad, from reality to history, and from darkness to light, all of which were touched by his pen. Wang's essays, like Lu Xun's, are full of arguments and criticize the reality in a very wide range of society and civilization. They are good materials for understanding the social "dynamics" and people's "mentality" in the "isolated island" period, and have historical literature value. For example, after the fall of Shanghai, although many people didn't openly defect to the enemy like traitors, they remained aloof, watching the excitement, being keen on "getting rich", blindly following the crowd, muddling along, and even flattering, superstitious and conservative, boasting and cheating at the critical moment of national life and death. In this regard, in his essays such as Thinking about Life, on the one hand, Wang dissected these morbid spirits and reflected "bad deeds" in the national character as a mirror, on the other hand, he emphatically analyzed their harm and urged people to wake up quickly, take action and unite to resist Japan and save the country. After comparing this kind of citizens with Lu You's patriotic enthusiasm and heroic spirit of dying for his country, Wang wrote profoundly and eagerly: "The other side of living freehand brushwork is that others die tragically. We don't want to blame enemies and traitors because wild animals don't know how to think. We only hope that all the people in Shanghai will understand this truth and save the luxurious life, so as to save the country. Don't sacrifice the happiness of most people for your own happiness, but sacrifice your own happiness and strive for the happiness of most people. " This is by no means a general pity for others, exhorting the good and punishing the evil, but a concern for the fate of the nation and an empathetic concern for the kind, the weak and the ignorant.

Wang's essays are sharp in observation, profound in thought, rich in style and diverse in style, and have their own unique expression and language style. Take Lu's prose collection as an example, there are many political papers with strong lyrical colors, such as July and August. There are prose poems, such as people standing in the corner, martyrs and soldiers, soldiers and bugs; There are books and essays, such as A Response and On Individualism with Tianzuo. In a few words, there are even prose, such as six even prose; Essays, such as Miscellaneous Notes of Spiral Room; There are newspaper clippings, essays, comments and annotations, such as After Newspaper Clipping; There are studies on historical figures and comparative essays, such as Lu Xun and Gorky and Lu Xun's Vision. There are memoir-style essays, such as "My Relationship with Lu Xun"; Most of them are social critical essays that describe and describe a certain thing, a certain sentence, a certain argument, a certain kind of people and a certain kind of worldly wisdom, such as Talking about Bamboo Shoots, Miscellaneous People Doing Nothing, Mr. Huawei in the Literary World, Doing Nothing and Doing Nothing. The above essays are naturally different in style, expression and language style.

Zhou Muzhai (1910-1941) was born in Wujin, Jiangsu. Before the Anti-Japanese War, Zhou Muzhai published many insightful and speculative battle essays in the journals such as Shen Bao Free Talk, Taibai, Xinyulin and Sheng Tao. After the outbreak of the Anti-Japanese War, he was in a sinister "isolated island" in Shanghai, suffering from poverty and illness, but his heart was burning with patriotic enthusiasm for resisting Japan and saving the country. He resolutely defended the fighting tradition of Lu Xun's essays and created a number of "Lu Xun Feng" fighting essays with wide knowledge, wit and nuanced analysis. His prose, in addition to the anthology, was collected and published before his death.

Zhou Muzhai described himself as a "temperament middleman" and a "dialectical fetish" in the preface to the ebb and flow of tides, and his prose "Like to be reasonable" is all in the form of words. In the history of modern prose in China, Zhou Muzhai's prose is famous for its speculative nature. Zong Jue regarded Zhou Muzhai's essays as "speculative essays" in his article 1939 "Looking at Lu Xun's Style from Lonely Island". He is good at analyzing problems in many ways and at many levels. He likes to compare things from the connection, seek common ground in differences, seek differences in similarities and cut into the essence from phenomena. For example, in War of Resistance against Japanese Aggression, Wang Ching-wei, starting from the illness of the National Government, published "pornographic information" of surrendering and betraying the country. This was a political event that sensationalized the whole country at that time. 1939,65438+10, 18 The second issue of Lu Xun Feng published by Zhou Muzhai is a fighting talk burning with hatred and mercilessly denouncing Wang Jingwei. This article is characterized by sharp and dialectical analysis, which shows Zhou Muzhai's speculative ability to capture contradictions, analyze contradictions and see through the essence of things. The author skillfully grasps Wang Jingwei's habitual action of claiming to be ill and running away in his political career, and analyzes it layer by layer. In the past, Wang Jingwei always called himself sick: heart disease, diabetes, intermittent pulse, ... and illness was always said after he left and recovered, so we can know that he was very healthy before calling himself sick. In Zhou Muzhai's view, "calling illness" and "running away" are contradictory. Since "sick" can "walk", it can be seen that "healthy jumping" is not a physical illness, but a political illness-heart disease, which is a kind of coquetry. "Heart disease" has its own seriousness and develops as a contradictory process. The previous "illness" was a minor illness, just "coquetry". This time it was "ecstasy" and a "big auction", betraying oneself, betraying the nation, betraying the country and even betraying friends. Wang Jingwei did this because he wanted to be a "slave manager". As a result, he just acted as a lackey under the Japanese aggressors, which is actually a "great loss" and a deadly sharp contradiction. Zhou Muzhai's indignant exposure, ruthless whipping and incisive and meticulous dialectical analysis not only made the soul of this traitor and traitor "accessible", "a year later" and "made public", but also nailed him to the shame column of history forever.

Shadow Mark can be said to be a philosophical prose poem in a few words, but Zhou Muzhai included it in ebb and flow, which can also be said to be a condensed miniature prose. Look at the following sentence:

Stop fighting. -Peace has a murderous heart.

"Peace" is a noun and a synonym. It is safe to deal with stolen goods, surrender and live in peace.

What does the tiger want from people?

I hope to "give up aggression." What does aggression want to give up?

Here, the complicated and meticulous dialectical reasoning of general essays is omitted, and only a few words are made, and the judgment is simple and concise. This kind of writing is vigorous and wonderful, which can stand people's chewing, and it also shines with poetic brilliance of dialectical thinking.

Tang Tao (19 13- 1992) was born in Zhenhai, Zhejiang. During the "Left-wing League" period, he and Xu Maoyong were once called "two treasures" of miscellaneous altar. During War of Resistance against Japanese Aggression and the War of Liberation, he was an influential combat essayist with a large number of essays and high artistic achievements. His prose at this time, in addition to income collection, also includes projection collection (1940), labor salary collection (194 1 year), long and short editions (1947) and knowledge record (65438+). In addition, since the spring of 1945, Tang Tao has published hundreds of original "book stories" in newspapers and periodicals such as Vientiane, Wen Wei Po Pen Club and Lianhe Evening News. Tang Tao's essays at this time can be basically divided into two categories: one is the essays of social criticism and civilization criticism, and the other is the "book talk" with literary textual research and research characteristics. His essays either criticize the shortcomings of the times, or sweep away ugliness, or resist reality, or dissect history, or inspire fighting spirit and call for light, showing the pulse of history, leaving behind the "eyebrows" of the great era and shouting out the voices of the people.

At this time, the content of Tang Tao's essays is particularly rich, which directly determines the richness of article format, writing method and style. What he writes most is the short comments and miscellaneous feelings of facing the real political situation, the cold world and the ghosts of the literary world; There are also long articles in the form of historical notes, such as Talking about Southeast China, Ma Shiying and Ruan Dacheng, and Talking about Zhang Cang Water. There are also essays of literary research nature, such as the study of Lu Xun's thoughts and works, the discussion of historical themes, the popularization and nationalization of literature and art, satirical art, literary translation and so on; There are also essays with annotations, such as Annotations on Maggots and Bubbles. Poetic prose, such as "Crossing the River with One Soldier", also has conclusion, postscript, postscript and so on. As for the "Shuhua style" prose, it is a creation of the writer.

During this period, many articles of Tang Tao appeared in the form of logical reasoning. Whether it is argument or refutation, it is very detailed and insightful. However, a larger number of essays have no theoretical framework of syllogism, and discussions are often combined with narration, description, lyric, dialogue and quotation to express their personal feelings in the description of social life, thus making these essays full of rational interest and rich artistic atmosphere, which critics call "lyric essays". Tang Tao's "emotional prose" pays attention to visual reasoning. He often uses a painting, a poem, a legendary story, some historical figures and literary figures to arouse interest, skillfully leads readers to the discussion center of essays, makes the discussion gain direct and vivid life, and deepens the direct and vivid things in combination with the discussion. For example, "Start with' Catch the Week' and write it on1938+065438+10.9 to commemorate the first anniversary of the fall of Shanghai. The article starts with a cartoon "Catch the Week" published by Cai Ruohong in Translation Weekly. There is a traditional custom in China. When a child is one year old, he lists hundreds of workers' electrical appliances in front of him and asks him to seize one to predict his future wishes. In this cartoon, Japanese children "grab the cross in front of the God of War", while China children "grab the dagger in front of the God of Peace"-"the dagger of revenge" and "the dagger to be inserted in the heart of the aggressor". This painting is meaningful. A childish child knows how to fight with a dagger, let alone an adult who has suffered a lot and loves his homeland. From the children's "grasping the week" and the awakening and rising of Shanghai people since the first anniversary of the fall, the author found a point of convergence, which created a strong support for his argument. Therefore, what he said in his article, "Shanghai has grown up from the sword cluster, from the arrow forest, from the whip shadow fire" and "reborn from the blood", will be "China's forever Shanghai", which is very convincing. Most of Tang Tao's "emotional essays" are short in length, skillful in brushwork, concise in words, full of meaning and lyricism.

Ling Ke (1909-2000) was born in Shaoxing, Zhejiang. 193 1 After arriving in Shanghai in winter, he has been engaged in newspaper editing, film and drama activities, and is also an influential essay writer who insisted on fighting in Shanghai during this period. The collection of essays includes "Solo Dance in Shilou" (1940).

The artistic forms of Ling Ke's essays are rich and colorful. What he writes most is short comments and miscellaneous feelings facing reality. This kind of essays is realistic, most of them are intense, and the words are beautiful and unique, and they are straightforward. Among them, "gossip" and "gossip" are short comments that directly criticize current politics, short and pithy, sharp and profound, reaching a certain strength and depth. For example, "Street Talk" (I) attacked the dictatorship and plunder of the Kuomintang after the victory of the Anti-Japanese War:

One party, one doctrine and one leader are of the same wind. -This is called "unification".

Belt, leather leggings, big leather bag. -this is the "three-skin doctrine."

Gold, houses, cars, women, faces. -this is the "five sons pass".

You are serious, that's a joke; This is a joke, but it's true.

China's politics is like this, like this, like this.

Such a short comment is really a sharp dagger and spear. As Ling Ke himself said, "I drive away my anger in the form of prose and express my melancholy in the form of prose." However, the essays such as Forbidden Books and Poems are poetic essays, while the Biography of Jade Buddha Temple is an essay of zaju Sanqu style. These sketches imitate Lu Xun's and Qu Qiubai's poetic prose "Wang Dao Shi Hua" and the sketch "Qu Liberation" of zaju Sanqu. They are ingenious in conception, and integrate the criticism and allegory of current affairs into China's traditional poetic prose, zaju, Sanqu and other national forms, which are unique and refreshing.

Ling Ke's essays such as Land, Woman Hanging and Boxer written on 1940 are also very distinctive, which can be said to be the fusion of "three-dimensional landscape painting" and targeted realistic comments. Ling Ke is a native of Shaoxing and a fellow countryman of Lu Xun. Lu Xun is also familiar with the Tugu Temple written in his novels, essays and essays, the "mourning for women" and "two ugliness" in folk operas, and the customs of Shaoxing. Ling Ke's essays, drawing inspiration and material from Lu Xun's famous works and his own creation, not only present readers with a "three-dimensional landscape painting" with vivid form and vivid voice, but also inherit the spiritual tradition of dissecting and transforming the national character, show his enlightenment to the wisdom and development of some people, and have long-term ideological and artistic charm.