Lu Xun: Call Youth And Reshape The Literature (1924-1927),

Following the estrangement between Zhou brothers in July1923, Lu Xun had undergone a rather inactive year in the contemporaneous literary field until he rejuvenated in September1924when he started to translate Kuriyagawa Hakuson’s The symbol of depression (《苦闷的象征》)into Chinese, rearranging his focus of translation from literature works to literary and social criticisms. Hence, Lu Xun introduced a variety of Japanese and Russian books on recent literature. Lu Xun attempted to refigure the portrait of literature in China through his practices of translation and composition by replacing Literature (文学)by Literature and Art(文艺)in order to establish a close connection between Literature and Art and the time, also aiming to serve his notion of the so-called "civilization of20century"(二十世纪文明)to build a "China who speaks"(有声的中国)Accordingly, Lu Xun sought for new fellows by promoting the force of the youth and started to publish a series of speeches beckoning the echoing voice of the youth. His uniqueness of thinking from other representatives of the New Culture Movement was epitomized in the event of the solicitation of "must books for the youth"(“�'年必读书”)On the one hand, Lu Xun co-initiated the weekly Mangyuan(《莽原》)with the youngsters, intending to summon the youth as the rebel of the society by "civilization criticism" and "social criticism", and to imbue the youth with revolutionary spirits by refreshing the historical memories of the revolution from the Revolution of1911; on the other hand, he co-founded another series of books of Weiming(《未名丛刊》),focusing on translation actively to introduce foreign resources so as to ameliorate the intellectual structure of the youth with the knowledge of new Literature and Art.In his composing Wild Grass(《野草》)during these years, Lu Xun exhibited a strong anxiety about whether to ally the youth and about whether to persist in his earlier dream of revolution generated even before the Revolution of1911. Having temporarily overcome the anxiety, Lu Xun attained new liberty of writing in both self-expression and summoning the youth by way of writing Dawn Blossoms Plucked at Dusk (《朝花夕拾》)and Casting Sword(《铸剑》)included in Old Tales Retold(《故事新编》). From the view of emphasizing self-expression and recording the current process of living, the literary composition and essay writing was sharing the same internal orientation, which displayed the other feature of his re-figuration of Literature. According to the theory of Kuriyagawa Hakuson, self-expression signified both interior and exterior extension of life to extremity, in which sense Dawn Blossoms Plucked at Dusk and Casting Sword embodied the literary essence of Lu Xun, based on "the conception of rebel, purporting in action,"(立意在反抗,旨�'在动作)to "search distinct people"(“寻找别样的人们”).While Lu Xun broke up with Gao Changhong he had once highly regarded wherein his practice of associating with the youth, and witnessed the schism between the two Parties, the failure of the great revolution did not alter his original intention of re-solidifying the united front with other literary societies, which indicates the inner want of Lu Xun to search distinct people based on the conception of rebel in both his compositions and actions.The process limned above is to be elaborated in the paper.