Lu Xun did not attach importance to his own poetry creation, but only occasionally. There are not many of his poems handed down, mainly in the old style, and there are many good sentences.

The early poems were deeply influenced by ancient poems, and many of them were emotionally sad. When studying in Japan, he wrote "Self-titled Portrait", "I don't notice the cold star, I recommend Xuanyuan with my blood", which is really touching and the realm is wide open.

The poem "412 Incident" (used to the long night of spring, the woman will have silk sideburns. In the dream, there are vague motherly tears, and the city head changes the king's flag. endure watching his peers become new ghosts, and angrily look for small poems in the knife bush. Zhao Cong's "Records of the Literary World in the Thirties" said that people at the time said that "there has been no such work in 300 years!"

In 1922, he created "Wandering, Inscription": "Lonely New Wenyuan, Safe Old Battlefield. Two more than one pawn, the lotus halberd wanders alone", describing the painstaking and lonely journey on the road of literary creation, and it is also one of the famous masterpieces.

Compared with other poets of his time, Lu Xun's poems are quoted more frequently in contemporary times. For example, Wen Jiabao quoted this sentence in his reply to a Taiwan reporter's question after the conclusion of the first session of the 11th National People's Congress on March 18, 2008, "whether more preferential economic and trade policies will be released for Taiwan".

"Heng Mei coldly pointed at the thousand husbands, bowing his head and being willing to be a son of a cow", which is often quoted as a self-condition.

Lu Xun is also famous for his translations. Of the more than 10 million words left by Lu Xun, half were translated texts.

In his early years, he mainly translated European and American literature and Japanese literature. For example, Nietzsche and Verne, etc., and in the later period, he mainly translated revolutionary literary works of Eastern European literature and Soviet literature.

His translations emphasize faithfulness to the original text, sometimes leaving even the structure of the original sentence unchanged, and are known for their "hard translation" style. He had hoped to increase the expressiveness of the Chinese language on complex relationships by introducing long European-style sentences. According to statistics, Lu Xun has translated more than 200 works by nearly 100 writers from 14 countries.

Lu Xun's ancient Chinese and Japanese level is very high, and his German is also quite good, and he began to learn German in the Mine Road School attached to the Lu Shi School. German is a compulsory foreign Chinese for medical majors (so Guo Moruo, who studied medicine in Japan, can also read some German).

Lu Xun was in Sendai for one and a half years. Devin never let go, and was always reading.

Lu Xun publicly declared many times before his death, "I don't understand English": in "The Causes of Ah Q", Lu Xun said, "The English translation seems to be very sincere, but I don't understand English." Can't say anything. 」

He went on to say, "I just happened to see two places that can be discussed: one is that 'three hundred big money and nine two strings' should be translated as 'three hundred big money.' Ninety-two words as the meaning of one hundred, and the second is that "persimmon oil party" is not as good as transliteration. Because it was originally a "Liberal Party", the countrymen could not understand it, so it became the "Persimmon Oil Party" that they could understand. From here, you can also know the way. Lu Xun can still read some English, but his level cannot be compared with the languages he has mastered well.

In the "Book Account" (book purchase record) attached to "Lu Xun's Diary", you can see many foreign titles bought by Lu Xun, and there are a considerable number of English books.

Zhou Zuoren's article "Lu Xun and English" said: "He is against English. In 1897, he was first admitted to the Shui Shi School, and also learned English, of course he knew the word Question, and soon improved the mine road school attached to the Lu Division, so he stopped learning, and after entering the Sendai Medical School in Japan, he changed to German, which has been learning, and used it to translate a number of books.

He hated the Yellow Dung America that Gorky had said, and he didn't have a good impression of English, so naturally he also admired Byron Shelley and other poets, and felt that it was okay to translate books from English, but the style of using the entire English text was what he opposed the most.

He prefers to use the Q instead of a K, which seems to be a problem. But according to his own words, he just thinks it's fun to have a little pigtail for the Q word. If someone doesn't believe this statement, that's fine. 」

Lu Xun does not approve of speaking and mixing English with articles, and English is often ironic in articles:

Sixteen volumes of "The Complete Works of Lu Xun" published by the People's Literature Publishing House.

Lu Xun said that the purpose of his writing is, first, "for those warriors who are "galloping" for China's reform, they are fighting in loneliness, and I have the responsibility to shout for them and give them even a small comfort."

The second is for those "young people who are dreaming like when I was young, and it is because of them that I 'must' give a kind of inducement everywhere in my work not to retreat, not to be pessimistic, not to despair, and to contain my own deep sense of sadness (not to mention that I am also skeptical of the sadness itself)".

The third is his enemy, Lu Xun said, "My enemies are living too happily, why should I make them so happy? I want to stand in front of them like a black devil and make them feel their imperfection."

Lu Xun also has high academic attainments, and is the author of "A Brief History of Chinese Novels" and "Outline of the History of Chinese Literature". In addition, there are "Lu Xun's Letters", "Lu Xun's Diary" and so on.

The evaluation of Lu Xun is mainly positive, and it is generally high in Chinese mainland and Taiwan, as well as overseas.

In China, Lu Xun is a writer with a unique position. Most people admit that he is one of the most important modern writers.

The different politicized evaluations of him by the governments on both sides of the strait have made it necessary to re-clarify the true thinking of Lu Xun in the contemporary era. The more important contemporary scholars of Lu Xun studies include Wang Yao, Lin Chen, Zhu Zheng, Wang Dehou, Qian Liqun, Li Oufan, Zhou Cezong, Wang Furen, Chen Shuyu, Wang Hui, Zhang Mengyang, Xu Lin, Wang Qiankun, etc. Scholars such as Yan Jiayan, He Manzi, Shao Yanxiang, Lin Xianzhi, and Wang Yuanhua have written a lot about Mr. Lu Xun, and as artists, Zhang Ding, Wu Guanzhong, Chen Danqing, Fan Zeng, and others have also had wonderful discussions about Mr. Lu Xun.

Most people consider him to be the founder of the "new literature" with his sharp writing and profound thoughts. His novels use creative forms to profoundly explain the national nature of the Chinese and the shortcomings of Chinese society, and he is an intellectual with a critical spirit.

The prose poetry collection "Wild Grass" is considered to be one of the few works that showed the characteristics of modernism at that time, and its essays, due to the special environment of publication, contained a firm political stance behind the playful and angry words. This political stance has a strong individualistic overtone, and it is one of the most complex aspects of Lu Xun's thought.

China's ruling party has a high opinion of Lu Xun. As early as the Yan'an period, Mao Zedong evaluated Lu Xun as "the chief general of China's cultural revolution" in "On New Democracy", "not only a great writer, but also a great thinker and a great revolutionary".

"The most correct, the bravest, the most resolute, the most faithful, the most ardent and unprecedented national hero who charged into battle against the enemy. The Academy of Arts founded by the CCP in Yan'an was named Lu Xun Academy of Letters, and later changed to Lu Xun Academy of Arts and Letters.

After taking power, Lu Xun's literary status was highly affirmed by mainstream ideology. Many of Lu Xun's articles have been selected as texts for Chinese textbooks in primary and secondary schools in mainland China. There are still official Lu Xun research institutes and specialized Lu Xun research journals.

However, according to Zhou Haiying's "Seventy Years of Lu Xun and Me" published in 2001, in 1957, Mao Zedong said in response to Luo Jinan's question that if Lu Xun was still alive, "I think Lu Xun would either be locked up in prison or write, or he would be generally silent." (To be continued......)