He cooperated with Qian Daosun and Xu Shoushang, two section chiefs, in the design of the national emblem of the Republic of China, and wrote the "Description of the Proposed National Emblem of the State Council" (see the 2005 edition of "The Complete Works of Lu Xun" for the full text of the manual); and designed the emblem of Peking University at that time, which was the art font of the word "Peking University"; he was in charge of library information (library information) business: supervised the Beijing Normal Library (later the Beijing Library, now the National Library of China), etc. Until he was dismissed from his post by Zhang Shijiao, then director general of the Ministry of Education.

For this reason, Lu Xun filed an administrative lawsuit with the Republic of China Peace Administration Yuan and won the lawsuit, and he could be reinstated in accordance with the law, but he chose to leave the government system.

After his friend Yi Peiji took over as the chief of education, he signed an order to reinstate the servant Zhou Shuren, and issued a new letter of appointment as the president of the National Beijing Women's Normal University, and after the outbreak of the 318 tragedy in 1926, Yi Peiji and others were wanted by Duan Qirui, the provisional ruler of the Republic of China (Note: Lu Xun was not wanted).

During Cai Yuanpei's reform of the Ministry of Education into a graduate school, Lu Xun was hired by Cai Yuanpei as a "special writer" for the graduate school, with a monthly salary of 300 yuan.

After the graduate school was changed back to the Ministry of Education, the salary was changed to the "Ministry of Education Compilation Fee", which was still paid monthly. (From 1932 onwards, Lu Xun ceased to be a "special compiler" of the Ministry of Education.) )

In 1926, he went south to Xiamen University as a professor of liberal arts. A few months later, in 1927, the 46-year-old Lu Xun left Xiamen, arrived in Guangzhou on the 18th, and on the morning of the 19th, accompanied by Sun Fuyuan and Xu Guangping, he "moved to Sun Yat-sen University" as the head of the Department of Literature and the director of academic affairs, and lived with his 29-year-old student Xu Guangping.

At that time, it was Zhu Jiaqi, the president of Sun Yat-sen University, who invited Lu Xun to the school. Lu Xun's diary: On January 26, "Dinner at Night"; on February 1 (Chinese New Year's Eve), "Night Dinner", Lu Xun was invited to have a Chinese New Year's Eve dinner. Soon after, Gu Wei was hired to come to the school. Gu became a research professor only 6 years after graduating from Peking University, Lu Xun was very unconvinced, claiming that as long as Gu came to him, he would leave. On February 18 and 19, he went to Hong Kong to hold two lectures entitled "Silent China" and "The Old Tune Has Been Sung" at the YMCA Auditorium in Sheung Wan.

In 1927, Lu Xun resigned from Sun Yat-sen University and arrived in Shanghai, where he lived for 10 years in the cross-border road construction area (the so-called "semi-concession" refers to the area around Lu Xun Park in the northern part of today's Hongkou District), where there was a special political environment to protect his writing from persecution, as well as many of his Japanese friends.

Since 1930, he has joined the Great League of the Chinese Freedom Movement, the Left-wing Writers' Union, and the Chinese League for the Protection of Civil Rights. However, Lu Xun had many ideological conflicts with the leaders of the Left League. Therefore, some people think that he is a freelance writer.

Between 1927 and 1936. Lu Xun wrote many reminiscence essays and a large number of ideological essays, and translated and introduced progressive foreign literary works.

During Lu Xun's stay in Shanghai, he had dealings with Song Qingling and Chen Ji. There is a contradiction between the literary group presided over by Lu Xun and the literary group presided over by Guo Moruo and Yu Dafu.

Lu Xun supported and rewarded literary youth, including Roushi, Bai Mang, Xiao Jun, Xiao Hong, etc. also had a debate with Zhang Chunqiao, who was known as Dick.

Since 1931. Lu Xun vigorously advocated woodblock printmaking. Thus began the history of printmaking in China.

In 1933, Lu Xun wrote "In Memory of Forgetting" with five members of the "Left Alliance" who were arrested and killed by the Kuomintang, including Bi Roushi and Hu Yepin.

Li Lisan, the CCP's propaganda minister, wrote to Lu Xun asking him to scold Chiang Kai-shek by his real name, but Lu Xun refused, saying: "It's easy to write, but you can't live in Shanghai. 」

1936 year. Lu Xun died of tuberculosis in Shanghai at the age of 55. The news of his death attracted the attention of the whole of China, and tens of thousands of people in Shanghai spontaneously held an unprecedentedly grand funeral for him, a figure from the literary and artistic circles, and the representatives of the people covered his coffin with a white flag with the words "soul of the nation" written on it, causing a sensation.

There were 12 people carrying the coffin for the first time from the funeral hall of all nations, divided into two rows on the left and right, the first two were Ba Jin and Lu Diqing, and the latter were Hu Feng and Cao Bai, Huang Yuan, Zhang Tianyi, Jin Yi, Yao Ke, Wu Langxi, Zhou Wen, Xiao Jun (Tian Jun), and Li Liewen. He was buried in the Hongqiao International Cemetery in Shanghai.

In 1956, Lu Xun's tomb was relocated and rebuilt in Hongkou Park in Shanghai.

Lu Xun's will has a total of 7 articles, of which the first few articles explain the funeral affairs simply, Article 5 tells the child Zhou Haiying that "if you have no talent, you can find some small things to live, and you must not be an empty writer or artist", Article 6 is not to take the things promised to others seriously, and the last one is not to approach "those who damage the teeth and eyes of others, but oppose revenge and advocate tolerance." 」

There is also some controversy about Lu Xun's death. Lu Xun's son, Zhou Haiying, once wrote an article suspecting that the Japanese doctor Sudo Gokusan, whom he trusted, deliberately misdiagnosed, causing him to die early without normal treatment, and it was later confirmed that Lu Xun's real cause of death should be a severe pneumothorax induced by tuberculosis and emphysema.

Lu Xun's works have a wide range of themes, diverse and flexible forms, and distinctive and unique styles. In the 55 years of his life, he has created works in genres such as novels, essays, essays, and poetry.

There are 20 volumes of "The Complete Works of Lu Xun", with more than 1,000 words. After the founding of the People's Republic of China, many of his works were selected into Chinese textbooks for primary and secondary schools, and had a profound impact on the language and literature of New China.

Lu Xun started as a novel.

Published in 1918 in the magazine New Youth, Diary of a Madman was the pioneering work of modern Chinese vernacular fiction and had a far-reaching influence.

Subsequently, Lu Xun published a number of short stories, which were later compiled into two collections of short stories, "Scream" and "Hesitation", which were published in 1923 and 1926 respectively.

With the changes in the social situation, Lu Xun gradually gave up the creation of novels in his planning and turned to essay writing. Lu Xun's later novels are collected as "New Stories".

Lu Xun's novels are not many, but they are of great significance, and famous ones have been published one after another. His early novels often do not have bizarre and twisty plots, but focus on the lives of the low-level people in the late Qing Dynasty and early Republic of China, pay attention to detailed descriptions, and can vividly portray the characters in white sketches between the bits, and dig out subtle psychological changes.

It mainly shows the numbness and ignorance of the people at the bottom and the hardships of life.

"My material is mostly taken from the unfortunate people of a sick society, which means to expose the suffering and attract the attention of the cure. The later works reflect real life by borrowing historical allusions, and the style is calm and abundant, humorous and free, which is very different from the early stage.

His representative works include "The True Story of Ah Q", "Blessing", "Kong Yiji", "Hometown" and so on. The protagonist Ah Q, Xianglin's sister-in-law, Kong Yiji, Runtu and other Chinese women and children are all known.

Lu Xun pioneered a new genre based on theory and flexible form, "Essays", and carried it forward. Mao Zedong praised the "dagger" and "throwing the gun" (the term "dagger throwing the gun" is based on Lu Xun's "Mobilization of the South and the North" in "The Crisis of the Essays"), which deeply revealed all aspects of Chinese society at that time. His representative works include "Two Hearts Collection", "Huagai Collection" and so on.

Lu Xun's prose also plays an important role, and his main works are collected as "Morning Flowers and Sunset" and "Wild Grass". The former is mainly reminiscing about childhood memories, which is easy to understand and funny. His representative works include "From the Hundred Herb Garden to the Three Flavors Library".

"Wild Grass" uses the form of Nietzschean prose poems to express critical reflection on society and life, reflecting the author's nihilistic pessimistic state of mind at that time.

The language is beautiful and cold, the imagery is unique and suggestive, and the artistic conception is dark and deep. It had a certain influence on the development of Chinese vernacular prose poetry in the future. (To be continued......)