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		特有理
	https://blog.creaders.net/u/2022/ > 复制 > 收藏本页	有感而发

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		为什么要跟鲁迅过不去	2015-09-24 16:57:07

为什么要跟鲁迅过不去

特有理

2015-9-24

我和一些人谈鲁迅，批判“鲁迅现象”，其针对的是人，还是社会文化现象，我觉得没有必要多解释。盖因鲁迅具有独特的代表性和影响力，因此在批判中国文化的时候，鲁迅是一个绕不过去的文化图腾。

社会的落后，一是大脑硬件不如人，一是文化软件不如人。但没谁愿意承认硬件的差异。可是，人们往往也不愿意承认文化的落后，还愿意吹嘘“博大精深”。那就见了鬼了，都不差怎么就落后了呢？

说“并非人人都要提出解决方案，只要能找到问题已算不错”。

那么，没有解决方案，问题如何解决？

不知应该如何解决问题，又如何判断解决方案的是非？

无法判断方案的是非，那个所谓的“民主”如何落实？

难道还是谁骂得痛快解气就拥护谁，谁吹嘘的完美漂亮就相信谁？

医院的医生最终是必须治病的；社会的公民是必须具有为解决方案提供判断和选择能力的。

还是那句话：你不知道应该如何解决，那你如何进行判断？

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作者：马甲

留言时间：2015-09-24 18:08:20

Actually 1927 was the year when Lu Xun was asked if he would accept a nomination for the Nobel Literature Prize. A note in Lu Xun’s collected works tells us that when Sven Hedin, a member of the Swedish Academy, visited China that year, he discussed the nomination with Liu Bannong, an acquaintance of Lu Xun’s in Beijing. The question was then posed to Lu Xun by his former student and confidante Tai Jingnong. Lu Xun declined the invitation to be nominated.

There’s no doubt that Lu Xun was a “world-class writer,” to use your term, which I take to mean someone whose writings readers everywhere would find (and in Lu Xun’s case, have found) compelling. The Story of Ah Q (completed in 1922), Lu Xun’s best-known work outside China, was arguably the reason why he was considered for the Nobel prize. Romain Rolland, who won the Nobel Literature prize in 1915, had publicly praised the work in 1926 after reading an abridged French translation of it. Ah Q — a short work — had an electrifying effect on Chinese readers of Lu Xun’s time. Of the character Ah Q, Rolland wrote that once you’ve encountered him, “you can’t bear to part with him.” Simon Leys puts it best in an essay written in the 1970s:

In getting to know Ah Q, those Western readers for whom China is most alien will discover a valuable fact that remains obdurately hidden from both the Yellow Peril theorists and from the apostles of Red China: this fact is that the Chinese too are human, or to put it another way, we are all Chinese.

Some may now consider this comment obsolete since China is so much with us today in the news and in movies. But as you pointed out just recently, dreams as well as nightmares of China have persisted to this day.

Was he the “greatest writer Asia produced in the 20th century”? Well that’s a claim that I think Lu Xun would have rejected because he never privileged literary virtuosity and was fundamentally opposed to the idea of any one writer standing in for a given culture, let alone representing an entire region.