Lu Xun’s apotheosis got here in 1937, when Mao appointed him as ‘new China’s saint’ (simply as Confucius had been the ‘saint of feudal China’) and ‘commander-in-chief of China’s cultural revolution ’. It climaxed in Mao’s Great Proletarian Cultural Revolution of 1966–76, when the useless Lu Xun was raised to his biggest peak. Mao never met Lu Xun, although each men had been in Beijing at the same time in the May Fourth days. Travel for holidays
Lu Xun’s acquaintance with Trotsky’s literary theories began in the summer of 1925, when he translated the chapter in Literature and Revolution on the Russian lyrical poet Alexander Blok. Lu Xun’s translation, and his postscript to it, had a huge impact on Chinese writers on the time. Although Mao initiated a cult of Lu Xun during the Sino-Japanese War, he took pains to make sure that Lu Xun’s important spirit was not imported to Yan’an, his wartime capital.
Mao made the writers a goal of his famous Yan’an Talks on Art and Literature, mentioned under. But while the Communists suppressed a lot of Lu Xun’s legacy and purged his followers, it is also true that Mao and his comrades admired and revered him as fashionable China’s greatest author and a ‘champion of common humanity’.
The urban intellectuals who slipped away into the countryside to serve within the anti-Japanese resistance under Mao included lots of Lu Xun’s loyal followers, who abandoned their families and careers to affix the Communists. In the cities, earlier than migrating to Yan’an, they had aimed Lu Xun-type zawen at Chiang Kai-shek and his regime. In 1942, Wang Shiwei 王实味 and different Lu Xun-ites began, bravely but unwisely, to employ the identical zawen as daggers to stab on the coronary heart of bureaucracy and iniquity under the Communists. They have been denounced at rallies, and Wang Shiwei, the least ready amongst them to eat humble pie, was gaoled and later murdered.
Following Trotsky, Lu Xun argued in his work on literary concept that solely a revolutionary particular person can write revolutionary literature, and that ‘no matter a revolutionary person writes is revolutionary literature’. But revolutionary literature of this type may solely appear after the passing of the revolutionary storm and the emergence of the ‘new revolutionary human being’.
He labored in many various genres and idioms, including the classic, the archaic, and the colloquial. His style was typically dense, complex, experimental, and intense. However, he fiercely defended vernacular writing in opposition to writing of the elite, and strove to create a literature and artwork of the people who could be used to criticise the ruling class and sort out social ills. His worth as a useful resource for important thought and his fearlessness and spine were the principle optimistic causes Mao proposed him as a literary mannequin. The glorification of Lu Xun began in 1933, when the Communist Qu Qiubai 瞿秋白 described him as ‘a real pal, and even a warrior, of the proletariat and the toiling plenty’.