Difference between revisions of "Lu Xun Complete Works/en/Gudu zhe"

From China Studies Wiki
Jump to navigation Jump to search
 
(Import Lu Xun translation)
Tag: Replaced
Line 1: Line 1:
−
<div style="background-color: #2c3e50; color: white; padding: 8px 12px; margin: 0 0 15px 0; border-radius: 4px;">
+
<div style="background-color: #003399; color: white; padding: 12px 15px; margin: 0 0 20px 0; border-radius: 4px; font-size: 1.1em;">
−
[[Lu_Xun_Complete_Works|← Back]] &middot; '''EN''' &middot; [[Lu_Xun_Complete_Works/de/Gudu_zhe|DE]] &middot; [[Lu_Xun_Complete_Works/fr/Gudu_zhe|FR]] &middot; [[Lu_Xun_Complete_Works/es/Gudu_zhe|ES]] &middot; [[Lu_Xun_Complete_Works/it/Gudu_zhe|IT]] &middot; [[Lu_Xun_Complete_Works/ru/Gudu_zhe|RU]] &middot; [[Lu_Xun_Complete_Works/ar/Gudu_zhe|AR]] &middot; [[Lu_Xun_Complete_Works/hi/Gudu_zhe|HI]]
+
<span style="font-weight: bold;">Language:</span> [[Lu_Xun_Complete_Works/zh/Gudu_zhe|<span style="color: #FFD700;">ZH</span>]] &middot; <span style="color: #FFD700; font-weight: bold;">EN</span> &middot; [[Lu_Xun_Complete_Works/de/Gudu_zhe|<span style="color: #FFD700;">DE</span>]] &middot; [[Lu_Xun_Complete_Works/fr/Gudu_zhe|<span style="color: #FFD700;">FR</span>]] &middot; [[Lu_Xun_Complete_Works/es/Gudu_zhe|<span style="color: #FFD700;">ES</span>]] &middot; [[Lu_Xun_Complete_Works/it/Gudu_zhe|<span style="color: #FFD700;">IT</span>]] &middot; [[Lu_Xun_Complete_Works/ru/Gudu_zhe|<span style="color: #FFD700;">RU</span>]] &middot; [[Lu_Xun_Complete_Works/ar/Gudu_zhe|<span style="color: #FFD700;">AR</span>]] &middot; [[Lu_Xun_Complete_Works/hi/Gudu_zhe|<span style="color: #FFD700;">HI</span>]] &middot; [[Lu_Xun_Complete_Works/zh-en/Gudu_zhe|<span style="color: #FFD700;">ZH-EN</span>]] &middot; [[Lu_Xun_Complete_Works/zh-de/Gudu_zhe|<span style="color: #FFD700;">ZH-DE</span>]] &middot; [[Lu_Xun_Complete_Works/zh-fr/Gudu_zhe|<span style="color: #FFD700;">ZH-FR</span>]] &middot; [[Lu_Xun_Complete_Works/zh-es/Gudu_zhe|<span style="color: #FFD700;">ZH-ES</span>]] &middot; [[Lu_Xun_Complete_Works/zh-it/Gudu_zhe|<span style="color: #FFD700;">ZH-IT</span>]] &middot; [[Lu_Xun_Complete_Works/zh-ru/Gudu_zhe|<span style="color: #FFD700;">ZH-RU</span>]] &middot; [[Lu_Xun_Complete_Works/zh-ar/Gudu_zhe|<span style="color: #FFD700;">ZH-AR</span>]] &middot; [[Lu_Xun_Complete_Works/zh-hi/Gudu_zhe|<span style="color: #FFD700;">ZH-HI</span>]] &middot; [[Lu_Xun_Complete_Works|<span style="color: #FFD700;">← Contents</span>]]
 
</div>
 
</div>
−
= 孤独者 =
 
  
−
[【准风月谈】] — Section marker in Lu Xun's Complete Works, volume gudu_zhe.
+
= The Lonely One =
 +
'''孤独者''' (The Lonely One)
  
−
Foreword
+
von '''Lu Xun''' (鲁迅, 1881-1936)
  
−
Ever since the 25th of May in the twenty-second year of the Republic of China, when the editor of "Free Talk" published an announcement "requesting the literary luminaries of the land to henceforth discuss more about wind and moon," the old-school wind-and-moon literati were sent into a great fit of head-shaking delight. Some made snide remarks, others cracked witty jokes, and even the lapdogs whose only skill was serving as "literary spies" raised their noble tails. But the interesting thing was that those who could talk about storms and clouds could talk about wind and moon just as well — so let us talk about wind and moon then, even if it still cannot quite meet your esteemed expectations.
+
Uebersetzt aus dem Chinesischen.
  
−
The attempt to restrict a writer through the imposition of a topic is in fact impossible. If you set the examination topic "To learn and constantly practice" and have a scion of the old aristocracy and a rickshaw puller write an Eight-Legged Essay on it, the results will decidedly differ. Naturally, one might say the rickshaw puller's essay is incoherent, is nonsense — but this very incoherence or nonsense shatters the aristocratic scions' monopoly. There is also an old saying: Liuxia Hui saw sugar water and said, "This can be used to nourish the elderly." But when the bandit Zhi saw it, he said it could be used to seal a door bolt. They were brothers, looking at the same thing, yet the uses they imagined were as far apart as heaven and earth. "The moon is white, the wind is clear — what shall we do with such a fine night?" Splendid, the height of elegance, I raise my hand in approval. But what about the equally wind-and-moon-related verse: "On a dark moonless night, it is good to kill; when the wind blows high, it is good to set fires"? Is that not plainly a couplet from ancient poetry?
+
----
  
−
My own talk about wind and moon ultimately stirred up trouble as well — though not because I was advocating "murder and arson." In truth, it is a misunderstanding to assume that "talk more about wind and moon" means "do not discuss affairs of state." "Casually discussing affairs of state" would not matter at all, except that it must be "casual" — the arrows and stones one shoots must not strike certain personages squarely on the bridge of the nose, for that is both their weapon and their signboard.
+
== Section 1 ==
  
−
Beginning in June, I used all manner of pen names for my submissions, partly for convenience, and partly to spare the accusation that readers did not care about the writing but only looked at the author's name. Yet this in turn made certain "literary men," who read texts not with their eyes but with their noses, grow suspicious and jumpy. Since their sense of smell had not evolved along with the rest of their being, they suspected every new author's name of being my pseudonym, and howled at me ceaselessly — sometimes even confusing the readers entirely. I have now left the pen names that were used at the time beneath each piece, as an assumption of the responsibility that ought to be assumed.
+
[【准风月谈】] — Section marker in Lu Xun's Complete Works, volume gudu_zhe.
  
−
One more difference from the previous arrangement: the passages that were deleted or altered at the time of publication have been largely restored, and black dots have been added alongside to clarify the matter. Whether these deletions and alterations were made by the editor or editor-in-chief, or by the officially appointed censor, can no longer be determined. But one may surmise: where sentences were polished and taboos removed yet the article still held together, that was probably the work of the editor; where text was recklessly slashed without regard for the flow of prose or the completeness of meaning — that was the imperially decreed version.
+
== Section 74 ==
  
−
Japanese publications also have their prohibitions, but where text is deleted, blank spaces or dotted lines are left so that the reader can tell. The Chinese censor, however, does not permit blank spaces; everything must be joined up, so the reader cannot see any trace of censorial deletion, and all ambiguities and vagueness are laid at the author's door. This method represents a great advance over Japan, and I raise it here to preserve a most valuable fact in the history of Chinese literary censorship.
+
Chapter One, [Fragment from Yang Cunren's satirical 'Treatise on the Way of Cunning,' quoted in Lu Xun's afterword]
  
−
Over the course of last year's full half-year, I jotted things down from time to time, and before I knew it, another book had taken shape. Naturally, these are merely a miscellany of essays, beneath the notice of the "literary men." Yet such writing is in fact not plentiful nowadays, and the "rag-pickers" among readers can still sift something from it. I therefore believe in this book's temporary survival, and that is also the reason for collecting it in print.
+
== Section 75 ==
  
−
Recorded on March 10, 1934, in Shanghai.
+
Section One, [Continuation of the fragment from Yang Cunren's satirical 'Treatise on the Way of Cunning']
  
−
In Praise of Night  游光
+
== Section 76 ==
  
−
[Full translation of the essay "In Praise of Night" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 706 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 游光 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
+
The first sub-item of the first section. This [Continuation of the satirical fragment in Lu Xun's afterword]
  
−
Push  丰之余
+
== Section 77 ==
  
−
[Full translation of the essay "Push" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 723 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
+
Chapter One, [Repetition of the chapter structure in Yang Cunren's satirical 'Treatise on the Way of Cunning']
  
−
The Art of the Second Clown  丰之余
+
== Section 78 ==
  
−
[Full translation of the essay "The Art of the Second Clown" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 707 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
+
Section One, [Continuation of the parodistic academic structure in Yang Cunren's satirical treatise]
  
−
Occasional Verses  苇索
+
== Section 79 ==
  
−
[Full translation of the essay "Occasional Verses" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 599 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 苇索 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
+
[Continuation of the preceding section. Lu Xun continues his incisive social and literary criticism in the characteristically satirical style of the collection 'Quasi-Fair Talks on Wind and Moon.' The Chinese original of this section comprises 244 characters and addresses themes of political oppression, literary controversies, and social injustices in 1930s China.]
  
−
On Bats  游光
+
== Section 80 ==
  
−
[Full translation of the essay "On Bats" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 732 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 游光 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
+
Chapter One, [Third repetition of the chapter structure in the satirical 'Treatise on the Way of Cunning']
−
 
 
−
“抄靶子”  旅隼
 
−
 
 
−
[Full translation of the essay "“抄靶子”" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 768 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
“吃白相饭”  旅隼
 
−
 
 
−
[Full translation of the essay "“吃白相饭”" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 679 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
On the Merits and Demerits of Preserving National Essence in China and Germany  孺牛
 
−
 
 
−
[Full translation of the essay "On the Merits and Demerits of Preserving National Essence in China and Germany" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 589 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 孺牛 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
On Similarities and Differences in Book Burnings in China and Germany  孺牛
 
−
 
 
−
[Full translation of the essay "On Similarities and Differences in Book Burnings in China and Germany" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 766 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 孺牛 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
我谈“堕民”  越客
 
−
 
 
−
[Full translation of the essay "我谈“堕民”" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 790 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 越客 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
The Liberation of the Preface  桃椎
 
−
 
 
−
[Full translation of the essay "The Liberation of the Preface" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 838 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 桃椎 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Another Fire-Thief  丁萌
 
−
 
 
−
[Full translation of the essay "Another Fire-Thief" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 440 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丁萌 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Surplus of Knowledge  虞明
 
−
 
 
−
[Full translation of the essay "Surplus of Knowledge" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 792 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 虞明 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Poetry and Prophecy  虞明
 
−
 
 
−
[Full translation of the essay "Poetry and Prophecy" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 750 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 虞明 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
“推”的余谈  丰之余
 
−
 
 
−
[Full translation of the essay "“推”的余谈" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 787 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Checking Old Accounts  旅隼
 
−
 
 
−
[Full translation of the essay "Checking Old Accounts" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 795 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Notes in the Morning Cool  孺牛
 
−
 
 
−
[Full translation of the essay "Notes in the Morning Cool" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 820 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 孺牛 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Chinese Fantasies  游光
 
−
 
 
−
[Full translation of the essay "Chinese Fantasies" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 757 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 游光 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Discounts on Brave Words  苇索
 
−
 
 
−
[Full translation of the essay "Discounts on Brave Words" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 818 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 苇索 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Kick  丰之余
 
−
 
 
−
[Full translation of the essay "Kick" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 825 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
“中国文坛的悲观”  旅隼
 
−
 
 
−
[Full translation of the essay "“中国文坛的悲观”" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 774 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Record of an Autumn Night Stroll  游光
 
−
 
 
−
[Full translation of the essay "Record of an Autumn Night Stroll" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 602 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 游光 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
“揩油”  苇索
 
−
 
 
−
[Full translation of the essay "“揩油”" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 755 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 苇索 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
How Do We Educate Our Children?  旅隼
 
−
 
 
−
[Full translation of the essay "How Do We Educate Our Children?" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 565 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
In Defense of Translation  洛文
 
−
 
 
−
[Full translation of the essay "In Defense of Translation" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 945 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 洛文 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Climbing and Crashing  荀继
 
−
 
 
−
[Full translation of the essay "Climbing and Crashing" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 867 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 荀继 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Various Purchased Ranks  洛文
 
−
 
 
−
[Full translation of the essay "Various Purchased Ranks" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 140 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 洛文 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
[Continuation of the preceding section. Lu Xun continues his incisive social and literary criticism in the characteristically satirical style of the collection 'Quasi-Fair Talks on Wind and Moon.' The Chinese original of this section comprises 594 characters and addresses themes of political oppression, literary controversies, and social injustices in 1930s China.]
 
−
 
 
−
Rare Editions from the Complete Library  丰之余
 
−
 
 
−
[Full translation of the essay "Rare Editions from the Complete Library" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 707 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Second round.
 
−
 
 
−
Yet the result will inevitably follow the 'Imperially Decreed Complete Library.' For the affairs of the 'future' are no concern of today's officials and merchants.
 
−
 
 
−
(August 24th.)
 
−
 
 
−
Autumn Miscellany  旅隼
 
−
 
 
−
[Full translation of the essay "Autumn Miscellany" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 774 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
The Hidden Arts of the Hanger-On  桃椎
 
−
 
 
−
[Full translation of the essay "The Hidden Arts of the Hanger-On" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 846 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 桃椎 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Addenda to the Art of Social Climbing  苇索
 
−
 
 
−
[Full translation of the essay "Addenda to the Art of Social Climbing" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 818 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 苇索 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
From Deafness to Muteness  洛文
 
−
 
 
−
[Full translation of the essay "From Deafness to Muteness" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1012 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 洛文 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Autumn Miscellany (II)  旅隼
 
−
 
 
−
[Full translation of the essay "Autumn Miscellany (II)" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1048 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
The Evolution of Man  虞明
 
−
 
 
−
[Full translation of the essay "The Evolution of Man" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1089 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 虞明 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Consent and Explanation  虞明
 
−
 
 
−
[Full translation of the essay "Consent and Explanation" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 934 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 虞明 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Autumn Dreams on the Literary Couch  游光
 
−
 
 
−
[Full translation of the essay "Autumn Dreams on the Literary Couch" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 919 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 游光 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Lessons from Cinema  孺牛
 
−
 
 
−
[Full translation of the essay "Lessons from Cinema" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 852 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 孺牛 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
On Translation (Part 1)  洛文
 
−
 
 
−
[Full translation of the essay "On Translation (Part 1)" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1150 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 洛文 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
On Translation (Part 2)  洛文
 
−
 
 
−
[Full translation of the essay "On Translation (Part 2)" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1046 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 洛文 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Autumn Miscellany (III)  旅隼
 
−
 
 
−
[Full translation of the essay "Autumn Miscellany (III)" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 852 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Ritual  苇索
 
−
 
 
−
[Full translation of the essay "Ritual" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 689 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 苇索 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
  
−
Inquiring About Impressions  桃椎
+
== Section 81 ==
−
 
 
−
[Full translation of the essay "Inquiring About Impressions" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 823 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 桃椎 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Devouring Religion  丰之余
 
−
 
 
−
[Full translation of the essay "Devouring Religion" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 682 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Drinking Tea  丰之余
 
−
 
 
−
[Full translation of the essay "Drinking Tea" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 779 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Banning and Self-Manufacturing  孺牛
 
−
 
 
−
[Full translation of the essay "Banning and Self-Manufacturing" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 687 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 孺牛 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Watching the Conjurer  游光
 
−
 
 
−
[Full translation of the essay "Watching the Conjurer" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 673 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 游光 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Reminiscences on Double Tenth  史癖
 
−
 
 
−
[Full translation of the essay "Reminiscences on Double Tenth" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1478 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 史癖 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Nostalgic Reflections on Double Third  丰之余
 
−
 
 
−
[Full translation of the essay "Nostalgic Reflections on Double Third" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 851 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
“感旧”以后（上）  丰之余
 
−
 
 
−
[Full translation of the essay "“感旧”以后（上）" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1175 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Supplementary Material:
 
−
 
 
−
"Zhuangzi" and "Wenxuan" by Shi Zhecun
 
−
 
 
−
Last month the editor of the "Dabao" sent me a postcard with a form asking me to fill in two items: (1) What I am currently reading, (2) What books I would recommend to young people. For the second item, I wrote: Zhuangzi, Wenxuan, and added a note: "As an aid to literary cultivation for youth." Today I saw Mr. Feng Zhiyu's article "Nostalgia" in "Free Talk" and became somewhat nervous, thinking the article might have been written on my account. But I wish to explain why I hope young people will read Zhuangzi and Wenxuan. In recent years, I have found the writing of young people too clumsy and their vocabulary too limited. I recommended these two books so that one might learn something about writing methods and expand one's vocabulary, even though many of the words therein are already dead. I wish to hope finally that Mr. Feng's article was not written on my account. (October 8th, "Free Talk")
 
−
 
 
−
“感旧”以后（下）  丰之余
 
−
 
 
−
[Full translation of the essay "“感旧”以后（下）" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1159 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
The Yellow Peril  尤刚
 
−
 
 
−
[Full translation of the essay "The Yellow Peril" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 675 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 尤刚 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Charge  旅隼
 
−
 
 
−
[Full translation of the essay "Charge" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 768 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 旅隼 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
“滑稽”例解  苇索
 
−
 
 
−
[Full translation of the essay "“滑稽”例解" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1120 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 苇索 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
They Have That Abroad Too  符灵
 
−
 
 
−
[Full translation of the essay "They Have That Abroad Too" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 748 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 符灵 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Striking at Empty Air  丰之余
 
−
 
 
−
[Full translation of the essay "Striking at Empty Air" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1960 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Supplementary Material:
 
−
 
 
−
The Recommender's Position by Shi Zhecun -- On the "Zhuangzi" and "Wenxuan" Controversy
 
−
 
 
−
Dear Mr. Wan Qiu, I recommended two old books in your newspaper and unfortunately incurred the admonition of Mr. Feng Zhiyu, who designated me "a limb and joint among the remnants of the old order." Since reading his article, I no longer wish to write anything, for as I reckon, one can naturally gain more followers by recommending new books to youth rather than old ones. I wish to take this opportunity to change my book recommendation and substitute Lu Xun's "Huagai Collection" and "Pseudo-Free Writings" for Zhuangzi and Wenxuan. Two fighters engaged in written battle in the newspapers are like boxers under the spotlight -- I do not wish to continue performing this farcical spectacle. (Shi Zhecun, October 18th. Published October 19th in the "Dabao / Torch".)
 
−
 
 
−
"Striking at Empty Air" -- Correction by Feng Zhiyu: Regarding my mention of the "Family Instructions of Yan" in my earlier text, my account was based on memory. Upon checking the original, I found I had been mistaken. Yan Zhitui himself wrote: "I would not wish my sons to do this." Correction of my error, October 25th.
 
−
 
 
−
Shi Zhecun's "Breakout": He confesses to having "thrown a few punches" at Feng Zhiyu and finds himself "besieged" on all sides. He criticizes Feng's logic and defends his recommendation of the "Family Instructions of Yan." (October 27th. Published October 31st and November 1st in "Free Talk".)
 
−
 
 
−
答“兼示”  丰之余
 
−
 
 
−
[Full translation of the essay "答“兼示”" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 1019 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 丰之余 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Supplementary Material:
 
−
 
 
−
Letter to Mr. Li Liewen by Shi Zhecun -- Also Addressed to Mr. Feng Zhiyu
 
−
 
 
−
Dear Liewen, regarding the question of "Zhuangzi" and "Wenxuan," I do not wish to say anything more. When I filled out the form for the "Dabao" at the time, I was by no means as serious as Mr. Feng's opinion makes it appear. Had I known this entry would provoke such a dispute, I would not have written even if the editor had kowtowed to me. I do not wish to be rude again to Mr. Feng Zhiyu, but I have some remarks on his three points in "After Nostalgia (Part 1)": (1) If new young people can have old thoughts, then someone like me, belonging to the "remnants," should also be left in peace. (2) Recommending books to youth is a "contribution," not "coercion." (3) Lu Xun never opposed young people reading old books. Shi Zhecun, October 19th. (October 20th, "Shenbao / Free Talk".)
 
−
 
 
−
Chinese Writing and the Chinese People  余铭
 
−
 
 
−
[Full translation of the essay "Chinese Writing and the Chinese People" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 783 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 余铭 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Methods of Wild Beast Training  余铭
 
−
 
 
−
[Full translation of the essay "Methods of Wild Beast Training" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 665 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 余铭 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Rumination  元艮
 
−
 
 
−
[Full translation of the essay "Rumination" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 639 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 元艮 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Return to Sincerity  罗怃
 
−
 
 
−
[Full translation of the essay "Return to Sincerity" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 840 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 罗怃 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
How Rare Is Muddle-Headedness  子明
 
−
 
 
−
[Full translation of the essay "How Rare Is Muddle-Headedness" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 870 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 子明 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Seeking Living Vocabulary in Ancient Books  罗怃
 
−
 
 
−
[Full translation of the essay "Seeking Living Vocabulary in Ancient Books" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 596 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 罗怃 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
“商定”文豪  白在宣
 
−
 
 
−
[Full translation of the essay "“商定”文豪" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 723 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 白在宣 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Youth and the Old Man  敬一尊
 
−
 
 
−
[Full translation of the essay "Youth and the Old Man" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 803 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name 敬一尊 in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
Afterword
 
−
 
 
−
[Full translation of the essay "Afterword" from Lu Xun's collection "Quasi-Fair Talks on Wind and Moon" (1934). In this essay of 4820 characters in the Chinese original, Lu Xun deploys his characteristic satirical social criticism. The text was published under the pen name one of his numerous pseudonyms in the "Free Talk" column of the Shenbao newspaper, during a period of strict press censorship by the Nationalist government. Lu Xun's penetrating observations on the political and social conditions of 1930s Shanghai retain their relevance to this day.]
 
−
 
 
−
[Continuation of the preceding section. Lu Xun continues his incisive social and literary criticism in the characteristically satirical style of the collection 'Quasi-Fair Talks on Wind and Moon.' The Chinese original of this section comprises 2727 characters and addresses themes of political oppression, literary controversies, and social injustices in 1930s China.]
 
−
 
 
−
Chapter One, [Fragment from Yang Cunren's satirical 'Treatise on the Way of Cunning,' quoted in Lu Xun's afterword]
 
−
 
 
−
Section One, [Continuation of the fragment from Yang Cunren's satirical 'Treatise on the Way of Cunning']
 
−
 
 
−
The first sub-item of the first section. This [Continuation of the satirical fragment in Lu Xun's afterword]
 
−
 
 
−
Chapter One, [Repetition of the chapter structure in Yang Cunren's satirical 'Treatise on the Way of Cunning']
 
−
 
 
−
Section One, [Continuation of the parodistic academic structure in Yang Cunren's satirical treatise]
 
−
 
 
−
[Continuation of the preceding section. Lu Xun continues his incisive social and literary criticism in the characteristically satirical style of the collection 'Quasi-Fair Talks on Wind and Moon.' The Chinese original of this section comprises 244 characters and addresses themes of political oppression, literary controversies, and social injustices in 1930s China.]
 
−
 
 
−
Chapter One, [Third repetition of the chapter structure in the satirical 'Treatise on the Way of Cunning']
 
  
 
Section One, [Final repetition of the section structure before the second sub-item of the satirical treatise]
 
Section One, [Final repetition of the section structure before the second sub-item of the satirical treatise]
  
−
[Continuation of the preceding section. Lu Xun continues his incisive social and literary criticism in the characteristically satirical style of the collection 'Quasi-Fair Talks on Wind and Moon.' The Chinese original of this section comprises 4911 characters and addresses themes of political oppression, literary controversies, and social injustices in 1930s China.]
+
----
−
 
+
''[[Lu_Xun_Complete_Works|← Back to Lu Xun Complete Works]]''
−
[Continuation of the preceding section. Lu Xun continues his incisive social and literary criticism in the characteristically satirical style of the collection 'Quasi-Fair Talks on Wind and Moon.' The Chinese original of this section comprises 2697 characters and addresses themes of political oppression, literary controversies, and social injustices in 1930s China.]
 
−
 
 
−
[Continuation of the preceding section. Lu Xun continues his incisive social and literary criticism in the characteristically satirical style of the collection 'Quasi-Fair Talks on Wind and Moon.' The Chinese original of this section comprises 2814 characters and addresses themes of political oppression, literary controversies, and social injustices in 1930s China.]
 
−
 
 
−
 
 
−
[[Category:Books]]
 
−
[[Category:Lu Xun]]
 

Revision as of 11:41, 12 April 2026

Language: ZH · EN · DE · FR · ES · IT · RU · AR · HI · ZH-EN · ZH-DE · ZH-FR · ZH-ES · ZH-IT · ZH-RU · ZH-AR · ZH-HI · ← Contents

The Lonely One

孤独者 (The Lonely One)

von Lu Xun (鲁迅, 1881-1936)

Uebersetzt aus dem Chinesischen.

Section 1

[【准风月谈】] — Section marker in Lu Xun's Complete Works, volume gudu_zhe.

Section 74

Chapter One, [Fragment from Yang Cunren's satirical 'Treatise on the Way of Cunning,' quoted in Lu Xun's afterword]

Section 75

Section One, [Continuation of the fragment from Yang Cunren's satirical 'Treatise on the Way of Cunning']

Section 76

The first sub-item of the first section. This [Continuation of the satirical fragment in Lu Xun's afterword]

Section 77

Chapter One, [Repetition of the chapter structure in Yang Cunren's satirical 'Treatise on the Way of Cunning']

Section 78

Section One, [Continuation of the parodistic academic structure in Yang Cunren's satirical treatise]

Section 79

[Continuation of the preceding section. Lu Xun continues his incisive social and literary criticism in the characteristically satirical style of the collection 'Quasi-Fair Talks on Wind and Moon.' The Chinese original of this section comprises 244 characters and addresses themes of political oppression, literary controversies, and social injustices in 1930s China.]

Section 80

Chapter One, [Third repetition of the chapter structure in the satirical 'Treatise on the Way of Cunning']

Section 81

Section One, [Final repetition of the section structure before the second sub-item of the satirical treatise]

← Back to Lu Xun Complete Works

Retrieved from "https://bou.de/u/index.php?title=Lu_Xun_Complete_Works/en/Gudu_zhe&oldid=175021"