Difference between revisions of "Lu Xun Complete Works/en/xingfu jiating"

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#REDIRECT [[Lu_Xun_Complete_Works/en/Xingfu_jiating]]
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<span style="font-weight: bold;">Language:</span> [[Lu_Xun_Complete_Works/zh/xingfu_jiating|<span style="color: #FFD700;">ZH</span>]] · <span style="color: #FFD700; font-weight: bold;">EN</span> · [[Lu_Xun_Complete_Works/de/xingfu_jiating|<span style="color: #FFD700;">DE</span>]] · [[Lu_Xun_Complete_Works/fr/xingfu_jiating|<span style="color: #FFD700;">FR</span>]] · [[Lu_Xun_Complete_Works/es/xingfu_jiating|<span style="color: #FFD700;">ES</span>]] · [[Lu_Xun_Complete_Works/it/xingfu_jiating|<span style="color: #FFD700;">IT</span>]] · [[Lu_Xun_Complete_Works/ru/xingfu_jiating|<span style="color: #FFD700;">RU</span>]] · [[Lu_Xun_Complete_Works/ar/xingfu_jiating|<span style="color: #FFD700;">AR</span>]] · [[Lu_Xun_Complete_Works/hi/xingfu_jiating|<span style="color: #FFD700;">HI</span>]] · [[Lu_Xun_Complete_Works/zh-en/xingfu_jiating|<span style="color: #FFD700;">ZH-EN</span>]] · [[Lu_Xun_Complete_Works/zh-de/xingfu_jiating|<span style="color: #FFD700;">ZH-DE</span>]] · [[Lu_Xun_Complete_Works/zh-fr/xingfu_jiating|<span style="color: #FFD700;">ZH-FR</span>]] · [[Lu_Xun_Complete_Works/zh-es/xingfu_jiating|<span style="color: #FFD700;">ZH-ES</span>]] · [[Lu_Xun_Complete_Works/zh-it/xingfu_jiating|<span style="color: #FFD700;">ZH-IT</span>]] · [[Lu_Xun_Complete_Works/zh-ru/xingfu_jiating|<span style="color: #FFD700;">ZH-RU</span>]] · [[Lu_Xun_Complete_Works/zh-ar/xingfu_jiating|<span style="color: #FFD700;">ZH-AR</span>]] · [[Lu_Xun_Complete_Works/zh-hi/xingfu_jiating|<span style="color: #FFD700;">ZH-HI</span>]] · [[Lu_Xun_Complete_Works|<span style="color: #FFD700;">← Contents</span>]]
 
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= The Happy Family =
 
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'''幸福的家庭''' von/by/par Lu Xun (鲁迅)
 
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[What Happens After Nora Leaves? -- Lecture of December 26, 1923, at the Beijing Women's Higher Normal School]
 
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I wish to speak today about 'What happens after Nora leaves?'
 
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Ibsen was a Norwegian writer of the second half of the nineteenth century. His plays often dealt with social questions. 'Nora' (A Doll's House) is about a woman who realizes she is her husband's puppet -- and leaves.
 
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After leaving, there are really only two paths: degradation or return. For a small bird released from a cage finds outside eagles, cats, and the like.
 
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The most painful moment in life is waking without a way forward. Dreaming is happiness; if one sees no path, one should not wake the dreamer.
 
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For Nora, what she needs above all is money -- or to put it more elegantly: economic independence. Freedom cannot be bought with money, but can be sold for money.
 
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Dreams are good; otherwise, money is important.
 
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[On poetry and its enemies -- from Plato to the literary revolution. Summary.]
 
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Plato's hostility to art rejected poetry as imitation of imitation. Aristotle's Poetics liberated literature. The literary revolution brought no real change for poetry; it lies dying. Love poems are frowned upon. But whoever writes for his beloved need not be abashed before old gentlemen. We should not try to make nightingales happy; like flowers, they are reproductive organs.
 
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Patrons of literature are also its enemies. Charles IX said: Poets are like racehorses -- feed them well, but not too fat. Petofi's poem to Mrs. B.Sz. says the same.
 
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Correspondence on translation questions -- Liao Zhongqian's reply and Fuyuan's commentary on Gorky/Wilde translation practice. 'Gorky's surname is not Gao.' Discussion on translating foreign names into Chinese.
 
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Preface to the catalogue of Tao Yuanqing's Western painting exhibition (February 1925). Reply to Mr. Ke: On the selection of recommended books. Commentary: Chinese books contain corpse-optimism; foreign books, even when decadent, show living decadence.
 
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Rebuttal to the preceding text: Chinese books also show living decadence -- commentary on Confucianism, Mohism, Daoism, and Yang Zhu's philosophy. The critic argues that Laozi and Zhuangzi possess an active spirit.
 
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Literary correspondence: On the 'Qinxin' pseudonym (= Ouyang Lan). Magazine Mangyuan. Letters from Xiang Peiliang in Kaifeng about student life. Report on alleged assault of soldiers against female students -- proved false.
 
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Further correspondence: Zhao Yintang from Beijing doubts the Iron Tower incident. Investigation results: The Iron Pagoda was sealed off (Evidence A), female students denied the incident (Evidence B). Yet some continued to believe the rumor.
 
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Concluding reflection: On 'Doing is easy, thinking is hard' (Goethe). Letter from Baibo in Shanghai: On the back-to-nature mentality. Lu Xun's commentary on headmistress Yang Yinyu and her methods against rebellious female students.
 
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[[Lu_Xun_Complete_Works/en|Zurueck zur Uebersicht / Back to overview / Retour]]
 

Latest revision as of 11:44, 12 April 2026

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