二十年代初,北方反动军阀势力的强大和进步知识分子营垒内部的分化一度使鲁迅感到苦闷和彷徨,唱出了“寂寞新文苑,平安旧战场,两间余一卒,荷戟独彷徨”的悲歌。鲁迅先生此时思想上正处于进化论向阶级论、激进的民主主义向伟大的共产主义过渡时期。他以不甘沉沦的坚强意志与消极颓唐的悲观情绪进行着不屈不挠的斗争,在新与旧、主观与客观、理想与现实等复杂的矛盾冲突中经历着极为艰苦的精神跋涉。同时,在艺术上也进行了新的探索、实践和突破。于是,体现这种思想、艺术“裂变”的抒情散文诗集《野草》便应运而生了。 在《野草》的创作过程中,曾受过日本著名评论家厨川白村文艺观影响的鲁迅“拿来”了当时盛行的西方“象征主义”,使之成为这部散文诗集突出的艺术特征。所谓“拿来”,当然并非 In the early 1920s, the powerful and progressive intellectuals in the north reacted to the internal differentiation of the intelligentsia that once forced Lu Xun to feel depressed and perverted. Singing out the “lonely Xinwenyuan and the old battlefield of peace, Sad song. At this time, Mr. Lu Xun was at a time of ideological evolution toward class theory and radical democratization into a period of great communist transition. He pursued an indomitable struggle with a strong will to sink and a pessimistic mood of decadent pessimism, experiencing an extremely arduous journey in complex and contradictory conflicts between new and old, subjective and objective, ideal and reality. At the same time, new exploration, practice and breakthrough have also been carried out in art. Thus, reflecting this idea, the art of ”fission“ lyric prose poetry ”weeds“ came into being. During the creation of Weeds, Lu Xun, who had been influenced by the famous Japanese artist Chuchiro Hakimura, ”took“ the Western ”symbolism“ prevailing at the time and made it the outstanding artistic feature of this collection of prose poems. The so-called ”used" is certainly not