Preface

/The Field of Life and Death / I

生死场/一

I remember it was already four years ago now — it was February, and my wife and child and I were caught in the crossfire in Zhabei, Shanghai, watching Chinese people vanish from sight, some fleeing, some dead.滿Later, with the help of several friends, we managed at last to get into the peaceful British Concession; though refugees filled the roads, the residents there were quite at ease.,——It was no more than four or five li from Zhabei, and yet it was such a different world — how could we have thought of Harbin then?

记得已是四年前的事了,时维二月,我和妇孺正陷在上海闸北的火线中,眼见中国人的因为逃走或死亡而绝迹。后来仗著几个朋友的帮助,这才得进平和的英租界,难民虽然满路,居人却很安闲。和闸北相距不过四五里罢,就是一个这么不同的世界,——我们又怎么会想到哈尔滨。

稿By the time this manuscript reached my desk, it was already this spring; I had long since returned to Zhabei, and the bustle of life had resumed all around.Yet in it I saw Harbin as it was five years ago, and even earlier.This is of course still no more than a sketch — the narration and depiction of scenery surpass the portrayal of characters — and yet the northern people's tenacity in living, their struggle against death, often already show through with a force that pierces the very paper;and the woman author's fine, careful observation and her unconventional brushwork add no small measure of brightness and freshness besides.The spirit of it is sound — even one who deeply loathes any connection between literature and utility, should he happen to read it, would, unfortunately for him, find it hard to come away with nothing at all.

这本稿子的到了我的桌上,已是今年的春天,我早重回闸北,周围又复熙熙攘攘的时候了。但却看见了五年以前,以及更早的哈尔滨。这自然还不过是略图,叙事和写景,胜于人物的描写,然而北方人民的对于生的坚强,对于死的挣扎,却往往已经力透纸背;女性作者的细致的观察和越轨的笔致,又增加了不少明丽和新鲜。精神是健全的,就是深恶文艺和功利有关的人,如果看起来,他不幸得很,他也难免不能毫无所得。

稿I heard that the Literature Society had once been willing to print it; the manuscript was submitted to the Books and Periodicals Censorship Committee of the Central Propaganda Department, where it sat for half a year, and in the end was not approved.People often grow wise only after the fact; thinking back on it now, this was only to be expected — tenacity in living and struggle against death are, I fear, indeed quite contrary to the way of "political tutelage."便This May, over nothing more than the essay "A Brief Word on Emperors," this once towering and imperious committee suddenly vanished like smoke and dying embers — a great practical lesson in "leading by example."The Slave Society, with the few coins earned by its own sweat and blood, wished to publish this book, but that was already half a year after our superiors had "led by example" — and now they want me to write a few words of preface as well.Yet these past few days, rumors have swarmed up again, and the bustling residents of Zhabei are once more clutching their heads and fleeing like rats; the roads are choked with an endless stream of luggage carts and people, while by the roadside foreigners, yellow-haired and white-skinned alike, stand smiling as they take in the grand spectacle of this land of ceremony and deference.」。The newspapers, run by people who fancy themselves safely out of harm's way, call these people fleeing for their lives "mediocrities" or "the foolish masses."But I think they are perhaps the clever ones — at least, through experience, they have already learned that grand, official pronouncements cannot be trusted.They still have some memory left.

听说文学社曾经愿意给她付印,稿子呈到中央宣传部书报检查委员会那里去,搁了半年,结果是不许可。人常常会事后才聪明,回想起来,这正是当然的事:对于生的坚强和死的挣扎,恐怕也确是大背「训政」之道的。今年五月,只为了《略谈皇帝》这一篇文章,这一个气焰万丈的委员会就忽然烟消火灭,便是「以身作则」的实地大教训。奴隶社以汗血换来的几文钱,想为这本书出版,却又在我们的上司「以身作则」的半年之后了,还要我写几句序。然而这几天,却又谣言蜂起,闸北的熙熙攘攘的居民,又在抱头鼠窜了,路上是骆驿不绝的行李车和人,路旁是黄白两色的外人,含笑在赏鉴这礼让之邦的盛况。自以为居于安全地带的报馆的报纸,则称这些逃命者为「庸人」或「愚民」。我却以为他们也许是聪明的,至少,是已经凭著经验,知道了煌煌的官样文章之不可信。他们还有些记性。

》。It is now the night of November 14, 1935, and by lamplight I have just finished reading The Field of Life and Death once more.All around is silent as death; the neighbors' voices I am used to hearing are gone, and the food vendors' cries are gone too — only now and then, far off, a few dog barks sound.Thinking of it, this surely is not how things are in the English and French Concessions, nor how they are in Harbin;I and the people living there each carry different feelings in our hearts, and dwell in different worlds.And yet my heart just now is like the water in an old well, raising not the slightest ripple, and numbly I have written down the words above.!——This is precisely the heart of a slave! — But then, what if it still manages to stir up the reader's heart?Then we are, after all, most certainly not slaves.

现在是一九三五年十一月十四的夜里,我在灯下再看完了《生死场》。周围像死一般寂静,听惯的邻人的谈话声没有了,食物的叫卖声也没有了,不过偶有远远的几声犬吠。想起来,英法租界当不是这情形,哈尔滨也不是这情形;我和那里的居人,彼此都怀著不同的心情,住在不同的世界。然而我的心现在却好像古井中水,不生微波,麻木的写了以上那些字。这正是奴隶的心!——但是,如果还是搅乱了读者的心呢?那么,我们还决不是奴才。

》,But rather than listen to my grumbling, spoken here in my seat of ease, better to go straight on and read The Field of Life and Death below — it is she who will give you the strength to endure and to struggle.Lu Xun

不过与其听我还在安坐中的牢骚话,不如快看下面的《生死场》,她才会给你们以坚强和挣扎的力气。鲁迅。

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What it’s about

Lu Xun's preface introduces a young writer from China's northeast and a book whose roughness he regards as part of its force. He remembers first reading Xiao Hong's manuscript and stresses that its peasants are not picturesque figures arranged for a city audience. Their stubborn lives, bodily suffering and inarticulate resistance come from a region already subjected to Japanese conquest. His endorsement gives the unknown author a public entrance, but he asks readers to meet the work on its own difficult ground rather than treating it merely as a political document.

The preface also explains why the novel's uneven, episodic shape matters. Life in the village does not advance like a heroic campaign: people labour, bear children, hurt animals, fall ill and die before organized resistance becomes imaginable. Lu Xun values the fresh air and northern colour of Xiao Hong's language while recognizing the darkness of what she records. Read as chapter zero, his essay establishes the double perspective that governs the book—intimate attention to ordinary bodies and a historical view of Manchuria after invasion—without promising that either art or revolution will easily redeem the villagers.

When it was written 背景

Lu Xun wrote this preface for the 1935 Shanghai edition of 生死場, issued by the Rongguang Book Company as the third volume in the 奴隸叢書 series he helped sponsor. Xiao Hong had drafted the novel in Qingdao in 1934 after fleeing Japanese-occupied Manchuria, and Lu Xun's advocacy helped the twenty-four-year-old author enter national literary life. The preface is an essay rather than part of the fiction, so its critical vocabulary and references to contemporary writing are denser than the chapters that follow. It is useful to reread after chapter seventeen, when its claims about northern vitality and silent struggle can be tested against the villagers themselves.

Words in this chapter 生词