• CHINESE LITERATURE
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• v.99
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• pp.125-156
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• 2019

This text attempts two types of critical analysis. First is to explore Luxun's critical research attitude toward classical Chinese texts, studying how Luxun critically examines 'liyue (ceremony- music)'. With the way the 'madman' in 《A Madman's Diary》 handles China's old text as a hint, the attitude with which Luxun critically examines the editing and passing down of classical Chinese philology was studied. Luxun pays attention to the situation in which when classical literature is passed down and transmitted throughout history, the context of events are concealed and text is blockaded while text is edited and restructured. Also, Luxun critically examines how the ancient culture of 'liyue' operates on the constitution of Chinese culture, society, and politics, in addition to the process of passing down of texts, as well as how it has effect even in the present day. Classics are closely intertwined not only with issues of the past but with the conventions, moral emotions, and government of today. Second, based on Luxun's examination of 'liyue', the <sheng-wu-ai-le-lun> of the 《Jikangji》 which Luxun sympathized with all his life is criticized. This text, stating that 'There is no sadness or happiness in sound', deeply ponders upon the issue of 'liyue' essential to the logic of Chinese cultural composition, and deviates from the Confucian thoughts centered around social integrity and inspiration. Further, it stresses the autonomy of affective subject, and the process of deliberation by an entity toward harmony and commonness. By the work of examining Jikang through Luxun and Luxun through Jikang, the uncompleted work of classical criticism by Luxun is restructured, and the possibility of classical Chinese texts to relate to today's life is examined.