Lu Xun’s “On the Power of Mara Poetry”


LuXun’s “On the Power of Mara Poetry”

LuXun’s “On the Power of Mara Poetry”

Inthe work of literature under discussion, Lu Xun has used a uniquestyle that opens the eyes of the readers. The writing highlightsculture of the ancient China, especially on the need of revolutionthat particularly starts on an individual level. In 20thcentury China embraced the need of bringing about political changeand order through the use of literature. He uses a style ofcommunication by writing “On the power of Mara poetry”thatnot only entertains the reader but also has a political impact. Thefollowing discussion on this particular work will seek to reveal themajor characteristics of the Lu Xun writing from a honestperspective. The analysis of the Lu Xun’s work illustrates how hehighlights the specific problems or issues of culture.

LuXun’s beginning of the power of Mara poetry is situated by Wang inthe academic politics of the decade that resulted in the 1911revolution. Byronic Romanism is introduced as a Pan-Europeanexperience by Lang’s unique style of radical poetics. This happenson the eve of the famous 1911 revolution. It further consists of nineparts where the paper begins with the lamentation of at the drop ofEgyptian, Hebrew and Indian Civilizations (Denton,1996).This is followed by Chinese empire crisis, and then the paper furtherrevises the impact of poetry to both the Western and Chinesetraditions. Satanic school is predominantly visible in the main bodypioneered by George Gordon Byron. The writer Lu Xun offers a detailedaccount of this man’s life and his work. This is followed by asegment on Shelley with the pedigree of Mara poetry that is furtherextended to Lermontov of Russia and Pushkin.

Amajor characteristic of the literary piece is the use of themes.Themes of aesthetic body, individualism and nationalism are wellhighlighted by Lu Xun. He has attempted to reveal aestheticism in thebody of the essay by making is metaphorical in the bigger territoriesof politics and culture. Animated by vigor Lu Xun has furthercontended that that is in fact an art of culture. National liberationand nationalism have further been concentrated by Lu Xun’s manyother readings. The theme of revenge is revealed where Byron servesas a change of the ego for Lu Xun. Terrorism as a tool of resistanceis further challenged wars of national liberations (Denton, 1996).

However,it is important to note that combination into a mixed entity by thesecontradicting themes. In the essay “Onthe Power of Mara Poetry,” LuXun encompasses all these themes to bring about a unique theme ofradical politics and poetry. The conception of Mara poetry signifiesresponding to a specific historical juncture while fusing politicaland intellectual developments before the 1911 revolution (Denton,1996).Poetic-political vision of Lu Xun shares deep connections to theworldwide themes of revolutionary and literally modernity and has abroader inference. Lu Xun’s unique linkage of these themes hasattained demand for attention.

Thepower of Mara poetry was written in the decade that came to be thelast of Imperial China era. Therefore, contextualizing Lu Xun in Eastof Asia’s intellectual politics of the beginning of the decade ofthe 20th century is important. It was referred to as the preface to arevolutionary century of China. It stretched from 1911 to 1976republic revolution (Denton, 1996). This period was characterized byrunning periods of failure in the hundred days of reform during theWuchung uprising that lasted during 1898 to 1911 (Denton, 1996). Forthis reason, Lu Xun’s poetic-political intervention with the powerof Mara during this period was a vital and an important part of thisprorogued period (Denton,1996).The unique conception of the Mara poetry of this period heraldedChina’s century of political revolution.

Afterreading the literary piece, the power of Mara by Lu Xun the culturalmessage can be credited as unique in the way he presents thecontemporary Chinese literally thoughts. The poetic-political poetryof Mara can also be viewed as a mixture of second-hand accounts ofthe contemporary European literature. It is evident to confirm thatLu Xun engrossed himself in the Nietzsche fever of Japan and built astrong attention in the 19thcentury European literature (Denton, 1996).

Thewriting of “Onthe Power of Mara Poetry” also considered the multilingual audiencethat might read the literary work. In writing the “On the Power ofMara Poetry,” LuXun heavily relied on German translations from the universalBibliotheca and other German, English and Japan materials (Denton,1996). From the view of the clarity of the writing, there is a strongindication that Lu Xun accessed the contemporary modern literaturefrom European countries. He referred to these countries as thewretched countries. These he termed were particularly the EasternEuropean countries that were deeply engrossed in totalitarianism,fauvism and foreign oppressions.

MoreoverLu Xun words in the power of Mara reflect deep paraphrasing ofEuropean literature materials. However, this is not to indicate theslightest idea that his works do not reflect originality (Denton,1996). His works strongly reveal how cosmopolitan and advanced LuXun’s literary conscious was from the enormous range of materialsin which he was working on. In addition to all his political andpoetic ideas in this piece of writing remain to entirely belong andowned by him.

Thework of Lu Xun illustrates his creative interventions in the uniquearrangement of his materials and the further daring interpretation ofthe Byronic Romanticism (Denton, 1996). At the same time, there aredeep engagements in Lu Xun materials with the contemporary 19thcentury European literature, which relates to the history then. In“Onthe Power of Mara Poetry” work,Lu Xun engages the readers to question Chinese creative andappropriation misreading European Romanticism.

Inthis work, Lu Xun further highlights the aspects of assimilation inChina. Lu Xun’s use of the term ‘Mara’ in his power of Marapoetry is a translation of an ancient assimilation of China’sBuddhism. He has a high preference for the use of this ancient termthat he so cherishes. Any reader can easily detect Lu Xun’simplicit solidarity that is evident in the then declining India’scivilization (Denton, 1996). The use of the term ‘Mara’ does notindicate or imply the use of poetry from western school of thoughts.The term is a direct indication or a mark of universal model andradical literature of poetry.

Fromthe writing “Onthe Power of Mara Poetry,” one candetermine the fact that Lu Xun liked power, strength and the conceptof self-importance. It is a recorded fact that Mara highlights LuXun’s sharp criticism of men who had little regard for the genderof women and had a big male ego and the view nationalism as anon-important subject (Denton, 1996). It is fair to bring to lighthis personal spiritual consciousness that hopes to unify thepolitical divide. Thus the Mara poetry illustrates this particularcultural development by showing that individuality will eventuallycome about and bring change. He further indicates in the essay thatthe country will eventually be converted into a nation of humans(Denton, 1996). He sings the praises of the ancient Mara term byconcluding with a remark on the need of the worldwide knowledge ofthe Mara spirit in the society.


Denton,K.A. (1996). ModernChinese Literary Thought: Writings on Literature, 1893-1945.Stanford: Stanford University Press