魯迅1922 年的作品思想產生明顯的變化，對於知識份子處境有更深刻的反省，這與他和愛羅先珂密切交往有關。魯迅在這一年創作〈端午節〉這篇小說，突顯知識份子在社會改革運動中進退兩難的困境。我將討論以下重點：首先，愛羅先珂帶給魯迅不小的刺激，魯迅彷彿再度受到思想啟蒙，這在他1922 年的幾篇雜文都有所反映。其次，這種思想變化也反映在小說〈端午節〉，這篇小說無論在題材內容或在創作時機上都有別於以往，是魯迅首次創造出小說主人公方玄綽這樣自省而懷疑的新知識份子形象來，並細膩刻畫他在社會改革運動中感到徬徨猶疑。我們可將方玄綽視為魯迅描寫頹敗的知識份子小說系列的開端。最後，我想探討魯迅在此時對於知識階級與無知階級（平民）關係的反省，他開始扭轉兩者的價值位階，向來是負面形象的「群眾」、「看客」逐漸轉變為正面形象的「平民」。

In January 1922, Vasil Eroshenko(1889-1952), Russian blind poet and Esperantist, came to Beijing and stayed at Lu Xun and Zhou Zuo Ren’s home until April 1923. During the late 1921 to 1923, Lu Xun translated Eroshenko’s thirteen fables and a fairy drama, and Lu Xun’s works were apparently affected by Eroshenko’s works and thought. In this paper, I would like to discuss three main points: first, Eroshenko’s effect and Lu Xun’s reflection on the social tasks of the intellectual during the May Fourth Movement; secondly, the image of the intellectual character, Fang Xuan Chuo, in Lu Xun’s short story “Dragon Boat Festival” and Fang as the first one of Lu Xun’s intellectual character series: last, Lu Xun’s reflection on the relationship between the intellectual and the subaltern and the positive images of the subaltern characters in Lu Xun’s other stories in 1922.