眾所周知，魯迅（1881-1936）是中國現代文學的重要支柱，在小說方面，他寫出了〈狂人日記〉、《阿Q 正傳》等重要的作品，在詩歌方面，他有散文詩《野草》的創作，另外他也有相當大份量社會、政治、文化批評的雜文寫作，更不用提在思想上他也是舉足輕重，影響當代極大的思想人物。提到中國現代文學，魯迅絕對是一位不可能忽略甚或繞過的重要人物。魯迅與其弟周作人雖然大致上是屬於《新青年》陣營，對於現代文學的推動不遺餘力，但是周氏兄弟對於文學的理念有相當不少地方其實與胡適和陳獨秀等人是有出入的。本論文集中在魯迅對於文學基本理念的再梳理，希望重新思索魯迅的文學觀，以及其與《新青年》同仁文學觀的異同，以及其可能展現的文學史意涵。

It has been a well-known fact that Lu Xun (1881-1936) was one of the central figures in modern Chinese literature. In creative literary compositions, he not only authored fictional works, such as “The Diary of a Madman” and The True Biography of Ah Q, but also the unprecedented prose poetry, Wild Grass. In addition, he also wrote voluminous social, political, and cultural criticism in essay forms. Besides, intellectual historians see him as no less influential than other literati in shaping intellectual inclination at the time. He was, without doubt, one of the giants in the May Fourth period. Nevertheless, when Hu Shi and Chen Duxiu initiated the so-called Literary Revolution in 1917, Lu Xun and his younger brother Zhou Zuoren did not actively and whole-heartedly participate from the very beginning. Even though they both joined the New Culture Movement camp and helped push forward the literary and thought revolution, they were in many ways divergent from the mainstream figures such as Hu, Chen and others. This article attempts to look into and re-evaluate the literary ideas of Lu Xun to examine where divergences laid between Lu Xun and the New Youth colleagues, which finally leads to realize the significance in our understanding of the literary history of the May Fourth period.