1930至1970年代，魯迅無疑是馬華文壇最具影響力的中國現代作家，而其影響有待進一步挖掘。本文嘗以1950年代馬華作家雲里風的《野草》仿作為對象，分析其改寫特色及背後的歷史意涵與寫作訴求，從中觀察馬華作家與魯迅的關係。本文將論證，《野草》作為集中體現魯迅複雜思維、詩意和黑暗面的作品，如何在雲里風筆下被戰鬥化、明朗化，以因應殖民與冷戰情境。晚近，文學的跨境之旅及特定時空下的文學變異在在受到關注。南洋《野草》即演繹了巨大的轉變，其框架、主題、基調均被改頭換面，文體也從散文詩向雜文偏移，是一個值得注意的個案。具體操作上，本文先簡述馬新殖民情境，進而以前人較為忽略的報刊雜誌材料，描述知識人如何將魯迅形塑成反殖鬥士。在此基礎上，本文轉向《野草》仿作，分析其如何在戰鬥框架下生成，從中也論及與戰鬥化相伴相生的南洋視角與主題，亦即馬華族群的困境；其次，本文透過戰鬥哲學和語言形式的變化解釋仿作如何擺脫原作陰鬱的基調。

Lu Xun 魯迅 (1881-1936) was undoubtedly the most influential modern Chinese writer in the arena of Sinophone Malaysian literature from the 1930s to the 1970s, a remarkable influence which warrants further exploration. To investigate the relationship between the two, the present article focuses on Yun Lifeng’s 雲里風 (1933-2018) imitation of Lu Xun’s Wild Grass 野草, the former being authored in the 1950s, and analyzes its features as a rewritten work, historical implications, and writing objectives. This article demonstrates how Wild Grass, which reflects the complex thought, poetics, and darker side of Lu Xun, was transformed by Yun Lifeng into “martial” or “combat” literature as a response to British colonialism and the Cold War. In recent scholarship, the movement of literature across borders as well as literary changes taking place within specific spatial and temporal contexts have received significant attention. It is noteworthy, however, that the Nanyang Wild Grass presents dramatic changes in terms of framework, theme, and tone; moreover, Yun Lifeng shifts its genre from a collection of prose poems to essays. Firstly, the colonial context of British Malaya is outlined. By analyzing primary resources neglected by previous studies, such as newspapers and magazines, the present article then illustrates how intellectuals shaped Lu Xun into an anti-colonial fighter. Based on the above discussion, this article turns its attention towards the imitation of Wild Grass and examines how it was (re)-created within a martial literary framework, an analysis which explores a specific Nanyang perspective and theme that was produced alongside this framework, namely, the dilemma of Malayan Chinese. Furthermore, through an investigation into changes of the philosophy of combat and writing style, how the imitation annuls the melancholic tone of the original work is explained.