鲁迅虽少有专门的散文理论探讨，其大量创作中却不乏对散文的洞见。首先，鲁迅对散文的内容进行了“真”处理，他对尼采“血写的书”并不赞同，把自己的写作对象指向了琐碎的真实，通过散文，为读者呈现出一个包罗万象的世界。其次，在散文的形式上，鲁迅散文似“匕首”“投枪”，短小精悍，锋利无比，敲起了时代的警钟。另外，形式与内容又是一对形影不离的“兄弟”，作者听从内心的召唤，在作品中将散文的形式附注在内容上，使两者结合起来，在追求形式自由的同时，突破了体裁方面的种种限制。%InLu Xun's prose, although very few are specialized in theoretical discussion, but there is no shortage in a lot of creative prose insights. First, the content of prose Lu xun had a "real" deal, he does not agree, on Nietzsche's, "a book written in blood" pointing to trivial real objects in his own writing, showing readers an all-encompassing world. Secondly, in the form of prose, Lu Xun's essays are like "dagger", "spears", dapper, very sharp, both as a pair of sober agent, like a pair of fusion agent. He not only listens to the call of the heart in the prose, notes the content, but also the two together. In the pursuit of free-form, he also breaks the limitations of genre aspects.
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