Biography of scholars
Kong Fanjin, a literary historian, was born in 1942 in Qufu, Shandong. He graduated from the Department of Chinese of Shandong University in 1967. He was the head of the department of Chinese and the dean of the College of Letters of Shandong University. He is the author of "Paradox and Choice", "Out of the Canyon of History", "Reconstruction and Dialogue", "Theory of Chinese Literature History in the Past Hundred Years", etc., and the editor-in-chief of "Supplementary Books on Modern Chinese Literature", "History of Chinese Literature in the Twentieth Century", "History of Modern Chinese Literature", "Reading China", "The Great Tide of a Hundred Years - AnThology of the Chinese Ideological Emancipation Movement in the 20th Century", "The Collection of Books on Modern Chinese New Humanistic Literature", etc., and co-edited the "Compilation of Literary Research Materials in the New Period of China".
In March 2021, two of Mr. Kong Fanjin's new books were published by writers' publishing houses, which were the books that his wife had entrusted him with before he died. If it were not for the pots of green plants under the living room's sunrise window gradually drawing new branches, if it were not for the sound of cuckoos chirping outside the window, Kong Fanjin, who had not gone out for several months due to leg disease, hardly noticed that the late spring season had arrived. When the cuckoo returned, the old man remembered the disciples from afar. On April 23, Shandong University held a new book release for Kong Lao, "Humanistic Speech" and "Theory of Giving Up", and an academic seminar on Kong Fanjin's view of literary history, and the disciples of "Confucius Gate" gathered again and sat around the teacher, as if they had returned to the classroom of that year - that was where their academic road began.
Since the reform and opening up, the ideological trend in the field of modern and contemporary Chinese literature and literary history research has gone through ups and downs. In the pen of every scholarly historian, this period of great brilliance always fails to bypass the name "Kong Fanjin", let alone a series of groundbreaking works of this literary historian. Compared with many previous "tomes" writings, although Kong Lao's two new works are two small books, they continue and even deepen his humanistic discourse on the history of modern and contemporary literature. The word "humanities" is undoubtedly the direction of Kong Fanjin's establishment of his own unique view of literary history, but the starting point of the academic process comes from his profound experience of human survival and emotions.
All this must start from the memory of Kong Fanjin's growth.
"One Little Thing" and "Two Little People"
Born in Qufu and surnamed Kong, the reporter could not avoid wondering whether The old Kong's lineage was related to the famous Kong family. In the face of reporters' questions, Kong Fanjin frankly said, "I am the 74th generation grandson of Confucius, which is absolutely true. The old home is next to the Confucius Temple." Kong Fanjin's father was a well-known painter in the local area, but by the time he was born, the family road had gradually declined, and even poverty could not be continued. Kong Fanjin, who was in the Shuxiang Mendi, should have received a good education, but when he was young, he had to endure hunger and be prepared to taste bitterness. An experience when he was 6 years old was not only deeply rooted in Kong Fanjin's memory, but also engraved in his life.
In that year, there was a drought in Qufu, and many people could not eat. For Kong Fanjin's family, it is also worse. In desperation, Kong's father carried the young Kong Fanjin to a nearby village to beg for food and survive. As he walked through a small farm yard, his father tried to knock on the door of the courtyard, and the old intellectual was reluctant to say a word except whispering, "Please do it?" Many years later, when Kong Fanjin read the sentence written by the poet Tao Yuanming in a similar situation- "Walk to Sri, knock on the door and make a clumsy remark", he has more understanding of his father's shame at that time, which is a helpless embarrassment of a poor student and the last reticence.
"It was a middle-aged woman who opened the door to my father and welcomed us into the yard. There are three north rooms in the courtyard, a small kitchen, and a small stove in the corner of the door, with an iron pot. "This picture is so clear in Kong Fanjin's memory." At this time, the water in the iron pot boiled, and the woman sprinkled flour into the pot. Next to the stove stood a little girl my age. After a while, the aroma of the noodle soup wafted out. The woman looked at her daughter, then at Father Kong, and took the bowl in his hand, which was filled with noodle soup. Father Kong thanked him even, while the equally hungry girl looked at her mother's behavior and cried out. Father Kong was just about to feed the noodle soup in his hand to his son, but when he saw this situation, he was immediately uneasy and turned to return it to the girl. But the woman quickly stopped and said to Father Kong, "Big brother, you don't have to care, I'll think about it again." Take care of your children first. For Kong Fanjin, this experience is like "a small thing" written by Lu Xun, but it is a big thing that he will never forget. Although Kong Fanjin never met the simple and kind giver again, "in this life, she is like a beacon in my life, letting me know what kind of person I should be." Being kind to others and having compassion is regarded by Kong Fanjin as the first criterion of being a human being. Many years later, he embarked on the academic road and firmly believed that if there is no deep understanding of the humanistic spirit and no intuitive experience of life, it is necessary to do a bad job of humanistic research.
When it was time to go to school, the family could not afford enough tuition. At a young age, Kong Fanjin did not understand but firmly believed that only by reading could he change his destiny. He hid from his family and went to the academy every day to "rub lessons", and after a long time, the teachers were also touched by it, setting a precedent for free tuition. The poor teenager qualified to go to school, but could not afford to buy textbooks. However, Kong Fanjin has his own methods, he uses the time of each recess to borrow his classmates' textbooks and quickly read the preview. "I didn't buy a book before third grade." Even under such conditions, from primary school to high school, Kong Fanjin's academic performance has always been among the best. The school mobilized him several times to apply for the science and engineering department of Tsinghua Peking University, and Kong Fanjin had already made up his mind to do humanities research. "My interest in the study of the humanities comes not only from the teachings of the sages, but also from the humanistic spirit of my life that touched me."
As for why he decided to apply for Shandong University, Kong Fanjin did not deny that he was greatly influenced by the "two little people" who became famous in World War I in the 1950s. In 1954, two young scholars, Li Xifan and Lan Ling, wrote an article in the magazine "Literature, History and Philosophy" criticizing Yu Pingbo's academic views on "Dream of the Red Chamber". After the article was published, it immediately attracted the attention of Chairman Mao Zedong and triggered a great discussion in the academic circles of the whole country. "'Walking the Path of Li Xifan' became a banner among the students of the time." Li Xifan graduated from the department of Chinese of Shandong University. "Then just go to his alma mater with him." In hindsight, Kong Fanjin's choice was not so much a "star effect" as an "ideological effect" that young philosophers at that time had on him. From being poor and strong in his youth to being old and strong in his old age, Kong Fanjin, as a thinker, has never stopped questioning China's century-old humanistic spirit.
Bookish and arrogant
After Kong Fanjin graduated from high school, he was successfully admitted to Shandong University. At the age of 20, he still wore a patched dress and carried a small bag of sweet potato noodles fried by his mother to this institution of higher learning in the provincial capital. "My name is Kong Fanjin." A "Qufu Mandarin" attracted the attention of the students. After 50 years, the 1962 class of Shanda Chinese Department graduation anniversary reunion, the old classmate recognized him at a glance is full of white hair, smiled and said: "Kong Fanjin, your accent has not changed, are you still wearing patch clothes?" ”
What is remembered by his classmates is not only Kong Fanjin's special accent, but also because of his sharp edge during college. Once, when Xiao Difei, a master of classical literature, talked about Du Fu's "Song of the Huts Broken by the Autumn Wind", "The cold people in the world are happy", Kong Fanjin boldly proposed another understanding of himself: "The 'scholars' here may not be ordinary poor people, but specifically refer to the intellectual class." Mr. Xiao then stopped talking and asked everyone to discuss, and in the second lesson, he gave a special response: "I'm afraid kong Fanjin's opinion is right." Kong Fanjin sighed, "On the surface, Mr. Xiao is a rather proud person, but in fact, he is soft in heart and has a particularly tolerant heart for students." The examination of the literary and art theory class adopts the oral examination method in turn, and Kong Fanjin volunteers to be the "No. 1 player" who no one wants to lead every time. "Three teachers, led by the chief examiner Professor Sun Changxi, asked me questions, and after I answered, I would in turn put forward my thoughts to the teacher, and after a few reincarnations, I asked the teacher down." In the end, the teachers gave "excellent" before "picking up" this really good student.
For many weekends, Kong Fanjin and his friends invited to talk freely, and this group of young people had left a group of young people under the Thousand Buddha Mountain, on the shore of Daming Lake, and next to Baotu Spring. In the old tea house, a dime of tea can be drunk all day, the tea is getting lighter and lighter, and everyone's conversation is getting stronger and stronger. "Don't look at the time when everyone was very poor, but everyone was very dashing." The bookish business is angry, waving at fangs, talking about the past and the present, and it is not happy. When it comes to ideals, some people want to be critics, some people want to be literary historians, and some people want to be landscape poets... Everyone has a future in mind. Talking about this, Kong Lao was in high spirits, flicking the long soot between his fingers, in the smoke leisurely, as if he had returned to half a century ago when he was young and expressed with his classmates. "I didn't have a clear ambition when I was in college, but I was determined to create something academically in the future."
When it came time to graduate, "we were like a bunch of seeds, sprinkled at the grassroots level all over the motherland." Kong Fan was assigned to a farm on the seaside of Jimo, and soon after returned to his hometown of Qufu as a secondary school teacher. Of course, this job is not a problem for Kong Fanjin, but has the ideal ambition of college been shelved since then? During this period, the academic community generally fell into a trough, and some intellectuals were depressed. At that time, Mu Shijin, who was teaching at Shandong University, had a deep relationship with Kong Fanjin and was also a teacher and friend. When Kong Fanjin heard that the teacher once had no intention of academics and had also done carpentry work, he advised, "Those who can see the sunrise first at the top of Mount Taishan are those who insist on climbing in the dark." In fact, this is also Kong Fanjin's encouragement to himself. Throughout his life, he firmly believed that "human beings are inseparable from knowledge, and life is inseparable from knowledge." This belief and his humanistic feelings have also helped many people. In 1979, Qufu opened a teacher training school, kong Fanjin was appointed as the first principal, and the school was not even a classroom when it was first built. In order not to delay the teaching, he rode dozens of miles every day to take the initiative to give lectures to the students. When encountering students with low interest in learning, Kong Fanjin always patiently advises. "Those who persevered got a specialist correspondence degree. Soon, with the support of national policies, all private teachers with college degrees were converted into regular teachers, and their fate was changed. ”
In his spare time, Kong Fanjin did not relax his requirements for himself. During the university period, due to the limited conditions, as far as the education of the Chinese Department is concerned, "everyone generally reads less, has a narrow vision, and has shallow feelings." The knowledge of literary history is also a scale and a half claw." Kong Fanjin urgently realized that he still needed to "make up lessons". So, he finished his classes for his students during the day, and at night he returned home to light a kerosene lamp, from the Four Books and Five Classics to modern literature, reading and taking notes. "By carefully grasping it from scratch, we have an overall grasp of The History of Chinese Literature." Kong Fanjin admitted that after graduation, he spent Chinese New Year's Eve ten nights in that thatched hut, which was particularly fulfilling. During that period, the pillow classics and diligent study laid the foundation for Kong Fan to be able to explore the history of Chinese literature for thousands of years.
Kong Fanjin and Mou Shijin, the two are friends of Mo Rebellion. In difficult times, they encouraged each other and indeed became the first climbers to see the sunrise. Mou Shijin, who has been studying "Wenxin Carved Dragon" for many years, has published papers one after another since the end of the 1970s, becoming a leading expert in the field of "dragon science". While being happy for the teacher, Kong Fanjin also established his own research direction and was ready to go. In 1985, after Kong Fanjin returned to his alma mater, the Chinese Department of Shanda University, he soon became an important promoter of the renewal and iteration of the study of modern Chinese literary history in the new era.
"Restoring" the world of modern Chinese literature
After the reform and opening up, the study of modern Chinese literature and literary history in the new era heated up rapidly. Those young people who grew up in the 1950s and 1960s are middle-aged scholars after a decade of staggering years, and now they have entered the academic arena and become the main force. As one of them, Kong Fanjin called it "the third generation characterized by 'self-examination'" as a group.
At the beginning of the 1980s, this group of cutting-edge young and middle-aged scholars showed new theoretical horizons and methodological awareness, and the writers, genres and even theoretical propositions that had been praised and deprecated in the past were reinterpreted. "The object is familiar to everyone, but the meaning is new." Kong Fanjin recalls, "At that time, a master's or doctoral thesis could be famous in the world, because it often presented refreshing insights. I read almost every article." At that time, Kong Fan was still engaged in teacher training in Qufu, and he was inspired by this new situation in academia for many years. "At that time, I was still in the 'marginal zone' and did not write anything decent." This is Elder Kong's self-effacing words. In fact, since 1978, Kong Fanjin has frequently written articles, from literary theory to the analysis of modern literary works, showing his theoretical interest, such as a number of articles analyzing the works of the people's writer Liu Qing in cooperation with others, which can be called the earliest systematic research on Liu Qing's creation in the academic circles.
Kong Fanjin, who returned to work at the university, was able to devote himself to his academic career. Years of reading and thinking, but let him fall into more confusion, "at that time, the problems that bothered me mainly focused on two aspects: one is how to restore or grasp the authenticity of the existence of objects and their meanings; second, why in the past hundred years in the historical development of culture, literature and even academic concepts, there will be several times the phenomenon of self-denial and repeated rotation." He went through the existing works of relevant literary history, but could not find the answer, "and even came up with the idea of reconstructing and writing modern and contemporary literary history without self-control." Kong Fanjin said with a smile. However, when it was actually done, it was found that there was nowhere to start. "The first is the question of understanding the world of objects." When it comes to modern literature (1919-1949), which is not far away, most people at that time may be familiar with Lu Xun, Guo Moruo, Mao Dun, Ba Jin, Lao She, and left-wing writers, but for more writers who were once active in that era, little is known; even those who are familiar with them are only a few of their works. Kong Fanjin gave an example, "Names like Zhang Ailing, Xu Xi, Wu Mingshi, Mei Niang, etc. are now familiar to people, and even many modern and contemporary literary researchers at that time did not know who they were, let alone read their works." Kong Fanjin realized that the first task was to "restore" the "incomplete" modern literary world in front of him as much as possible. Marx pointed out in the second edition of Capital, "The Trek", as to the importance of the research material, marx pointed out more than a hundred years ago: "Research must fully occupy the material, analyze its various forms of development, and explore the internal relations of these forms. Only after this work has been completed can the movement of reality be properly described. Once this is done, once the life of the material is conceptually reflected, it appears to us as if it were a priori structure. However, in the 1980s, when the academic community was keen on theory and method, Kong Fanjin chose undoubtedly a "cold" big project.
In the mid-1980s, Kong Fanjin and several like-minded peers began a difficult quest for what he called "knowledge archaeology." "Some of those who have seen it privately in the past must be found out and re-examined one by one; some people who only know the name of the writer's work must do everything possible to search for it; and some who do not even know the name must go through the old newspapers and magazines, find clues from them, and then search for them according to Tu Suoji." The small team of five or six people led by Kong Fanjin, from the north to the three northeastern provinces, the south to Fujian and Guangdong, everyone rushed around, footprints throughout most of China, some information or entrusted friends to find from abroad. Kong Fanjin was particularly impressed that he needed to collect a work by Mr. Yang Dai, but he was struggling to find the original text. "When Mr. Yang learned about it, he actually lent out his manuscript for transcription, which made us very moved." Despite the hardships, when the mutilated literary world was gradually "restored", everyone was pleasantly surprised to find that the original world of modern Chinese literature was so colorful and vast. "We've opened a rich mine, and the excitement is indescribable."
In 1990, Kong Fanjin and others spent more than five years collecting and sorting out the "relics" of modern literature, the "Supplementary Book Series of Modern Chinese Literature" (hereinafter referred to as the "Book Series"), which was published in four volumes and fourteen volumes, with more than 8 million words, which can be described as a huge work. Although limited by the conditions at that time, there were still many omissions in the collection, it is undeniable that the advent of the book was a thunderclap in the academic circles, especially in the field of modern literary research, and many of the writers' works were reproduced, which greatly refreshed people's inherent understanding of modern Chinese literature, and the academic circles praised it as "immeasurable merit". For example, it contains four works by Xu Ji, a writer who was once extremely popular but disappeared for nearly half a century. A friend who also studies modern literature read it and sighed at it, but mispronounces the "訏" in the writer's name, "It can be seen that the academic community at that time had a long-term lack of understanding of the object of study." Kong Fanjin's "General Preface" "Meditations on facing History", written by Kong Fanjin for the book series, is 25 pages long, and the opening paragraph clearly points out: "Academic research full of scientific exploration spirit cannot be predestined from the predicament, and it is destined to transcend the predicament." "It has been suggested that the study of modern literature should return to the literary ontology, but I think that the particularly urgent advocate is to return to the object ontology, because it is more inclusive." It contains two ontological requirements: the aesthetic characteristics of literature and the bearing and conditioning relationship between literature and history. At the same time, this 'object' contains a whole demand for the world of objects, which requires the presentation of a complete picture that reflects the entire historical landscape of modern literature in a scientific sense. Kong Fanjin raised the theoretical banner of "returning to the object ontology" research.
At the turn of the new century, people are no longer unfamiliar with the works of modern writers who have rarely been interested in before, and even flock to them, but they have abandoned some famous masterpieces that once glorified the annals of history. In this regard, Kong Fanjin has repeatedly criticized this phenomenon and denied that it is blindly innovative. A certain publishing house published a set of so-called "master libraries", "as an important wing representing 20th-century Chinese literature, Mao Dun's creative achievements should not be underestimated, and it is not surprising that the poet who was once the 'last seat' jumped to become a 'master'?" Kong Fanjin believes that the scope and connotation of the "classicization" of literary history should be the scientific integration of "historical knowledge" and literary appreciation and criticism.
Pursue the ideal unity of history and logic
The two "destinies" already stated at the beginning of the general preface of the "Book Series" tell the story of Kong Fanjin' insatiable intellectuals, whose distress and transcendence alternate with the march toward the truth.
Solving the problem of historical materials, the "edifice" of literary history has a cornerstone. Kong Fanjin intends to begin to reconstruct the history of modern Chinese literature that conforms to the "object ontology". "As for how to construct this literary history from the unity of logic and history, among them, there are both the problems of grasping the integrity of the process and the problem of staged staging from the vertical aspect, and the problem of handling and evaluating various relationships from the horizontal aspect. At this time, Kong Fanjin realized that the reconstruction of the concept of historiography and the reconstruction of literary history are inseparable.
From Kong Fanjin, we can see the epitome of a generation of scholars. Since the mid-1980s, the trend of "rewriting literary history" has continued to heat up in the field of modern Chinese literature and literary history research. However, what makes researchers dissatisfied is not only the omission of some modern literary writers in previous studies, but also the literary values and literary history that led to this omission. In 1985, Huang Ziping, Chen Pingyuan and Qian Liqun proposed the concept of "Twentieth Century Chinese Literature", aiming to advocate the consideration of modern literary changes with holistic thinking and modern consciousness; in 1986, Jin Kemu proposed the concept of "three-dimensional research"; in 1988, Chen Sihe and others proposed the "holistic view of new literature". On the one hand, Kong Fanjin resonated with his peers' concept of "twentieth-century Chinese literature" as a period of literary history; on the other hand, he gave his own understanding. "This allegation is established because it fits a relatively complete process of the development of new literature, and it is a century of transformation and development of Chinese literature to distinguish it from traditional classical literature." Based on this, Kong Fanjin uniquely proposed that Liang Qichao's advocacy of the "revolution" of the Three Realms (poetry, literature, and novel) as the starting point of this literary object. "Since then, Chinese literature has formed a confrontation with traditional literature in terms of substrate." With a strong sense of history, Kong Fanjin wrote many articles to explore the new literary values and literary historical views that need to be rebuilt urgently. As he proposed for his monograph published in 1992, "Paradoxes and Choices", Kong Fanjin advocated placing twentieth-century Chinese literature in the paradoxical structure of history to grasp, "This paradox is expressed as a swirling pattern of the negative development of history in this period, and salvation and enlightenment constitute the two major fulcrums of the paradoxical historical structure of the twentieth century and the process of modern transformation."
From the extensive collection of a large number of documents, to the meticulous analysis of each individual work, to the overall control of the historical concept, in 1997, the "History of Chinese Literature in the Twentieth Century" edited by Kong Fanjin came out, which means that after nearly ten years of planning and conception, Kong Fanjin's ideal literary history "edifice" was finally completed. In the 160-page, 120,000-word "Introduction," he analyzes the dialectical relationship between economic, political, and cultural changes and modern Chinese literature, and further argues the complex relationship between the paradoxical nature of historical structure and the compensatory adjustment of modern literature. Another feature of this literary history is the elaboration of Taiwanese literature, Hong Kong literature, and popular literature into the overall framework of Chinese literature in the 20th century. Some scholars believe that this new literary history "has enabled many literary events that were previously obscured and 'marginalized' to take on new academic significance."
While Kong Fanjin's thinking resonates with the academic trend of an era, he often uses detached thinking as a rational examiner of history. As Wei Jian, a professor at the College of Literature of Shandong Normal University, said, "Kong Lao often begins his unique 'continuation' where other people's research stagnates, thus promoting the extension and transcendence of scholarship." Seeing that many modern literary researchers have chosen "enlightenment" as a foothold by denying the "revolutionary" paradigm and choosing "enlightenment" in one direction, and advocating the stripping of history from the study of literary ontology in order to negate the influence of non-literary factors on literary research, Kong Fanjin vigilantly pointed out that "the reconstruction of literary values and literary historical views is not 'flipping the cake', sliding from one extreme to another." Literature has its own uniqueness and independence, but we cannot ignore the influence of historical structure and dynamics on its formation. Since it is 'history', there should be a revelation of the dynamics of history, which cannot be equated with the accumulation of comments on the writer's works." In 2001, Kong Fanjin published a discussion article in Chinese Social Sciences entitled "Absolutized Thinking Is Not Conducive to the Scientific Construction of Literary History", arguing that the denial of the simplistic "theory of historical progress" cannot negate the fact that history is a process of development, nor can it negate the necessity and inevitability of the modern transformation of Chinese culture and literature.
So, how to confirm the unique value category of literature itself? It is precisely in the investigation of the epochal factors of literature that Kong Fanjin confirms that literature is not only in history, influenced by various forces of historical synchronicity, but also travels through the "canyon of history" in the way of literature itself, completing the compensation of humanities and culture for history and the pursuit of certain eternal values. In 2004, Kong Fanjin once again wrote an article in Chinese Social Sciences entitled "A New Theory on the Relationship between the May Fourth Enlightenment Movement and Literary Change", which discussed the old topic of the relationship between the May Fourth Enlightenment and literary reform with the tension of "disenchantment" and "return to charm" in the history of modern literature, and affirmed that the compensation of history during the May Fourth Movement period was expressed in literature, the transformation from "disenchantment" to a certain extent "returning to charm", and the return of the scientific supremacy concept of enlightenment to humanistic culture. Since the turn of the century, Kong Fanjin has demonstrated in many articles the manifestation of "new humanism" in the transformation of pluralistic modernity. He believes that humanistic culture is "the consciousness of life, the ethics of belief and belief constituted by life and human nature as the basis, and the unique ability and way to communicate and dialogue with the world (nature and society) through imagination and understanding", and "literature can best reflect humanistic culture".
postscript
From the accumulation of the 1980s, to the gushing out of the 1990s, and then to the precipitation since the 21st century, historical materials, historical theories, and historical compilations, Kong Fanjin has realized the complete thinking framework of modern Chinese literature with too much ordinary energy. "I didn't go to bed until I retired, and I didn't take a nap at noon." However, in 2013, shortly after Kong Fanjin and several of his colleagues wrote the "Eleventh Five-Year Plan" national planning textbook "History of Modern Chinese Literature", he was unable to write due to a sudden and severe eye disease. At this time, although he had retired, he was "still full of thoughts, but he was suffering from the inability to resort to words." Kong Fanjin was once bitter because of this.
Tao Li does not speak, and the next is a mystery. Some old students and old friends from the past came to visit and discuss academic issues with Kong Fanjin, helping him out of the predicament. These students, who have been graduating for many years, make suggestions and have the teachers give them chapters at home, and they are responsible for recording the whole process and organizing it into text. This is how the newly published "Treatise on the Study of Giving Up" is a collection of lectures on the academic style. Although Wei Jian, who attended the symposium on the publication of the book, was not a disciple of Kong Fanjin, he was impressed by the fact that he had repeatedly received Kong Lao's preaching and teaching in another way of "meeting and learning": "In the past, every time I went to a meeting with Teacher Kong in other places, during my travels, living together, and traveling together, it was an opportunity for me to accept Kong Laoyan's teachings at close range. And Wang Guimei, a professor at the College of Letters of Jilin University who was still a young scholar at that time, also listened to a "meeting theory of learning" by Kong Lao, and immediately decided to apply for Kong Fanjin's doctoral student. Elder Kong was extremely protective of the younger generation of scholars, and from the more than ten prefaces he personally wrote to these young authors, he could see the subtle knowledge. Every time he received an invitation to write a preface, Kong Fanjin had no shelf of previous scholars, always gave objective comments after carefully reading it, and mostly gave priority to affirming academic value. Humanism is not only the ideological cornerstone of Kong Fanjin's series of research achievements, but also the spiritual cornerstone of his lifelong relationship with people.
"Those who are in the twilight of spring, the spring clothes are completed; the crowners are five or six, the boys are six or seven, the bath is Yi, the wind is like dancing, and the song returns." In the early spring of 2007, coinciding with Kong Fanjin's 40 years of teaching, he was about to retire and reunited with his disciples in Qufu. Teachers and students traveled together to dance on the ancient platform, and at that moment, there were disciples in the "Confucius Gate" who said, "Wise man, benevolent one, my master is also." ”
(Thanks to Professor Ma Bing of the College of Liberal Arts of Shandong University for his help during the reporter's interview)
Edit: Zong Yue