Hu Xuechang
Before entering 1949, for about ten years, Hu Feng had always been regarded as an "outlier" on the left-wing cultural front. The Party, of course, does not doubt its revolutionary position, but the revolution is class-based, there is a bourgeois or petty-bourgeois revolution and a proletarian revolution. Hu Feng was not a member of the Communist Party of China, and his literary theories were full of "May Fourth" temperament, advocating the "subjective fighting spirit" of writers and opposing excessive glorification of the agricultural masses. All this made him suspicious of bourgeois "idealism". In particular, after the Yan'an rectification in 1942, Mao Zedong's literary and artistic thought became the highest criterion for left-wing literature and art, and according to this criterion, writers as intellectuals must transform their petty-bourgeois ideology and integrate with the masses of workers and peasants, that is, take their positions as their standpoints, take their feelings as their feelings, and take their interests as their interests, so as to complete the popularization of literature and art. In this way, the "heretical" color of his theory is indeed very strong. From 1943 to 1945, although Hu Feng was in Chongqing, the "fog capital" of the Kuomintang, Red Yan'an still had the ability to criticize him. In 1948, on the eve of a turning point, the Party's Cultural Affairs Committee in Hong Kong once again launched a criticism of Hu Feng.
The year 1949 came. As Hu Feng said, time has begun. In the new beginning, Hu Feng's story is actually just the inevitable unfolding of the previous story. Everything was already predestined, and even Hu Feng's 1955 was already contained in his 1949.
In the liberated area, Hu Feng felt the beginning of a new time, but he was obviously unprepared
Just after New Year's Day in 1949, Hu Feng and his entourage boarded a sea ship and rushed from Hong Kong to the Northeast Liberated Area to a bright new life. Time really began, but Hu Feng was obviously unprepared, and he still stubbornly lived in his own time. Of course, Hu Feng didn't realize that he was not prepared, he only knew that all his hopes for many years were contained in this new time, and his time and the new time were the same time.
Sure enough, it was new time. The Northeast has long been the Northeast of workers, peasants and soldiers, and the Northeast that has been liberated. Hu Feng took off his suit and changed into a cotton suit called the "Liberation Uniform". Hu Feng played poker and found that the gameplay was very different, and it was originally called "liberation poker" here. Chen Boer, who is engaged in movies, attracted a Zhai aunt to tell Hu Feng a "turnaround story" for more than an hour. Hu Feng's cultural life is very rich, and he has dramas to watch almost every day. are all from Yan'an's Yangyang opera and peace drama, "The White-Haired Girl" is indispensable, and "Mulan in the Army" is also quite popular with women. Hu Feng heard the woman in the back seat say: Mulan is from Yan'an. The women's meeting of 10,000 people marched after the meeting, and the procession walked by, and the Yangge team of more than 1,000 people twisted and walked by. Yangge is everywhere, in the city and in the countryside. Hu Feng passed by the countryside, and he said in his diary: "The car broke down and I saw the village Yangge team. On the way, I saw several Yangge teams. "Yangge has a wide range of uses, of course, it is used for rallies and parades, that is, it is a New Year's gift from the factory, and it is also sent by the Yangge team. is also like Yan'an, the second-rate son is transforming and changing, and the woman first turns over, and then progresses, becoming a female model worker. Hu Feng was invited to attend the Northeast Student Congress, at which four democrats spoke, shouting slogans with great excitement and pride as they spoke.
These are all completely new to Hu Feng. He felt fresh and exciting, and many times he was overwhelmed with excitement. When I arrived in Shijiazhuang and saw Zhou Enlai, Zhou held Hu Feng's hand and said, "It's good that you go into the liberated area and look around." The next day, Hu Feng wrote a letter to Mao Zedong and Zhou Enlai, reporting his feelings since entering the liberated area. In a letter to Zhou, he said: "I am on the path of a starry sky full of flowers. ”
Hu Feng's words may not be true. In fact, he also saw and heard other things, which are recorded in the diary. In the Northeast, friends came to see him, almost all of them were literary and artistic people, and some of them were literary and artistic rookies cultivated by Hu Feng. These literary and artistic figures love to talk about literary and artistic issues when they meet, even though some of them have become revolutionary cadres. Liu Baiyu has been here, as have Feng Bailu, Lei Jia, and Tianlan, who are more closely related to Hu Feng, and they have all confided to Hu Feng their confusion and frustration in their creations, for example, urgent political mobilization sometimes hinders the in-depth grasp of the content of the works; the demands on the works to reflect the policy in a straight line, and the writer is exhausted around the policy, not only can he not write decent works, but he will also make political mistakes if he does not get it right; he is completely good if he writes about good people, and he is completely bad when he writes about bad people, and writers dare not write characters with shortcomings, just as they dare not use cadres with a history that is not clear. In addition, officials of all sizes rudely interfered in literature and art, and a writer wrote a script, which was reviewed and revised by the company instructor to the political department of the military region and then to the Northeast Bureau, but in the end it was rejected by the chief of staff. A writer also wrote a song: "Tell me, remember to remember, I'd rather sell my ass than engage in literature and art." Tianlan told Hu Feng about this song, and finally said that he had seen through literary and artistic creation, and it was difficult to write again. Hu Feng sighed: It's a pity.
In Tianjin, Lu Quinoa and Lu Dian also complained to Hu Feng: Writers no longer dare to write works from the requirements of their hearts, they only want to be innocent. After arriving in Peking on March 26, people continued to tell him about the confusion and anxiety of creation. There were all kinds of them, and Hu Feng was shocked. The subjective formulaicism that he had been fighting hard against for many years had become more and more intense, and it had become more and more vigorous. At this time, Hu Feng felt his responsibility as a theoretician. Five years later, in the "300,000-word book", Hu Feng wrote down his true feelings at the beginning: "I had the opportunity to talk with a large number of comrades engaged in creation (including comrades who are not in literary and artistic work and unknown young authors), and most of them explicitly or implicitly expressed the pain they felt in creation, and they could not find a way to practice under the simple leadership style, and some comrades even shed tears." From many conversations and articles, I found that the understanding of literature and art is very simple, so simple that it cancels literature and art. And this is a universal phenomenon. ”
In the Northeast, Hu Feng also met Xiao Jun, Li Youran, Wu Xiru and others, these old friends were all very hard in the Yan'an Rectification Movement. probably already knew the grievances and grievances between Hu Feng and Zhou Yang, and most of the friends who came to visit Hu Feng specifically mentioned Zhou Yang when he was in Yan'an. Hu Feng sided with Lu Xun in the debate of the "Left Alliance" on the "two slogans", and had a grudge with Zhou Yang, Xia Yan and others. In 1939, Zhou Yang entrusted Dong Biwu, who came to Chongqing, to bring a message and invite Hu Feng to Yan'an Luyi to be the head of the Chinese department. Zhou's invitation surprised Hu Feng, but he still politely declined. Perhaps it was precisely because he refused Zhou Yang's good intentions this time, so rumors from Yan'an said: Hu Feng did not go to Yan'an because of Zhou Yang's relationship. Ding Ling and Zhou Yang also have unsolvable grievances. Ding Ling once talked to Hu Feng that Zhou Yang had been in Yan'an for so many years, and he had no friends, only subordinates. Hu Feng also learned from Li Youran that Zhou Yang had disagreed with the publication of Ding Ling's "The Sun Shines on the Sanggan River" on the grounds that Cheng Ren's love affair with Hei Ni was anti-class. But Mao Zedong said that it was good, Zhou Yang was wrong, and Ai Siqi, Xiao San and others gave guarantees to the Propaganda Department, so that it could be officially published.
The Wen Dynasty criticized Hu Feng without naming him, but he still handed in his written opinions
From Hong Kong to the Northeast, from the Northeast to Beiping, half a year has passed, and we are waiting for the first session of the Cultural Congress. Hu Feng has seen and heard a lot, and his mood is complicated. In a letter to a friend, he said, "In this age, the people of this motherland are full of holy fires," and there is no reason why he should not be "happy in body and mind." However, there was a clear shadow in his heart, those vulgar literary theories and literary leaders, as well as the distrust he had suffered, all of which made him feel very heavy. In a letter to Lu Ling on May 30, Hu Feng expressed his depression: "The field of literature and art is shrouded in great depression. Many people are in a shackle. ”
In Hu Feng's view, there is still a model of relative separation between politics and literature and art, which dominates his consistent theoretical thinking, and now, this model regulates the way he observes the new reality. The political reality is a beautiful and exciting reality, while the literary reality is a vulgar and suffocating reality. Hu Feng, who was jealous and hateful, distributed his feelings very easily, love gave this great era and the beautiful politics of this great era, and hate gave him the so-called vulgar literary and artistic leaders, and gave the vulgar literary and artistic reality caused by these vulgar people.
The Cultural Congress is being prepared, but Hu Feng sometimes feels ostracized, and this feeling is even stronger when he connects with the rumors about himself he heard along the way. When he was still in Shijiazhuang, Zhou Enlai instructed him to study the issue of organizing the New Literary Association with Zhou Yang and others after he arrived in Beiping. However, the day before he arrived in Beiping, the decision to move the old literary and literary associations from Shanghai to Beiping had already been announced, and after arriving in Beiping, no one had approached him about dealing with the old literary and literary associations and the new literary and literary associations, which he had been one of the responsible persons of for the past ten years. It seems that many things have bypassed Hu Feng. On April 15, Mao Dun presided over a meeting of the Preparatory Committee of the Literary Association, at which it was announced that the journal "Literature and Art Newspaper" would be established and the editorial board members would be appointed. Hu Feng was surprised by the appointment, because no one had consulted him beforehand. He was resistant and did not accept the appointment. Subsequently, Hu Feng's negativity continued unabated, and he refused to participate in the drafting of the literary and artistic report of the Kuomintang region. After the report was drafted, Hu Feng was also able to look at it, and he was very angry when he read it. The diary entry on June 9 contained the following sentence: "When I read the draft report (printed in lead) drafted by Yang Hui and others, the main thing is to slander me. "Not only for drafting the report, but also for this cultural congress, Hu Feng had no interest in it from the beginning. A letter to Lu Ling on April 26 said: "I am now waiting for the congress of the Kaiwen Association, and there is no way not to participate, so I have to wait here." But I don't have any opinion, it can only be so and it should be. On May 7, a letter to Fang Ran and others also said: "At present, there is a congress of literary and art workers, and I have to participate in it, so I am stranded in Beiping. But I didn't have any interest in it, I only wanted to get into it in practice. "Cancel the attitude of the pole and make up his mind not to cooperate, this is the only way to attack in Hu Fengnai. It's really not good, and there is one last way to attack, that is, to write a book, to "clear the monarch's side" for the party.
Hu Feng's "no interest" in this literary congress is in essence a political event for literary and artistic workers. The Party has been planning for this extraordinary meeting for a long time, hoping to establish a new national literary and artistic organization. On July 2, the Cultural Congress opened in Zhongnanhai Huairen Hall, and the Central Committee of the Communist Party of China sent a congratulatory telegram carefully revised by Mao Zedong the day before. Portraits of Mao Zedong and Zhu De are hung in the center of the rear of the rostrum, and the emblem of the Cultural Congress is hung in the center above the front end, which is composed of Mao Zedong and Lu Xun's side images and six red flags. More than 40 pennants presented by various systems and units were hung side by side on the stage, and they were embroidered with congratulatory messages: "Literary and artistic workers throughout the country unite under the banner of Mao Zedong and serve the workers, peasants and soldiers wholeheartedly," "Combine with the workers, peasants and soldiers, serve the workers, peasants and soldiers," and "Serve the people." In the center of the back of the venue, there is a plaster statue of Mao Zedong. On the rostrum, there were leaders such as Zhu De, Lin Boqu, Dong Biwu, Lu Dingyi, and Li Jishen. The triumvirate of the Preparatory Committee, Guo Moruo, Mao Dun and Zhou Yang, naturally became the general chairman and vice chairman of the presidium of this conference. On 3 July, General Chairman Guo Moruo delivered a general report entitled "Struggle for the People's Literature and Art of Building New China"; on 4 July, Vice Chairman Mao Dun made a report on the literature and art of the Kuomintang Autonomous Region, entitled "Revolutionary Literature and Art of Struggle and Development under the Oppression of the Reactionaries"; and on 5 July, Vice Chairman Zhou Yang made a report on the literature and art of the liberated areas, entitled "The Literature and Art of the New People." The main report of the conference is almost all here.
The three major reports finally completed the spatial construction of New China's literature and art. After all, the Kuomintang is an area ruled by the Kuomintang, and the left-wing literature and art under the leadership of the Party are undoubtedly progressive revolutionary literature and art, but they will inevitably not be affected by the darkness for a long time, and in addition, the Party is sometimes beyond the reach or strength of the Party due to the constraints of the environment, and the revolutionary literature and art against oppression are not so revolutionary on the whole. The "people's literature and art" in the liberated areas, as the best embodiment of Mao Zedong's literary and artistic thought, is actually the "model" of literature and art in New China. The literature and art in these two spaces can determine the level of their political value without even comparing. Mao Dun and Zhou Yang sketched a space, and the "total" of Guo Moruo's general report is to carry out spatial integration, and this integration can be seen from the title of its value orientation, and the result of integration is indeed "one-sided", and the literature and art of the people in the liberated areas have achieved an overwhelming victory.
At the draft stage, Hu Feng regarded it as a report on the Kuomintang region that he had "slandered", and in the end it was not revised according to Hu Feng's opinion. On the morning of July 4, the thin Mao Dun made a report in Huairentang. Probably anticipating the "shocking nature" of the report, there are three "postscripts" at the end of the report to explain the drafting situation, including a special mention of "Mr. Hu Feng's insistent remarks." Unlike Zhou Yang's report the next day, which was full of joy and praise, Mao Dun's report was much bleaker, and although it seemed to run through the dialectical spirit of "dividing into two", the criticism of the literature and art of the Kuomintang was obviously heavier. The main point of these criticisms is that the writers in the Kuomintang are unable to integrate with the masses of workers and peasants due to environmental constraints, cannot transform their own thinking, and ultimately cannot popularize their works. In terms of creation and ideological theory, the report lists the erroneous tendencies of literature and art in the Kuomintang region, specifically the Hu Feng School, and devotes a special section to the report to show the errors of the Hu Feng School's subjective theory without naming them, and still calls it "the 'petty-bourgeois revolutionary' literary and artistic theory." The report stresses that "the question of 'subjectivity' in literature and art has become a basic problem that has been brewing in the thinking of the literary and artistic circles in the Kuomintang region in recent years, and it cannot but be resolved." To continue to solve this problem, "we have to boil down to the standpoint, viewpoint, and attitude of writers as raised in Mao Zedong's 'speech on literature and art.'"
Hu Feng, who was sitting in Huairentang, definitely didn't understand very clearly. However, he said: "I calmly understood that this report, which I heard was rewritten by Comrade Hu Cheng and others, was almost mainly aimed at the so-called Hu Feng's literary and artistic thoughts, and that the original content of the issue was simplified or even distorted before it was discussed later. The main obstacle to literature and art in the Kuomintang region over the past ten years was the so-called Hu Feng's literary and artistic thought. During the meeting, Hu Feng privately communicated with others many times about his dissatisfaction with the report, and even submitted his own written opinions. Of course, the growing negativity prevented him from moving further, so that he was called out many times when he spoke freely, but he finally held back. Ding Ling asked him to speak, and what else did he say: You should speak, there are many young people in the liberated areas who love you. He was just moved to tears, but he still didn't talk about it.
The one who didn't understand was naturally not Hu Feng alone. Almost all the people from the Kuomintang region could not understand very clearly. According to Hu Feng's recollection, "after the report was presented at the congress, there was an uproar among the delegates of the Kuomintang region." His diary entry for July 11 reads: "Li Yaqun came to talk for a while, dissatisfied with the report of the Kuomintang Autonomous Region." Feng Xuefeng is also very dissatisfied, and those people who belong to the Hu Feng faction, like Ah Yong and Lu Ling, have no opinions. At this point, it is almost impossible to get the conference going. But on July 6, Zhou Enlai lost no time in coming. Beginning at 2:30 p.m., Zhou delivered a six-hour political report. At 7:20 a.m., Mao Zedong suddenly came. The venue suddenly boiled, and the delegates applauded enthusiastically for a long time and shouted "Long live Chairman Mao" without emotion. Hu Feng recorded this day: "After five o'clock, Chairman Mao came, the audience cheered, and he said a few words." Indeed, Mao only said a few words: "Comrades, today I have come to welcome you. The congress you have held is a very good congress, a congress that the revolution needs, and a congress that the people of the whole country want. Because you are all people needed by the people, you are the people's writers, the people's artists, or the organizers of the people's literary and artistic work. You are good for the revolution and good for the people. Because the people need you, we have reason to welcome you. Again, you are welcome. "It looks improvised, but it's actually carefully crafted. The change from "I" to "we" is like the ancients, "the antelope hangs its horns, and there is no trace to be found." Only Mao's articles and propaganda masters can do it. When Mao finished speaking, the audience cheered and applauded more enthusiastically for a longer time. Soon, the Saturday hour report also ended, and he excitedly said: "We should be grateful to Chairman Mao, he gave us a new direction in literature and art." The audience shouted "Long live Chairman Mao" again. President Guo Moruo stood in front of the microphone again and said excitedly: "Today we have this meeting, Vice Chairman Cheng Zhou gave us a report for six hours, and Chairman Cheng personally came to attend to guide us. This gives us a lot of encouragement. Then, Guo said that he fully accepted the entire instructions given by Vice Chairman Zhou to the delegates to the congress, and said that he would be a student of Mao Zedong with the greatest enthusiasm. Suddenly, Guo's voice became more high-pitched: "Let's chant a few slogans at the end." This romantic poet, who was close to his ears and ears, with the enthusiasm of singing "The Goddess," raised his arms and shouted: "All literary and artistic workers unite!" "Learn Mao Zedong's thought!" "Create the people's literature and art!" "Long live the liberation of the Chinese people!" "Long live the Communist Party of China!" "Long live Chairman Mao!"
Many of them are grateful to Mao Zedong and Zhou Enlai, saying that they saved the scene. Hu Feng recalled: "Comrade Lou Shiyi came to see me and reproached me for not not mentioning my opinions, saying that the meeting was almost collapsed, and it was only when Chairman Mao and Premier Zhou came out in person that they were able to save it, which caused the party to suffer too much loss. His simple enthusiasm also moved me to tears. ”
Hu Feng's poetry burned in the cold of the ancient capital, but his problems became more and more serious
On July 19, the Cultural Congress closed, followed by a meeting of the Federation of Literary and Art Circles and the Association of Literary and Art Circles. At the literary association on the 24th, the executive chairman "suddenly attacked" and named Hu Feng to "speak freely". At this moment, Hu Feng finally couldn't hold back, he said: "I can't say anything worth saying, wasting the precious time of the deputies, it is tantamount to seeking money and killing people, so I don't dare to say anything." Hu Feng, who "didn't dare to say anything", had actually said something, and his attitude had become public. A few days later, when chatting with Ding Ling over tea, Ding Ling bluntly talked about his "attitude problem". During the Cultural Congress, Feng Xuefeng told Hu Feng that when Premier Zhou reviewed the list of deputies, he classified Hu Feng's name as "left". Feng is persuading Hu Feng to rest assured. Hu Feng has always believed: "The party basically trusts me, and there is no need for new proof, but the responsible comrades in literature and art must be hostile to me." ”
On August 2, Hu Feng returned to Shanghai. A month later, he went to Peking to attend the CPPCC meeting. He spent the rest of 1949 in this old and young capital, which was still a mixture of excitement and frustration. participated in the CPPCC meeting and participated in the founding ceremony, a grand sense of happiness covered Hu Feng, and his poetry was also burning. On November 6, in the cold of the early winter of the ancient capital, Hu Feng's burning poetry finally erupted, and he began to write "Time Begins". On the night of the 11th, the first movement, "Ode to Joy", was completed in one go. The grandeur of the structure and the roar of the momentum are flowing with the fanatical and clear emotions of religious people. Hu Feng resolutely rejected the "national form" of "Oriental Red/Sun Rising", and his "Ode Style" was infused with the charm of a symphony, and he gladly adopted Mayakovsky's "Staircase". The Motherland, the People, the Leader, the Trinity, and the Leader is clearly above the Motherland and the People:
Mao Zedong!
Because of you
Our homeland
Our people
I felt the breath of eternal life of the great universe
Called to battle all over the earth
At that time, Hu Feng represented the "collective will" of hundreds of millions of people with sincerity and passion, and he sang the voice of an era.
The diary left many things that he could not control in the burning of poetry. November 17: For two months, a stream of music in my heart has reached its peak of sweetness. Chopin, Chopin, I bow to you! Grazia, you live forever in my heart!18: "Last night I woke up from two o'clock to five o'clock, looking at the stars outside the window. 19th: "A little song was sung in my heart, and the mood of the second movement froze. 20th: "Weariness." At five o'clock, listening to a love song on the radio, I wrote a sweet section of "Dawn". 23rd: "In the morning, thinking of the fourth movement, burned so hard that I could barely breathe, until the afternoon. 24th: "Continuation of the "Song of Praise". In the morning, I was very excited and finally broke through the difficulties. "It was about the overburning of passion, and at the same time as the poetry was swayed, first hemorrhoids, then coughs, headaches, and diarrhea, and many pains hit him, but his eyes were still pure, and his poetry was still clear and sweet. In a little more than two months, he wrote four movements, 3,800 lines, in one go. In a letter to a friend, he said, "This poem is a fever," and said: "The times are great, the people are great, the motherland is great, and it warms our poor blood." ”
This series of movements was completed in a long wait that intertwined hopes and disappointments. Stranded in Beijing is the meaning of the above. On October 27, at the instigation of a friend, Hu Feng wrote a letter to Zhou Enlai and asked to meet. But Zhou Enlai did not meet his request until a month later, on November 27, Hu Qiaomu came. At this time, "Ode to Joy" had been published in the People's Daily, and the second movement, "Hymn" (later changed to "Praise of Glory"), had also been written. Hu Qiaomu first affirmed Hu Feng's sincere pursuit of the party's cause over the years, and said that Hu Feng's views on the world and history were different from those of the Communist Party, but this difference was not the view of the "mediocre masses." Finally, I advise Hu Feng: To break away from the Communist Party is to break away from the masses, and we should be friends with the entire Communist Party. On November 29, Hu Feng said in a letter to Lu Ling: "I sent someone to say some unexpected words, and gave the highest recognition in terms of strength, but there are still problems in 'theory'. I think this change was spurred by that poem. I think sooner or later I'll have to live in Beiping. ”
Hu Feng, who was feverish in poetry, seemed to have swelled up into an infinite romantic subject, and he suddenly felt that he had unprecedented power, and that he could not even be defeated by others. The ode directly to Mao Zedong ("Ode to Joy"), in Hu Feng's illusory imagination, this poem can magically change the highest view of him, and then change his fate, from then on, he can do his own thing in the first good area, calling for wind and rain.
The theorist Hu Feng has always attached great importance to "works", and he looked at Lu Ling at a glance during the Chongqing period, and devoted a lot of effort to cultivating Lu Ling, largely because this young man's "works" are consistent with his theories, and with Lu Ling's "works", the "correctness" and even the practical power of Hu Feng's theories can be proved. Time began, and Hu Feng, in the midst of loss and anxiety, always thought of his little brothers and urged them to "come up with their works". In Hu Feng's beautiful calculations, with good "works", they can break through the vulgarity and dullness on the "altar", and they can also prove their strength. His "Time Begins" is of course born of poetic involuntariness, but at the same time, it is also the need for "struggle". He wants to burn a fire, so "Ode to Joy" published in "People's Daily" is also a deliberate choice. Hu Feng has absolute confidence in this big thing of himself, and completely believes in its "combat effectiveness", in the letter, he proudly told his friends that it "shocked everyone" and made many "darlings" have to show "embarrassment".
Three days after that conversation with Hu Qiaomu, Hu Feng seemed to be quite encouraged, and wrote a letter to Hu Qiaomu again, hoping to solve the problem of joining the party. A few days later, Hu Qiaomu came to see Hu Feng for the second time and told him that Premier Zhou could not talk to him now, but he really wanted to talk, and he would come to Beijing again. As for the issue of joining the party, Hu Qiaomu believes that it can also be considered, but he does not "advise" Hu Feng. The prime minister is no longer visible, the party's door is closed, and Hu Feng's problem is really serious.
However, on the last day of 1949, December 31, Hu Feng lived quite fully and happily. He wrote a section of the fourth movement, Requiem (later changed to Heroes' Score), about 300 lines. Later, the "Hu Feng elements" Xu Fang and Lu Coal came to visit him, and he read to them the "Requiem" that had just been written, which was full of emotion and tear-jerking. It was already late at night, and he wanted to write a letter to his lover M (Mei Zhi) in Shanghai, but he was too tired to write it tomorrow morning. His blessings to his lover and children were temporarily written into his diary for this day: "Dear M, dear Xiaogu, Xiaofeng, Xiaoshan, bless you!
——Source: Centennial Tide, Issue 5, 2004
