Wang Furen (1941-2017), a native of Gaotang in Shandong, was a famous scholar, a professor at the School of Literature of Beijing Normal University and a tenured professor at the School of Literature of Shantou University. His main research interests include Lu Xun Studies, Chinese Cultural Studies, Chinese Modern and Contemporary Culture Studies, and Chinese Left-wing Literature and Culture Studies. He is the author of "Lu Xun's Early Novels and Russian Literature", "A Mirror of China's Anti-feudal Ideological Revolution - A Comprehensive Discussion on 'The Scream' and 'Hesitation'", "The Image of the Pioneer", "Culture and Literature and Art", "The Struggle of the Soul", "Meditations on History", "Wang Furen's Selected Works", "Wang Furen's Preface", etc.
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Lu Xun's "From the Garden of Herbs to the Three Flavors of Study" is a reminiscence essay. In the so-called "reminiscence essay", I believe that there are at least two factors that cannot be ignored: one is the memory of the past, and the other is the feeling of the past now. The past does not all remain in the author's memory, a large number of the past have long been forgotten, why are these still in the author's memory, and can still be so vividly presented in the author's mind? This shows that these past events have profoundly affected the author at the time of the incident, compared with all the forgotten past events, or have given him unexpected surprises, or given him unexpected pain, or made him have a strong interest, or made him feel disgusted or bored, although these emotions have not been as strong as they were at that time with the passage of time, and even have undergone various tonal changes in the present state of mind, but at that time, they must have been extraordinarily profound.
From the perspective of writing, the author's memory is a natural way of selecting materials, through the filtering of memory, the author has excluded those things and details of things that have no or very little impact on his own mind, leaving behind those things or details of things that have profoundly affected the author's mind. Therefore, for a reminiscence essay, if it does not make us feel too flamboyant or too restrained, and does not make us feel false or concealed, we must carefully appreciate the events in it and the impact of each detail on the author's mind at that time. This influence cannot be simple, it cannot be fully expressed in a rational language, but it must be present and very profound.
Reminiscence essays are about the memories of the past, but not just the memories of the past, but at the same time the author's feelings about the past now. Everyone has a lot of memories of the past, but why he only wrote about this event or these events for the reader to read, I am sure that the author had deep feelings about these past events at the time of writing. For past feelings, the feelings of this time are second feelings, feelings of feelings. This second feeling is a new feeling that arises on the basis of the current cultural psychology in the context of reality. The things or details of things in a memory must be meaningful, but not all reminiscence essays are excellent reminiscence essays, it depends on the depth of the essay writer's feelings about the past now. At the same time, in writing, individual details depend on the memory of the past, but the organization and narration of these details depend on the author's need to express newer, deeper feelings of the present. Therefore, for the reminiscence essay, we must feel its meaning and value on two levels at the same time, one is the influence of the event or details of the matter on the past author, and the other is the current author's feeling or understanding of this influence.
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"There is a large garden at the back of my house, which is said to be called the Hundred Herb Garden. Both teachers and students can feel that the description of the Baicao Garden is an extremely beautiful description, but is the Baicao Garden here a "real" and "objective" Baicao Garden that we usually think of? Lu Xun shook us in the opening paragraph. In the adult "me", "there seems to be only a few weeds in it". Nature, "it seems that there are only a few weeds in it", why was it "my paradise then"?
Because for the "me" of childhood, it is a free world, a place to play freely. In a free mind, the world is beautiful and fascinating.
What is "freedom"? "Freedom" means that one's own mind is not subject to any constraints, any restrictions, that is, all one's sense organs are free to move without any constraints or restrictions, and the external world and the spiritual world are in unimpeded communication, there is no difference between the outside and the inside, there is no boundary between heaven and man, the external world is in one's own feelings, and one's own mind is in the external world: "green vegetable furrows, smooth stone well bars, tall honey locust trees, purple and red mulberries" Different things, different images, quickly and uninterruptedly presented in the vision of "me", the images are bright and prominent, with different colors and shapes.
The image of the outside world is beating into the eyes of "me", and the heart of "me" is beating on different things in the outside world: "the cicada is singing in the leaves, the fat wasp is lying on the cauliflower, and the son of heaven (lark) is suddenly rushing from the grass to the clouds", hearing and vision are moving together, and sound and image are presented together. The dynamic and the static are perceived by the "I" almost simultaneously. We feel the richness and liveliness of the external world, and at the same time, we also feel the richness and liveliness of the spiritual world of "me". It is not two worlds, but one world, a world of beauty in which the world of the mind and the world of the outside world merge into one. "Lacewings sing here, crickets play the piano here", here, "I" can only hear the sound, but I can't see the "lacewings" and "crickets" that make sounds, which attracts "me" to look for these insects hiding in the grass and under the broken bricks, but when I open the broken bricks, what I find is not necessarily the "lacewings" and "crickets" that I was looking for, but may be centipedes hiding in those places. It's an unexpected discovery, an unexpected pleasure in an unexpected discovery. "And the cantharid, if you press your finger on its spine, it will snap and puff out a puff of smoke from its back hole. ”
How strange! How interesting! How attentive and comfortable "I" played! Without the guidance of his parents and the teachings of his teachers, his interest in the outside world naturally attracted him to observe all kinds of things, to understand all kinds of things, to use his hands and brains at the same time, and to inadvertently acquire specific and detailed knowledge that could not be obtained in textbooks. "He Shou Wu vine and Mulian vine are entangled, Mu Lian has the fruit of a lotus house, He Shou Wu has bloated roots", how accurate and meticulous is his grasp of the different characteristics of different things! But this is not learned in textbooks, not taught by others, but his own observation, his own "discovery". In this kind of observation and "discovery", he will not produce inferiority and self-discouragement when passively accepting, but will naturally increase his initiative and enthusiasm to feel, observe, and understand the world. It's not someone else who lets him know, but he himself wants to know. He wants to see, to hear, to touch, to "explore", to experiment. "Some people say that He Shou Wugen has a humanoid shape, and if you eat it, you can become an immortal, so I often pull it up, implicated and constantly pulled it up, and I have also broken the mud wall because of this, but I have never seen a piece of root like a human. If you are not afraid of thorns, you can also pick raspberries, like small balls of coral beads, sour and sweet, and the color and taste are far better than mulberries. "What a busy little fellow, but he was pleasantly busy, and he was busy.
The Baicao Garden is a paradise for "me", a place where "I" get infinite fun, which "I" felt in my childhood, but when the author recalls this past, he can't help but realize that Baicao Garden is also a treasure trove of knowledge for him, and it is the beginning of his understanding of the world. We can see that in this short period of nature, the author describes how many kinds of things are like a number of treasures! Vegetable furrows, stone well fences, honey locust trees, mulberries, cicadas, wasps, beating flies, crickets, centipedes, cantharids, Polygonum multiflorum, wood lotus, raspberries, all these things have distinctive characteristics, magical colors, and vigorous life force, and they together form a colorful and vibrant garden of herbs.
This is also a portrayal of the heart of "me" at that time.
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The Herb Garden is a natural world, but not all of this natural world is beautiful, and it also lurks dangers.
"You can't go to the long grass, because according to legend, there is a big red snake in this garden. ”
In the past, I used to understand the story of the beautiful snake told by my eldest mother to "me" as a story of feudal superstition, and thought that its influence on "me" was absolutely harmful. I think that in order to understand the story of this beautiful snake and its influence on "me", it is not enough to judge rationally, but to analyze the actual feelings of "me" at that time and the actual influence on "me".
Here, we should first ask whether our world, including the natural world we are facing, is it completely beautiful, is it beneficial to the existence and development of human life, and is there no danger to it? I think that as long as we are aware of this, we will be able to know that the eldest mother told me the story of this beautiful snake under the control of the consciousness of caring and loving "me", so that I can have a sense of self-protection and know the danger of the external world. Before analyzing the content of this story in detail, it must be noted that this story conveys the natural, simple and affectionate feelings of the eldest mother for "me", for children, and for weak life, and is an interesting story told to "me" in a cordial communication with children. So, even though this story makes "me" experience the emotion of fear, this story as a whole has a strange beauty, which is full of charm for "me", and "I" want to listen to and enjoy listening.
Do these stories have any practical effect on our growth? I believe that it is precisely these stories that enable us to naturally avoid all possible dangers in our lives when we do not have the strength to overcome all dangers, and enable us to be vigilant and avoid situations that may occur. When we grow up, have greater strength to overcome danger, and have more real-life experience, we know that these stories are fictional and imaginary, and the fear of childhood slowly disappears. This is a kind of artistic education, which is a way to convey various human life feelings and life experiences by means of art and imaginary stories, rather than being rigidly injected into people's minds as dead knowledge and as an eternal dogma. Its form can naturally manifest its illusory nature in the enrichment of human real experience, but its allegorical nature permanently provides human beings with valuable life feelings and content of life experience. I think we should also feel and understand the story of the beautiful snake of the eldest mother.
"I don't go in the long grass", this is the rule that "I" consciously and voluntarily abide by, without any reluctance, without any feeling of unfreedom, because this is out of his own sense of self-preservation.
When we return to the story of the beautiful snake itself, we will see that in this prose, Lu Xun absolutely did not deny social education, the necessity of human beings to more effectively understand the world, understand things, and understand the essential attributes of all kinds of people. Human beings love beauty and yearn for beauty, and beauty is felt in human intuition and intuition, rather than recognized in rational understanding. However, it is precisely because human beings love beauty, and beauty is presented in intuition and intuition, so many things that harm and eat people use beauty to seduce and frame people. The "beautiful snake" is a snake spirit that seduces people in the form of beauty, a "monster with a human head and a snake body". "He who is able to call a man by name, and if he agrees, he will come and eat his flesh in the night." "In order to see through such monsters, it is not enough to rely on intuition and intuition, but it is necessary to have the ability to rationally understand the essence through phenomena. The scholar did not have this ability and was almost killed by the beautiful snake, but the old monk was able to see through the deception of the beautiful snake, subdued the beautiful snake with a spell, and saved the inexperienced scholar.
The lesson at the end is: Therefore if a strange voice calls your name, you must not answer it.
This story makes me feel very dangerous to be a human being, often a little worried about the cool summer night, afraid to look at the wall, and desperately want to get a box of flying centipedes like the old monk. I often think the same thing when I walk next to the grass. But until now, I still haven't gotten it, but I haven't met the red snake and the beautiful snake. Strange voices calling my name are common, but they are not beautiful snakes.
The discussion here has a clear sense of humor. Humor has two meanings. On the surface, it is a denial of the story of the eldest mother, but on a deeper level it is an affirmation of it. Beauty snakes are of course impossible to encounter, but people like beauty snakes are often encountered. To treat a beautiful snake, you can use the old monk's flying centipede, but there is no effective way to treat a person like a beautiful snake. Lu Xun was often besieged by the so-called righteous gentlemen throughout his life, and they carried out vicious personal attacks on Lu Xun under the banner of upholding justice and justice. Such people, just like beautiful snakes, mention your name just to hurt you. If you're not careful, you'll fall into his trap. The existence of such people makes life very sinister, making it impossible for people to easily trust people, and they must be vigilant and vigilant against people they do not understand. Therefore, even for the adult Lu Xun, the story of the eldest mother is not meaningless. We cannot understand this story as just a feudal superstitious story, and understand it as a poison to Lu Xun's thoughts.
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The first knowledge of nature was acquired through direct contact with nature, the first life experience was acquired through the folk tales told by adults such as the eldest mother, and the initial skill training was carried out under the guidance of adults such as Runtu's father.
Thin snow is not enough, it must be covered with snow for a day or two, and the birds and finches have nowhere to feed for a long time. Sweep away a piece of snow, expose the ground, use a short stick to prop up a large bamboo sieve, sprinkle some grain underneath, tie a long rope to the stick, people lead it from a distance, watch the birds and birds come down to peck food, and when they go to the bottom of the bamboo sieve, pull the rope, and cover it.
It's a game, but it's also a training of practical skills. Here, there is experience, there is a method, there is a process, to actually operate, it requires labor and dexterity, it needs to be careful and patient, and it needs wisdom and will. "You're too anxious to wait for it to get to the middle. "It is a comprehensive training for the child's body and mind.
A lively child grows up in a lively world - this is the overall impression we get from the description of the first half of "From the Hundred Herb Garden to the Three Flavors Study". Childhood is beautiful because childhood is free. It was in this sense that he could not understand why the people in his family sent him to the school, which was called the strictest school in the city. But from the perspective of the adult author, life at that time was not only joyful, but also rich in knowledge. Natural knowledge, life experience, and practical skills are all enriched and developed in a game full of fun, and the body and mind are in harmony, and the desire for knowledge is strong. Of course, the author already knows why the people in his family sent him to study in a school, but that is not from the perspective of human education, but from the utilitarian purpose of society. It is actually unreasonable to send him from such a rich and colorful world to a boring and dull school to read those boring and dull Four Books and Five Classics only from the perspective of human education, and it will kill his vigorous desire for knowledge and lively vitality, rather than help him to increase his knowledge.
The "I" of childhood felt the joy of play, and the adult author valued the education of people. But during this period, the two were organically fused. What separates the two is society, the utilitarian purpose of society.
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…… There is a plaque hanging in the middle: Sanwei Study, and below it is a painting of a very fat sika deer lying under an ancient tree. There was no Confucius tablet, so we saluted to the area and the deer. The first time is considered to worship Confucius, and the second time is to worship Mr.
For "me", who had just started school, everything about school was also new, so he remembered these details very well. For adult authors, these details have a richer meaning, because these details are precisely the reflection of social psychology, condensing people's understanding and application of education and culture at that time.
It must be noted that there are many elements of drama in Chinese culture. Acting is for others to see, but oneself has another purpose. "Zun Kong" is a great drama in Chinese culture. "Respect for Confucius" should be respect for Confucius as a person, respect for the thought and character of Confucius as a person, and be willing to become a person like Confucius. But this is not the case with the "respectful Confucius" of Chinese society. The vast majority of intellectuals in China do not want to be like Confucius, and they do not want to spend their lives in the field and work hard to realize their social ideals. The vast majority of Chinese intellectuals "respect Confucius" because they can be promoted to an official position, make a fortune, soar to prominence, and glorify their ancestors after studying Confucius's books, and for their personal destiny and future. In fact, this is not to respect Confucius and his ideological personality, but to use Confucius and his ideology and personality as a tool for his own promotion and wealth.
Lu Xun said: "Confucius in China is held up by the powerful, and he is a saint of those who are powerful or want to be powerful, and has nothing to do with the ordinary people. However, for the temple, those powerful people are only enthusiastic for a while, because when they respected Confucius, they already had a different purpose, so once the purpose is achieved, this instrument is useless, and if it is not achieved, it is even more useless. Thirty or forty years ago, anyone who tried to gain power, that is, who wanted to become an official, read the 'Four Books' and the 'Five Classics' and did the 'Eight Shares', and some others called these books and articles 'stepping stones'. That is to say, as soon as the civil service examination passes, these things are forgotten at the same time, just like the brick used to knock on the door, and the brick is thrown away as soon as the door is opened. In fact, since his death, Confucius has always been a 'stepping stone'. ”①
It is precisely because Confucius was only a "stepping stone" in the hands of the Chinese bureaucrats and literati that Confucius as a person, as well as his thoughts and personality, actually did not occupy an important position in their minds, but what really occupied an important position in their minds was power and position. Parents do not let their children go to school, nor do they want them to learn the thoughts and personality of Confucius, but to let their children study and become officials, become a master, and become a powerful person. In the Sanwei Study, there is "no tablet of Confucius", and there is only a painting that reads "A fat sika deer lying under an ancient tree". "Deer" is also "Lu", and he is an official and makes a fortune; "Fat deer" is also a high-ranking official and a rich man; "Lying under the ancient tree", "Lu" is also in the ancient book, "There is a thousand Zhongsu in the book, and there is Yan Ruyu in the book". "There is no Confucius tablet" is not important, but it cannot be without this painting that symbolizes promotion and wealth, "painting a fat sika deer lying under an ancient tree".
So we saluted the plaque and the deer. The first time is considered to worship Confucius, and the second time is to worship Mr. The word "count" is used wonderfully. In fact, worship is the school and the position, and going to school is to be an official, so worshipping the school is also worshipping the position. Respect for the position and the power is "counted" as respecting Confucius and respecting the teacher. - If you don't want to be an official, will you still respect Confucius and your teacher?
Parents let their students go to school for the purpose of becoming officials, so the school's teaching does not have to consider the children's current interests and needs, and only teaches them the "knowledge" they need to cope with the imperial examination. "When I was born, it was the last years of the Qing Dynasty, and Confucius already had the terrifyingly broad title of 'Dacheng Most Holy Wenxuan King', needless to say, it was the era when the Holy Way dominated the country. The government makes people who read books read certain books, i.e., the Four Books and the Five Classics, observance of certain commentaries, and write certain articles, the so-called "Baguwen," and issue certain discussions. (2) It is impossible for children to be truly interested in future promotions and fortunes, and certainly not in the Four Books and the Five Classics. Their thirst for knowledge is not encouraged and developed in such an education, but is ignored and suppressed. We see that at the beginning of school, "I" had a strong desire to learn, and I also had sincere respect for the teacher, believing that the teacher could teach him more things that his eldest mother could not know. However, as a teacher, he thinks that everything that has nothing to do with the Four Books and the Five Classics is knowledge that is not "useful", and not only does he not answer the questions raised by the students, but he thinks that the students' initiative to ask questions is extremely undesirable, which is a manifestation of "not learning well", which also seriously dampens the children's enthusiasm for learning and inhibits their instinctive desire for knowledge. In the eyes of innocent and lively children, this is probably also a "weird" phenomenon.
In fact, students did not absolutely dislike book knowledge, and the problem of "weirdness" was also recorded in books, and it was also a kind of "book knowledge", but such "book knowledge" was not recognized by school education at that time. What students learn in school is a boring and boring high-headed sermon that students can't understand or feel interesting at all, which is "benevolence is far away from me, I want to be benevolent", "don't use the nine hidden dragons on the (beginning) level", and "the field is only down, and the soil is wrong...... "Orange grapefruit", which is a language that some students simply do not need and cannot understand in their own lives.
If students don't feel interesting in reading, they will inevitably look for fun outside of books. So, when the gentleman was not looking, they ran outside to play:
There is also a garden behind the Sanwei Library, although it is small, but you can also climb the flower bed to fold wax plum blossoms, and look for cicadas on the ground or on the osmanthus tree. The best job is to catch flies and feed the ants, quietly without sound.
It's still a child's instinct to play, but the game here is a little more destructive and cruel than "I's" play in the herb garden. At that time, there were no physical education classes, art classes, music classes, handicraft classes, no natural science knowledge classes, no recess, and when I arrived at school, I would read those profound and boring scriptures in the classroom, and I would not leave school until it was time to eat, and if I was not careful, I would be reprimanded or physically punished by the teacher. School life is very boring, there is no freedom, and the spirit is depressed. In this case, as soon as a little freedom is obtained, the student will greedily grasp it and satisfy his long-suppressed desire for pleasure, regardless of the consequences of his actions. Their "climbing up the flower bed to fold wax plum blossoms" is a manifestation of the possessiveness that arises in this impatient mood, which has a destructive nature, which is different from the situation of "me" in the herb garden. In the garden of herbs, "I" do not have this impatience, do not think of taking the things I love for myself, and therefore do not destroy them easily. In school, the students' spirits are suppressed, their bodies are destroyed, and they take all this as reasonable, they do not feel the love and care of adults for their lives, and they have no love and pity for their weaker lives, "catching flies and feeding ants", which shows their attitude towards weaker lives, with a little cruelty. If "I" in the herb garden is a kind of taste, then the fun has a bit of a bad taste. However, all this is due to the confinement of children in schools, and the responsibility does not lie with the children themselves. In children themselves, these are still just manifestations of their active nature. It's cute, not hateful. - If they don't even have this bit of mischievousness, won't they just become some little sheep altogether?
If they don't feel interesting in reading, they don't have any initiative in reading. When the teacher asks them to read, they let go of their throats and read for a while, what they are reading, whether they can understand it or not, they have no time to take care of it. When the teacher was able to read and read, they secretly did their "little actions": "A few of them used papier-mâché armor to put on their nails to make a play." I'm a painter ......." In our current view, the former is a hobby of manual skills, and the latter is a hobby of painting, both of which should be encouraged, but in the education at that time, they could only "steal" to do, and it is conceivable that their talents in these areas could not be fully developed.
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Finally, we have to talk about the character "Mister".
During the Cultural Revolution, we regarded Lu Xun's "From the Hundred Herb Garden to the Three Flavor Study" as an exposure and criticism of the reactionary educational line, and thus also described the character of "Mr." as a villain who faithfully implemented the reactionary educational line. At that time, I once wrote an article "How to Correctly Evaluate the Character of "Mr" in "From Baicao Garden to Sanwei Study"", thinking that this character is not a villain, but a "square, simple, and erudite" teacher respected by Lu Xun. To this day, I still stand by my opinion.
Here, the first thing we want to address is the relationship between education and teachers.
Education is to train and educate generations of children, and teachers actually assume the task of education, but the nature and task of education do not depend on the children themselves or the teachers who actually undertake the task of education, but on the basic understanding and application of education and culture in an era and a society. If the society at that time used the imperial examination system to select talents, and if the parents of the students sent their students to study so that their children could obtain a more superior social status through the imperial examinations, a teacher could not help but train students according to the requirements of the imperial examination system. In other words, teachers do not have their own initiative in the face of the educational concept and education system of the whole society, and we should not only evaluate a teacher from what kind of education he has carried out, but also how he has carried out such education concretely.
I think that as long as we are aware of this, we will see that the character "Mr. " in "From Baicao Garden to Sanwei Study" (Lu Xun's enlightenment teacher, Mr. Shou Jingwu) is not cold to his students, but has a simple love. It is impossible not to be bound by the educational concepts and systems of the time, but we can still feel it, and it has a potential impact on students. His attitude towards his students was generally kind, without a fierce look, and the students were not very afraid of him. "When he bowed for the second time, he kindly replied", which made the student's mood relaxed in front of him. Generally speaking, the atmosphere of the Sanwei Study House is dull, but there is no serious sense of depression, and the relationship between him and the students is difficult to be cordial and lively, but there is no serious antagonism between the two. He had an angry look on his face when "I" asked him questions, and he "screamed" in his study when students ran out of the classroom to play, still with the aim of getting students to concentrate on their studies, and his students did not feel malicious intent from his performance, so they still respected him. "He has a ruler, but he doesn't use it often, and he also has a rule for kneeling, but he doesn't use it often, and he usually just stares at it. Loud voice: - Read! The society and parents at that time gave him these powers, but not only did he not abuse this power, but also showed a desire not to use this power as much as possible, which shows that he was still quite gentle with his students. More importantly, education at that time was a constraint not only on students but also on teachers. Teachers are likely to teach exactly what they don't want to teach, and teachers are likely to do exactly what they don't want to do, but under the social education concept and education system at that time, teachers did not have the power or ability to carry out teaching activities according to their own wishes. In other words, teachers are also repressed by it.
Tie Ruyi, the conductor is dignified, and everyone is shocked when he sits down, and Kimporo is upside down, and he is not drunk in a thousand cups......
From Mr. Shou Jingwu's attentive reading of these sentences, we can feel that he also has his own bitterness and dissatisfaction in his heart, but he cannot express his true feelings in front of his students. There is also a thick barrier between him and the student, which makes it impossible for him and the student to communicate with each other. This is the tragedy of the students and the tragedy of the teachers, and the educational concept and the educational system of society separate their hearts and minds.
The reason why I specifically raise the question of the attitude towards the character of "Mister" is because nature and society, society and education, The contradiction between teachers and students not only exists in the private school education in ancient China, even now and even in the future education will still exist for a long time, the society always requires school education with its own required ideological mode or knowledge structure, this requirement is always different from the natural needs and instinctive desire for knowledge of children, teachers can not but engage in their own educational activities in accordance with the educational concepts and requirements of the education system of the society at that time, so the requirements of teachers and the wishes of students are always unable to achieve complete consistency。 The contradiction between the two makes teachers consciously and unconsciously restrict the free development of students, and severely bind students to specific educational goals. These contradictions can only be resolved relatively satisfactorily on the basis of the continuous strengthening of concern for children's physical and mental health and the understanding of the laws governing children's natural growth in society as a whole.
Lu Xun's "From the Garden of Herbs to the Three Flavors of Study" describes such a phenomenon of social education, rather than a criticism of Mr. Shou Jingwu himself. Even for such a social and educational phenomenon, Lu Xun did not ruthlessly criticize and expose, but embellished with light-hearted humor in the euphemistic narrative, which was thought-provoking but not indignant. In teaching, if teachers and students are confronted with such a reminiscence essay criticizing school education, if they only emphasize the bound side of students, but fail to realize that teachers are also bound by the social education concept and education system at that time, it is easy to cause undue ideological confrontation between students and teachers. Only by correctly interpreting the description of Mr. Shou Jingwu in this reminiscence essay can we strengthen mutual understanding and sympathy between teachers and students, improve and develop our educational concepts, reform our educational system, and seek greater development of the mainland's educational undertakings.
Note: (1) (2) Lu Xun, "The Second Collection of Essays on the Pavilion of Confucius: Confucius in Modern China".
This article is excerpted from Language Learning, No. 2, 2003.