[The Beishan Tower with four sides of the window] ◆Shi Zhecun said that he had pushed open the four sides of the windows in his life. The east window is literary creation, the south window is classical literature research, the west window is foreign literature translation, and th

[Bearing Mountain Tower with four sides of the window]

◆Shi Zhecun said that he had pushed open all the windows on all his life. The east window is literary creation, the south window is classical literature research, the west window is foreign literature translation, and the north window is a gold and stone tablet plate sorted out. From 1941 to 1944, Xiamen University where Shi Zhecun taught was at the foot of a mountain in Changting, Fujian. The mountain was named "Beishan". He began to use Beishan Tower as the name of "Baishan". In "Wenxuan: Beishan Yiwen", there is a Beishan where a hermit lives. Although it was a fake hermit, the meaning of avoiding thousands of gold in the North Mountain is not bad.

[Hundred rivers meet the sea, no limit]

◆Shi Zhecun went to the dance hall, smoked cigars, read fashionable books, could write all kinds of new and old styles, edit publications that are contending with hundreds of schools of thought, and could also get into the habit of playing with the ancients. The real sea of ​​rivers and rivers is unlimited. Sun Kangyi analyzed the theme of Shi Zhecun's old style poems that fled westward. The diarrhea, bed bugs and neurotic reactions caused are all listed, which are completely filled with the psychological conditions of modern people. Compared with the pain of the family and country of traditional chaotic poems, the pain of modern people is more painful than the pain of the family and country.

[Travel for the "longmen" brushwork]

◆Although I have lived in the study for many years, Shi Zhecun has always loved traveling. The motivation is to learn the articles of "Taishi Gong" - the novels translated by Lin, which he loved to read are the "Longmen" brushwork, and this brushwork is effective in traveling to famous mountains and rivers. Until he was seriously ill in 1983, he had a "Travel Year". "Whether it's riding a horse, taking a boat or hiking, every trip aroused some feelings. I have also written dozens of poems, read them myself, and I feel that they have the style and mood of the Tang and Song dynasties, because my sense of travel is consistent with that of the ancients."

["His interest is endless"]

◆ "He lives entirely based on fun. If you deprive him of interest, it is equivalent to depriving him of Life. But his interest is endless. If you don’t let him teach, he will do research; if you don’t let him write articles, he will do inscriptions and calligraphy. ...Although most of the people around him rolled their eyes, he felt warm in his heart; there were also beautiful mountains and rivers and beautiful figures within his eyes. So although he could not help but feel lonely, he was quite comfortable and enjoyable. "On the Dragon Boat Festival in 2003, Qian Gurong wrote congratulations and gave them to Shi Zhecun, who was about to enter the age of 100.

Shen Jianzhong Photo by

[Academic Archives]

Shi Zhecun (1905-2003), a modernist writer, literary translator, and scholar. Born in Hangzhou, Zhejiang, he later moved to Songjiang, Shanghai. Originally named Shidepp. Since 1926, he has published novels such as "Shangyuan Lantern", "Kumarajiva", and "The Underground of the General", and edited the large-scale literary monthly magazine "Modern". Since 1937, he has been teaching in Yunnan University, Xiamen University and other places. After 1952, he has served as a professor in the Chinese Department of East China Normal University. He has been committed to the research of Chinese classical literature, cultural relics and archaeology and the translation of foreign literature. In the 1980s, he published many collections of poems and research works. In 1993, he was awarded the "Shanghai Literature and Art Outstanding Contribution Award".

"Shi Zhecun is completely a floating young master." Qian Gurong heard his colleague Xu Zhenqiu introduce this. In the 1930s, Shi Zhecun, who worked as a "Tingzi Writer" in Shanghai, became notorious for "the evil young man in the foreign field" because he persuaded literary youth to read "Zhuangzi" and "Selected Works" for Chinese language cultivation. Later, in his own words, he moved from revolution to copying ancient steles. The real copying of ancient steles was a little later, but he was indeed in his early thirties and turned to his study. He said that he was enthusiastic about being a writer in his early years and was planning to write a few meaningful novels to mark his "up to the age of thirty", the War of Resistance Against Japan broke out: "My profession has changed, my living environment has changed, and the spiritual and material conditions of literary creation have also changed." After several waves, he understood: "My creative life has ended in 1936." In the "Miscellaneous Poems of Floating Life" written when he was a leisurely person, it can be seen that on his way west in 1937, his luggage was already in his pocket: "The Japanese atmosphere has changed, and the scholars are still fighting for slogans. I am tired of the sea drooling, and I have to give a baggage to the west."

Shi Zhecun was born in Hangzhou in 1905 and grew up in Songjiang, Shanghai. He began to learn to write novels and poems in middle school.In 1922, he was admitted to Zhijiang University in Hangzhou. He was expelled from this church university for participating in the non-religious alliance. The following year he entered Shanghai University with a strong revolutionary atmosphere. Two years later, he transferred to Datong University to participate in the May 30th Movement. In 1926, he transferred to the French class of Zhendan University and joined the Communist Youth League. He organized publications and opened bookstores with his classmates Dai Wangshu and Liu Nao, and participated in the translation of the Soviet literary theory series drafted by Feng Xuefeng and Lu Xun. At this time, the revolutionary young people from the north went south. When Shi Zhe got married in Songjiang in October 1929, Ding Ling, Hu Yepin and Shen Congwen gave a congratulatory message "More blessings, longevity, and more men and women." He claimed that it was "the most romantic period of my life" and "the time when this group of literary youths were the most energetic and had the most harmonious relationship with each other." In the 1930s, Shi Zhecun was influenced by the popular psychological analysis and inner monologues in modern Western literature and wrote many trendy novels; from 1932 to 1934, he edited the "China's only pure literary and artistic monthly magazine "Modern", which adopted the intermediate route. In April 1933, in "Modern", he published the battle manifesto "For Forget Memory" by Lu Xun, who was afraid of being a member of other people. In October, I had a fight with Mr. Lu Xun about whether reading "Zhuangzi" and "Wenxuan" was retro or against the current. In 1956, in "Politics and Prefaces of Mr. Lu Xun", Shi Zhecun said: "I am determined to be broad-minded and public opinion value Confucianism." "Those who have different paths will be the same, and those who have all thoughts will be the same."

In the 1940s, Shi Zhecun went to Yunnan University, Xiamen University and other places to teach. In 1952, he was transferred from Hujiang University to East China Normal University. Qian Gurong and Shi Zhecun have worked together for fifty years and can feel the accuracy and vividness of the sentence "Floating": "The eldest young master is careless except for his own interests and hobbies. On the surface, Mr. Shi has a wide range of interests and many things to do; and no matter what he does, he always thinks about it, and he goes all out, so he can achieve something and make achievements, big or small. But his mind is only devoted to the things he loves and is interested in. He seems to ignore other things, or to use an old saying, "Take it like a river and a han."

The life philosophy of a "floating" person is sometimes even more depressed than the "depressed" person. Shi Zhecun said that the meaning of life is to "follow the will of heaven, survive and complete a role." He, who is born in the Year of the Snake, said that the word "Zhecun" is "judging my life's code of conduct: Zhecun with the goal of saving."

"If you don't do it, you will have a significant personality."

Shi's family has been a Confucian scholar, and his father is an old scholar in the library. After the Revolution of 1911, the normal school where my father served as the supervisor was suspended and he had to "not seeking a stay". The following year, he went to Songjiang Luhe Sock Factory to engage in national industry and commerce. Shi Zhecun has lived a worry-free life since childhood. He has been familiar with ancient poetry and books since childhood and has received formal modern school education. When he was seventeen or eighteen years old, he had a good foundation in Chinese and English reading and writing skills. In college, influenced by the May Fourth New Literature, it was more convenient to see the six ways of Shanghai's territory, close to Western modern literature, and was extremely pioneer in creation, almost synchronized with the world. However, when Shi Zhecun, who was precocious in literature, said that although he was almost every year, every month and every day. "Governance", but I have no "learning" at all: "Because I am impatient, lack of patience, lack of perseverance, and unstable living conditions, I have studied a lot, but I only walked two steps and did not complete the entire process of studying... It's just a 'three-legged cat'." He also said in "A Hundred Words of Tang Poetry, Preface": "I have been a language and literature teacher for forty years, and classroom explanations are my old profession. I can't write research articles, and the articles I can write are still like lectures for classroom teaching."

However, Shi Lin has public opinion, as the old colleague Xu Zhongyu said, "Mr. Zhecun has a wide range of knowledge and cultivation. All the translations written and translated are stand-alone, with characteristics, if you don't do it, you will have a distinctive personality. Do not talk too much, write large articles. ... The old style of poetry, classical Chinese, and small tests are all well-founded and reasonable. If you talk about what you see in a frank way, you will never be perfunctory. The lyrics are fresh and elegant, with poetic charm, just like the person. ... The memory is strong... It is as light as if you are taking heavy weights."

Shi Zhecun's "seeing strange things and thinking" is amazing.He selected and translated Boccaccio's "December Talk" and reviewed Virgil. During his "Literary Youth" period in the 1930s, he focused on reading Soviet, Eastern European and American literature. He was also keen on sketches by Ming people under the influence of Zhou Zuoren and Lin Yutang. In 1937, he came to Yunnan University and met a large number of scholars who gathered in Kunming after the fall of Peking. He often took a walk and chatted together, and also reunited with Pu Jiangqing, a classmate who knew most when he was a child and adolescent. Shi Zhecun said that in the third year of Yunnan, "For me, I was deeply influenced in academic research, broadened my knowledge and broadened my horizons." At that time, he paid attention to the ancient history documents of Yunnan, and was influenced by Xiang Da, and became interested in Dunhuang studies. He recorded more than a dozen articles and compiled lecture notes such as "History of Chinese Literature" and "The Origin of Prose". Later, he spent four years at Xiamen University, and selected and translated Greek poetry and dramas. He worked hard on "Records of the Grand Historian" and notes from Song people, and copied out two copies of materials, one was the cultural relics of the Jinshi Stele, and the other was the trivial notes of Cixue Comments.

accumulated four to five million words in twenty years

In the early five or six years of liberation, Shi Zhecun translated more than two million words of Eastern European, Nordic and Soviet novels. These were translated from English and French, according to him, “to serve the publishing house.” After 1957, Shi Zhecun returned to the garden of classical literature. During this period, he worked hard during the day and was criticized and crawled to the attic at night to read books and write articles. He said that he "reviewed this routine as a routine procedure for going to and from get off work", which can be regarded as "cooking words to heal the pain." The place where the word "Beishanlou" is a three-story building on Yuyuan Road, which lived in the 1930s. It was first partially requisitioned by the post office, and then occupied. Finally, it was reduced to a small room facing four or five square meters north on the second floor, with a small square table on it, and there was also a flush toilet in the corner of the house. The living space was reduced, and the number of people in the family was hungry, Shi Zhecun had to sell many books and some furniture. After this diet, he also purchased more than 3,000 rubbings of gold and stone inscriptions, tripod and Yi stele plates and ancient artifacts inscriptions in Qin and Han dynasties. He compiled three volumes of "The Metaphor of the Monument of Beishanlou". He also compiled relevant stone carvings from "Shui Jing Notes", "checking its source and storing old news and comments from various schools", and wrote down the notes after verification. By 1960, he completed the 300,000-word "Shui Jing Notes" record.

Shi Zhecun said that he had loved Tang poetry and Song lyrics when he was sixteen or seventeen years old, but for decades, he has regarded them as a way to rejuvenate and does not consider them a science. In the 1960s, he suddenly had a new hobby for Ci and found that there were still many issues worth studying, but there were not many Ci vocabulary theories. So he began to read the Ci collection by studying academic methods and emotions, copying the prefaces and postscripts of the previous dynasties, and forming the "Ci Book Prefaces and Postscripts Collection" as a research material for Ci studies. In 1968, Shi Zhecun also compiled ten volumes of "Song Huajian Collection" and ten volumes of "Qing Huajian Collection" the following year, allowing the long-buried "Huajian" tradition, that is, the common literature of the literati, to reproduce the style. New programming should be produced, and new research methods should be made. Shi Zhecun said: "Generally speaking, ciology starts from the history of literature... while I myself focus on commenting on cisco poets and ci books of all dynasties as the starting point, and advocate that the old critical standards should not be used, and that Western literary theories should be absorbed. By reading various citation collections, writing citation notes at any time, as research, it will not be made into empty theoretical articles." "My first research process was to figure out the correct meaning of many nouns and terms related to lyrics. I found that some words, although many people have used them in articles since the Song and Yuan dynasties, seem to have different understandings of this word. I used a little research and sorted out dozens of nouns in the scientific term of the word to find the correct concept." The same is true for those popular Tang poems. Since the Song, Yuan, Ming and Qing dynasties, they have different understandings of the poetry and even the verbal words. Shi Zhecun started writing in 1978, checking, verifying, and refuting, and using the form of a series of talks and ridicule words. By the time he completed "Hundred Talks of Tang Poetry" in 1985, he received rave reviews after publication.

Shi Zhecun sat on the toilet covered with a lid and read, wrote notes, studied the stele, read large rubbings, and received guests. This situation continued until the early 1980s. But he never put down his pen in his hand for twenty years and accumulated four or five million words.So after the age of eighty, his "new works" were constantly coming out.

"Those who can trust and be elegant recommend Shi's translation"

After the Third Plenary Session of the Eleventh Central Committee, Shi Zhecun returned to his original level and salary and began to recruit graduate students. He also implemented his "Three Hundred Poetry": he published "A Hundred Talks on Tang Poems", "A Hundred Poems of Gold and Stones", and "A Hundred Selections of Tang Monuments". In the early 1990s, it became the "five hundred policy": adding the old style poem "Hundred Poems of Floating Life" that first third of Nian Nian's life and the essay "Hundred Talks on Literature" that talked about the length and shortness of literature. Among the essays written by

, there are sharp words such as "Theory of No Responsibility for Every Man", interesting things like "On Old Age", and there are also discussions and guidance such as "Sighing for Books". In the era of cultural prosperity, it is inevitable that there will be a mixture of fish and dragons. People who write and edit books, and those who print and bind books are all "book makers". Shi Zhecun is worried that the culture and art of making books is declining. He has always been a kind-hearted "book-making person". Since 1981, Shi Zhecun has edited the "Ci Xue" collection of "Ci Xue" in the Chinese Department of East China Normal University for ten years. The magazine organizes discussions and discovers works, and pays attention to overseas research. Shi Zhecun has formulated each issue's column, manuscripts, and writes fill-in-the-blogs, and reviews and proofs by himself. However, "I know that the more I write, the better I am, but the number of orders and sales is getting smaller and smaller, which makes me very sad." The times are changing rapidly, and the question of being popular but not being popular also appeared in "Selected Foreign One-Act Dramas" compiled with Hai Cen of Shanghai Literature and Art Publishing House. By the end of 1991, six volumes were finally released. At the same time, Shi Zhecun, who was 80 years old, was willing to work hard and presided over the editing of the three volumes of "The Major Chinese Modern Literature Series·Translated Literature Collection", each episode of 500,000 words. He spent more than a year to sort out all aspects of modern translated literature, and wrote a selection description before each volume, "I almost gave up my life for this set of books." It was finally compiled and published in 1990.

Shi Zhecun was entrusted to edit this difficult collection of translated literature because he was in the "burly city" of the Chinese New Literature Movement, familiar with modern Western literature, and more proficient in translation. Chen Zuogao's "Two and Three Things in Shi Zhecun" records: "When he was alive, Professor Wu Lifu was praised by Mr. Shi. He once told me that those who can trust and be elegant will recommend the translation of Shi's translation." Regarding the two collective French translations of Shi Zhecun's "Biography of Pompidou" and "History of Niger", Chen Zuogao said: "Several chapters are extremely difficult, so Mr. Shi had to write most of the whole book, and he had to follow the manuscripts. Although he was not listed, Mr. Wu knew that anyone who practiced elegant and elegant must have written the work of Shi's writing. In the second chapter, he said that the Beishan writing was carefully written by the words and meticulous. He also condemned this man to achieve a high life."

Shi Zhecun believed that the translation should be both the meaning of the words. He told his friend Zhou Tuimi that the farther the translation is, the better the translation is; and he should absorb vocabulary from classical literary works. But his opinion is more conservative than Fu Lei, who is more interested in "transmitting" the spirit. When it comes to syllables, rhymes, rhymes, and poetry that present the beauty of poetry, he believes that the first three items are all languages ​​and cannot be translated: "When we translate foreign poetry, we may only be required to translate the poetic meanings faithfully." Therefore, he translated poems from the original text from the four countries of Britain, the United States, and the French are not afraid to translate poems from other countries from the English translation. In the 1960s, Shi Zhecun translated nearly 100 French symbolic poems. Since the Cultural Revolution, it has been confiscated again and again. "This is the translation that I have to ponder the most. They are all lost, which makes me very sad. I don't believe they are really destroyed." In the 1980s, fortunately, with the help of the new general branch secretary, I found all the translations including French poetry in a small room next to the toilet of the literary and historical building, including six manuscripts. In 1987, he wrote "Copy of Extraordinary Poems". Shi Zhecun said that this is a milestone in his experience in translating poetry. In this way, my work on translating poetry can be ended from now on." In addition to translating poetry, there are novels. Shi Zhecun attached importance to introducing literature from weak countries throughout his life: "When I was young, I learned French to appreciate French literature, but I learned English, but I did not appreciate British literature very much. I used English as a bridge and used English translations to appreciate Eastern European literature." He translated short stories by Viagra, Lemont, Svovatsky in Poland, Moritz and Morna in Hungary, Ivan Vazov, Erin Pilin, Karalicev in Bulgaria, and novels by Martin Anderson Nixoso in Denmark.He first read novels from small European countries from Zhou Shoujuan's "European and American Short Story Series", "Novel Monthly·Wulnerable Ethnic Literature Special Issues", and Zhou Zuoren's "Modern Novel Translation Series". "Most of them are extremely short in length, but they strongly express the sadness in all aspects of life. The touching of these novels gives me is greater than that of any big country's novel."

"Always do something."

0 was in his eighties, and Shi Zhecun suffered from a serious illness that was unraveled, so he stopped going out and sat at home all day. However, the sudden discovery of the so-called "new sense" writer in the 1980s made his imitation of "three grotes" (erotic, exotic, grotesque, that is, pornographic, exotic, strange) Western European literature again, and people "feel rub, comment or imitate like appreciating newly unearthed ancient artifacts." He was so anxious that he asked to let these works rest in peace.

cannot stop the enthusiasm of visitors from all directions. Mr. Shi, who is always "nothing and no deception", simply opened the small door of Beishan Tower. Mr. Shi’s usual image is a nightgown and a cigar sitting in front of the window of the south-facing room on the living room, study and bedroom. He reads several books and newspapers every day and does not leave his home and knows everything about the world. Under the smoke, the home was warm and quiet. Mr. Shi, wearing a hearing aid, looked leisurely and was very excited. Someone once marveled at the sight that the 90s had such beautiful eyes!

In Yuyuan Road Apartment (1993)

seal engraver Chen Julai said: "The noble character and literary quality are beyond the reach." Mr. Shi taught Zheng Qiwu's parents when he was at Xiamen University. Zheng quoted the memories of his mother Chen Zhaozhang: "For one of the articles describing an old man who made and sold self-selling soda cakes, he asked me, deep in my thoughts, do I have any respect for the old man's labor?"

The biggest impression of him is that he is equal and casual, without any airs, but he does not exchange greetings and goes straight to the point. And every homework must be corrected, including punctuation marks; if the student comes out, he will also carefully review it. The silent teaching of moistening things also falls on the younger generations who have never met each other. The book sends a book with a memo and a signature, and the magazine sends a magazine to check the articles that the younger generation needs to read in the catalog. He always mobilizes the other party to find solutions for the materials that are worrying about the situation, but sincerely reminds him, "It's the best to succeed... I hope you work as usual and work hard and make progress." He also sent stamps of various colors to a rural student who collected stamps for many years. If an old friend encounters difficulties, he will definitely help from many parties. Taiwan Lin Meiyi recorded that Mr. Shi once even asked her to bring a letter to Su Xuelin, "He said that Professor Su is old and I don't know if anyone can help her compile an essay. He is willing to help, but he forgot that he is over 90 years old."

"Mr. Zhecun: I didn't know that you had so many concerns about personnel and affairs before, and you had so much enthusiasm in your work (I say it's a non-writing job). But now I feel more courage to hope. You said a very humbly: 'Always do something.' I think I will remember this sentence." In April 1940, Yang Gang, a reporter from Ta Kung Pao, told Shi Zhecun, who stopped in Hong Kong and helped prepare to teach patriotic Chinese language classes to Hong Kong youths. "If there is a small thing left in your memory, you should think of me. I am one of the many people who have been encouraged by you."

As student Chen Xiaofen said, Mr. Shi "will neither focus on being noble nor show humility and ease." "Although he has never held an administrative position in the school, he expresses his high responsibility for the school, department and discipline construction in his own way. As a person, his sense of responsibility comes from deep down in his heart, manifested in nature, and in all moments." For the Chinese Department of East China Normal University, Mr. Shi Zhecun is a "stabilizing factor like a pillar and a cornerstone."

Shi Zhecun loved to recall Songjiang in his later years, and also to recall Yunnan, where there were landscapes, scenery, old rain and new knowledge during the three years of traveling west. In 2002, he said to Li Oufan, who was excited to celebrate his 100th birthday, "One hundred years old means nothing to me! I am a person from the 20th century, and my time is over."This poem he recited by the Cui Lake in Kunming in 1938 is like a non-keyframe in the 20th century China:

The setting sun is high and the willows are quiet and smoke grow, and the fish leaps and crows are all over the world. There are thousands of waters and mountains to sit in small places, and where is this body not fate.

Shi Zhe's life was young and middle-aged. He used "Wuxiang Temple" as the name of the study, but he did not believe in Buddhism, but just "literati Zen". There is no one's appearance, nor is there self-image. He is so sure and clear, so he sits in the North Mountain Tower, so he floats across thousands of rivers and mountains.