Political ideas in the late Qing Dynasty and their significance

Liang Qichao is not only a theoretical advocate of the literary revolution in the late Qing Dynasty, but also an effective practitioner and organizer of this literary revolution. Theory guides practice, and practice verifies and enriches theory. They complemented each other and had a wide influence on the society and literary world at that time, which made the literary revolution in the late Qing Dynasty a great success. This paper intends to focus on quoting predecessors' theories as historical witnesses.

The success of the literary revolution in the late Qing Dynasty is mainly manifested in the following aspects, and Liang Qichao's contribution is also mainly manifested in these aspects:

First, the liberation of prose

After the Sino-Japanese War of 1894-1895, new scholars competed to write books. Generally speaking, they did not use ancient Chinese in the original sense. Kang Youwei, Tan Sitong, Yan Fu, Zhang Taiyan, etc. They all changed the style of ancient Chinese prose in different degrees with their own practice. At the very least, it turned ancient Chinese prose from useless to useful, from a tool for maintaining feudal rule to a tool for promoting reform and encouraging revolution, from the shackles that bound ideas to a weapon for spreading new ideas, and made its own contribution to the reform of writing style. Even Lin Shu, who claimed to be an ancient prose writer, actually broke the barrier of Tongcheng School. But comparatively speaking, Liang Qichao should be the first person who insisted on the style reform, achieved great success and had a wide influence. His student Wu Qichang said in Liang Qichao: "At that time, a group of young writers were carrying out their own style reform movement. For example, in the cold wind, red plum, wintersweet, pine, bamboo, camellias and daffodils are all in an objective position today, although each has its own fragrance in Leng Yan. Tan Sitong's articles, like Gong Ding 'an, are magnificent and dense, but they are difficult to popularize. Xia Cengyou's works, even more mixed with Zhuangzi and Buddhism, are more difficult to come out. Zhang's work, Chong's Lun Heng, is lofty and elegant, but it is also difficult to popularize. Yan Fu's writing style is profound and dense, and has no great momentum. The Essay of Lin Shu written by Zong Xu in Liuzhou is quiet and relaxed, but it is only suitable for sketches. Chen's works are just your Tongcheng, but the pattern is not grand. Zhang's article became lively, but he suddenly became stubborn in Tongcheng. As for the thunderous roar, it is wanton, all-powerful, shocking, stirring, and sometimes full of sadness, long songs are crying, Hunan Lanhanyue, blood boiling, suspense, writing fluent articles with emotional pens, and enjoying them in millions of words. When reading them, they are ecstatic. When reading them, they are either angry or angry, or tears wet the paper. There may not be all the comments here, but on the whole, I think this comparison is appropriate and realistic.

Liang Qichao's prose attracted readers at that time, firstly because of its inspiring and refreshing ideological content. Starting from "current affairs", he chose the subject matter that China people paid close attention to, and shouted for saving the nation from extinction, reform and reform. The "general discussion on political reform" seems so mediocre today that the three-foot-tall boy knows that it will be difficult to succeed. However, people at that time thought that "China was weak and defeated, so we should thoroughly study the original situation, so as to clearly show that this is a dream, and the hope of microtubules has turned over at home and abroad". As mentioned above, China people are very interested in the "new idea", so "it has been popular in China for a period of time, and sold to more than 10,000 points in a few months, which is unprecedented in China, and the whole country is very interested in it, just like a water dispenser".

After the coup of 1898, Liang Qichao founded Qingyi, Xinmin Cong and Guo Feng in Japan. He not only openly criticized the government, but also took saving the country and the people as his own responsibility and wrote a magical article with emotional pen. Before he openly debated with revolutionaries, his prose was full of the belief and enthusiasm of "patriotism, love for the masses and love for truth", discussing current political issues that the people of China care about, and introducing new ideas and knowledge of the western bourgeoisie. He concentrated all his feelings on the pen, or shouted for the distress of the motherland, or gnashed his teeth for the corruption of the Qing court, or resented the darkness of society, or grieved for the people's depression ... Within the range he was familiar with, he spared no effort to attack old things and enthusiastically pursued new ideas. He opposes the pessimistic and inaction argument and advocates "knowing what you can do is not doing it". He opposed the irresponsible bystander attitude and preached that everyone was responsible for the rise and fall of the country. He is convinced that China will not only not be subjugated, but also be transformed from "the oldest empire" to "the young China people" through the "transitional period". He called on people to fight bravely for this bright future. All these reflect the enterprising spirit of the emerging bourgeoisie and the trend of that era. They are powerful and shocking, warmly welcomed by patriots, especially aspiring young people, and have had a great and far-reaching impact. 1902, in a letter to Liang Qichao, Huang Zunxian praised his article "Shake the whole life and inspire the public". This is really "stirring, a word is precious, everyone has nothing, but it is in everyone's mind, although the stone man should be moved." Since ancient times, the power of words has never been stronger than this. " Although there is no lack of ostentation among fellow travelers here, it is not a word touted out of thin air. Later, Yan Fu said in a letter to Xiong Chunru: "In the past, Jiang Guanyun of Hangzhou tasted it and thought that Liang Rengong's works were very powerful, but in fact he had the ability to control society. Therefore, if the words are destroyed, then everyone will take extinction as a natural principle and advocate assassination, then the party will take assassination as a righteousness. " Although there is suspicion of exaggerating the attack here, it is not a false statement. It was not until the 1930s that Guo Moruo said, "Twenty years ago, teenagers-in other words, children of the bourgeoisie at that time-could say that no one was not baptized by his thoughts or speeches, whether they supported or opposed their thoughts or speeches. Zheng Zhenduo said: "The influence of many scholars and artists is very narrow, that is, limited to a part of people, on the one hand, society or a certain place. However, Mr. Liang Rengong's influence and influence are universal, far-reaching, in-depth and without exception-although some people have to admit this. Miao Linfeng also said: "His life is most closely related to his works." All his works are usually full of brushwork, sincerity and expressiveness, and "clear-cut, often full of emotion, which has a magic power for readers". Therefore, when an article is published, the whole country contends, and the teacher stays in Confucianism. It is still highly respected today. At the end of the Qing Dynasty, the hard struggle of morale, the liberation of thoughts and the propaganda of the Liang family were really strong. Although he advocated enlightened autocracy, supported the Qing emperor and talked about constitutionalism rather than democracy, he talked about political revolution rather than racial revolution, and he was a political enemy of the Kuomintang. His remarks attacked the Kuomintang and did everything possible. However, Shi Wu Bao, Qing Yi and Xinmin all came into being before Su He and Min, and Liang deserves to be regarded as a new intellectual. That is to say, the theory of national civil rights that swept the country since then was indirectly promoted by Liang's theory of warmth and Fu Cha's exposure of political failure and reform despair in the Qing Dynasty. For those who are contrary to Liang's political views, their initial experience is inspired by Liang's articles, not to mention. "The above theory is not imaginary. Generally speaking, theorists are experienced, and we can read it as literature and testimony. Let's take a look at China's literary history. Before Liang Qichao, did any writer's articles contain such extensive contents and novel ideas and have such a great influence?

Liang Qichao's prose attracted readers at that time because he created a new style, which catered to both refined and popular tastes and met the needs of content. As far as the reform and development of literature itself are concerned, this is of more prominent significance. Liang's "from generation to generation" influenced and changed the writing style of a generation. In the History of China Literature in the Last 30 Years, Chen Zizhan said: "At that time, overseas Chinese, overseas students, teachers and students of domestic schools, especially journalists from museums, all liked to read his articles and write their own articles. They use this article to write to the current government and contribute to the museum to talk about Westernization and politics. " Li Jiannong said in the Political History of China in the Thirty Years after the Reform Movement of 1898: "After the imperial examination procedure was changed in the year of Xin Chou, a group of scholars who took the exam suddenly lost their usual thinking tools, and Qingyi and Xinmin Cong became their" small publishing houses "and" three mountain manuscripts "; Although the government banned it, it sold well in China. Thousands of gentlemen used to call Kang a deviant, but now they are unconsciously driven by Liang's pen and become his parrot. " Zheng Zhenduo even said: "The greatest value of Liang Qichao's prose lies in his style of" easy-going, mixed with slang and foreign grammar ",which overthrew the fatigue and lifelessness of the so-called Tongcheng School ancient prose and the Six Dynasties ancient prose, so that ordinary teenagers can freely speak freely without being bound by rigid prose style; It can be said that it is the forerunner of cultural and sports reform in previous years. " Wu Qichang also said: "As far as the achievements of stylistic reform are concerned, after 16 years of washing and sweeping by Liang and others, the system and style of the new style have been completely established, the people's reading level has been improved by leaps and bounds, and the successful fruits of the China writing revolution have been received."

Second, the innovation of poetry

The innovation of new poetry began with Gong Zizhen, and Zhang was bigger than Huang Zunxian, which was decided by Liang Qichao. As early as 1868, Huang Zunxian shouted, "I wrote my mouth by hand. How could I be detained in ancient times?" He called for breaking the shackles of the old tradition, opposed imitating the ancients, and advocated writing works that "the ancients didn't have anything, and there was no frontier to explore" and "can be used as my poems". This means bourgeois literary reform. But at that time, Huang Zunxian was still fighting alone and failed to form a massive new poetry movement.

As a movement, the "Poetry Revolution" originated from three small hutongs near Beijing Caishikou-1895. In autumn and winter, Xia Cengyou lived in Jia Hutong, Liang Qichao lived in the new hall of Fenfang Street, and Tan Sitong lived in Liuyang Pavilion in the north half lane after coming to Beijing, watching Zhi. They meet almost every day. Talk about new learning and write new poems together. However, the so-called new poetry was originally just "pulling new words to express differences" and "people who are very together don't understand". Until 1899, Liang Qichao summarized this activity in Travel Notes in Hawaii, and put forward a new proposition: "First, we should have a new artistic conception, then we should use new sentences, and then we should write poems in the style of the ancients", and the revolution in the poetry circle entered a new stage. At the same time, he published "New Poetry School" in Qingyi, and later serialized "Poetry in the Ice Room" in Xinmin Cong, flaunting the new poetry school and pushing the revolution in the poetry circle to a new climax. In particular, Poetry in the Ice Room preaches that "music at the beginning of poetry is one of the elements of spiritual education", and advocates that poetry should be used to "transform the national quality" and that the revolution should first transform the spirit. Introduce poems and talk about works, or publicize bourgeois political thoughts, or reflect current events, attack the shortcomings of the times, or praise the spirit of patriotism and repentance, the feelings of worrying about the country and the people, and the ambition to sacrifice for the country, or express lofty personality and grand momentum, or express the philosophical thoughts of evolution, modern natural science knowledge and new things in life brought about by scientific and technological progress. These are all things that are not found in the old literature or rare, and they were in the arsenal of bourgeois democratic thoughts with progressive significance at that time. Generally speaking, it shows the spiritual outlook of advanced figures in that era and reflects the social reality of that era. These realistic works, together with Liang Qichao's recommendation and comments, have formed-at least promoted-the new poetry trend of "advocating originality and flaunting patriotism", including Nanshe. In terms of formal innovation, Liang Qichao advocated "new sentences" or even "sentences translated from western books by Japan" to describe poetry, advocated popularization, "poems written in the most vulgar and unpretentious language", advocated epic majestic momentum and grand scale, advocated "poetry is not integrated" and "essential and extremely free music", and advocated the combination of poetry and music, which also had a far-reaching impact on the transformation of modern poetry style. As Zhu Ziqing said in the Introduction to the Poems of China New Literature Department, this revolution in the poetry circle "has a great influence on the new poetry movement in People's Republic of China (PRC)".

Liang Qichao himself did not take the title of poetry, and there were not many poems. However, his early poems have a vigorous and fresh spirit, showing the enterprising spirit of the emerging bourgeoisie and the broad mind of taking the world as its own responsibility, and have a strong sense of the times. In modern poetry, it can also be a family of its own. For example, a trip to the countryside, a trip to Lei 'an, Reading Lu Fangweng Collection, Twenty-six Farewells to Villages, Twenty-four History, Farewell to Liang Rennan Hannuo Lulu, Liu Jingzhou, Farewell to Zheng Qiufan, Xie and Six Farewells to Australian Comrades. Poems such as Water Turning around, He Xinlang and Inscription of the Fifteen Little Heroes can also be regarded as the best among China's poems. In particular, the volcano-like passion shown in these works once gave great encouragement to aspiring young people at that time, making them still fresh in their memories many years later. For example, his two self-excited books were written in 190 1 year. Until about 19 19, Comrade Zhou Enlai copied one of them to his classmate Mr. Wang Pushan. Zhou Enlai's poem "Great River aparajito" is also influenced by Liang Qichao's "Going to the Countryside" and other poems. Another example is that there are two paragraphs in Li's Mo Yuan Zawen that can also illustrate this problem. Diary of Yi Mao's return to China: "I arrived at the city gate at ten o'clock in the evening, but I parked my car here at night and I walked alone in the cabin. At night, the moon was bright and calm, and I was very angry because I remembered Mr. Liang Rengong's Song of Crossing the Pacific Ocean and recited it repeatedly. " "preface to the essays of the ink garden": "finally, I use a few idioms to illustrate my views and feelings about the future of the national government: I advocate that you must think of me ten years later. If you are crazy about raising the country, who will you talk about! ..... "This is enough to prove that some of Liang Qichao's poems are profound to everyone and strong to life.

His poems are also unrestrained in style and form, ups and downs, brave and fearless, diverse and eclectic, and sometimes they are written directly in prose syntax, combining reasoning with lyricism. Wang's Collection of Guangxuan Poems said that he was "arrogant and disdainful of asking questions." Zheng Zhenduo said: "His poems also have a handsome and unyielding attitude and a bold and unrestrained momentum, which is in tune with his prose." You can comment. Guo Moruo even said: "Many of his bold and unrestrained words and poems, although not divorced from the old style, are not all old classical Chinese. Under the constraints of the times and social conditions, he gave full play to his personality and his freedom. "

Third, the rise of novels and the development of drama.

The rise of novels is an important feature of the development of modern literature to the climax stage, and it is also one of the important achievements of the literary revolution in the late Qing Dynasty. Although China's novels originated very early, developed from generation to generation, and there are many classic works, which are enough to win glory for the motherland's literature, few people regard them as authentic literature in literary concept, and generally regard them as "casual books" in social concept. If someone likes reading novels, it means that he is tired of playing with things. Liang Qichao's revolutionary theory of fiction shows that people look at novels in different ways.

Liang Qichao affirmed the social value of novels from the perspective that novels can best reflect social life and meet the needs of human beings to be familiar with society. It also affirms the literary value of the novel from the perspective of its four forces: smoking, immersion, stabbing and lifting, which are the most attractive and touching, thus giving the novel the status of "best literature". He also appealed to politicians and even Confucian scholars who are interested in transforming society to care about and even engage in novel innovation and new novel creation. This not only fundamentally changed the traditional concept of despising novels in the past, but also inspired a large number of people to consciously engage in creation and translation, thus contributing to the unprecedented prosperity and popularization of novels in the late Qing Dynasty. As Wu said in the preface of Novel Monthly, "I think my husband drank Bingzi's The Relationship between Novel and Group Governance and advocated improving the novel. In the past few years, there have been countless new novels and translated novels in China, amounting to thousands of tons, which still exist. The emergence of a large number of novels and the rapid growth of novelists have also changed the literary structure of poetry and prose literary circles for a long time. Today, in the field of literature and art in Li Zhuo, novels have become a super power. Short, medium and long novels, whether in quantity, quality and art, or reflecting the society and expressing the depth and breadth of life, all have the atmosphere of leading the literary world. Compared with various literary forms, novels are also the most popular among readers. The literary world of Han Dynasty is the world of Fu, the literary world of Tang Dynasty is the world of poetry, the literary world of Song Dynasty is the world of Ci, and the literary world of Yuan Dynasty is the world of Qu. Although novels in Ming and Qing dynasties have made great progress, they have not reached the position of ruling the literary world. The literary world from the late Qing Dynasty to the present is dominated by novels. Although this is caused by the changes of the times and the development law of literature itself, we should not forget the pioneering work of Liang Qichao's generation.

Liang Qichao's novel revolution theory emphasizes the relationship between novels and social politics, and actually puts forward the idea that literature and art serve bourgeois politics. At that time, it was a brand-new and revolutionary view, which could meet the requirements of the times and contributed to the emergence of a number of works that exposed social abuses and publicized reform and revolutionary ideas. This view also influenced the radical young writers at that time. For example, Lu Xun advocated that "to save China, we must start with literature", and it must be said that Liang Qichao has a little shadow.

Liang Qichao's positive summary of the social function and artistic charm of novels has also changed the theoretical form of traditional novels with preface and postscript, comments and notes as the main genres, which is groundbreaking to some extent. Later, a series of novel theoretical articles, such as The Principle of Novel, The Position of Novel in Literature, On the Power and Influence of Novel, On the Relationship between Novel and Improved Society, directly inherited or were inspired by Liang. The appearance of this kind of novel theory articles reflects the new development of China's novel research, which indicates that our novel theory has entered a new stage, that is, a systematic and independent research stage with a certain academic system. They are not only the summary and development of China's ancient novel theory, but also the bridge between ancient novel theory and modern novel theory.

Liang Qichao made no achievements in novel creation, but his The Future of New China is China's first political novel and an experiment of his revolutionary theory in the novel world. Needless to say, the first four chapters of the book are full of patriotic enthusiasm and democratic ideas, showing strong anti-imperialist feelings and full emotions. Even as far as the history of novel development itself is concerned, despite the tendency of conceptualization in writing skills, it is a bold attempt to combine romanticism with realism to reflect real life and express beautiful ideals, thus creating an unprecedented type of characters in the history of China literature. Later, The Yellow Hydrangea, The Roar of Lions, The Rose and The Heroine of Eastern Europe belong to the same genre as The Future of New China. The most prominent feature of this kind of novels is to shape their ideal bourgeois representatives. Whether they are successful or not, they can be regarded as symbols of the development of bourgeois literature during the old democratic revolution, so they have to be given an extraordinary position in the history of novel development.

At that time, people regarded drama as a novel, so Liang Qichao's novel revolution theory also included an appeal for drama revolution. In his novels, poems in a drinking room and other works, he specifically affirmed the position of drama in the history of literature from the perspective of literary development, pointing out that the development of novels and operas is a great evolution of the motherland's literature, while opera is a "great country" in literature and a "giant" in poetry, and its representative works are incompatible with world writers; He also affirmed the literary value of opera from its own characteristics, pointing out that the genre of opera is relatively free, and it can describe the environment and express feelings "incisively and vividly" according to its intention, and "try its best" to shape different types of characters. In short, it is easier to express diverse and complicated social life; He also analyzed the reasons for the deterioration of China's music research, called for the improvement of elegant music and popular drama, introduced the influence of drama on western society, and put forward the idea of improving China's drama; He used a new point of view to evaluate the famous classical opera, which also has the significance of opening the atmosphere.

In drama creation, Liang Qichao's contribution, like novel creation, mainly lies in innovation rather than success. In particular, his first six plays, The Legend of Silla-Rome, revealed the dictator's evil and traitor's ugly behavior with grief and joy, and showed the revolutionary's lofty thoughts and heroic feelings with passion and pen style. The positive figures portrayed in the works, including, Li Qubing, Di, Huang Xiuqiu, Sophia, Yan and Chen, are the first batch of bourgeois revolutionaries or folk volunteers in China's literary creation, which is of epoch-making significance in the history of literature. The Legend of Silla romana is also the first legendary script in the history of China drama with the theme of the Western bourgeois revolution, which played a key role in the creation of legendary zaju at the beginning of this century. In the depressing atmosphere of the decline of the old drama, it rose suddenly and became unique, injecting new blood into the creation of legendary zaju; Its novel theme, fresh conception, galloping passion and words without rhythm constraints have also become powerful examples of getting rid of the rhythm constraints, opening up a new road for the creation of legendary zaju. His Cantonese opera Ban Ding Yuan Ping Western Regions, written in 1905, not only shows a strong patriotic spirit, but also makes a great breakthrough in form. The play uses a lot of folk tunes, which is more popular and local. In addition, the dialogue was mixed with foreign languages, so that all the people in the play appeared in suits and ties. Even the teachers and students of Datong School came to the stage with banners and colorful flags to welcome Ban Dingyuan back triumphantly, which had the nature of a lively drama for later generations. From the perspective of literary development, no matter whether this technique is successful or not, in the words of Liang Qichao, it is not enough to start over with such reckless means in that closed-minded era, and this is its significance. The application of this technique is synchronized with the rise of civilized drama and early drama. A Ying thinks that this kind of textbook "has a great influence on the later drama reform movement." You are absolutely right.

Fourth, the translation boom.

It is true that translators in the late Qing Dynasty should be strict, but it should not be forgotten that Liang Qichao made great contributions to the prosperity of translation in the late Qing Dynasty.

Liang Qichao's contribution first lies in theoretical advocacy. As early as 1896, he wrote "On the benefits of libraries to state affairs". When talking about the publishing style, he pioneered the "extensive translation of recent events in five continents", thinking that "in this way, readers will know the overall situation of the whole land and its strength, and will not sit in a well and discuss the world arrogantly". Later, he successively published a series of articles, such as Preface to Western Bibliography, On Translation Books, Narration of Datong Translation Bookstore, After Reading Japanese Bibliography, Chronicle of Continued Translation of Political Officials in Various Countries, Preface to Translation of Indian Political Novels, and On the Benefits of Learning Japanese. At that time, the argument was thorough and the planning was meticulous. Liang Qichao pointed out: "The country wants to strengthen itself, based on the translation of western learning, and students want to stand on their own feet, taking learning western learning as their contribution." On the one hand, he sharply criticized the shortcomings of Jiangnan Manufacturing Bureau in translating books up to now, and on the other hand, he put forward three propositions: "choosing translation evidence", "setting an example for public translation" and "cultivating talents for translation", many of which have been put forward by various schools and still have their academic and theoretical value. He opposes the two tendencies of "favoring one over the other" and "favoring the other", and advocates that "all translators should be proficient in Chinese and western languages and the specialized knowledge mentioned in their translated books, and should be the best, followed by both, and only one is not a talent." ..... Among the three, general education is the best, followed by general education. "This view still has practical significance. Undoubtedly, Liang Qichao's translation theory played a great role in promoting and guiding the development of translation in the late Qing Dynasty.

Liang Qichao also attached great importance to the influence of translation on China literature. For example, in his travels in Hawaii, he said that he would "try his best to import the European spiritual thoughts into the poems of newcomers". In the fourth edition of The Future of New China, he advocated that "all outstanding figures of Sotheby's, Milton and Barron should be translated in the genre of Quben" and that "the artistic conception and style of Taixi writers must be integrated into my poems, and then a new world should be opened up". In Poems Between Drinks, he eulogized Homer, Shakespeare, Milton and Tennyson, saying, "His poems are also full of dialects, which is great! Let alone algae, that is, its momentum has been taken away. " I hope ambitious young people can serve Ethiopia and Milton with goodwill to the people. This idea of consciously and actively trying to draw nutrition from foreign literature to enrich and transform China literature needed a little revolutionary spirit at that time. From the perspective of the history of literary development, this is more meaningful. As for the preface he wrote for the translation and printing of political novels, as Mr. A Ying said, it is "the first theoretical article to clarify the importance of translating novels" and "it is a great progress to understand novels from' paying attention to the world and people's hearts' to becoming a weapon of political and social change." Therefore, people attach importance to the translation of novels, and the scope is gradually expanding, forming a very prosperous situation. Similarly, because China people attach importance to the translation of novels, their writing has been greatly influenced. "

Liang Qichao himself is engaged in translation. In the case of extremely prosperous translation in the late Qing Dynasty, the forms of translation are also varied. There is a literal translation school, which can be represented by the Zhou brothers; The free translation school is represented by Yan Helin; There are translation schools, such as Su's Les Miserables; If there is a translation school, Liang Qichao should be the representative. Liang Qichao also has free translation-oriented works, such as The Adventure of a Beautiful Woman and Fifteen Heroes, which have exerted great influence, but his main contribution is in translation. Liang Qichao advocated introducing western academic ideas as unrestricted as possible, so he adopted a more convenient and understandable translation method. In fact, many of his Taixi cases, Biography of Three Founding Heroes of Italy, Biography of Madame Sui Lan and some chapters of Free Ice Room Book were translated from Japanese.

As far as translation itself is concerned, literal translation and free translation are naturally authentic. However, as far as the situation was concerned, translation and narration played a more universal role in spreading new ideas and promoting the development of translation. Liang Qichao himself said in "An Introduction to Academic Studies in Qing Dynasty": "During the period from Yin to Mao, the translation and narration industry was particularly prosperous, with dozens of magazines published regularly. Every time a new book is published in Japan, several translators are involved, and the input of new ideas is in full swing. But they are all so-called "Liang Qichao-style" inputs, which are disorganized and have no choice. This is endless, the faction is unknown, but it is more expensive and welcome by the society. The cover is like someone who has been in the disaster area for a long time. Grassroots bark and frozen finch rot rats don't want to do it, they are munching. Whether they can digest it, whether they can call for illness, and there is no good health product to replace it. " This is in line with the actual situation. Zheng Zhenduo said in the article "Mr. Liang Rengong": Liang Qichao introduced western philosophy, economics and other theories. "Of course, his basis is not the original, but the Japanese restatement, narration or translation. However, due to his fluency and understanding, most people in China can briefly know the theories of Bacon, Descartes, Montesquieu and Rousseau, but this is not because of several translations by Yan Fu, but because Mr. Liang Rengong has repeatedly retranslated or restated these theories. " Wang Zhefu also said in the History of the New Literature Movement: "As for personally introducing western academic culture, Liang Qichao should be regarded as the most meritorious person. After the failure of the Reform Movement of 1898, Liang escaped from Japan and lived in an ice room, concentrating on Darwin's theory of evolution, Rousseau's naturalism, Bacon's empirical philosophy, Descartes' philosophy of reasoning, madame roland's revolutionary deeds, equality and freedom and other works. These were introduced to China from Japan. Although his Essays in the Ice Room was not as popular among young people as it used to be, it was the latest academic work at that time and had a great influence. "