Take Lu Xun as an example to talk about what is the origin of the collective.

The first is the relationship between rebellion and transcendence. In fact, the development of traditional literature in the late Qing Dynasty could no longer reflect the reality, so the new literature surpassed and denied the traditional literature. Secondly, we must see that there is also an inheritance relationship. From the ideological level, this inheritance is the inheritance of traditional ethics-political and cultural spirit, the inheritance of realistic aesthetics (Shen Congwen may highlight the traditional pastoral poetic aesthetics), the inheritance of people-oriented thought, the inheritance of strong national self-improvement psychology and collective psychology from the psychological point of view, and the China and nationalization of language, narrative, chapter and structure from the literary form. There is a lot of room for free play on this topic, so we should fully express our opinions.

Before the May 4th Movement, literary research generally followed China's traditional methods, such as annotation, reading notes, reading notes, poetry comments, novel comments, historical biographies and records. Then, modern academic research methods gradually penetrated into China, and the academic research methods focusing on viewpoints, materials, logical quotations and theories gradually gained popularity. Under the eaves of literary research, Hu Shi's research on novels and literary history is remarkable. Fiction research and literature history research accounted for half of the literature research in the May 4th period. A Dream of Red Mansions, represented by Hu Shi, has become a model for a generation of scholars. The author thinks that "New Dream of Red Mansions" is equivalent to Oracle Bone Inscriptions and Dunhuang studies. Hu Shi studied and compared different versions of A Dream of Red Mansions in order to find a shortcut to solve the problem. Although later academic history held an in-laws view on Hu Shi's study of A Dream of Red Mansions, the academic influence of the new Dream of Red Mansions was unprecedented, and the promotion of Yu Pingbo and others' research really made people in China, Qin Wei serve. In addition to A Dream of Red Mansions, Hu Shi also textual researched The Journey to the West's novels, The Water Margin, The Biography of Flowers on the Sea and so on. Various exegesis played a guiding role in the study of China's classical novels in the 20th century. The study of literary history is another important attempt by Hu Shi to establish a modern academic model. The compiling style of literary history penetrated into China in modern times. From Lin Chuanjia's History of China Literature to Hu Shi's History of Vernacular Literature, there are countless works on China's literary history, forming a picture of the study of China's literary history. Analysis of the reasons, one is the teaching needs. Most of the history of China literature is revised as a handout. Second, the field of literary history research is extremely open, and there are not many systematic studies by predecessors, which is convenient for scholars to play. The third is the need of the development of new literature. The development of new literature not only needs to establish its orthodox position in the history of literature, but also needs to obtain creative resources from the experience of literary history. Hu Shi's History of Vernacular Literature is a masterpiece of literary history in the 1920s. Sixteen Chapters originated in the pre-Qin Dynasty and ended in the middle Tang Dynasty. In the "wedge" of the History of Vernacular Literature, Hu Shi admitted that its purpose was "two-two". "First, I want you to know that vernacular literature was not invented by a few people in the past three or four years; I want everyone to know that vernacular literature has a history and a long and glorious history. " "Second, I want everyone to know the position of vernacular literature in the history of China literature." Hu Shi tried to preface the New Literature and the May 4th Movement through the History of Vernacular Literature, and established the position of Vernacular Literature in the history of literature. Although this is only Hu Shi's own subjective imagination, from the perspective of literary research, Hu Shi's problem consciousness embodied in his research has more academic value. From an academic point of view, there are too many omissions in Hu Shi's literary history. Talking about ancient literature, the Book of Songs and Songs of the South are indifferent. Nineteen Ancient Poems were put forward in the literary discussion in Han Dynasty. Specializing in folk songs, essays and story poems during the Han and Wei Dynasties. He criticized the works of scholars in the Jin Dynasty and dedicated Buddhist translation documents. The part alienated by Hu Shi is the part that has been played the most by contemporaries in previous literary studies and lectures on literary history. Such as Hu Shi, Liang Qichao and Lu Kanru. There are special letters and articles to discuss the date of peacock flying southeast. The reason why he has a soft spot for story poetry is directly related to his dwarfing in China's literary tradition. Therefore, Hu Shi consciously put forward a series of literary history problems that he was thinking about at that time through the writing of the History of Vernacular Literature, so as to attract more attention from academic circles.

At the same time, Liu's Lecture Notes on China's Medieval Literature History and Lu Xun's A Brief History of Chinese Fiction caused a sensation in literary history research works. Lecture Notes on the History of Medieval Literature in China was completed on 19 17, and Liu Shi was Professor Peking University. The handout is divided into five lessons. The first lesson is introduction; The second lesson is stylistic discrimination; The third to fifth lessons are the literary changes in the Han, Wei and Six Dynasties. In the traditional literature research, the literature of the Han, Wei and Six Dynasties has always been despised by people. Yao Nai put forward in "Preface to Ancient Characters": "Ancient prose is evil if it does not take people from the Six Dynasties." Liu emphasized the difference between literary works and academic works on the basis of Ruan Yuan's ancient prose theory, which effectively attacked the orthodoxy of Tongcheng School. Therefore, choosing The History of China Literature as the research object reflects Liu's evaluation of the history of literature and is also an innovation in the field of traditional literature research during the May 4th Movement. In the compiling style of literary history, The Lecture Notes on the History of China Medieval Literature mainly compiles the comments at that time, and the author himself adds some case notes. Although it may seem too brief from the perspective of thematic research, due to Liu's profound academic skills, the collected articles are very representative, and simple case descriptions play a finishing touch, making the whole literature history lecture notes appear clear. For example, in the second lesson, we talked about the analysis of writing style. Liu explained that after Ruan Yuan's "Writing Style Pair" was the main work, he quoted relevant classics such as the Book of Jin, the Book of Song, and the History of the North, so that readers could see it at a glance. The fifth lesson is about the general situation of Chen Wenxue in Song and Qi Dynasties. Liu pointed out: "China literature flourished in Han, Wei and Jin Dynasties, but it is a different discipline, which has been unique in literature since Liu and Song Dynasties." Later, it was proved by three materials, that is, when Song Wendi was established, a literary museum was established; Appoint Xie Yuan to be responsible for this matter; Ming Di established a clear viewpoint, which is divided into five parts: Confucianism, Taoism, literature, history and Yin and Yang, and the literature is separated separately. Such arguments are common in the handouts and can be seen everywhere. Through such concise quotation materials, the context of literary history is very clearly outlined. The author thinks that Liu's Lecture Notes on the History of China's Medieval Literature is not long, but it has its own system, which was well received by academic circles at that time. For example, in speeches and personal letters in the 1920s, Lu Xun highly praised Liu's Lecture Notes on the History of China Medieval Literature.

Hu Shi's History of Vernacular Literature focuses on the study of general history, Liu's Lecture Notes on the History of China's Medieval Literature is the only study of dynastic history, and Lu Xun's A Brief History of Chinese Novels opens up a new way for stylistic research. A Brief History of Chinese Fiction is a pioneering work to study China's traditional novels, which has been well received by his contemporaries. In his reply to Su, Hu Shi calmly pointed out: "Lu Xun has his own strengths. For example, his early literary works, such as his research on the history of novels, are excellent works. " Such as Zhou Zuoren, Zheng Zhenduo and Ye Gongchao. , praised the "A Brief History of China's Novels". This manuscript was compiled by Lu Xun/Kloc-0 when he was talking about the history of novels in Peking University in the 1920s. The mimeographed version is called A Brief History of Novels, with only 17 articles, which was later expanded to 28 articles. From the initial speech to the final edition, we can see that Lu Xun's understanding of the development of China's novels is gradually deepening, and in general, the wording is becoming more and more refined. In Zhao's A Brief History of Lu Xun's Fiction, the author compares it with A Brief History of Chinese Fiction, and points out that Lu Xun's examples and titles in the book are very elegant. In the final edition, some novels in the original speech that obviously lacked rebellious content or unreasonable plot were deleted (such as deleting Long Bridge, Wang Youyu, Cao Taishou and so on). The title of the article has also been scrutinized and summarized more accurately. For example, the eighth and ninth chapters of A Brief History were originally titled Biographies of Tang People, but they were changed to Legends of Tang Dynasty when they were finalized. This is mainly due to the fact that the legendary style became the creative style of the literati in the Tang Dynasty. At the same time, in order to distinguish it from the long operas of Ming and Qing Dynasties, the legends of Tang Dynasty are summarized as "legendary sketches". (Lu Xun's A Brief History of Chinese Novels is characterized by its system, modern vision and ancient prose compilation method. There are 28 books, which outline the development clues of China's novels from pre-Qin to late Qing Dynasty. A large number of writers' works are listed, with rich materials and detailed exposition, which is unprecedented in the study of the history of China literature. Lu Xun's research has surpassed that of ordinary historians, which is his vision as a writer. He has a strong consciousness of modern literature. Different from ordinary historians, Lu Xun's research on the history of novels does not regard novels as history, nor does it equate novels with academics. He regards novels as literary works. For example, in Shi Shuo Xin Yu, Lu Xun believes that the value of the work lies in "entertaining" and "being far practical and close to entertainment" rather than "comparing Taoism and discussing politics". He criticized the novel Ye Suan Lu Ci as "vain in learning and generous in spirit" and "boring in writing", and thought it was "not enough to be called artistic writing". This is to consciously separate literature from politics, history and scholarship, and highlight the value of literature itself. Lu Xun's research on the history of novels pays attention to the compilation and textual research of ancient prose, and the data collection results related to A Brief History of Chinese Novels are embodied in Goushen Ancient Novels, Legends of the Tang Dynasty and Notes on Old Events. Regarding the collection and collation of historical materials, Lu Xun himself recorded: "At that time, it was difficult to buy books, so he left the Central Library, the Public Library and the Library of the Ministry of Education. , forget all about eating and sleeping, determined to pursue, get happiness. Therefore, no matter what you choose, it is no different from a book, but it is hard to come by and you will cherish it. " The reason why he attaches importance to the collation and textual research of ancient books may be related to the influence of the style of study of Pu Xue in Qing Dynasty and Zhang Taiyan's way of studying as a teacher, and also to Lu Xun's self-indulgent personality.

From the May 4th Movement to the 1920s, many important research achievements emerged in the study of poetry, literature, drama, ci, novels and even ancient literary theory, such as Huang Kan's Notes on Wen Xin Diao Long, Wu Mei's An Introduction to China's Drama, Chen Zhongfan's History of China's Literary Criticism, Yu Pingbo's A Dream of Red Mansions and You Guoen's An Introduction to Chu Ci. Other scholars began in the 1920s. Gu Jiegang's research on folk songs, ancient literary theory, the collation of Song Ci, Zheng Zhenduo's popular literature, the collection and collation of literary historical materials in the late Qing Dynasty, Sun's novel version catalogue, Xia's poet's chronicle, Liu Dajie's literary history and literary criticism have shown an increasingly strong development momentum.

Corresponding to those literary studies with strong academic color, the study of new literature began its brilliant course from the May 4th Movement to the 1920s. As a new trend of thought, new literature first attracted people's attention, but with the growth and development of new literature, it has also become the research object of researchers. The scope of new literature research is extremely extensive, covering all aspects of literature, but from the manifestations of the May 4th Movement and the 1920s, it is mainly manifested in three aspects: First, criticism of writers' works. Second, it is the advocacy and discussion of literary theory. Third, the study of literary history.

Criticism of writers' works is the initial form of new literature research, which is manifested in the intervention of criticism in literary creation. On the one hand, the literary position of new literature depends on these criticisms and studies, on the other hand, the creative experience of new literature also depends on these criticisms and studies to reveal and summarize. The literary criticism of new writers plays an important role in establishing the "main room" status of new literary works. Like Lu Xun's novel creation achievements, like the poetry achievements of Hunan poets, like the artistic value of Yu Dafu's Sinking, like Xu Zhimo and Wen Yiduo's exploration of new metrical poems, they are gradually recognized by the society through the new writers' own discoveries and comments. At that time, outstanding critics such as Zhou Zuoren and Shen Yanbing excavated and summarized the creative experience of new literature, which effectively promoted the development of new literature. Zhou Zuoren first commented on Lu Xun's True Story of Ah Q. When Shen Yanbing was the editor-in-chief of Novel Monthly, he not only introduced a number of new works by new people, but also made full use of his advantage of reading more manuscripts to write a large number of targeted comments, and pointed out the problems faced by new literary creation in a timely and clear manner. The future of creation, creative criticism in April, May and June, general trend-miscellaneous comments on the creative world, what is literature-my thoughts on modern literary world, etc. In the development of new literature, theoretical advocacy is often the conscious expression of new writers' literary consciousness. Hu Shi's introduction of short story writing format, Zhou Zuoren's advocacy of "human literature" and "civilian literature", his stylistic experiment of short poems, Guo Moruo's and Cheng's discussion of proletarian revolutionary literature, and Liang Shiqiu's introduction of new humanistic literary criticism all reflect the new writers' conscious grasp of the nature of literature and their requirements for staged development. Without the emergence of this ideological literary theory and thought, the modernization consciousness of China's literary research would not reach a highly conscious level. Under the influence of new literary thoughts and theories, many literary researchers have changed their research attitudes and turned from traditional research to new research fields. For example, an important reason for Wen Yiduo to study China's classical poems is that he hopes to experience the skills of poetry creation from the traditional study of metrical poems. (Zhao's study of China's classical operas and novels was influenced by Zheng Zhenduo's thought because he joined the Literature Research Association. It can be said that the phenomenon that new writers are also literary researchers is a common phenomenon in literary research in the May 4th Movement and the 1920s. This highlights the profound ideological connection between the new literary trend of thought and literary research. Especially in the middle and late twenties, the evaluation of new literature tends to establish its legitimacy from the perspective of literary history. Besides Hu Shi's China Literature in the Past 50 Years and Chen Zizhan's Changes of Modern Literature in China, many historical materials about new literature have been compiled and published. For example, Hayakawa's Yesterday, Today and Tomorrow of China's New Poetry, and Lou Ji's Essays on Revolutionary Literature, etc. The appearance of these achievements means that the study of new literature really began to enter the field of academic research, which laid a solid foundation for the study of new literature to become a professional course of Chinese Department of universities and a series of new literature history in the 1930s.

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