He Qifang's Answer to Autumn

He Qifang (1912-1977), male, formerly known as He, was born in Wanxian, Sichuan (now Wanzhou, Chongqing) to an old family. Modern famous essayist, poet and literary critic. He used to be the director of the Institute of Literature of China Academy of Sciences (now the Institute of Literature of China Academy of Social Sciences) and a member of the Department of Philosophy and Social Sciences. From 65438 to 0935, he graduated from the Philosophy Department of Peking University, taught all over the country, founded publications and published a large number of poems and political articles, expressing great indignation at the passive anti-Japanese war of the Kuomintang. His early works include Hanyuan Collection, Night Song, Prophecy, Night Song and Sun Song, which are deeply loved by readers. He also wrote Autumn, and now he has been selected as a textbook for middle schools. "I sing for boys and girls" was included in the textbook of the seventh middle school, and "How vast life is" was included in the textbook of the seventh language of Soviet education.

From 65438 to 0938, he taught at Lu Xun Art College in Yan 'an, joined the China Producer Party in the same year, and did a lot of pioneering work for revolutionary literature and art. After the founding of the People's Republic of China, he served as a member of the first, second and third CPPCC, a deputy to the third National People's Congress, a member of the All-China Federation of Literary and Art Circles, a member of the Secretariat of the Chinese Writers Association, a member of the Department of Philosophy and Social Sciences of China Academy of Social Sciences, a director of the Institute of Literature Review. He is a poet who made great achievements in the great era and great changes in the middle of the 20th century.

He Qifang loved China's ancient poems and novels when he was a child. From 65438 to 0929, he went to Shanghai to study in China Preparatory School and read a lot of new poems. 1931-1935 studied in the philosophy department of Peking University.

He Qifang published poems and essays in magazines such as Modern during his college years. 1936 published Bian and Li Guangtian's poetry anthology Hanyuan Collection, 1937 published prose anthology Hua and won the literary gold medal in Ta Kung Pao. After graduating from college, He Qifang taught in Nankai Middle School in Tianjin and Laiyang Rural Normal School in Shandong.

After the outbreak of War of Resistance against Japanese Aggression, He Qifang returned to his hometown of Sichuan to teach, while continuing to write poems, essays and essays. 1938 North Yan 'an, taught at Lu Xun Art Institute, and later served as the head of Lu Yi Literature Department.

After the founding of New China, he mainly engaged in literary research and criticism, and participated in the leadership of the literary and art circles for a long time. He used to be a member of the Chinese Federation of Literary and Art Circles, secretary of the Secretariat of the Chinese Writers Association and director of the Literature Research Institute.

Poetry is the first style that He Qifang likes and uses. He claimed that when he first started writing, he "dreamed of something beautiful and gentle all day". His early works clearly showed the thoughts, feelings and personality of a young bourgeois intellectual. He is dissatisfied with the ugly reality and doesn't know where the way out is; He longs for the good things in life, but lacks enthusiastic pursuit. So more wandering in homesickness, longing and dreams, leaving only loneliness and melancholy.

He Qifang showed persistent pursuit for the perfection of art form. In terms of poetry, he paid great attention to complete form, rigorous rhythm and harmonious rhythm at the beginning of his creation, and paid attention to expressing the image and artistic conception of poetry. So his poems are obviously exquisite and gorgeous. In prose creation, he claimed that "my job is to find a new garden for lyric prose". He is good at combining the characteristics of poetry, writing rich and touching words, borrowing novel metaphors and allusions, and rendering magical colors and patterns, which makes his prose unique.

It was in the early days of the Anti-Japanese War, especially after Yan 'an, that the change of ideological and artistic style was really obvious. At this time, he gradually left his dream and faced reality, and his poetic style tended to be simple and clear.

Collected Works of He Qifang (People's Literature Publishing House) is a six-volume book, which contains most of He Qifang's creations and works.

(Excerpted from China Encyclopedia? China literature (1992 edition).

[Edit this paragraph] He Qifang's writing characteristics

He Qifang, who entered the literary world in the early 1930s, originally appeared in this way: he expressed his subtle inner world, paid attention to hints and symbols, and pursued the beauty of color and image in poetry. He studied under the guidance of British Victorian romantic poets and French aestheticism and symbolism writers. ...

In depression and depression, the author locked himself in the lonely and joyful land of Xiaotian, and described in detail his personal dreams about love, ideals, life, past and future. In the dreamlike world, the author expresses the anguish and hesitation of life by creating a lonely, lonely and depressed atmosphere. This kind of anguish and hesitation is inseparable from the author's own life experience. He Qifang was born in a feudal family in a remote mountain village. Although he was spoiled and sheltered by his grandmother and mother, his childhood was still a little innocent and happy. However, his father's strict feudal family instructions soon made him lose his only innocence and joy. In addition, the boring private school life made his childhood very bleak and developed a lonely and melancholy character. Even in middle school and university, He Qifang is used to locking himself in a lonely world and living in his own dreams. Coupled with the failure of first love, this loneliness and pain are deepened. So He Qifang can only go to the dream world to find that sweet love. Loneliness and loneliness make He Qifang lack confidence in reality and the future, and lack trust in himself and others.

This kind of thought is often shown in his early prose. In order to fully express this kind of depression, hesitation, depression, stagnation and depression, words such as loneliness, loneliness, desolation, melancholy and melancholy are often used unabashedly in works. The work Tomb is a typical representative of He Qifang's creative ideas. In the author's pen, "the clean stream of Song Dynasty" is "cold" and "the sunset" is "like a cruel pen", while the shadow of the protagonist Lin Xue is "lonely and slender" ...

First, "humanization" is natural and unique in emotional appeal.

In He Qifang's early prose works, in order to create a dreamy atmosphere, the author adopted a lot of modern techniques to achieve his goal through "monologue" style, hints and symbols, psychological flow and complex images, thus making his works as beautiful as poetry. "Monologue" is a modern prose discourse mode that coexists with "gossip". Its greatest characteristics are closeness and self-reference. In other words, the author doesn't care who he confides in, but appeals to his lonely inner world and talks to himself in the article, which makes the inner world more lonely. This monologue style is obvious in Painting a Dream. Even in "I'm hooked on smoke clouds" (preface to painting a dream), the author tells the reason why he created "painting a dream" with the same monologue. The whole story feels like a dialogue between two people in narrative form, but it is actually a monologue of "I" As a drifter of the times, the author can't find a sense of harmony with the real world and is exiled by his own home. He can only find a peaceful habitat, a dream garden of Eden, a distant land and a virtual utopian illusion in his imagination. In fact, monologues are also embodied through psychological flow, which is the external expression of psychological flow.

In the tomb, the "tomb" symbolizes that love in real life is buried. To find love, you can only go to another world.

The author skillfully humanizes nature and endows animals and scenery with human spirituality. In his works, grass has knowledge, flowers have feelings and streams have meaning. They will say "good morning" to Rinrin who goes to fetch water from the well beside the willow tree in the morning. They will often discuss what can make Rinrin happy; They will whisper to each other, worrying about Rinrin's health and her melancholy eyes; They will tell Lin Xue that Rinrin's true feelings and secrets in his heart ... directly express the "feelings" of nature, thus avoiding the forced appearance of the protagonist's psychological activities, reducing the blunt disadvantages and increasing the sense of fluency. Nature is the existence of a life. Grass bugs, wild bees, Yuan Ye and sunset are full of vitality. We can see the beautiful girl Rinrin's kind and simple character, and the appearance of melancholy young Lin Xue. This is the artistic conception of "what poets write, what other writers can't write"

He Qifang wrote prose with the brush and ink of landscape painters and the mind of poets, which illustrates this point.

His prose is not narrative or description, but creates a sad mood. We don't know why Rinrin died or why Lin Xue was depressed, but we can really feel the sadness. Sorrow in the grave is like a poem.

Second, the essence of language, careful use of words.

He Qifang, as the representative of the sketch writer in the second decade, has no sense of shame. As an essayist, his position in the history of literature far exceeds that of poets and critics. His Painting Dreams (Cultural Life Publishing House, 1934 edition) won the 1936 Ta Kung Pao Literature Award; This is only a superficial honor; More importantly, his "Dream of Painting" and "Deliberate Collection" (cultural supply agency 1938 edition) created the "He Qifang style" recognized by people at that time, and made the sketches become independent works of art with his "monologue" creation practice, which made him raise the sketches born in the first decade to a newer artistic level in the second decade. Sima Changfeng made the following comments in his New Literature History of China: He Qifang's prose is at its peak in writing skills, but its texture is too thin and the scope of observation and feeling is too narrow, which is nothing more than a sigh of youth and love.

In my opinion, the article "Grave Robbery" is a very exquisite work of art, with jumping chapters and gorgeous rhetoric, creating a mysterious atmosphere. In addition, the works can be read as prose poems. Strong lyricism and poetic language are thought-provoking In many emotional fragments, there is obvious jumping. Generally, interlanguage is not used, and there is no narrative connection between the first and second fragments. The author intentionally or unintentionally leaves the linking program to the reader to imagine and fill in. The author's meticulous memories and fantasies about the future are actually "drawing dreams", drawing some difficult dreams, imaginary dreams and fictional dreams. These dreams have a strong lyrical meaning, and also reflect the subtlety of the prose collection "Painting Dreams" to the fullest. For example:

1, with long sentence pattern and slow rhythm, is suitable for conveying deep and melancholy feelings. For example, "the field outside is like a pattern on broken porcelain, and the buildings are adjacent." The ears of rice are golden, undulating with strong waves, and the breeze conveys mature fragrance. " A long sentence shows us a picture of a bumper harvest in rural areas.

"Early autumn dusk. The horizontal screen of Cui Yan embraces the vast grassland, with evergreen cypress trees as the canopy, and the winding Qingxi flows with deep coldness ... "The evening drowns the singing of grass insects and the wings of wild bees, just like the evening sunseeker. ""Late autumn evening. The rice and grain in the field have already been harvested, and the yellow cut stems are desolate under the blue sky. The singing of grasshoppers and the flapping of wild bees are unknown, and vilen is shrouded in loneliness ... "Short sentences can't convey the author's long rhythm of wandering and depression when creating artistic conception. These long sentences, which correspond to each other before and after, make their rhythm slow, just like the deep and stagnant melancholy of the collaborators.

2, the combination is strange, giving people a sense of freshness. For example, "The sunset down the mountain is like a warm red lip, and I just kissed the word' Rinrin' on that small tombstone ..." "In that eye, the autumn of yellow leaves spread out, and the autumn waters of the golden wind spread out, accompanied by the bells of sheep, and the dream of a deep shepherd girl began." The comprehensive application of these symbolic techniques and various rhetorical devices such as pain, metaphor and parallelism makes the sentence pattern strange and creates an artistic effect that can be called "defamiliarization". This poetic language stimulates the appreciation of the aesthetic sense, breaks the language convention and drives readers to savor it carefully.

3. The essence of washing. Mr. He Qifang once wrote in The Return of the Native Miscellanies? The preface says: "It often takes two or three days to complete an article of two or three thousand words, and almost every word of it has been touched by my spiritual fingers." We can also see this in the tomb. "The setting sun down the mountain is like a gentle look, like a caressing finger sticking out of Pingchou, poking through the leaves in the forest, and landing on a small tombstone by the stream, rubbing the white stone tablet, as if reading the words inscribed by Zhu: the tomb of Liu's little daughter."

In my opinion, poetic artistic conception, prose-like language, exquisite structure, soft language, rich colors, sincere and depressed feelings and "interest beyond the abyss" have opened up a new garden for lyric prose and won great honor for He Qifang. Among them, the beautiful and concise language is one of the important reasons why Painting Dreams was appreciated by readers in the year of publication.

1On August 2nd, 936, Liu Xiwei commented on Li Guangtian in Tianjin Ta Kung Pao, comparing the works of Li Guangtian and He Qifang. The article said: "Mr. He Qifang wants color, convexity, depth and beauty." This can also be said to be an evaluation of aestheticism and formalism in the tomb.

[Edit this paragraph] He Qifang changed his name.

He Qifang, formerly known as He, is a famous modern poet and literary theorist. The Chinese teacher changed "Yong" to "Qi" and became He Qifang. The change of this word makes the name shine, from a very tacky name to a meaningful reputation. There are two major changes from "Yong" to "Qi": one is to change the surname to nine and name it after the surname, which expands the capacity of the name and enriches the connotation of the name; The second is to change the three notional words into two realities and one deficiency, so that the name is full of vitality and emotion, and with the rise of the heat wave, it is touching. He Qifang-how fragrant, beautiful and intoxicating! The name exudes poetic and romantic feelings, and it is really a rare good name. He Qifang didn't expect much, and later became a famous poet and literary critic, which made him "worthy of the name" and his reputation spread far and wide.

[Edit this paragraph] Poetry anthology

Autumn is selected from the prediction written by He Qifang in his early years (193 1- 1933). Unlike the poets of that period, they were not so symbolic, mysterious and philosophical, showing profound thoughts; Unlike him, who shut himself in a narrow personal world and lingered on the affair between men and women, he had expectations except bitterness and bitter thoughts. Instead, we cast our eyes on the activities of the countryside and ordinary people, telling other people's affairs as a viewer, showing a clear and pure poetic style. Poetry is written in a straightforward Chen Qi style. On the surface, it seems simple and straightforward, lacking symbolic meaning, but in fact it is meaningful. There is such an atmosphere and charm in the poem, which is the most fascinating to readers.

The so-called aura, in literary works, especially lyric works, usually refers to the overall image, charm and charm in the works. It is similar to Yan Yu's Meteorological Chaos, with a broader meaning of meteorology, including all aspects of content and form; The atmosphere seems to be mainly related to the content, involving images, artistic conception, emotions and so on. The atmosphere can be felt without words, as Si Kongtu said, "God doesn't know, but it's difficult to know." As the Tang people said, "Lantian is warm and fertile, and it is close at hand, not before approaching." But when you read it, you can understand it clearly, and you should be able to follow your heart and form it in the text.

In Autumn, the poet described the life of the peasant family in the most concise language. Every poem is a picture, and three verses make up three composite pictures. The combination of pictures creates a special atmosphere, which is both smooth and integrated.

The first painting is "Farmer Harvest figure". This is not about a farmer, but about general farm activities. Two scenes were written, one was logging in the valley, and the other was carrying melons and fruits between fences. Valley logging is placed at the beginning of the article, and the tinkling sound comes from a distance and appeals to hearing; Cool dew is shaken off, and vision and touch are appealed to. It's really a world scenery, which inspires people's memories of distant impressions. There is no such thing as "cutting trees and singing birds" in the Book of Songs. From the valley to the tree " Gone with the Wind and The Valley often appear in He Qifang's early poems, but they are both fictional, using figurative and extended meanings, which are both realistic and have special charm. The poem does not specify the mood and expression related to carrying melons and fruits, but readers can think it is joyful and smiling. "Habitat" was originally used to describe living things, but now it is used at the end of this poem to summarize the situation of farmers' homes in autumn, visualize the nothingness of east (autumn) and west, and create a relaxed and quiet atmosphere.

The second picture is "Go Fishing in Frost Morning". Among them, the words "fog" and "frost" (and "dew" in the last section) often appear in He Qifang's early poems, conveying a cool, cold and hazy atmosphere. The picture also includes a series of activities: casting nets, fishing and boating. These ordinary moving pictures all contain a faint, distant, clear and quiet charm here. The word "gently" often appears in He's poems, which seems to be "handy" and shows the fisherman's carefree mood. Perhaps in He Qifang's early mind, autumn is really so quiet and far away.

The third picture is "the girl's love picture". This poem is written with weeds, crickets and streams, which is equivalent to the so-called "feeling interest" written by the ancients, that is, talking about other things first, feeling from the interest and feeling from the scenery. Weeds are overgrown and the stream is clear. This is not a human activity, and there must be a continuation afterwards, that is, girls are in love. The noisy summer of nature has passed, but autumn has quietly changed. When people are silent, they mostly look at themselves and listen to their inner voices. After listening to the flute on the back of a cow for a summer, the shepherdess suddenly stopped listening, and a corner of her heart began to sprout. It is really "like roots shaking the earth on a hot summer night" (He Qifang's poem "Summer Night"). Writing about love, especially first love, is what he was good at in his early years. This time, he wrote more subtly and brilliantly. There are only five lines in this paragraph, which is about the transition from place to insider, and the transition from writing first love from scratch. The poet chose the specific angle of "shepherdess's eyes". Although he didn't write his eyes clearly, the reader can see the purity and clearness inside, which is the special look of the first-love girl when she seems to be in love, but she doesn't. And comparing these three poems, we can see that the first two poems are mainly about external scenery and personnel, and the third poem is really written in the depths of the soul, writing subtle feelings, which makes the whole poem gather real feelings. If you don't write like this, it will be difficult to enter the mood, enter the spirit, and the poem will "float".

In a word, Autumn creates an atmosphere that comes from the world and is far away from the secular world by depicting different scenes and pictures. This kind of atmosphere is quiet, Qingyuan, sweet and soft. It describes the leisure scene after a busy summer, so there is a quiet atmosphere; It describes the paradise-like life on earth, and it has a Qingyuan flavor, without any hardships and bitterness of farmers. It is about the hazy and pure love of boys and girls, so there is a sweet atmosphere; Like He Qifang's other poems, it uses soft words to write beautiful images, avoiding noisy scenery and clumsy words, so it has a soft atmosphere. Every painting in the poem, as well as every image in the painting, is harmonious and unified; So this atmosphere is characterized by quiet, Qingyuan, sweet, gentle and so on. You can't be a master at this point. However, when He Qifang wrote this poem, he was still a 20-year-old college student!

Poetry is the first style that He Qifang likes and uses. He claimed that when he first started writing, he "dreamed of something beautiful and gentle all day". His early works clearly showed the thoughts, feelings and personality of a young bourgeois intellectual. He is dissatisfied with the ugly reality and doesn't know where the way out is; He longs for the good things in life, but lacks enthusiastic pursuit. So more wandering in homesickness, longing and dreams, leaving only loneliness and melancholy.

He Qifang showed persistent pursuit for the perfection of art form. In terms of poetry, he paid great attention to complete form, rigorous rhythm and harmonious rhythm at the beginning of his creation, and paid attention to expressing the image and artistic conception of poetry. So his poems are obviously exquisite and gorgeous. In prose creation, he claimed that "my job is to find a new garden for lyric prose". He is good at combining the characteristics of poetry, writing rich and touching words, borrowing novel metaphors and allusions, and rendering magical colors and patterns, which makes his prose unique.

It was in the early days of the Anti-Japanese War, especially after Yan 'an, that the change of ideological and artistic style was really obvious. At this time, he gradually left his dream and faced reality, and his poetic style tended to be simple and clear.

Collected Works of He Qifang (People's Literature Publishing House) is a six-volume book, which contains most of He Qifang's creations and works.

[Edit this paragraph] Thought

He Qifang was admitted to Peking University and Tsinghua University with excellent results of 1930. Enter the Foreign Languages Department of Tsinghua University first, and then leave. 193 1 autumn, entered the philosophy department of Peking University. 1935 After Peking University graduated, He Qifang taught in Tianjin Nankai Middle School, Shandong Laiyang Rural Normal School and Chengdu United Middle School. /kloc-0 went to Yan' an in August, 938, and was assigned to work in Lu Xun Art College. 1942 participated in the Yan' an symposium on literature and art. 1949 participated in the preparation and attended the first literary congress. 1953 was transferred to establish the Institute of Literature (formerly Peking University, 1956 was changed to the Institute of Literature of China Academy of Sciences, and later to the Institute of Literature of China Academy of Social Sciences), and served as the leader, deputy leader, director and first-class researcher of the leading group. He used to be a member of the Department of Philosophy and Social Sciences of China Academy of Sciences, the editor-in-chief of Literary Criticism, and the editorial boards of People's Literature and Literary Newspaper.

Zhou Yang once commented on He Qifang's academic contribution and spirit: "Comrades constantly pursue and explore in art and have their own independent achievements in theory. Comrade Qi Fang is rigorous in his studies and studious. He studied the formal characteristics of China's classical poems, folk songs and new poems, put forward the idea of establishing modern metrical poems according to the objective laws of modern Chinese, and made new explorations on the forms of poems in his own creative practice. He put forward many original opinions on the study of China's classical literature, which promoted the development of China's classical literature research. He said more than once that doing a good job in the study of classical literature, especially summing up those problems with regularity, will not only help the development of socialist literature, but also enrich China's Marxist literary theory. "

As an outstanding poet, He Qifang not only wrote many beautiful poems that are well-known and widely read, but also was the first scholar who systematically explored and established the theoretical system of modern metrical poems since the May 4th New Literature Movement. As early as 1953, he put forward the problem of modern metrical poems, divided new poems into metrical poems and free poems, and advocated the establishment of modern metrical poems. 1954, he wrote a long article about modern metrical poetry, which systematically and deeply demonstrated and developed the necessity of establishing modern metrical poetry, the rhythm and rhythm of modern metrical poetry, and the fact that modern metrical poetry could not adopt five or seven words. He proposed that modern metrical poetry should not only have the general characteristics of poetry, but also have a certain number of sentences per line in form, which can be divided into three, four and five different sentence patterns. In long poems, the number of pauses can be changed when necessary; At the same time, you should bet a roughly appropriate rhyme. There is no need to rhyme to the end. It can be as few as two lines, four lines and one rhyme. He Qifang's theoretical proposition on modern metrical poetry is put forward on the basis of studying the tradition of China's classical poetry and folk songs, the practical experience of new poetry creation since the May 4th Movement, and drawing lessons from the laws of foreign poetry forms.

In He Qifang's view, the method of learning and research is essentially a way of thinking and the application of philosophical world outlook and methodology in specific academic research fields. He has repeatedly stressed that the academic research method is actually a special working method. For the specific research object, He Qifang attaches great importance to the possession and mastery of information, and through the possession and mastery of information, he can understand the history and present situation of the subject as detailed and meticulous as possible. For example, he wants to know what important and noteworthy research achievements the predecessors have, what are the places worthy of reference, what are the limitations, how much progress has been made, what is the level, what are the difficulties and so on. He believes that only in this way can he find the focus of his research and finally get creative results. Take Qu Yuan's study as an example. He said it was not his familiar field. In order to possess the information as detailed as possible and understand the history and present situation of Qu Yuan's research, he read all the notes of Chu Ci from ancient times to the present, especially the notes of Qu Fu in the library of the Institute of Literature.

He Qifang believes that literary research should have extensive knowledge, not only extensive but also solid. So he advocates reading good books and reading more. He Qifang is a student and has the habit of making annotations. Many important ideas and opinions were approved in his own books, and most of them were not systematically sorted out. Sorting out these comments is very valuable not only for the study of He Qifang, but also for the study of literature in a broader sense. From a cultural point of view, He Qifang's academic research can also be said to cover all times and all over the world. In his academic legacy, the study of ancient literature in China is represented by A Dream of Red Mansions written by 1956, which is more than 80,000 words long. In this paper, he not only made a comprehensive and detailed ideological analysis and artistic analysis of A Dream of Red Mansions, but also gave an accurate evaluation of some of its main characters. He also made a serious study of a series of important issues in the study of A Dream of Red Mansions at that time and in the past, such as the theory of citizens and the authenticity of the last forty chapters, and expressed his own views. Moreover, through the research and evaluation of this encyclopedic work on social life in feudal times, he is full and comprehensive. This paper can be regarded as a commanding height of He Qifang's literary research, representing the highest level of the study of A Dream of Red Mansions at that time and for quite some time to come. It is still not out of date, giving people inspiration in art and life.

[Edit this paragraph] bibliography of works

Hanyuan Collection (Poetry Collection) co-authored with Bian and Li Guangtian, 1936, Business.

Painting Dreams (Prose Collection) 1936, Wen Sheng.

Collect (a collection of novels, plays, etc) deliberately. ) 1938, Vincent; Add or delete. 1940, Wensheng

Homecoming Diary (Prose Collection) 1939, good friend; Also known as The Return of the Native Miscellaneous Notes, 1943, Guilin Working Society.

Prophecy (poetry anthology) 1945, Vincent; Addition and deletion, 1957, new literature and art.

Night Song (Poetry Collection) 1945, Poetry Literature Society; Updated version, 1950, Wensheng; The addition or deletion of this book is also called Night Song.

And the daily song, 1952, Humanities.

Spark Collection (Prose Collection) 1945, Qunyi

The sequel of Spark Collection (Prose Collection) 1949, Qunyi

On realism (essay) 1950, Haiyan.

Xiyuanji (Essay) 1952, Humanities

On writing and reading poetry (prose) 1956, writer.

Selected Works 1957, Humanities

Poetry Appreciation (Prose) 1962, writer.

He Qifang's Poetry 1979, Shanghai Literature and Art.

Selected Works of He Qifang (Volume 1-3), 1979, Sichuanese.

An Ordinary Story (Prose Collection) 1982, Hundred Flowers

He Qifang's Works (1-6)1982-1984, Humanities

Selected readings of He Qifang's poetry and prose 1986, Sichuan Education Press.

Selected Prose of He Qifang 1986, Hundred Flowers

Collected Works of He Qifang, 2004, China Social Sciences Press.

How Broad is the Life of He Qifang's Collected Works? It was included in the second unit "Reading Appreciation" of the first volume of the seventh grade Chinese of Su Jiao Edition, and was also selected as the reading model for the sixth grade comprehensive review of the People's Publishing House.

Autumn junior high school textbook