Feng Wenbing

Fei Ming

Fei Ming (November 9, 1901 - October 7, 1967), born in Huangmei, Hubei Province, formerly known as Feng Wenbing, is a modern Chinese writer, poet and novelist. He is regarded as the originator of "Beijing School Literature" in the history of literature.

In 1917, he was admitted to the national Hubei first normal school and began to come into contact with new literature. In 1922, he was admitted to Peking University and became a student of Zhou Zuoren. In October 1925, he published his first collection of short stories, stories of the bamboo grove. In 1928, he published the collection of short stories Taoyuan. In 1932, he published his novels bridge and biography of Mr. Mo Xuyou. In 1946, he was employed as an associate professor of Chinese Department of Peking University. In 1949, he was a professor of Chinese Department of Peking University. In 1952, he was transferred to the Chinese Department of Changchun northeast Renmin University (later renamed Jilin University) as a professor. On October 7, 1967, he died of cancer in Changchun.

Character experience

Born in Huangmei, Hubei Province on November 9, 1901. He had a rich family and received traditional private school education since childhood. In 1917, he was admitted to the national Hubei first normal school and began to contact with new literature. In 1922, he was admitted to the Preparatory English class of Peking University and became a student of Zhou Zuoren. He began to publish poems and novels. During his study at Peking University, he had extensive contact with new literature figures, participated in the "asakushi society" and contributed to "Yusi".

In October 1925, he published his first collection of short stories, stories of the bamboo grove. On June 10, 1926, he named his pen name as "Fei Ming". In 1927, Zhang zuolin ordered the dissolution of Peking University, dismissed Zhou Zuoren, and reorganized the school of Beijing Normal University. Fei Ming left school indignantly and lived in Xishan. Later, he became Jiao Chengda middle school.

In 1928, he published the collection of short stories "peach garden"; in the same year, he and Feng Zhi founded and presided over the editorial work of camel grass, a literature weekly, with a total of 26 issues. In 1929, he graduated from the Department of English literature of Peking University and was employed as a lecturer in the Department of Chinese literature of National Peking University. In 1931, he published a collection of short stories, jujube. In 1932, he published his novels bridge and biography of Mr. Mo Xuyou. During the Anti Japanese War, he went to Huangmei County to teach in primary and secondary schools, and wrote "alaiye's Epistemology" during this period. In 1945, he published a collection of poems and essays called zhaoyinji. In 1946, Yu Pingbo recommended him to be an associate professor in the Department of Chinese culture of Peking University.

In 1949, he was a professor of Chinese Department of Peking University. In 1952, he was transferred to the Chinese Department of Changchun northeast Renmin University (later renamed Jilin University) as a professor. In 1956, he served as director of the Chinese Department, and was successively elected vice chairman of Jilin Federation of literary and art circles, deputy to the Fourth People's Congress of Jilin Province, and member of the Standing Committee of the CPPCC Jilin Province. In 1957, he published a collection of novels, selected novels by Fei Ming. On October 7, 1967, he died of cancer in Changchun.

Personal life

Fei Ming's brother is Feng Lisheng. Fei Ming's daughter is Feng Zhici, and his son, Feng Sichun, was born in Beijing in July 1935. Later, he served as deputy director of electronic Bureau of Shandong Province and vice president of Inspur Group.

personal works

Creative features

subject

Mourning for the beauty of human feelings

In Fei Ming's early short local novels, the sentimental object is the ordinary people living in the local environment. These people are generally kind and simple. In Huanyi mother, "Li Ma" and "hunchback" mother and daughter suffer from the fate of love, but still warm others. In the monk of the temple of fire, Jin Xiyuan was a broken wanderer. Because his fourth father pitied him, he "recommended him to the temple of fire as an apprentice" to avoid wandering. Since then, Jin Xi has been grateful to his death. He can eat "five sea bowls" with his own meal, but he has left the Bodhisattva's tribute fruits "in a can" for the grandchildren of Wang Si's father to eat. Although the beans have grown slightly, "it's hard to say.". Three times a year, he went to the streets to buy meat, "all of which were cut for Wang Si Da's Stewed soup.". "Mr. Chen" in "Xiao Wu Fang Niu" is a childlike old urchin who often plays with "I", a cattle Herder. From a cup of tea, a grain of beans, a sentence of care and a care, the novel presents the tiny but real human brilliance of these characters. That is to say, under the mediocre and even desolate experience, the novel still adheres to the principle of being gentle and dealing with people.

The character of these characters is not the exaggeration of romanticism and the distortion of idealism in the eyes of intellectuals, but the affectation and affectation. It is the traditional virtue that once flowed in the blood of the Chinese villagers. This kind of care and expression of the beauty of human feelings constitutes a weak contrast with the numbness and backwardness of the people in most of the local novels at that time, and presents a kind of nostalgic sentimentality under the reference of the indifference disease in the expression of urban civilization. As Liu Xiwei said in his evaluation of Shen Congwen's works, "although all the characters of the author are good, they contain tragic elements. Only when we are kind-hearted can we feel the weight of sorrow more easily. This kind of sadness is not only due to the evolution of the plot, but also comes from the character's temperament. The calmer nature is, the sadder the "natural man" is: a greater destiny covers their existence. " It's almost a permanent principle of nature: sorrow. The kindness of the characters in Fei Ming's early novels also exists in a huge shadow of fate, which implies indescribable sorrow, and this fate is a kind of suffering for no reason.

On the bitterness of life

When Fei Ming describes the above characters with good character as the main narrative objects, the rural world he constructs is not the ideal idyllic world dominated by these characters, because the beauty of human feelings of these ordinary people is built on the impermanence of fate. In huanyimu, "Li Ma" has a husband who is a drunkard. "When the family fortune just turned to stagnation, she really went to be a ghost somewhere." Li Ma "pinned her hopes on her two sons, but none of them was sensible, and then her daughter died. When "Li Ma" finally wants to come out of the successive attacks and live with the bachelor who "finds her mother-in-law's home", rumors in the city make the girls and children no longer appear in front of the thatched cottage. Finally, "the man has to go.". In the monk of the temple of fire, Jin Xi's thirty years of temple life is full of bitterness. The days are hard, "chewing the fried rice like broken wadding". "Plum rain season, back ache" can only be a person lying in bed, "30 years can not pick up an apprentice", all picture a "new clothes" and "little copper Bodhisattva" left. Finally, he invited an old man to accompany him, but he still "couldn't do anything", but "the rice in the bucket is shallower than before". In the end, Jin Xi died when she went up the stairs alone. In willow on the river, father Chen, who was banned from making a living because of his "wooden play", became idle. In addition, the flood washed his home, and finally he failed to hold the willow tree full of good memories and "led a carpenter back" to cut it down. In Xiao Wu Fang Niu, "Uncle Chen" appears to be an old urchin playing with "me", but in fact it is a "Tortoise" who lives on his wife's side by side for butcher "Wang Pang".

From the perspective of the above protagonist's experience, there are many impermanent blows of life, such as the hardship of making a living, the coming of death, and the deep-rooted coldness and criticism of human nature under the influence of feudal traditional ideology and morality. These sufferings are not dramatic tragedies and difficulties deliberately arranged, in order to obtain the conflict of contradictory plots, which has achieved the effect of "shaking people's hearts". It is not closely connected with complex and specific social causes and economic roots in order to satirize or rescue the specific social facts at that time. The suffering here is real and helpless, rooted in a constant constant in the local world. This constant is an irresistible and inevitable fate for the local people, and such a fate, because it is unpredictable and impossible to explore, is as natural as the harvest of the land and the happiness of the local people. Naturally, it shows the characteristics of sorrow for no reason.

The loneliness of the local soul

With the change of seasons and the flow of years, the external suffering further consumes the emotions of the local people, affects their desire that they can not supply, and makes them more powerless. The lack of their invisible emotions in the rural closed environment and the depressed feudal traditional culture is the essential factor of the sadness in Fei Ming's novels. Li Ma in huanyimu and Jin Xi in the temple of fire are the most difficult to fill in and soothe the sadness, which comes from the lack of love that blood is thicker than water in life, and the cold loneliness that can not be discharged. In Huanyi mother, even Wang Ma, a neighbor who "can't live easily without Li Ma", is more happy than Li Ma because she has a husband and children and "the door is very busy". She is no happier than mother and daughter who "just sit coldly". The helpful mother and daughter need warmth and comfort more than anyone else. The thatched cottage where mother and daughter live is the external symbol of Li Ma's inner embarrassment and loss. During the day, girls rest, children play, "old men bask in their backs, beggars catch lice, all of them are at Li Ma's door", while at night, only "the flowing water excites the bridge column, breaking the dead silence", lively and quiet, people come and people scatter, material poverty can't equal the empty emotion. Therefore, despite her son's disobedience and hopelessness, "Li Ma" still "looked at the soldiers who sent firewood to her home with lonely eyes", because she must have thought of her son who "fled to where to become a soldier". In the monk of the temple of fire, "the only one who accompanies Jinxi all day is Xiaobao, Jinxi's dog." even if he later recruited an old man as his companion, he still didn't go well, and finally died alone. Jinxi's daily life is full of this