After listening to a few lectures, Fu Sinian commented on Hu Shi: "This person, although he doesn't read much, he is on the right path, you can't make trouble. So Hu Shi stayed in the Department of Philosophy of Peking University.

Hu Shih was very fond of "talking about ink", and he believed that "if we want to know the order of the evolution of the teaching of a theory, we must first examine the era in which this theory was produced and developed." Now we talk about the doctrine of Mozi, when was the prophet Mozi born. Among them, the idea of love has become the character of Hu Shi's life.

Hu Shi also believed that "celestial induction" was the fundamental doctrine of Confucianism in the Han Dynasty, and this was influenced by Mozi's "Heavenly Will".

In 1921, Liang Qichao compiled the annotation of his work "Mozi" into four volumes of "Commentary on the Book of Ink", and sent it to Hu Shi for a preface. In this long preface, Hu Shi praises Ren Gong's contributions, but also puts forward his own views.

He believed that Mozi had never seen the death of Wu Qi, a famous Warring States general, who had been dead for many years at the time of his death, and that Moxue had become a religion. Ren Gong often said: "Jixi Zhu Hu is talented, and recently there is Hu Shizhi".

In 1917, when Hu Shi was still a graduate student at Columbia University in the United States, he published "Discussion on Literary Improvement" in the "New Youth", advocating the use of vernacular writing, which caused great repercussions. Later, Tang Degang revealed in "Hu Shi's Miscellaneous Memories" that Hu Shi wrote that article at that time, which was originally used in the "International Student Quarterly" edited in the United States, and later copied a copy and published it in "New Youth" hosted by Chen Duxiu.

He published essays such as "On the Concept of Literature in History" (1917) and "On the Literary Revolution of Construction" (1918), arguing that "dead words can never produce living literature." If China wants to have living literature, it must use the vernacular. You must use the Chinese language, you must do the literature of the Chinese language", advocating "the literature of the Chinese language, the Chinese language of literature".

It is known as "the most magnificent manifesto of the literary revolution" (Zheng Zhendi).

In 1919, the old-fashioned Lin Hong attacked the vernacular in a letter to Cai Yuanpei, saying: "If the ancient books are abolished and the local language is used as the language, then the language spoken by the people who sell pulp will be grammar according to it, and according to this, all the barnyard sellers in Beijing and Tianjin can be used as professors." 」

In 1920, he published the first collection of vernacular poems in the history of Chinese new literature, "Trial Collection". The new poems in "Experiments" are full of experimental nature. Not mature.

The poet Yu Guangzhong believes that "the importance of Hu Shi and others in new poetry is mostly historical. Not aesthetic." Zhou Ce commented on Hu Shi's new poems, fresh but lacking hazy interest.

After the publication of the "Trial Collection", it did cause quite a reaction. The feudal revival faction opposed it. Hu Xianqi, a professor at Southeast University of the Xueheng School, wrote a long essay of more than 20,000 words in Chinese: "Commenting on the 'Trial Collection'".

Hu Xianqi said: "Hu (Shi) Jun's "Trial Collection" is also a dead literature. It will die and perish. Not because of the use of living words, but because of immortality. The checkmate of things. The spirit will lose its normality. Words and actions are out of the norm. Hu Jun's poems tend to be extreme. It is a sign of death. 」

The first one-act play "A Lifetime Event" was written in the vernacular, establishing a new form of modern drama. In the plot, the heroine left a note that "the child's lifelong event, the child should decide for himself". Running away from home with a lover. This was influenced by Henry and Ibsen's "A Doll's House".

Hu Shi's novel A Problem started the first genre of modern Chinese fiction, "problem novels", and the representative writers of "problem novels" include Ye Shengtao, Luo Jialun, Yang Zhensheng, Bingxin, etc.

In terms of modern Chinese scholarship, Hu Shi was one of the first to introduce Western methods to study Chinese scholarship. He first adopted the system and methods of modern Western philosophy to study Chinese pre-Qin philosophy.

Cai Yuanpei praised Hu Shi's Outline of the History of Chinese Philosophy as its "method of proof, concise means, equal vision, and systematic research", and called it "the first new history of philosophy".

Feng Youlan has repeatedly affirmed the Outline of the History of Chinese Philosophy, believing that it shows that "in the modernization of the study of the history of Chinese philosophy, Hu Shih's pioneering work cannot be buried".

Hu Shi has made great achievements in the research of 12 novels, including the classic novels "Dream of the Red Chamber", "The Legend of the Water Pool", "Journey to the West", "Romance of the Three Kingdoms", "Three Heroes and Five Righteousness", "The Legend of the Flowers on the Sea", "The Legend of the Heroes of Children", "The Appearance of Officialdom", and "The Travels of the Old Remnant", and wrote 600,000 words, which were collected and published as "Research on Chinese Zhanghui Novels".

Hu Shi is the founder of the New Red School, the Kaojiao School, and can be said to be the first person to put fiction on the right track of academic research, replacing the "Suoyin School" represented by Cai Yuanpei.

Hu Shi said in "A Study of the Dream of the Red Chamber": "I would now like to advise all those who love to read The Dream of the Red Chamber: If we want to truly understand The Dream of the Red Chamber, we must first break this far-fetched mystery of The Dream of the Red Chamber!"

Hu Shi is the discoverer and owner of the only copy of the Qianlong Jiaxu Yan Zhai Re-evaluation of the Stone Records (the so-called "Jiazhu Ben"). And then discovered a series of precious editions, such as the Gengchen Ben, which laid an important foundation for modern red studies.

In the process of writing "The History of Chinese Zen Sects", Hu Shi came into contact with the records of the debate between the Shenhui and the Northern Sect, and felt that it would be difficult to write a good history of the Zen Sect if he did not write about the Zen Society.

In 1926, Hu Shiyin successively found three volumes and a fragment in Paris and London, about 20,000 words of information about the monks of the Shenhui, that is, "Quotations of the Monks of the Shenhui" and "The Theory of the Determination of the Rights and Wrongs of the Bodhidharma Nanzong", and also discovered the "Records of the Manifest Sect" of the Shenhui in London.

Venerable Yin Shun thought that this was not appropriate for his conclusion, and Hu Shi ignored the part of the Japanese scholar Kuaitani Kuaitian, but he still made contributions to the study of the history of Zen Buddhism.

Hu Shi changed the problem of the study of the history of Zen Buddhism at that time from the inheritance of the "Twenty-Eight Ancestors of the Western Heavens" to the problem of the Zen revolutionaries themselves. Without Hu Shih's assertion, there would not have been so many responses and research results in the Japanese Buddhist community, and Chinese Zen studies would not have been able to achieve today's achievements.

Therefore, Venerable Yin Shun's research results have benefited from Hu Shih's previous contributions. Hu Shi said, "For more than 1,000 years, almost no one knew the status of the Daoist Divine Society in the history of Zen Buddhism, and there was nothing more unfair in history than this."

In 1974, the Japanese scholar Yanagida Seiyama collected Hu Shih's speeches, manuscripts, letters, etc., and compiled them into "Hu Shih's Zen Case".

In 1926, Hu Shifeng was sent to England to attend a meeting of the Sino-British Gengzi Indemnity Committee of the Whole Committee, and by the way, he went to the British Museum and the National Library of Paris to look for the historical materials of Zen Buddhism in the Dunhuang scrolls stolen by Stein and Birch.

When Hu Shi arrived in Paris, Fu Sinian, who was studying at the University of Berlin in Germany at that time, also came to Paris to live with Hu Shi to study the Dunhuang scrolls.

Hu Shi admits that many of his ideas were influenced by Fu Sinian. Basically, Hu Shi's research on Zen Buddhism is to affirm the "gradual cultivation" theory of Shenxiu of the Northern Sect and deny the "epiphany" theory of Huineng of the Southern Sect, and prove that the story of the so-called "Five Ancestors Hongren Transmission of Huineng's Dharma Clothes" in the "Six Patriarchs Altar Sutra" is just a myth concocted by Huineng's disciple Shenhui monk to compete with the Northern Sect for the royal family's offerings.

In 1942, after Hu Shi stepped down as ambassador to the United States, he began to pay attention to the study of the "Commentary on the Water Classic", and in the following 20 years, he spent a great deal of energy on the study of the version of the "Commentary on the Water Classic".

The so-called "Commentary on the Water Classic" case refers to the fact that for more than 100 years, some scholars accused Dai Zhen of stealing the research results of Zhao Yiqing's "Commentary on the Water Classic". In this regard, there are generally two views in the academic circles: one believes that Dai Zhen plagiarized Zhao Yiqing's achievements, and the other believes that Zhao Yiqing, Quan Zuwang, and Dai Zhen have independently researched and achieved roughly the same results.

In more than ten years, Hu Shihua collected more than 40 editions of the "Commentary on the Water Classic", copied more than 100 long articles and some research texts, and used thousands of evidences in order to overturn the so-called unjust case of Dai Zhen plagiarizing the school text of Zhao Yiqing's "Commentary on the Water Classic". But some scholars see this as a wasted effort. (To be continued......)