Expressed gratitude to Professor Jin Li from Beijing Foreign Studies University for giving away the complete works of Wang Zuoliang, which enabled the author to have a fulfilling winter vacation. The author recalled purchasing Wang Zuoliang's "Collected Essays on British Literature" during his time at Fudan University, and reading selected poems and essays annotated by Wang Zuoliang and others while self-learning English. In the 1990s, when teaching English poetry at the Lu Xun Academy of Literature, the author used the "Selected English Poetry" compiled by Wang Zuoliang. The author's admiration for Wang Zuoliang has a long history, but reading and comparing all of his works on the bookshelf is an unprecedented experience. Wang Zuoliang has made outstanding contributions in all five directions of the discipline of foreign language and literature, and has extensive reading and profound understanding of British literature. His level of academic papers and literary history writings is difficult to surpass. He faces the public and the world, excels in writing for "ordinary readers", and maintains close communication with foreign poets and peers, making him an ideal representative of the domestic English literature community.

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In 1985, Wang Gong was invited by the US China Academic Exchange Committee to give lectures in the United States, during which he visited several universities and professional libraries, including the Huntington Library in Los Angeles. At the Huntington Library, he met Mr. Bowers, an expert in Renaissance script versions in England, and the two had a great conversation due to their common interests. The Duke's Oxford essay 'The Literary Reputation of John Webster' demonstrates his professional competence in the field of cataloging. The article 'Library', as part of 'The Scenery of the Mind', describes the prince's admiration for the Huntington Library and his longing for a wider world. In Beijing, Wang Gong once lived in the old house of Tsinghua Zhaolan Academy until 1989 when he moved to his new home and had his own study. The Landscape of the Mind "was published in 1991, and the descriptions of libraries in Wang Gong's works always reveal his love for knowledge and history. His special translation of the Folger Shakespeare Library as' Folger 'implies a blessing for those seeking help, similar to Qian Zhongshu's nickname for the Oxford University Library as' Full of Worms'. The prince devoted himself wholeheartedly to academia, and his descriptions of libraries in his works are always filled with joy.

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Wang Zuoliang had an inseparable bond with the library during his youth, and his outstanding Chinese and English grades benefited from solid training during his middle school years. He graduated from Wuchang Wenhua Middle School, which is one of the earliest Western style middle schools in China, located in Tanhualin and has an extraordinary history. Wenhua Academy was established in 1870 and later developed into a fully fledged middle school, with the addition of a university department in 1903. In 1929, when Wang Zuoliang enrolled, the school had already been renamed as the private Wuchang Wenhua Middle School. The earliest public library in China, the Wenhua Public Library, was born on the Wenhua campus. It was founded by Ms. Wei Dihua from the United States in 1910, and she also founded the Wuchang Wenhua Library Science College in 1921, cultivating talents for the modern library industry in China. Wei Dihua's efforts prompted the US government to return the remaining balance of the Boxer Indemnity to China for cultural and educational purposes, including funding for international students such as Wang Zuoliang and Qian Zhongshu. During his time at Wenhua Middle School, Wang Zuoliang was deeply influenced by the "public book forest" and developed the habit of reading English magazines, as well as gaining practice in English writing. His English composition teachers, such as Mr. Miller and Miss Jenner, had a profound influence on him. During the Republican era, church schools had a good reputation and played a positive role in the transformation and modernization of Chinese culture. Not only did they have high quality foreign language teaching, but their Chinese language curriculum was also excellent. Wang Zuoliang is grateful to the Chinese and foreign teachers at Wenhua Middle School, and these experiences have had a profound impact on his career as an educator and his way of dealing with people.

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Wang Gong studied modern Chinese history and Chinese literary history at Wenhua Middle School, and was influenced by Dean Yu Rizhang, emphasizing the importance of learning Chinese literature. His Chinese writing ability was already evident when he graduated from high school, and his published travelogues were delicately observed, with substance and foreshadowing of the master's handwriting. During his time at Tsinghua University, Wang Gong further improved his writing skills in both Chinese and English, receiving guidance from renowned teachers such as Yu Pingbo and Yu Guanying. His writing style is fluent, and every word and sentence has been carefully crafted and meticulously arranged, demonstrating a technique of reaching perfection. Wang Gong published numerous articles in the magazine "Reading", showing concern for both ancient and modern Chinese literature, especially the writing of Chinese literary history. His poetry indicates that he, along with foreign literary experts such as Feng Zhi and Bian Zhilin, is a member of the modern literary creation group. Wang Gong has been devoted to the compilation of the history of English literature for many years and looks forward to taking the writing of Chinese literary history to the next level. In the preface of "A History of Romantic Poetry in England," he criticized contemporary Chinese literary history for being slightly lacking in literary style and emphasized the importance of literary quality. Wang Gong elaborated more fully in his works "The Pioneer of Literary History in Ancient China" and his English essay "Literary History: Chinese Beginnings". He proposed, under the guidance of his predecessors, to study foreign literary historians, learn the national literary concepts of DeSanctis, learn Brandeis' spirit of crossing Europe, learn Langsong's strictness, learn W.P. Karl's sharpness and insight, learn Grierson's magnificence, learn St. Tszbury's love for books such as aged wine, learn from numerous Soviet literary historians, learn from Edmund Wilson, learn from the author of "The American Renaissance," learn from F.P. Wilson, who has not yet completed the Shakespeare volume of Oxford literary history. The prince freely travels between various languages and cultures, embracing diversity without being confined to a fixed paradigm or imagined identity. His preferred word during his long-term academic pursuit is conformity, rather than simplified binary opposition or essentialism, transcending specific historical processes and indicating permanent differences. His collection of English comparative literature, "On Fit," is titled "Degrees of Affinity," which is a phrase worth savoring. During the prince's teenage years, vernacular literature and the translation industry mutually promoted each other, reflecting a fresh and lively literary combination; As a modern poet and translator, he has a deeper understanding of the complexity of language and writing. The dialogue between the practice of conformity and the concepts of "migration" and "hybridity" in contemporary literary theory is a cutting-edge issue set by Wang Gong for the current literary field. Wang Gong has repeatedly pointed out that the English Renaissance was an era of flourishing translation industry. He is in an era where the translation industry is flourishing. In his article "Between Translating Poetry and Writing Poetry - Reading Dai Wangshu's Poetry Collection", he gave an example to reveal that only poets can translate poetry well: "Translating poetry is a two-way communication, where translators not only apply their writing experience to translating poetry, but also gain inspiration from it." Dai Wangshu used his own poetry resources to resonate with Baudelaire and Lorca, and gained new inspiration and changes in translation. Wang Gong used Dai Wangshu as an example to refute the assertion that poetry is untranslatable: "In terms of mutual inspiration and gain between literature and culture, the gains outweigh the losses." He was more concerned about the necessity of using translation to recreate tradition in Chinese new poetry: on a deeper level, the translation of poetry has great benefits for any national literature and culture. Not only does it open several outward facing doors and windows, but it can also give new vitality to ethnic literature. Because it can penetrate into the language center, shake it in new ways, refine it, and make it sensitive and active again. If translation is removed, the culture of every ethnic group will be greatly impoverished; The whole world will also lose its luster, like taking off a brocade robe, leaving only monotonous underwear. This passage is precise and full of literary charm. It is the most convincing and humorous summary of the great significance of many attempts by Chinese poets and translators in the 20th century. The evidence and analysis presented in this commentary are light and appropriate. The sensitivity of the prince to atmosphere, image, tone, rhythm, and color is definitely not something that researchers lacking experience in writing and translating poetry can easily achieve. This writing ability is also seen in Matthew Arnold and T. S. Eliot. There are many ideas closely related to the present shining in the writings of the prince. Through continuous exploration, we will strongly feel that the dialogue with him has not been fully developed. The Complete Works of Wang Zuoliang is also a vast world, and I hope we can always hear the call from the bookshelf.