In ancient times, scholars often took on the responsibility of "inheriting the ultimate knowledge for the future and opening up peace for all generations". For today's scholars, the academic mission of carrying on the past and opening up the future is also a necessary duty. The long and heavy tradition of the Book of Songs goes without saying. In the current historical responsibility of research, it not only includes more than two thousand years of Confucian tradition, but also integrates modern paradigms since the May Fourth Movement. The continuation of tradition and academic transformation in the contemporary context are still profound issues that continue. The new and old judgments in the study of classics and literature in the Book of Songs are generally based on the May Fourth Movement. The long tradition of Confucian studies was re evaluated during the May Fourth period, and the deeply rooted tradition of Confucian studies faced the surging scientific trend. The Book of Songs became a valuable historical material and entered the literary field under the modern disciplinary system. The encounter between ancient classics and modern disciplines involves academic dialogue between ancient and modern China and the West. Xiong Shili once said, "The Six Classics are the root of Chinese culture and academic thought, and the various schools of thought in the late Zhou Dynasty were all based on it. The special spirit of Chinese people's character and country building is reflected in the Six Classics." ("On the Six Classics") The Confucian sentiment towards the study of the classics can be seen in this article, but the vocabulary of the times also frequently appears in the article. Confucius wrote in the Book of Songs that he openly advocated revolution. Also known as the "Four Profound Virtues" (Xingguan Qun Yuan), it is precisely the revolutionary spirit, but it is nurtured from poetry education. Regarding the positioning of the Book of Songs, although maintaining the perspective of Confucianism, it is also said that "the Three Hundred Chapters" all come from the folk, and the so-called popular literature is also true today. The basic positioning and general concern of "popular literature" have diluted the Confucian significance of the Three Hundred Chapters. Later, Gu Jiegang took "ending the study of classics" as his task, and thereafter, the "Book of Songs" was included in literary history, with a clear disciplinary attribute. Under the systematic organization of scientific concepts, it became a literary knowledge section with a well-organized style. As far as the knowledge acceptance of the Book of Songs is concerned, literary history is of utmost importance. Whether it is students who enter professional studies in the future or the general audience of ordinary readers, their basic understanding of the Book of Songs is largely based on this. The compilers of the "History of Chinese Literature" during this period were the pioneers of ancient literary research at that time; And those readers of "Chinese literary history" also became scholars of ancient literary research in the future, and the Book of Songs is no exception. The specialized research on the Book of Songs follows the literary historical propositions of language, art, and thought. With the deepening of research, the propositions of the Book of Songs under the framework of "literary history" have become mature and complete, with a wealth of works. Researchers inevitably feel that "the words have been said" and are confused about "the research has been completed". A century long reflection on the discipline has emerged, and the westernization of concepts and models is the most concentrated topic of examination. How Chinese academia can break away from the Western paradigm and become a self mission for contemporary scholars to actively explore and take on responsibilities. The most prominent manifestation of the Book of Songs is the gradual return of the Confucian tradition. The Book of Songs is a tradition that cannot be abandoned; The nature of poetry in the Book of Songs is inherent, and the dual recognition of its original form has become the logical starting point for the study of the Chinese model in the Book of Songs. The transformation of perspective has created rich historical materials, the restoration of context is close to the truth of history, the continuation of tradition highlights the depth of thought, and the cultural confidence of Chinese academia has gradually become prominent. Wen