New Chinese Poetry: The Origin and the Development — From the Perspective of Cultural Exchanges between China and the West by Zhimin Li, a transcription of a presentation given at The Kelly Writers House, University of Pennsylvania, Philadelphia, USA | ||||||
In this “globalization age”, no nation can survive, not to say develop, without learning from the achievements, either of natural science or of social science, of other nations. “Nations must serve as guides for one another.” In every country one should “welcome foreign ideas, for hospitality in this way makes the fortune of those who receive it.”1 China is becoming more “universal” by receiving influences from the West who had received influences from China in previous ages. | ||||||
I. Influence of China on the West Joseph Needham once said: “The more you know of Chinese technology in the medieval period, the more you realize that, not only in the case of certain things very well known, such as the invention of gunpowder, the invention of paper, printing, and the magnetic compass, but in many other cases, inventions and technological discoveries were made in China which changed the course of Western civilization, and indeed that of the whole world.”2 Joseph Needham offers many concrete examples to support his argument. Natural science is itself an embodiment of a certain philosophy. The acceptance of science and technology from another culture is in fact accepting a certain philosophy as well. Hugh Kenner offers some direct traces of Chinese philosophic influence on Western philosophy.3 In the field of politics, some basic institutions, including the “Civil Service Examination System”, in China were imitated by Europe. Literature was also introduced from China into the West and carried much influence on Western literary circles. Johann Wolfgang Goethe once highly praised a novel from China, i.e., Haoqiu Zhuan (《好逑传》, The Fortunate Union). It should be surprising to readers if they are told New Chinese Poetry was born with the introduction of Western Poetry. In order to make it clear, we need to examine the social, cultural and literary backgrounds in China in which New Chinese Poetry was conceived and finally was born. III. The Formation Period of New Chinese Poetry from the 1910s to the 1940s A desperate person can easily be driven into madness, so can a people. Since Chinese culture seemed too weak to hold its own against the violence of internal warfare and external modernizing upheavals, it was subsequently madly challenged by its own people. Chinese classical literature, being a part of Chinese culture and with Chinese classical poetry as a central component, being generally considered as no less wonderful than that of any other culture on earth, was supplanted by a so-called commonplace people’s literature, whose main aim was to penetrate into the minds of the ordinary Chinese, calling upon them to stand up for the rescue of their nation as well as themselves. (啊啊! 大西洋呀! Any emotion, not to say unqualified diction, that goes beyond control in a poem should be considered as superfluous and shallow, which would only offend an ear instead of offering any ordered beauty of expression. There is no wonder that there should have been so many superfluous and shallow poems to “serve” the commonplace, being produced during the Cultural Revolution Years while Guo held the official leadership of literary circles in China. Guo might have understood his own poetic limitations later on since he said frankly that “Viewed as literature, these poems may disappoint the reader. Let them rather be taken as recordings of the age in which they were written.”29 It should also be remembered here that to point out the few drawbacks in The Goddesses is by no means to deny its being a literary milestone in the history of New Chinese Poetry, not to say to denigrate Guo the poet as one of the greatest literary figures in the history of New Chinese Literature; since Guo also wrote quite a few remarkable novels that should be worth much more recommendation than his poetic creation. New Chinese Poetry during the period from 1949 to 1978 is to be only briefly discussed, for New Chinese Literature as a whole did not make any significant progress, if any, during this period, especially during the ten-year Cultural Revolution from 1966 to 1976. The problem was caused by the wish to make literature serve as a subordinate instrument for politics, which resulted in the extreme formalization and generalization of all literary creation in China: The “revolutionary” personages in most “revolutionary” writings are perfect in all respects, the former chapters of such works informing readers about the latter ones. Therefore, “during all the ten years of the Cultural Revolution, there occurred only eight Model Plays and one Author, as people said in joking tones during those days.”33 Literary Circles, including that of poetry, were depressed as a whole. However, the slogan of “literature serving as a subordinate instrument for politics” was officially abolished in the late 1970s, liberating literature from its prolonged chains. China pink, golden; Flowers blooming in eyes, for rooms at night, Two persons, having relationship with flowers, 花在眼睛中开放,为夜晚的房间, In traditional China, poetry enjoyed an extremely high social status. Almost all emperors in China’s history would accept training in reading, appreciating and actually composing poetry. And some of them were good poets; one outstanding example is Li Yu (李煜, 937-978), who composed many wonderful poems. Mao Zedong, the leader of China in the twentieth century should certainly be considered as one of the best poets in China throughout the twentieth century. In China, especially in traditional China, people all pay high respect to a person who could write good poems. Poetry is actually the heart of Chinese culture, or to say, the spirit of Chinese culture.
1. René Wellek, A History of Modern Criticism: 1750-1950 (Cambridge: Cambridge University Press, 1981, 4 Volumes), Vol. 2, p. 230. 2. Joseph Needham: The Grand Titration: Science and Society in East and West (London: George Allen & Unwin,1969), pp. 149-154. 3. Hugh Kenner, The Pound Era (London: Faber and Faber, 1972), p.231. 4. Zhaoming Qian, Orientalism and Modernism: The Legacy of China in Pound and Williams. (Durham: Duke University Press, 1995), pp. 3-4 (Prologue). 5. Zhaoming Qian, Orientalism and Modernism: The Legacy of China in Pound and Williams. (Durham: Duke University Press, 1995), p. 137. 6. Howard Chua-eoan, “Empires on the Wane”, The Times, October 21, 1991, p.7. 7. The Legacy of China, ed. Raymond Dawson (Oxford: Clarendon Press, 1964), pp. 80-81. 8. Jacques Gernet, A History of Chinese Civilization, trans. J. R. Foster (Cambridge: Cambridge University Press, 1982), p. 20. 9. Qing Mansu, Emerson and China: A Retrospect of Individualism (Beijing: Joint Publishing Company Limited, 1996), p. 3. 10. Hushi, Hu Shi’s Talks on Literary Changes (Shanghai: Shanghai Classic Publishing House,1999), p. 60. 11. Hushi, Hu Shi’s Talks on Literary Changes (Shanghai: Shanghai Classic Publishing House,1999), p. 93. 12. The Historical Trace of Chinese Modern Literature, ed. Shanghai Bookshop Publishing House (Shanghai: Shanghai Bookshop Publishing House, 1999), p. 312. 13. The Historical Trace of Chinese Modern Literature, ed. Shanghai Bookshop Publishing House (Shanghai: Shanghai Bookshop Publishing House, 1999), p. 61. 14. The Historical Trace of Chinese Modern Literature, ed. Shanghai Bookshop Publishing House (Shanghai: Shanghai Bookshop Publishing House, 1999), pp. 4-5. 15. Hu Shi, Hu Shi’s Works (Shanghai: Shanghai East Asia Bookshop, 1929), p. 7. Hu Shi’s eight points for reforming Chinese literature are: 1. whatever said should mean; 2. not to imitate the ancient; 3. pay attention to grammar; 4. no false emotion; 5. no cliché; 6 .no idioms; 7. no antithesis; 8. not to avoid the vulgar language. 16. Hushi, Hu Shi’s Talks on Literary Changes (Shanghai: Shanghai Classic Publishing House,1999), p. 205. 17. Hushi, Hu Shi’s Talks on Literary Changes (Shanghai: Shanghai Classic Publishing House,1999), p. 45. 18. I. A. Richards “The Chinese Renaissance”, Scrutiny (a quarterly review), edited by L.C. Knights and Donald Culver, London. Vol. I., No. 2., September/1932. p. 102. 19. Wang Guowei, Comments on Human Poetry, trans. and annot. by Teng Xianhui. (Changchun: Jilin Literary History Publishing House, 1999), p. 86. 20. Wang Guowei, Comments on Human Poetry, trans. and annot. by Teng Xianhui. (Changchun: Jilin Literary History Publishing House, 1999), p. 86. 21. Hushi, Hushi’s Talks on Literary Changes. (Shanghai: Shanghai Classic Publishing House, 1999), 22. Hushi, “Discussion on Literary Reformation”, Hu Shi’s Work Collections (Volume 1) (Shanghai: Shanghai East Asia Library, 1921), p. 7. 23. Pan Songde, Forty Poetical Schools in Modern Chinese Poetry, (Chongqing: Chongqing Publishing House, 1991 ) p. 29. 24. Zhang Tongdao, An Exploration: On ModernChinesePoetrySchools in the Twentieth Century (Hefei: Anhui Education Publishing House, 1998), pp. 105-106. [To compare: Ezra Pound, “A Retrospect”, Literary Essays of Ezra Pound, ed. by T. S. Eliot (London: Faber and Faber Limited, mcmliv ), pp. 2-14.] 25. Huang Xiuji, The History of the development of Modern Chinese Literature (Beijing: Chinese Youth Publishing House, 1997), pp. 81-94. 26. Wen Yiduo, “The Local Colors of Goddess.” Wen Yiduo, Wen Yiduo’s Poems, ed. by Lan Dizhi. (Hangzhou: Zhejiang Literature and Art Publishing House, 1995), pp. 406-407. 27. Guo Mo-Jo [Guo Moruo], Selected Poems from The Goddesses, trans. by John Lester and A.C. Barnes (Peking: Foreign Languages Press, 1978), p. 7. 28. Guo Moruo, The Goddesses (Beijing: People’s Literature Publishing House, 1998), p. 66 29. Guo Mo-Jo, trans. by John Lester and A. C. Barnes, Selected Poems from The Goddesses. (Peking: Foreign Languages Press, 1978), p. 1 (Foreword). 30. Cheng Houcheng, A Memorization of Li Jinfa (Shanghai: East Publishing Centre, 1998), pp. 53-56. 31. Cheng Houcheng, A Memorization of Li Jinfa (Shanghai: East Publishing Centre, 1998), pp. 29-148. 32. Zhu Ziqing, The Prefaces and Comments Written by Zhu Ziqing (Beijing: Joint Publishing Company Limited, 1983), p. 99. 33. Zhang Dexiang, The History of the Changes of Realism in Modern Times (Beijing: Academic Social Science Publishing House, 1997), p. 189. 34. Selected Poems by Gu Cheng, ed. by Sean Golden and Chu Chiyu, trans. by John Cayley and others. (Hong Kong: The Chinese University of Hong Kong, 1990), p. 168. 35. Lu Jin, Chinese Modern Poetics (Chongqing: Chongqing Publishing House, 1991), p. 7. 36. Hai Bing, “A Summary of the discussions on Shu Ting’s Creation held by Fujian Literature and Art”, A Selection of the Contending Poems Published in the New Era of China, ed. by Ding Guocheng (Changchun: Era Publishing House, 1996), p. 64. 37. Yang Ke, Selected Poems of the Most Popular Poets in 1990s, ed., (Guilin: Lijiang Publishing House, 1999), p. 3 (Preface). 38. Zhang Tongdao, An Exploration: On ModernChinesePoetrySchools in the 20th Century (Hefei: Anhui Education Publishing House, 1998), p. 571. 39. Wang Jianzhao, The Jottings of Contemporary Chinese Poets (Beijing: Chinese Social Science Publishing House, 1998). 40. Yang Ke, A Poems-Selection of the Most Popular Chinese Poets in the 1990s, ed. (Guilin: Lijinag Publishing House, 1999). 41. Original: Chinese language-Poetry Group, trans. by Jeff Twitchell (Brighton: Parataxis Editions, 1994), p. 98. 42. Zhang Ziqing and Yunte Hung, Selected Language Poems by Charles Bernstein, Hank Lazer, James Sherry, trans., (Chengdu: Sichuan Literature and Art Publishing House, 1993), p. 4 (Preface). 43. Poetry Journal, July, 2000. 44. “Chapter 13. On the imagination, or esemplastic power”, The Collected Works of Samual Taylor Coleridge. 7. Biographia Literaria, ed. by James Engell and W. Jackson Bate (Princeton [New Jersey]: Princeton University Press, 1983), pp. 295-306. 45. Greg Whincup, The Heart of Chinese Poetry (New York: Anchor Press, 1987) p. vii (Preface). 46. Kai-yu Hsu, Twentieth Century Chinese Poetry, trans. and ed., (New York: Anchor Books Doubleday & Company, Inc., 1963), p. xii. 47. Lu Jin, Chinese Modern Poetics (Chongqing: Chongqing Publishing House, 1991), p. 371. 48. Hu Yingjian, Alone in a HighBuilding: Chen Yinge (Jinan: Shangdong Painting Newspaper Publishing House, 1998) pp. 39-40. 49. The Historical Trace of Chinese Modern Literature, ed. Shanghai Bookshop Publishing House (Shanghai: Shanghai Bookshop Publishing House, 1999), p. 16. 50. Tang Hongdi, The World of the Poet Wen Yiduo. (Shanghai: Xuelin Publishing House, 1996), p. 194. 51. I. A. Richards, “The Chinese Renaissance”, in Scrutiny: a quarterly review, edited by L.C. Knights and Donald Culver, September/1932, Vol. I. No. 2. London, p. 103.
|
2011年3月9日 星期三
New Chinese Poetry: The Origin and the Development — From the Perspective of Cultural Exchanges between China and the West by Zhimin Li
轉載
訂閱:
張貼留言 (Atom)
Some Blogs of Hanching Chung
網誌存檔
-
▼
2011
(842)
-
▼
3月
(81)
- 默者如歌-普罗科菲耶夫:文选、回忆录、评传
- 中國古典小說論集 第一輯。王拓
- 漢聲 41期: 膠東麵花
- Henri Maspéro 昂利·馬伯樂
- 歷史的意義Erich von Kahler
- 台灣原住民系統所屬 (上/ 文本)
- 加速度組織
- 《西藏宗教艺术》,扎雅·诺丹西绕著
- 冰原之心 Frozen River
- 禁書
- Patterns of Discovery: An Inquiry into the Concept...
- Divine Comedy :《神曲》
- 劍橋中華人民共和國史 下卷: 中國革命內部的革命
- Science for All Americans
- George Moore 一些譯作
- 楊翠屏 二書:《見證》(八位二十世紀法國文學巨擘評論)
- Google Books Settlement Rejected
- 《古汉语词汇讲话》
- 集英社、週刊少年ジャンプ第15号の電子版を無料配信
- 思果譯的狄更斯的《大衛‧考勃非爾》/《紅樓夢》的"回目"
- The Cambridge illustrated history of the world's s...
- 愛與瑜伽健康
- Give Us the Tools/ 自力更生
- Hauptmann, Gerhart, 1862-1946
- THE LIGHT THAT FAILED By Rudyard Kipling
- 李國鼎先生的一些書
- 鐵血雄師 The red Badage of Courage by Stephen Crane
- 日本地名(讀音)詞典/日本姓氏字典
- 范仲淹/《范仲淹研究資料彙編》/ 胡適: "寧鳴而死,不默而生"
- 胡適語粹
- 胡適-楊聯陞"合作" 論文之佳話 (1)
- 美國的自我探索America in Search of Itself /《美國史》The Pelic...
- 黄节诗学诗律讲义
- MIT Sloan Management Review
- 戴明愛智合作社連絡簿( 59):友情
- Combing the Coast: Highway One from San Francisco ...
- When China Ruled the Seas:Louise Levathes 當中國稱霸海上
- Passing trough Singapore 1900-1930
- The Economist Pocket Strategy: Essentials of Busin...
- Book of the Year: 展望式 vs 回顧式
- 當年如果有《史》《漢》可讓歐陽修一觀
- 後‧現代文學
- 《從廢園到燕園》
- “Walk a Hound, Lose a Pound” 助狗自助:與狗狗蹓躂去
- 胡適日記全集:第7冊 / 林徽因與費慰梅
- Vol. 6: Logic, Laws, and Life: Some Philosophical ...
- goo辞書 增加中日 /日中 功能
- Don't give up, Japan. Don't give up, Tohoku - The ...
- mental_floss magazine
- 孟瑤 中國小說史
- Henri Focillon/著: Vie des formes 兩譯: 造形的生命 /《形式的生命》
- 寫胡適傳記前需先認真讀胡適全集
- 金石錄後序 (李清照)
- 隈研吾 自然的建筑
- 大歷史不終結: 直到法國大革命 (Francis Fukuyama)
- 古史辨自序 (顧頡剛)
- Opera's 'Nixon in China' Moment 歌劇《尼克松在中國》
- Eminent Chinese of The Ch’ing Period
- 你個人專用的數位雜誌A Digital 'Magazine' With One Subscriber
- A Very Long Engagement 《未婚妻的漫長等待》
- "Zadig, or The Book of Fate"/THE METHOD OF ZADIG
- New Chinese Poetry: The Origin and the Development...
- 《棠蔭比事》Parallel Cases from Shade under the Pear-tree
- [荷蘭]高羅佩秘戲圖考︰附論漢代至清代的中國性生活
- 『トトロの住む家』
- About Schmidt
- 美國時尚店賣書Publishers Look Beyond Bookstores
- 論學談詩二十年:胡適楊聯陞往來書札
- 《唐朝題畫詩注》
- 顾颉刚民俗學之一: 史迹俗辨
- 林忠彦賞、東京の写真家・山内さん「基隆」に
- "希臘擬曲" (周作人)
- 枕草子(周作人譯)
- 《周作人詩全編箋注》/《聂绀弩雜文集》/Monika Motsch《《管錐篇》與杜甫新解》
- 楊夢周 日本名家小說選
- (日)天野元之助著 "中国古农书考"
- 马克思恩格斯全集 How to Change the World: Tales of Marx a...
- "窗邊的小荳荳"30周年 3月1日から記念展
- The lyrical and the epic: Studies of modern Chines...
- 《精致的瓮: 诗歌结构研究》The Well-Wrought Urn: Studies in the...
- Harold R. Isaacs 伊羅生 著: 中国革命的悲剧 / 草鞋腳 Straw sandals
-
▼
3月
(81)
沒有留言:
張貼留言