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The Genesis of Modern Chinese Literary Criticism (1917â1930)
MariĂĄn GĂĄlik
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eBook - ePub
The Genesis of Modern Chinese Literary Criticism (1917â1930)
MariĂĄn GĂĄlik
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Ă propos de ce livre
This book, first published in 1980, is a history of modern Chinese literary criticism between the years 1917 and 1930. It examines its development within the overall frame of reference of Chinese national literature from the beginnings of the Chinese literary revolution in 1917 until the end of the first efforts at a revolutionary proletarian literature in 1930. Chinese literary criticism is also analysed within the framework of world literature, of world literary thought, especially of the impact of the progressive literary criticism.
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CHAPTER One Hu Shih, Chou Tso-Jen, Ch'en Tu-Hsiu and The Beginning of Modern Chinese Literary Criticism
Modern Chinese literary criticism dates from January 1917. It has its prehistory reaching back to at least the year 1898 when Liang Châi-châao (1874â1929) wrote I-yin cheng-chih hsiao-shuo hsĂŒ (Preface to the Translated Political Novel). This was a foreword written for the Chinese translation of the Japanese novel by Shiba Shiro (1825â1922), Kajin no kigu (The Strange Adventures of the Beauty).1 Another of Liangâs significant articles from the year 1902 entitled Lun hsiao-shuo yĂŒ châun-chih kuan-hsi (The Relation of Novel to Politics)2 was followed by critical and aesthetic works by Wang Kuo-wei (1877â1927),3 in particular his well-known study Hung-lou-meng pâing-lun (Contribution to a Discussion on the Dream of the Red Chamber) from the year 1904, and finally articles by young Lu HsĂŒn (1881â1936), especially his Mo-lo shih-li shuo (On Satanic Power of Poetry) from the year 1908.4
1
In January 1917, Hu Shih published, in the journal Hsin châing-nien (New Youth), the famous article Wen-hsĂŒeh kai-liangchâu-i (A Preliminary Discussion on Literary Reform) which became the âmanifestoâ of the modern Chinese literary revolution.5 In it Professor Hu expressed 6 propositions and 2 commands which he later modified somewhat and named pa-pu chu-i (eight-donâts-ism):
â
- What you write should have a real substance
- Do not imitate the writings of ancients
- Follow literary grammar
- Do not write that you are sick and sad when you are not
- Discard time-worn literary phrases
- Do not use classical allusions
- Do not use parallel construction of sentences
- Do not avoid using vernacular words and speech.6
â
Hu Shihâs eight-donâts-ism recalls one of the manifestos of the American imagism whose author was Ezra Pound.7 Attention to this fact was drawn by Liang Shih-châiu in 1927.8 As a matter of fact, the two manifestos resemble each other in many points. Of course, the Chinese one corresponded to the specific Chinese needs which had to be satisfied during the course of the literary revolution.
In the case of the American imagists and of Hu Shih, one may speak of the influence of foreign systemo-structural entity and Chinese response. Similarly, as in the case of the imagists, the new Chinese literature Hu Shih endeavoured to bring to life was to represent the systemo-structural reality predominantly of an artistic and formal nature.
When asked âwhat is literature?â, Hu Shih replied very simply, but also inadequately:
âLanguage and writing are tools of mankind for expressing its thoughts and feelings. If it expresses the one well and the other beautifully, then it is literature.â9
Or:
âLiterature without emotion or thought is like a beautiful woman without mind or soul; despite a richly beautiful appearance, there is nothing really there.â10
Real substance (wu), the first of the requirements of literature expressed above, was to consist of feelings (kan-châing) and of thought (ssu-hsiang).
Hu Shih characterized feelings (or emotions) by a part of the definition of poetry from the âGreat Prefaceâ of the Mao Edition of the Book of Poetry (Mao shih âTa hsĂŒâ):
âWhen oneâs emotions move within, they are expressed in words; when words are inadequate, one may use exclamations to express them; when exclamations are inadequate, one may express them in song by prolonging the sounds; when singing is inadequate, one may unconsciously express them in dance by gesturing with oneâs hand and beating with oneâs feet.â11
According to Hu Shih, feelings are âthe soul of literatureâ.12 Literature without feelings is but âa walking corpseâ.13
Hu Shih characterizes thought by its three components: insight (chien-ti), knowledge (shih-li) and ideals (li-hsiang).14
âThought does not necessarily depend on literature for transmission, but literature becomes more valuable if it contains thought and thought is more valuable if it possesses literary value.â15
A pity though that Hu Shih failed to write more explicitly on what he understood by âliterary valueâ or to characterize his concept of âthoughtâ in more detail. As examples of âvaluable literatureâ of this type he cited Chuang-tzuâs works, then the poems by Tâao YĂŒan-ming (365â427) and Tu Fu (712â770), the tzâu form of poetry by Hsin Châi-chi (1140â1207) and Shih Nai-anâs (fl. 14th cent.) novel Shui hu chuan (Water Margin).16
The emphasis which Hu Shih repeatedly lays on thought and feeling is in some way reminiscent of intellectual and emotional elements in literature about which C. T. Winchester wrote towards the end of the last century.17 Even though the principle: nothing but feelings and thought,18 creates the base for all his reflections on literature, he also imparts the imaginative element to his literary conception. However, imagination according to him must derive from what he has termed âreal substanceâ...
Table des matiĂšres
- Cover
- Half Title
- Title Page
- Copyright Page
- Original Title Page
- Original Copyright Page
- Table of Contents
- Acknowledgments
- Abbreviations
- Introduction
- 1 Hu Shih, Chou Tso-jen, Châen Tu-hsiu and the Beginning of Modern Chinese Literary Criticism
- 2 Kuo Mo-jo and his Development from Aesthetico-impressionist to Proletarian Criticism
- 3 Châeng Fang-wu and his Development from Socio-aesthetic to âTotal Criticismâ
- 4 Yii Ta-fu and his Panaesthetic Criticism
- 5 Teng Chung-hsia, Yiin Tai-ying, Hsiao Châu-nii and the Beginning of Concerned Literary Criticism
- 6 Chiang Kuang-tzâuâs Theory of Revolutionary Literature
- 7 Châien Hsing-tsâunâs Theory of Proletarian Realism and âLiterature of Powerâ
- 8 Mao Tunâs Struggle for a Realistic and Marxist Theory of Literature
- 9 Châii Châiu-paiâs Russian Example and the Concept of Reality in Literature and Art
- 10 Lu Hsiinâs Contribution to the History of Modern Chinese Literary Criticism and his Struggle for a United Marxist Front
- 11 Liang Shih-châiu and Chinese New Humanism
- 12 Feng Nai-châao, Li Châu-li and their Leftist Theory of Art and Literature
- Epilogue
- Selected Bibliography
- Index
Normes de citation pour The Genesis of Modern Chinese Literary Criticism (1917â1930)
APA 6 Citation
GĂĄlik, M. (2022). The Genesis of Modern Chinese Literary Criticism (1917â1930) (1st ed.). Taylor and Francis. Retrieved from https://www.perlego.com/book/3295139/the-genesis-of-modern-chinese-literary-criticism-19171930-pdf (Original work published 2022)
Chicago Citation
GĂĄlik, MariĂĄn. (2022) 2022. The Genesis of Modern Chinese Literary Criticism (1917â1930). 1st ed. Taylor and Francis. https://www.perlego.com/book/3295139/the-genesis-of-modern-chinese-literary-criticism-19171930-pdf.
Harvard Citation
GĂĄlik, M. (2022) The Genesis of Modern Chinese Literary Criticism (1917â1930). 1st edn. Taylor and Francis. Available at: https://www.perlego.com/book/3295139/the-genesis-of-modern-chinese-literary-criticism-19171930-pdf (Accessed: 15 October 2022).
MLA 7 Citation
GĂĄlik, MariĂĄn. The Genesis of Modern Chinese Literary Criticism (1917â1930). 1st ed. Taylor and Francis, 2022. Web. 15 Oct. 2022.