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The Genesis of Modern Chinese Literary Criticism (1917–1930)
Marián Gálik
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eBook - ePub
The Genesis of Modern Chinese Literary Criticism (1917–1930)
Marián Gálik
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Informazioni sul libro
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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Informazioni
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 Ch’i-ch’ao (1874–1929) wrote I-yin cheng-chih hsiao-shuo hsü (Preface to the Translated Political Novel). This was a foreword written for the Chinese translation of the Japanese novel by Shiba Shiro (1825–1922), Kajin no kigu (The Strange Adventures of the Beauty).1 Another of Liang’s significant articles from the year 1902 entitled Lun hsiao-shuo yü ch’un-chih kuan-hsi (The Relation of Novel to Politics)2 was followed by critical and aesthetic works by Wang Kuo-wei (1877–1927),3 in particular his well-known study Hung-lou-meng p’ing-lun (Contribution to a Discussion on the Dream of the Red Chamber) from the year 1904, and finally articles by young Lu Hsün (1881–1936), 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 ch’ing-nien (New Youth), the famous article Wen-hsüeh kai-liangch’u-i (A Preliminary Discussion on Literary Reform) which became the “manifesto” 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-don’ts-ism):
“
- 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
”
Hu Shih’s eight-don’ts-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-ch’iu 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 “what is literature?”, Hu Shih replied very simply, but also inadequately:
“Language 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.”9
Or:
“Literature without emotion or thought is like a beautiful woman without mind or soul; despite a richly beautiful appearance, there is nothing really there.”10
Real substance (wu), the first of the requirements of literature expressed above, was to consist of feelings (kan-ch’ing) and of thought (ssu-hsiang).
Hu Shih characterized feelings (or emotions) by a part of the definition of poetry from the “Great Preface” of the Mao Edition of the Book of Poetry (Mao shih “Ta hsü”):
“When one’s 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 one’s hand and beating with one’s feet.”11
According to Hu Shih, feelings are “the soul of literature”.12 Literature without feelings is but “a walking corpse”.13
Hu Shih characterizes thought by its three components: insight (chien-ti), knowledge (shih-li) and ideals (li-hsiang).14
“Thought 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.”15
A pity though that Hu Shih failed to write more explicitly on what he understood by “literary value” or to characterize his concept of “thought” in more detail. As examples of “valuable literature” of this type he cited Chuang-tzu’s works, then the poems by T’ao Yüan-ming (365–427) and Tu Fu (712–770), the tz’u form of poetry by Hsin Ch’i-chi (1140–1207) and Shih Nai-an’s (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 “real substance”...
Indice dei contenuti
- 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, Ch’en Tu-hsiu and the Beginning of Modern Chinese Literary Criticism
- 2 Kuo Mo-jo and his Development from Aesthetico-impressionist to Proletarian Criticism
- 3 Ch’eng Fang-wu and his Development from Socio-aesthetic to “Total Criticism”
- 4 Yii Ta-fu and his Panaesthetic Criticism
- 5 Teng Chung-hsia, Yiin Tai-ying, Hsiao Ch’u-nii and the Beginning of Concerned Literary Criticism
- 6 Chiang Kuang-tz’u’s Theory of Revolutionary Literature
- 7 Ch’ien Hsing-ts’un’s Theory of Proletarian Realism and “Literature of Power”
- 8 Mao Tun’s Struggle for a Realistic and Marxist Theory of Literature
- 9 Ch’ii Ch’iu-pai’s Russian Example and the Concept of Reality in Literature and Art
- 10 Lu Hsiin’s Contribution to the History of Modern Chinese Literary Criticism and his Struggle for a United Marxist Front
- 11 Liang Shih-ch’iu and Chinese New Humanism
- 12 Feng Nai-ch’ao, Li Ch’u-li and their Leftist Theory of Art and Literature
- Epilogue
- Selected Bibliography
- Index
Stili delle citazioni per The Genesis of Modern Chinese Literary Criticism (1917–1930)
APA 6 Citation
Gálik, M. (2022). The Genesis of Modern Chinese Literary Criticism (1917–1930) (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
Gálik, Marián. (2022) 2022. The Genesis of Modern Chinese Literary Criticism (1917–1930). 1st ed. Taylor and Francis. https://www.perlego.com/book/3295139/the-genesis-of-modern-chinese-literary-criticism-19171930-pdf.
Harvard Citation
Gálik, M. (2022) The Genesis of Modern Chinese Literary Criticism (1917–1930). 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
Gálik, Marián. The Genesis of Modern Chinese Literary Criticism (1917–1930). 1st ed. Taylor and Francis, 2022. Web. 15 Oct. 2022.