No CrossRef data available.
Published online by Cambridge University Press: 17 February 2009
Speaking in a very general way, youth and age have been taken in traditional Chinese literature as two stages in a continuous development of which the first represents the preparation and the last the goal. Respective values attached to these stages were derived from this concept. In a civilisation where literature, even polite literature, was to a large extent an amateurish pursuit of the scholar-official, this evaluation does not come as a surprise, particularly since it will not be easy to find another civilisation which was as strongly ideology-motivated as was the Chinese. Established attitudes concerning youth and age were thus, in general, accepted and taken for granted also by the poet.
1 Chapter “Ch'ü-li.” Legge, James, The Li Ki, Vol. I of The Sacred Books of China: the Texts of Confucianism (Oxford: Clarendon, 1885), Part III, pp. 65–66.Google Scholar
2 Legge, , loc. cit., Vol. II, p. 74.Google Scholar
3 See, for instance, Legge, , loc. cit., Vol. I, pp. 240–243.Google Scholar See also K'ung-tzu Chla-yü, Chap. 41. Wilhelm, R. trans. (Dusseldorf: Diederichs, 1961), pp. 178–179.Google Scholar
4 Wilhelm-Baynes, , The I Ching or Book of Changes (New York: Pantheon, 1950), Vol. I, pp. 20–24; Vol. III, pp. 40–45.Google Scholar
5 Trans. Peter Elizabeth Quince, quoted without permission.
6 I owe these two translations to my colleague Vincent Y. C. Shih.
7 Tse-tsung, Chow, op. cit., pp. 42–48.Google Scholar See also Schwartz, Benjamin I., Chinese Communism and the Rise of Mao (Cambridge: Harvard Un. Press, 1951), pp. 8–9 and passim.Google Scholar
8 The Conquest of Happiness (New York: Signet, 1951), p. 88.Google Scholar
9 Dewey, John and Dewey, Alice Chipman, Letters from China and Japan (New York: Dutton, 1920), 178.Google Scholar
10 Ibid. p. 193.
11 Actually not so very old either. Hu Shin was 26 in 1917, Ch'en Tu-hsiu, the oldest among them, 38.
12 I am not concerned here with those few poets who continued to produce in the traditional fashion. Even though the quality of their output was exceedingly high, they were not then considered the representative poets of the day.
13 Last, Jef, Lu Hsün—Dichter und Idol (Frankfurt a. M.: Metzner, 1959), p. 50, has drawn attention to this.Google Scholar
14 On the following see: Erlich, Victor, “The Literary Scene” in Brumberg, Abraham ed., Russia under Khrushchev (New York: Praeger, 1962), pp. 343–359Google Scholar; McLean, Hugh and Vickery, Walter N. eds., The Year of Protest (New York: Vintage, 1961)Google Scholar, introduction; Swayze, Harold, Political Control of Literature in the USSR: 1946–1959 (Cambridge: Harvard Un. Press, 1962).CrossRefGoogle Scholar
15 Erlich, , pp. 346–347.Google Scholar Trotsky was evidently influenced by Plekhanov in his views on art.
16 Erlich, op. cit.
17 Tyomin, , 1959.Google Scholar See Swayze, , p. 264. Translation slightly altered.Google Scholar
18 MacFarquhar, Roderick, The Hundred Flowers (London: Stevens, 1960).Google Scholar
19 Dramatically expressed in Herbert Read's now famous formulation: Art is revolution.
20 Chinese Literature (hereafter, CL), No. 1, 1956, pp. 147–164. Written before the “liberation.”Google Scholar
21 Alley, Rewi, The People Speak Out (Peking: The author, 1954), p. 36.Google Scholar
22 “Blood,” Alley, Rewi, p. 40.Google Scholar
23 “The Last Bit of Bran,” ibid.
24 Shih-nien Shih Ch'ao (Peking: Jen-min Ch'u-pan-she, 1959), pp. 6–9.Google Scholar
25 See the title story in her volume Our Children and Others (Shanghai: Ying-wen Hsueh-hui, 1941)Google Scholar, and her volume When I was In Hsia-ts'un, edited by Feng, Hu. English trans. When I vas In Sha Chuan (Poona: Kutub, 1945).Google Scholar
26 Written in 1948. English trans. (Peking: Foreign Languages Press), 1954.
27 Hsueh-feng, Feng, loc. cit., p. 338.Google Scholar
28 See Swayze, , p. 247Google Scholar, for a similar phenomenon in the USSR.
29 CL, No. 2, 1952, pp. 214; No. 1, 1955, pp. 195–196; No. 6, 1959, pp. 137–139.
30 Prusek, , Die Literatur des befreiten China (Prague: Artia, 1955), p. 341.Google Scholar
31 Prusek, , pp. 127–128.Google Scholar
32 See Erlich, , pp. 352–353Google Scholar, for the role of the “typical” as developed by Malenkov.
33 Hsiang-chen, Kao, “Chubby and Little Pine,” CL, No. 1, 1951, pp. 115–124.Google Scholar
34 Ping, Hsiao, “At the Seaside,” CL, No. 1, 1951, pp. 106–115.Google Scholar
35 Ta-lin, Jen, “Crickets,”Google Scholaribid., pp. 97–106.
36 Pin-chi, Lo, “New Year Holiday,” CL, No. 3, 1955, pp. 73–85.Google Scholar
37 Fei, Lu, “Forest Girls,” CL, No. 3, 1957, pp. 158–162.Google Scholar
38 Feng, Ma, “Han Mei-mei,” CL, No. 3, 1955, pp. 60–72.Google Scholar
39 Chun, Li, “Mother and Daughter,” CL, No. 12, 1959, pp. 72–85.Google Scholar
40 Serialised in CL, Nos. 3–6, 1960.
41 Kuang-yao, Hsü, “Lao Tao,” CL, No. 4, 1955, pp. 114–120.Google Scholar
42 Yen, Hsia, “The Test,” CL, No. 4, 1955, pp. 1–69.Google Scholar
43 Chun, Li, “When the Snow Melts,” CL, No. 1, 1957, pp. 3–62.Google Scholar
44 See Chen, S. H., “Multiplicity in Uniformity: Poetry and the Great Leap Forward,” The China Quarterly, No. 3, 07–09, 1960.CrossRefGoogle Scholar
45 Mo-jo, Kuo and Yang, Chou, eds., Songs of the Red Flag (Peking: Foreign Languages Press, 1961), p. 121.Google Scholar
46 Ibid. p. 10.
47 CL, No. 11, 1959, pp. 50–57.