The novel
exists and has merits, but never became the instrument of great writers.
exists and has merits, but never became the instrument of great writers.
Waley - 170 Chinese Poems
--A.
D.
220.
Wei, 220-264.
Chin, 265-419.
(Northern Wei, ruled over the North of China, 386-532. )
Liang, 502-556.
Sui, 589-618.
T'ang, 618-905.
Sung, 960-1278.
Yuan (Mongols), 1260-1341.
Ming, 1368-1640.
Ch'ing (Manchus), 1644-1912.
THE LIMITATIONS OF CHINESE LITERATURE
Those who wish to assure themselves that they will lose nothing by
ignoring Chinese literature, often ask the question: "Have the Chinese a
Homer, an Aeschylus, a Shakespeare or Tolstoy? " The answer must be that
China has no epic and no dramatic literature of importance.
The novel
exists and has merits, but never became the instrument of great writers.
Her philosophic literature knows no mean between the traditionalism of
Confucius and the nihilism of Chuang-tz? . In mind, as in body, the
Chinese were for the most part torpid mainlanders. Their thoughts set
out on no strange quests and adventures, just as their ships discovered
no new continents. To most Europeans the momentary flash of Athenian
questioning will seem worth more than all the centuries of Chinese
assent.
Yet we must recognize that for thousands of years the Chinese maintained
a level of rationality and tolerance that the West might well envy. They
had no Index, no Inquisition, no Holy Wars. Superstition has indeed
played its part among them; but it has never, as in Europe, been
perpetually dominant. It follows from the limitations of Chinese thought
that the literature of the country should excel in reflection rather
than in speculation. That this is particularly true of its poetry will
be gauged from the present volume. In the poems of Po Chu-i no close
reasoning or philosophic subtlety will be discovered; but a power of
candid reflection and self-analysis which has not been rivalled in the
West.
Turning from thought to emotion, the most conspicuous feature of
European poetry is its pre-occupation with love. This is apparent not
only in actual "love-poems," but in all poetry where the personality of
the writer is in any way obtruded. The poet tends to exhibit himself in
a _romantic_ light; in fact, to recommend himself as a lover.
The Chinese poet has a tendency different but analogous.
Wei, 220-264.
Chin, 265-419.
(Northern Wei, ruled over the North of China, 386-532. )
Liang, 502-556.
Sui, 589-618.
T'ang, 618-905.
Sung, 960-1278.
Yuan (Mongols), 1260-1341.
Ming, 1368-1640.
Ch'ing (Manchus), 1644-1912.
THE LIMITATIONS OF CHINESE LITERATURE
Those who wish to assure themselves that they will lose nothing by
ignoring Chinese literature, often ask the question: "Have the Chinese a
Homer, an Aeschylus, a Shakespeare or Tolstoy? " The answer must be that
China has no epic and no dramatic literature of importance.
The novel
exists and has merits, but never became the instrument of great writers.
Her philosophic literature knows no mean between the traditionalism of
Confucius and the nihilism of Chuang-tz? . In mind, as in body, the
Chinese were for the most part torpid mainlanders. Their thoughts set
out on no strange quests and adventures, just as their ships discovered
no new continents. To most Europeans the momentary flash of Athenian
questioning will seem worth more than all the centuries of Chinese
assent.
Yet we must recognize that for thousands of years the Chinese maintained
a level of rationality and tolerance that the West might well envy. They
had no Index, no Inquisition, no Holy Wars. Superstition has indeed
played its part among them; but it has never, as in Europe, been
perpetually dominant. It follows from the limitations of Chinese thought
that the literature of the country should excel in reflection rather
than in speculation. That this is particularly true of its poetry will
be gauged from the present volume. In the poems of Po Chu-i no close
reasoning or philosophic subtlety will be discovered; but a power of
candid reflection and self-analysis which has not been rivalled in the
West.
Turning from thought to emotion, the most conspicuous feature of
European poetry is its pre-occupation with love. This is apparent not
only in actual "love-poems," but in all poetry where the personality of
the writer is in any way obtruded. The poet tends to exhibit himself in
a _romantic_ light; in fact, to recommend himself as a lover.
The Chinese poet has a tendency different but analogous.
