CHEN: I should like to join in
congratulating
Mr.
Li Po
The English was particularly pleasing, and I am glad that the
lecturer has broken away from the old custom of seeking rhymes, and
followed the French custom in the translation of these poems. A man
may be an excellent writer and translator, and not be a poet, but to
translate foreign poetry into English considerable literary gifts are
required.
Mr. PAUL KING: All of you who have been lately in China must be struck
with the extraordinary difference between the China described in these
poems and the China which has come into being since the revolution.
Ideas of a very practical nature have now taken possession of the
people. And then, what about modern Chinese poets? Do any of us know
of any? In my intercourse with the Chinese I cannot recall a modern
Chinese who was a poet. It is possible that I may have met one, and
that he concealed his poetic gifts. (Laughter. ) Our lecturer tells us,
however, that he knows certain Chinese poets. It would be interesting
to know if they are publishing their poems, and how they would compare
with the work of the older poets in our possession.
Mr. L. Y.
CHEN: I should like to join in congratulating Mr. Waley on
his very learned paper and beautiful translations. It is quite true
that there are no epic poems in Chinese literature. This form of poetry
has not been introduced in China, but I differ with your statement,
Sir, that Chinese poetry lacks imagination. (Applause. ) I could give
you many instances to the contrary, though not from memory. The last
speaker's remark that the present China is different from what China is
in Chinese poetry may be true, but I may well retort that the England
as represented in Shakespeare is very different from the England of
to-day. (Laughter and cheers. ) And Li T'ai-po lived many hundred years
ago, but Shakespeare lived at a more recent period. Human nature has
two states, the spiritual and the practical. You can combine the two.
If you have the practical it does not necessarily follow that you are
lacking in the spiritual. As for present-day Chinese poets, there are
several famous ones in China.
Since the lecturer has raised the question whether Li T'ai-po or Tu
Fu is the greater poet, I would say that the Chinese of the present
day consider Tu Fu to be the greater. It strikes me as curious that
European people who know something about Chinese poetry should prefer
Li T'ai-po. Perhaps very few people have heard of Tu Fu.
lecturer has broken away from the old custom of seeking rhymes, and
followed the French custom in the translation of these poems. A man
may be an excellent writer and translator, and not be a poet, but to
translate foreign poetry into English considerable literary gifts are
required.
Mr. PAUL KING: All of you who have been lately in China must be struck
with the extraordinary difference between the China described in these
poems and the China which has come into being since the revolution.
Ideas of a very practical nature have now taken possession of the
people. And then, what about modern Chinese poets? Do any of us know
of any? In my intercourse with the Chinese I cannot recall a modern
Chinese who was a poet. It is possible that I may have met one, and
that he concealed his poetic gifts. (Laughter. ) Our lecturer tells us,
however, that he knows certain Chinese poets. It would be interesting
to know if they are publishing their poems, and how they would compare
with the work of the older poets in our possession.
Mr. L. Y.
CHEN: I should like to join in congratulating Mr. Waley on
his very learned paper and beautiful translations. It is quite true
that there are no epic poems in Chinese literature. This form of poetry
has not been introduced in China, but I differ with your statement,
Sir, that Chinese poetry lacks imagination. (Applause. ) I could give
you many instances to the contrary, though not from memory. The last
speaker's remark that the present China is different from what China is
in Chinese poetry may be true, but I may well retort that the England
as represented in Shakespeare is very different from the England of
to-day. (Laughter and cheers. ) And Li T'ai-po lived many hundred years
ago, but Shakespeare lived at a more recent period. Human nature has
two states, the spiritual and the practical. You can combine the two.
If you have the practical it does not necessarily follow that you are
lacking in the spiritual. As for present-day Chinese poets, there are
several famous ones in China.
Since the lecturer has raised the question whether Li T'ai-po or Tu
Fu is the greater poet, I would say that the Chinese of the present
day consider Tu Fu to be the greater. It strikes me as curious that
European people who know something about Chinese poetry should prefer
Li T'ai-po. Perhaps very few people have heard of Tu Fu.
