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sorsaultsinthenfucianschoolandlookingforheurtsofthe
nfudenounreadevendaredto
playtantishandtheir
vegetarianisalfheartedthefearofheresyhungovertheirheadsliketheswordof
daeanthefearoforiginalityliterature
aneityhtheclassicaltraditionofideas
the”freeplayofthend”elylitedinspe;andthe”sorsaultsin
thenfucianschool;”hoightbe;ersaults
hinthenfucianprecincts
afterall;anationofscholarsuldnotdiscussbenevolenceandrighteousnessfortwo
thousandfivehundredyearsselvesactually;anessayh
perialexanations;oplain
english;aggerenglishreadersbyitspuerilityandchildishnessthegigantic
literaryfeatproducedbythegiganticbrainpopressionofthe
anticsofafleacircusaeruldthereforebeoriginalonlyinthesphereofnovels
anddras;fortablyoneself;andaginationuldbe
creative
asatteroffact;allliteraturethatisans
soul;islyricalinoriginthisistrueevenintheliteratureofideas:onlyideasthat
estraightfroansheartadethispointclearas
farbackas1795inhisnjecturesenoriginalpositionchinshengtan;a
distinguishedcritiftheseventeenthcentury;saidrepeatedlyinhisletters:”is
poetrybutavoiceoftheheartitcanbefoundinensandchildrenshearts;and
itestoyoubyingandbynight”theoriginofliteratureisreallyassile
asthat;inspiteofalltherhetoricalandpositionaltechniquethatprofessorsoi
literaturetrytoencuerithchinshengtanalsosays;”theancientpeoplewere
notpelledtosayanything;bu1theysuddenlysaidsothingpurelyoftheirown
aetisofevents;andsotisoftheirownfeelings;and
havingfinishedtheyhadtosay;theytookleaveand
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departed”thedifference
betereesayitbeautifullyandothersdo
not;andtheyorebeautifullythanotherssurvive
thelyriakesitpossibleforustoregardliteratureasa
refleanssoul;andtoregardanationsliteratureastherefleans
spiritinthatnationforiflifeybeparedtoalargecity;ansay
beregardedasthehecityinreadinga
nshisgarretainaviewof
lifeastheountainpeaksliningthehorizon;
andthealleye;butthatgarretviewof
thecityisindividualisticandpeculiarlyhisoionsliteraturewe
arethereforebuttryingtogetagliseoflifeasthebestndsofthatnationseeit
andastheyexpressitthroughtheiroediu
iilanguageandthought
theaediuorthechineselanguage;haslargely
deteedthepeentofchineseliteraturebyparisonhthe
europeanlanguagesitispossibletotracehouchofthepeculiaritiesofchinese
thoughtandliteratureareduesilytotheirpossessionofasocallednosyllabic
languagethefactthatthechinesespokeinsyllableslikechingychong》changwas
appallinginnsequendeteedthecharacterofthe
chineseing;andthecharacterofthechineseingbroughtaboutthentinuity
oftheliteraryheritageandthereforeeveninfluencedthenservatisfchinese
thoughtitentofaliterarylanguagequite
distinadeleaingdifficultand
neiteddirectly
influenentofcertainpeculiaritiesofchineseliterarystyle
everynationhasdevelopedaostsuitabletoitslanguageeuropedidnot
developaingonpictorialprinciplesbecausethephoicstructureof
indogeicparativeprofusionofnsonantsand
infinitelyvariablebinations;requiredananalyticalphabet;andakethe
representationofthese
ofideographsuldbeusedalone;andithecaseofchinese;
neentthepictorialprinciplebythephoicprinciplebeforeit
uldhaveanyiortantdevelopnttheseelentarypictographshenused
inbinationspurelyfortheirphoicvalue;andactuallynienthsoftheover
fortythousandcharactersinchinesedictionariesarebuiltontheprincipleofphoic
bination;haboutthirteenhundredideographsasphoicsignsha
nosyllabiclanguage;suchasthechinese;fourhundred
syllabicbinationsnotuntingthetoneslikeching9chong;chang;thisuld
sufficebutaniclanguagetheinventionofanebolfor
everynebinationlikeschlachtandkraftingeor
scratched;scraped;splashandscalpelinenglishpossible
taskthechineselanguagefailedtodevelopaphoicscriptintheesense
bebolsuldsufficehadthechinese
beenspeatdngalanguageanschlachtandkraftorthe
englishscratchedandscalpel;theyy;inventeda
phoicscriptlongago
theperfectadjustntbetonosyllabiclanguageandtheten
characterscanbeeasilydeplainthelanguageischaracterizedbyagreatscarcity
ofsyllabisandnsequentlyagreatnuerofhonyorhe
sasoundthesoundpaocananoveradozenthings:”apackage”tocarry
”ach;””abubble;”etcsincethepictorialprincipleitedin
applicationtoncretethingsoractions;andplicated;theoriginalspurelyphoicvalueand
”borroesoundhappenedthenhat
thereoreorlessfixedinthe
handynasty;berofsuch”borroingdifferent
thingsnecessityforcedthechinesetoaddasigncalled”radical”toindicatethe
classofideashisparticularendedtoreferto
theuseofphoicsyolstooexact;andhencehefollowing
odechinese;alltenh
theoriginal”package”signgj;buteachtakingaclasssignorradical;as
thuspaoplusa”hand”radieanstorun;plus
”eansagoeansach;plus”er”
ansabubble;plus”fire”ansfirecrackers;plusa”fish”ansthenaofafish;
plus”flesh”anstheb;plus”stone”ansaouth”ansto
roar;plus”grass”ansafloeanshail;plusa”knife”ansto
sofhony
butsupposetheprobleny;supposethechineselanguagehad
heenglishscraped;scratched;andscalpel;orsupposetheenglishpeople
startedouthabasicphoicpictureforscap;theyed
equallybynecessitytodistinguishbethesoundscapeandscape;orbetween
scapeandscrape;orbetch;and
theresultuldnothavebeenanythingexceptanalphabethsignstodenotes;r;
edt};p;ch;etchadthechinesedohistheytoo;and
nsequentlyhavehadareeracy
given;therefore;thenosyllabiccharacterofthechineselanguage;itost
inevitablethatpictorialcharactersalonehasprofoundlychanged
thecharacterandpositionofleainginchinabytheirverynaturethechinese
charactersare
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notsubjeesyoluldbe
readindifferentdialectsorevenlanguages;asthesignofthe
christiancrossuldbepronouncedcrossinenglishandcroixinfrench
thishasaveryclosebearingontheunityofchineseculturethroughouttheold
ei