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bettersoundingpretextheeyesofthepublicthedeadlanguagetherefore
beissiblesolongasyoucallitbythe
e
soinstancesofthechineseliteraryfinessearethefolloial
goventearkedonapoli;itfoundanextrely
cleverplybanningintaxing;”andthedisveryofthat
sloganalonecarriedthepolicythroughasnoothersloganpossiblyuldhe
entreveditscapitalfroankingtoloyangfollohe
shanghairesistance”inszechuen
sooftheerstoplantopiuandhadthecleveessto
erstoplant
opiurecently;thesaprovincehasproducedaneaxcalled”goodax;”ie;
anextrataxontopofthoseestheregularfarax;obringaboutgoodhepeopleandthesoldiersbypayingthesoldiers
andkingitunneyfurthertohelptheelvesthatiswhy;
ongourselves;theforeigndevilsfortheir
”silendedness”
suchliterarycatastrophesarepossibleonlyinanationbelievinginafalseliterary
standard;andareinfactrelytheresultoftheethodofteaching
positioninprirysodeanceofsucha
literaryatrocity;canonlydoeitherofthingsfirst;hecantakethetraditional
vieeratureandblandlyregarditaspurebelleslettres;hneedhaveno
rrelationhthefactsheingissupposedtonvey梐ndthenread
betustdendaationbetweenwordsand
thoughtandaneorecapableofexpressing
nslifeandthoughtsinotherustregardtheprevalenceofsuch
verbosestatentsasalpracticereofaliterarythanofapoliticaloriginbuthe
stalsobelievethatunlesssuchliterarylpracticesare;political
lpracticesstalsofollow
viiliteraryrevolution
aliteraryrevolutionein1917;led
bydrhushihandchentuhsiu;advocatingtheuseofthespokenlanguageasthe
literarydiuthereherrevolutionsbeforethishanyuinthetang
dynastyhadrevoltedagainsttheeuphuisticstyleofthefifthandsixthcenturies;and
advoplestyle;bringingitbacktoasanerliterarystandardand
givingusarereadableprosebutitotheearlyliteratureofthe
ghoudynastythisitate
theancients;anditeasyafterhanyii;literaryfashionsfluctuatedbetween
itatingtheghouperiodandthechinhanperiod;andself
bee;atdifferenttis;a
greatperioditselfforitationthesungpeopleitatedthetangs;andthe
ngandchingitatedthetangsandsungs
literaryfashionsbeitations
onlyaslateastheendofthesixteenthcenturydidthereriseanhat
”depeopleshouldodelanguage;”shohroughoutasound
historicalperspectivethisogetherhhisthersyuan
daredtoinrporateerurseandevenslangwordsinhisprose;
andforatiheobtainedgreatliteraryvogue;haschooloffollowersknownas
thekunganseofyiiansdistrictitoo;who
advoalandstylistiventionsitwas
heyour”yourpenitedapersonal;
individualisticstyle;believingthatliteraturetheexpressionofones
personality;hsingling;berepressed
buttheuseofnplaceandslangheorthodox
urtcritics;andthisauthorreceivednothingexceptepithetslike”frivolity;”
”inelegance;””unorthodoxy;”inallhistoriesofliteratureonlyaslateas1934was
thisfounderofthepersonalstyleofpartialortotaloblivion
yuanalsoneverhadtheurage;ortheinsight;toadvocatetheuseofpekhua;orthe
veaculartongue;iningithertheersofpopulaovelswhohad
givenupallaitiontoliteraryfaandoeinthepehkuato
ketheiovelsintelligibletothepublicthatlaidthetruefoundationofliteraturein
thelivingtonguensequently;ediu
hehad;asherepeatedlyinsisted;thegroundfor
nearlyathousandyearsbythesenovelists;andpeopleediuad
readyfirsthenceitspleteoveringsuccessinthe
spaceofthreeorfouryears
tportantchangesfolloheliteraryrevolutionfirst;thecultivationofthe
personal;faliarstyleofing;representedbythechoubrothers;ghoutsojenand
ghoushujen”lusin”;itisnotehythatghoutsojenlyinfluencedby
theschoolofyuanghunglangthesendchangehesocalled
”europeanizationofchinese”insyntaxaser
asitisinevitableinthelattertheintroductionofsisonlynatural;for
oldteraxenotadequatetorepresentdec
………………………………
第79节
onceptsitbeganhliang
chichaointheeighteenniies;butlyaggravatedoracceleratedafter1917
aniaforaywellbe
regardedasanaggravation;butthestyleintroducedissoforeigntothechinese
languagethatitcannotlastthissituationisespeciallybadintranslationsofforeign
erousastheyareunintelligibletotheaveragechinese
reader
actually;suchatrocitiesareperpetratedbytranslatorsfoootherreasonthantheir
insufficientsteryoftheforeignlanguage;totranslatewordby
edeparishas
actuallybeentranslatedas”parisianaginealsothegrotesquenessof
translatinglongenglishrelativeclausesfolloheirantecedentsintochinese;
htherelativeclausesexistinchinesechangedintoalongstringof
difiersextendingoverseverallinesbeforeiningtotheodify
ents;liketheintroductionoftheloose
nstructionainclause
shantgo;ifitrains;itisnoakestheprosesochre
suppleandflexible
erivalanynationallanguage
inpoodeenglishproseisdistinguishedbyahealthy
xtureofnelyenglishlanguage;and
oreexaeaning;takenfroheronic
heritageatenlanguagehnsiderssuchexpressionsas”anosefor
nehebhedriftoflanguage;””ridingonthetideof
success”and”lloydgeorgesflirtationshthenservativeparty”asgood;
standardenglishstreinavirileliterarydiuafalseliterarystandardh
the;tide;etc;andenforcessubstituteslike
appreulations;tendenent;statoncelosethis
virilitythetponents;ncreteandabstractingreatrichnessin
thechineselanguageitsbasicstructureisncretethroughout;likethe
anglosaxonheliteraryheritageoftheclassicalliteraturehasleftbehind
avoeaning;othe
ronithextureofthesetentsinthe
handsofatrueliterarycraftsnthereergeaproseofthegreatestpower
andbeauty
viiipoetry
itseefairtosaythatpoetryhasenteredreintothefabrifourlifethanithas
intheandisnotregardedusedindifferencesquite
generalinaentioned;allchinesescholarsare
poets;orpretendtobe;andfiftypercentofthententsofascholarsllectedworks
usuallynsistsofpoetrythechineseierialexanations;eversincethetang
period;havealpositionofpoeangtheiortanttestsof
literaryabilityevenparentsetis
thetalentedgirlstheelves;oftensonthestre