Late Qing to May Fourth: The Emergence of Modernity in Chinese Literature: The Emergence of Modernity in Chinese Literature

Author: Yang Lianfen
Publisher:
Publish Date: 2003-11-01
Features: This work does not comprehensively narrate the literary history from the late Qing to the May Fourth Movement, but instead delves into several prominent literary phenomena and works of this period from a specific perspective of uncovering "modernity." It thoroughly examines the complexities and subtleties of this era, offering insightful and incisive new interpretations of familiar topics, demonstrating significant academic value. Chapters 3, 6, and 7 are particularly outstanding. The Emergence of Modernity in Chinese Literature from the Late Qing to the May Fourth Movement focuses on the literary works of the late Qing and early Republican period, which have long been overshadowed by the May Fourth Movement. However, it does not provide a comprehensive account of the literary development during this period. Instead, it uses "modernity" as both theoretical resource and research strategy to rigorously and deeply investigate several prominent and richly meaningful literary and cultural phenomena and works, achieving multifaceted accomplishments and making substantial progress within the discipline. In an absolute sense, these topics are not new, yet Yang Lianfen's reinterpretation of these "old topics" is filled with novelty and great inspiration, which is closely related to the author's academic attitude, cultivation, research capabilities, and methods.
First, the author is able to immerse herself in the specific historical context, fully respecting the details andities of history, and meticulously examining the complexity, richness, and diversity of historical events. Taking Chapter 3 as an example, the author painstakingly explores the circumstances of Lin Shu's translation of over one hundred Western novels into classical Chinese, as well as the role of the numerous prefaces and postfaces he wrote for the translators in the synchronic context. She also gathers as much material as possible in this field of research, demonstrating the diachronic influence of Lin Shu's translations on generations of literary youth, such as Lu Xun, Zhou Zuoren, Hu Shi, Guo Moruo, Li Jiriren, and Qian Zhongshu. Regarding the repeated discussions of Lin Shu and the May Fourth New Culture writers in literary history, the author does not overlook an in-depth examination, arriving at the conclusion that "the divergence between Lin Shu and the New Culture was not about whether to use vernacular Chinese, but whether the use of vernacular Chinese necessarily meant abandoning classical Chinese." Based on this, the author not only restores Lin Shu's authentic image, distorted by "historicism," but also places him at a crucial juncture in the emergence and development of modernity in Chinese literature. What is even more valuable is that the author, through this approach, deeply engages with and showcases the local context of modernity in Chinese literature, avoiding the common problem of detached theory from material in such research.
Second, this monograph fully reflects Yang Lianfen's broad and incisive academic vision, as well as her skillful application of comparative research methods. This is particularly evident in the lengthy study of the historical novel in the final chapter. The author elevates Zeng Pu's The Sea of Perilous Beauty beyond the label of "condemnation novel" as defined by Lu Xun, comparing it with Li Jiriren's Three Novels of the Murky Waters, which are collectively termed "modern historical novels." These are then broadly and accurately compared with works in French literature, ranging from Molière to Hugo and from Balzac to Flaubert. The author argues that the modernity of Zeng Pu and Li Jiriren's historical narratives lies in their breaking away from the grand narrative model of traditional historical novels, which centered on major historical events or figures, and instead presenting a "customs history" composed of daily secular life. This insight is highly valuable, as one of the main connotations of modern literature is the exploration and representation of the everyday and private life space. Through her specific examinations and research, the author grounds this modern connotation in the actual narrative of literature, which is precisely what sets her work apart from similar research.
Additionally, the book deserves special praise for the author's exceptional and perceptive artistic sensibility, as well as her vivid and spirited writing style. Taking Chapter 6 as a specific example, such as: "From the perspective of imagery and allusions, Su Manshu is classical; but from the sincerity, boldness of expression, and purity of emotion in his poetry, Su Manshu's work is modern, filled with Byron-esque passion and Shelley-esque melancholy." The author's poetic prose is not merely an overflow of emotion, but is accompanied by the intellect and rationality of a scholar. Describing the author's writing style in this way may be more accurate.