My father, Shao Xunmei

Author: Shao Xiaohong / Country: Mainland China
Publisher:
Publish Date: 2005-06-01
Features: Shao Xunmei, the "rich son-in-law" depicted by Lu Xun, and known as the "poetic twin gem" alongside Xu Zhimo, and the "Mencius of the literary world" celebrated in the maritime realm. Yet, after his death, he faced widespread criticism and neglect. His daughter, Shao Xiaohong, spent a decade meticulously crafting this book, uncovering the true Shao Xunmei. Many of the materials presented here are disclosed. The Times Pictorial, The Times Comic, and Myriad played a significant role in the development of Chinese comics, and the evolution of comics also influenced the development of painting. Without Xunmei and the Times Publishing Company, Chinese comics would not have advanced as they have today. — Huang Miaozi
In the history of modern Chinese literature, Shao Xunmei (1906–1968) is less known than most writers because he did not fit the typical image of a "May Fourth" writer with social conscience. As a poet, prose writer, translator, publisher, and flamboyant literary dandy, Shao Xunmei bore a striking resemblance to his friend Xu Zhimo. Xu Zhimo was a key poet of the Crescent Moon Society, and his posthumous fame also surpassed that of Shao Xunmei. — Li Ou-fan
I feel that Xunmei has three personalities: a poet, a wealthy heir, and a publisher. He constantly shifts between these three personas, weaving back and forth, extremely busy, yet also contradictory and harmonious. Thus, this person is truly difficult to grasp, much less to write about. — Zhang Kebiao
In the Rúlin (The Analects) issue 100, the Special Issue on Home was published, the title of which was determined through reader feedback. Hundreds of authors submitted their works. In the "Editorial Notes," Xunmei wrote: "This issue will undoubtedly be recognized as a success by both publishers and readers, but for us editors, it is a clear failure. This failure, of course, does not refer to the content of the many articles published here—each is excellent. Nor does it refer to aspects like layout or printing—everyone can see the significant improvements. The failure lies in the process of choosing the theme, drafting the call for contributions, and the submissions received. Except for those specially invited, nine out of ten interpreted 'home' as 'family.' While it is not necessarily wrong to interpret 'home' as 'family,' the descriptions were not of 'family,' but rather the 'pains of family,' causing too much sorrow for Rúlin. Some authors cried out 'the nation is destroyed, the family is lost,' while others lamented 'the family is destroyed, the people are lost.' There were also those who shouted 'the nation is destroyed, but the family is not,' or 'the family is destroyed, but the nation is not,' or 'the family is destroyed, but the people are not,' or 'the people are destroyed, but the family is not.' In short, the pages were filled with tears and sorrow; it was more like the groans of the weak than the roars of the strong. If Rúlin were to publish these, Rúlin would no longer be Rúlin."
Xunmei said, "These hundreds of manuscripts are the confessions of blood and tears of hundreds of individuals. Although it is not convenient for the nature of the publication to publish them, the authors have received our sympathy and gratitude." He sincerely apologized and offered each author a copy of the Special Issue on Home as a token of appreciation.
Next came the New Year of 1937. Rúlin published a special issue, the Special Issue on Light, which was Issue 105. In the "Editorial Notes" for that issue, Xunmei wrote: "The articles received this time are mostly quite substantial."
"Authors, readers, and editors are like a group of close friends who gather every day. We talk about all sorts of things, and Rúlin is never without you, and you are never without Rúlin)—this is our ideal. The material for this issue is a perfect demonstration. When we read each article, it’s as if we hear the voice of each author: the veil of words does not make our innocence seem false. This is our new principle."
Xunmei had originally planned to write an article titled The Wishing Lamp. He said, "To speak on behalf of the people of the country, I wanted to express a few wishes. If we could obtain a 'Wishing Lamp' like the one in One Thousand and One Nights, China would surely be saved."
Regarding the topic of freedom of speech, Xunmei discussed it in several issues: In Issue 101, he wrote about "Disputes arise from too many words, and troubles come from forcing one’s way forward," saying, "Although I don’t want to force my way forward, I love to speak more. Originally, the line between speaking too much and forcing one’s way forward is difficult to draw, just like patriotism and subversion are equally hard to distinguish. Several people who usually enjoy speaking too much have gotten themselves into trouble." He cited the example of Shen Junru, Zou Tao-fen, Li Gongpu, and Sha Qianli, the "Seven Gentlemen" of the Save the Country League, being arrested.
In Issue 102, he discussed the magazine Independent Review, founded by Hu Shi, which was banned after publishing Zhang Xi-ruo’s article Ji and Chaoyang Should Not Claim Special Privileges. He wrote: "In fact, the banning of a publication is often something the editor longs for. (1) We painstakingly wrote dozens of essays, but the impression left on readers may not be deep. However, when a ban is issued, the publication stops, and readers are immediately moved by it: the arguments in the essays are then proven by a strong example, and the editor’s purpose is achieved—this can be called a 'passive self-punishment.' (2) After running a publication for a while, the editor may shift from interest to responsibility, and from responsibility to constraint. If the publication is banned, it provides an excuse to step down and reclaim freedom. (3) When starting a new publication later, circulation can increase significantly. (4) It can indirectly remind fellow citizens of the limits of our freedom of speech. (5) It can bring unexpected gains to speculative editors."
In the "Editorial Notes" of Issue 107, Xunmei could no longer restrain himself and wrote: "To know that the pen of a writer is alive, especially the pen of a Chinese writer who has studied the 'Spring and Autumn Annals' style. If you don’t let me speak of the sky, I will work on the character 'earth.' If you don’t let me speak much, I will find a way to express myself in 'few words.' If you don’t let me say □□, I will achieve my goal in ×××. The result is that some truths are concealed, and many rumors are spread. Between authors and readers, without direct communication, they rely on mutual understanding. Thus, unclear writing becomes a masterpiece; incorrect news is mistaken for fact. Humorous events fill the universe, and humorous articles become popular."