Late Qing to May Fourth (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 these topics with depth, revealing hidden truths and shedding light on subtle aspects. It offers highly insightful new interpretations of familiar subjects, presenting arguments that are both incisive and scholarly. 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 era, 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 examine several prominent and richly meaningful literary and cultural phenomena and works of this era, achieving significant accomplishments and making substantial progress within the discipline. In an absolute sense, these topics are not new, but Yang Lianfen's reinterpretation of these "old topics" is full of novelty and highly illuminating. This is closely related to the author's academic attitude, cultivation, research capabilities, and methods.
First, the author can 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 examines the case of Lin Shu's translation of over a hundred Western novels into classical Chinese, as well as the role of the numerous prefaces and postfaces he wrote for 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 Jili, 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 a thorough examination, leading to 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, which was distorted by "historicism," but also places him at a crucial juncture in the emergence and development of modernity in Chinese literature. What is particularly valuable is that the author, through this approach, deeply engages with and presents the local context of modernity in Chinese literature, avoiding the common problem of theoretical detachment 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 long historical novel study in the final chapter. The author elevates Zeng Pu's The Sea of Perilous Beauty beyond the "condemnation novel" label given by Lu Xun, comparing it with Li Jili's Three Novels of the Murky Ripple, and grouping them together as "modern historical novels." She further compares them extensively and precisely 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 Jili'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. 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 anchors this connotation of modernity in the actual narrative of literature, which is precisely what sets her apart from similar studies.
Additionally, the book deserves special praise for the author's exceptional and keen artistic sensibility, as well as her expressive and lively writing style. Taking Chapter 6 as a specific example, such as: "In terms of imagery and allusions, Su Manshu is classical; but in terms of sincerity, boldness, and the purity of emotion, Su Manshu's poetry is modern, filled with Byron-like passion and also echoing Shelley-like melancholy." The author's poetic prose is not merely an overflow of emotion, but rather accompanied by the intellect and rationality of a scholar. Describing the author's writing style in this way may be more accurate.