Chen Shixiang's Collected Works

Author: Chen Shixiang
Publisher:
Publish Date: 1998-12-01
Features: One of the key tasks of comparative literature is to seek out the most abstract universal concepts across various literatures and then examine the unique characteristics of each. Placing actual examples of universal concepts from one's own country and other countries side by side can make the distinctive features of these concepts particularly clear and profound. This kind of meaning cannot be uncovered through traditional approaches alone. Therefore, the task of comparative literature is not just about finding equal literary factors; it also aims to establish new interpretations and evaluations of literature. When we say something is a certain literary feature, we already imply a comparison with other literatures. If we say that the Chinese lyrical tradition represents Eastern literature in all its aspects, we have already made a comparison with the West. The reason we find the Chinese lyrical tradition particularly prominent and able to achieve greater significance in the criticism and study of world literature is precisely through such parallel comparisons.
In modern times, there is a Western view that claims China lacks a broad, abstract term for "poetry" like the English word "poetry." This view is only partly true. We might ask, what kind of broad, abstract term is the "poetry" in the well-known Chinese saying, "Poetry contains painting, and painting contains poetry"? However, it is true that the Chinese term "" (shī) and the English word "poetry" often differ in their usage, meaning scope, and the associations they evoke. Of course, we must also remember that the German word "Poesie" and even the phonetically similar French word "poésie" are not always the same as the English "poetry" in terms of usage and associations.
Now, we will attempt to explore the original constituent elements of the word "," employing comparative literary and comparative linguistics methods to reveal its initial formation, its fundamental characteristics, and how it differs from and connects with similar products of other ancient cultures. Thus, it has also developed various similarities and differences in traditional interpretations and usage.
The folk songs of primitive peoples, like natural melodies, are present in the ancient cultures of all nations, dating back to a time so remote that it is hard to trace. However, such songs are unique and concrete acts. Even after countless years, no single abstract term has emerged to represent them universally. Even when some lengthy works have been passed down through the ages, they still lack a comprehensive name. The term "" (shī) is particularly difficult to coin—partly because abstract concepts are harder to express in words, and partly because its origins are complex, intertwined with other primitive arts, and each cultural group has its own perspectives.
When the term "" (shī) was finally established, it could be seen as the initial foundation of a philosophical category in the arts or the beginning of literary criticism. Western literary philosophy and criticism trace their roots back to Greece. Yet, it might seem quite strange to say, but in fact, even in the time of Aristotle, the Greek language had no single term like "poetry" to represent poetry universally. Aristotle's Poetics was a pioneering work. However, in the very first chapter, he explicitly states this fact: that by his time, ancient Greece still lacked a specific term for poetry. We translate this passage into classical Chinese, which is closer to the original meaning: "There is also an art that relies solely on language to 'imitate' [móxiào]. Its form may be scattered or harmonious, or...