Mau-sang Ng - The Russian hero in modern Chinese fiction
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The Russian Hero in Modern Chinese Fiction SUNY Series in Chinese Philosophy and Culture
author
:
Ng, Mau-sang.
publisher
:
State University of New York Press
isbn10 | asin
:
0887068812
print isbn13
:
9780887068812
ebook isbn13
:
9780585061344
language
:
English
subject
Chinese fiction--20th century--History and criticism, Russians in literature.
publication date
:
1988
lcc
:
PL2443.N45 1988eb
ddc
:
895.1/35/09352
subject
:
Chinese fiction--20th century--History and criticism, Russians in literature.
The Russian Hero in Modern Chinese Fiction
SUNY Series in Chinese Philosophy and Culture David L. Hall and Roger T. Ames, Editors
The Russian Hero in Modern Chinese Fiction
Mau-sang Ng
THE CHINESE UNIVERSITY PRESS HONG KONG STATE UNIVERSITY OF NEW YORK PRESS NEW YORK
The Chinese University of Hong Kong 1988
All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy and recording, or by any information storage or retrieval system without permission in writing from The Chinese University of Hong Kong.
Jointly published by
State University of New York Press State University Plaza Albany, New York 12246 U.S.A.
The Chinese University Press The Chinese University of Hong Kong Shatin, New Territories Hong Kong
Printed in the United States of America
For information, address State University of New York Press, State University Plaza, Albany, N.Y. 12246
Library of Congress Cataloging-in-Publication Data
Ng, Mau-sang. The Russian hero in modern Chinese fiction.
Bibliography: p. Includes index. 1. Chinese fiction20th centuryHistory and criticism. 2. Russians in literature. I. Title. PL2443.N45 1988895.1'35'0935203917188-2165 ISBN O-88706-88O-4 ISBN 0-88706-881-2 (pbk.)
10 9 8 7 6 5 4 3 2 1
Page v
To Kwong Chung
Page vii
CONTENTS
Foreword
(by John Bayley)
ix
Acknowledgements
xiii
Abbreviations
xv
Introduction: The May Fourth Intellectual Background
1
Part I: The Response to Russian Literature
One: Translations and the Reading Public
11
Two: Chinese Consciousness and the Russian Impact
31
Three: The Russian Hero in the May Fourth Context
49
Part II: The Hero of His Time
Four: Yu Dafu's Superfluous Hero
83
Five: Mao Dun's Defeated Hero
129
Six: Ba Jin's Estranged Hero
181
Seven: Lu Xun's Awakened Hero
219
Part III: In Search of a New Hero
Eight: Conclusion
265
Glossary
293
Bibliography
299
Index
329
Page ix
FOREWORD
One of the most difficult, but also one of the most important, things to assess in literary history is the way in which the literature of one culture comes to affect that of another. Such influences are often associated with rapid historical change, or with a sudden renaissance in the arts of the language, culture and society which then acts as an inspiration upon another. In the European Middle Ages the great repository of cultural inspiration were the city states of Italy, principally Florence and Rome. Every cultivated European at that time aspired to speak Italian, and every painter or writer or musician founded his work automatically on Italian models. Often, as in the case of England, these models were received through France, and acquired an added vigour and variety through French interpretation. Chaucer is the greatest English beneficiary of this rich outgoing of literary culture.
With the rise of the novel the picture becomes rather different. Famous and much copied novels suddenly appear in one or another of half a dozen countriesDon Quixote in Spain, La Princesse de Clves in France; and then, in the eighteenth century, a series of English novelsGoldsmith's The Vicar of Wakefield, Richardson's Clarissa, Sterne's Tristram Shandywhich became international best sellers and models all over the continent. In the next
Page x
century the English novel greatly influenced the Russian literary renaissancesometimes spoken of as the Golden Age of Russian literatureand at every stage of his life the great Tolstoy was always asking his friends to send him new English novels. Goldsmith, Dickens and Sterne had all been formative writers in the development of his own genius, but he was addicted to the English novel, good or bad, as a form of amusement and recreation. That, after all, was the traditional role of the novel in a literate bourgeois society. And it was only with Tolstoy and Dostoevsky themselves (and they both denied that the works they wrote were novels as such: they were what the Russians call
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