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THE LITERARY VALUES 0.B' CHOU TSO-JEN and THEIR PLAGE IN THE LITERARY VALUES 0.b‘ CHOU TSO-JEN AND THEIR PLAGE IN THE CHINESE TRADITION Ph*. Dm Thesis submitted to the University of London by DAVID E. POLLARD May 1970* ProQuest Number: 10731598 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731598 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 The thesis seeks to identify and examine the various ideas and preferences that together made up the attitude towards literature on the part of Republican China’s foremost essayist, Chou Tso-jen. It starts with his favourite theory that literature can be divided between the kind which is written to ’convey the Way’ and the other kind which ’expresses the heart’s wishes’* The connotations of both formulae in traditional Chinese literary criticism are studied and matched against Chou’s interpretation of them# The reasons for Chou’s revival of this old antithesis, and its various ramifications, are then discussed in the light of the current debate on the role of literature* His main positive literary values, such as ’sincerity’, ’blandness*, ’naturalness’, are thereafter examined in turn, each with an eye to discovering how well, if at all, these values were established in the Chinese tradition* A separate chapter is devoted to the essay to discover how far Chou’s own chosen form could accommodate the values he held dear. The concluding chapter attempts to relate these specifically literary values to the general trend of his thought. The two appendixes examine the philosophy of the two literary schools in Chinese history for which he showed most sympathy and antipathy respectively* CONTENTS Introduction pp. i-vii. Ch. I. Literature: free or in chains? p. 1. Ch# 2. Individualism. p. 8 6 . Ch. 3. Oh1tt-wei p. 118. CD.* P * ing-tan tzu-,ian p. 1 3 8 . Ch. 3* Secondary Values. p. 156. Ch. 6 *. The nssay. p. 168. Ch. 7* Perspectives. p. 191* Appendixes ±0 The T'ung-ch'cng School p.. Al. ii* The Kung-an School. p. A33*. Bibliography. INTRODUCTION I started reading Chou Tso-jen seriously in 1961, on the advice of Professor D.C. Twitchett of Cambi’idge University and Dr# J.D. Chinnery, now Senior Lecturer in Chinese at Edinburgh University. As a major rigure in modern Chinese literature who had been largely ignored since the war because of his collaboration with the Japanese, he clearly deserved to be ’written up*• But I soon realized that his essays were such a mine or information on Chinese culture, and his views such a mixture or modern rationalism and age-old Chinese bias , that to do a ’life and works* study* „ though necessary, could only touch on the many issues which ’meddled with his thoughts* (to quote Miranda, in The Tempest) without exploring any thoroughly, fortunately Dr. Ernst Wolff completed a very sound thesis (as yet unpublished) on Chou’s life and works for the University of Washington, deattle, in 1 9 6 7 * and the way was open for this more specialized study of Chou’s ideas about literature. for all his esteem for ’scientific thought* Chou Tso-jen was not a scientific critic. His theoretical propositions were not carefully thought out or very logically expressed; they were mostly generalized responses (he preferred not to personalize his arguments) to contemporary issues, put in i i * too absolute terms (a pardonable fault in essay writing)? and clothed, often, in traditional Chinese dress* They were also repeated unchanged in different essays* If some of his ideas ran along particularly Chinese lines, his literary values, that is, what determined his likes ana dislikes in literature, were wholly Chinese - which is not to say that some are not universal too. It is this coexistence of traditional Chinese values with a determinedly modern cast or mind and an extensive education in western learning that makes him such an interesting subject of study* Because of the constant need to refer for comparison to traditional Chinese literary concepts I was forced to acquaint myself to some extent with the vast corpus of critical writings of the past. There has been no systematic attempt made to survey this field in any Western language, and the task would have been quite impossible without the aid of three works in Chinese, namely Iiuo Bhao«yli?s A history of Chinese Literary Criticism ( ID jL fa ), Luo Ken-tse!s book of the same name, and to'a lesser extent Ghu Tung-jun's Outline of the history of Chinese literary criticism ( I?) Except on the odd occasion I have not thought it necessary to check the original source of quotations in the works of these reputable scholars, for two reasons: because their references are not always exact enough to locate the passage without undue expenditure of time and effort; and because, since 1 was dealing with opinions, what ultimately mattered was that they existed, not who expressed them where* Apart from conducting a general and inevitably rather superficial study of certain themes in Chinese criticism I have made a special study of two schools of literature, the late Ming Kung-an and Ch'ing T ’ung-ch'eng schools because they figure so prominently in Chou!s essays and lectures; these are included as appendixes* Since quite a lot has now been written about modern Chinese literature in English 1 have not filled in the back­ ground to any considerable extent* Even more selectively, I have concentrated on the middle period of Chou Tso-jen's career, when he was withdrawn from active involvment in national affairs, and conversely $iore absorbed in the problems of his art and cultural heritage. It would not be sensible, however, to impose any absolute chronological limit, since what he wrote before, in the May fourth period, and after, when the Eino-Japanese war was in lull swing, naturally can throw light on his opinions expressed during the middle period* I have therefore observed no such limit. On the other hand, different problems did exercise Chou!s mind in his May fourth period, so my thesis is not a complete study even of his ideas about literature. For that period I might refer the reader to my essay *Chou Tso-jen and cultivating one!s garden1, in Asia Major, XI, pt. 2, 19&5* To avoid giving too partial an impression on the present occasion, however, 1 have included a chapter entitled *Perspectives1; besides attempting to provide what the name denotes that chapter contains enough generalized description and comment to excuse me from more of the same here. As to the bibliography, I have listed only those books quoted or cited. There may be other Chinese books and articles which have either informed or influenced me, but I am not conscious of any further indebtedness. Among Western books the reader will notice that M.h. Abrams* The Mirror and the Lamp gets very frequent mention. The reason is not that it is the only Western work of literary criticism I have read - though it certainly is the best - but that there are remarkable coincidental correspondences between Chinese lyricism and European Romanticism, the subject of Abrams1 book. Again the material is in the thesis for the reader to judge• For the, sake of convenience I append here a short biography of Chou Tso-jen. A fuller one, compiled by hr. William Schmitz, can be found in Howard Boorman*s Biographical Dictionary of Republican China, vol. 1. Chou was born in 1883, the second of three brothers who between them were to restore,, in fame at least, the fortunes of a family brought low by the arrest of his grandfather, a V. prominent official, on a corruption charge. His elder brother, Shu-jen, became better known as Lu listln, and his younger brother, Chien-jen, a biologist by training, rose to a high political position in the People’s Republic. In fso-jen’s boyhood, however, the family was impoverished, and he had to pursue his education by going to the government financed Kiangnan Naval Academy in Nanking in 1901. The naval expertise he learned there was never put to use, but he did begin to learn Hnglish, a link with the outside world, and more important, he was set on a course that led to further study in Japan from I9 O6 to 191'^, where he shed his embryonic military role and took up in earnest the study or foreign literatures. He also found himselr a wife, one Hata Nobuku, in 1909* In 1912 he returned to his native province or Chekiang and worked in the educational service. The turning point in his life came in 1917 when he v/ent to Peking and was appointed to the staff of National Peking University, the power-house of what came to be known as the s new culture movement’. Previously Chou had published some unnoticed translations of mostly Slavic literature; now he made a name for himself as a writer of essays in the new medium of the vernacular on social and cultural questions. He also tried his hand, successfully by contemporary standards, at writing poetry in the vernacular,, though these poems are forgotten now.
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