China and the West

Aufführung von Zhuomei yu Aluo (hua deng xi) = Adaptation von Romeo and Juliet von William Shakespeare durch die Yuxi di qu hua deng xi ju tuan (Yuxi District Hua deng xi Company). [Keine Angabe von Autor und Regisseur].

Sixth Congress of the International Shakespeare Association in Los Angeles. Zwölf chinesische Professoren und Gelehrte nehmen daran teil. Fang Ping wird Mitglied des Executive Committee.

Jiang, Tao. Lun Zhongguo sha ju wu tai shang de dao yan yi shu [ID D24029].
Er schreibt : "With regard to Hamlet, the most important aspect is his character, and the hesitation in his character. He hesitated not because he is a coward. His hesitation is caused by his love for truth. He has to think over everything he encounters and he than fails... We Chinese people are often too cautious about everything and as a result we lose courage. In the end we can do nothing."

Quignard, Pascal. La haine et la musique. (Paris : Calmann Lévy, 1996).
"Ce conte figure dans le Lüshi chunqiu : le lettré Yu Boya était un prodigieux joueur de qin mais il se trouva que seul un pauvre bûcheron, Zhong Ziqi, était capable de comprendre les sentiments que ses compositions et son jeu exprimaient. Il venait le rejoindre dans la forêt. Le bûcheron se repérait au son de la cithare de son ami parmi les branches et l'ombre. Lorsque Zhong Ziqi mourut, Yu Boya brisa son qin parce qu'il n'y avait plus d'oreilles pour son chant."

Aufführung von La peste von Albert Camus in der Adaptation von Francis Huster durch die Shanghai Modernists' Dramatic Society in Zusammenarbeit mit dem Cultural Office of the French Consulate in Shanghai mit Zhao Yi'ou. [Adaptation, mise en scène et interprétation de Francis Huster. (Paris : L'avant-scène, 1994)].

Aufführung von Nora von Henrik Ibsen durch die Si ding ju she (Augustin Drama Group) in der Shatin Town Hall Hong Kong unter der Regie von Gao Jixiang mit Zhong Xuejian, Du Weichang, Zhuang Yongkang.

Aufführung einer Adaptation von En folkefiende = Ein Volksfeind von Henrik Ibsen durch das Zhong yang shi yan hua ju yuan (Central Experimental Theatre) in Beijing unter der Regie von Wu Xiaojiang.

Yan, Guanghui. Gu Hongming ping zhuan. Haikou: Hainan, 1996. [Biographie von Gu Hongming]. 辜鴻銘評傳
Yan schreibt : Shakespeare mirrors real life, in whom right and wrong can be recognized at a look ; Faust [Goethe] dives deep philosophically, in which right and wrong are obscure and indistinguishable; while Paradise Lost [by John Milton] is overwhelmingly passionate, quietly steady, masculine and sublime. Shakespeare is easy to grasp, Faust hard, and Paradise lost moving.

First International Academic Conference on James Joyce in Beijing and Tianjin, July 5-9 1996. Sponsored by Tianjin Foreign Studies University under the chairmanship of Qian Ziqiang, Professor and President Tianjin Foreign Studies University. Zhang Jintong, Foreign Affairs Office, Tianjin Foreign Studies University, read a letter of good wishes from Mary Robinson, the President of Ireland. Joe Hayes, the Ambassador of Ireland, mentioned the awareness of the Irish Literary Renaissance in China during the 1920s and 1930s…

Snyder, Gary. The art of poetry No. 74. Interviewed by Eliot Weinberger. [ID D29189].
The interview took place before an audience at the Unterberg Poetry Center, New York, 1992.
Eliot Weinberger : Gary Snyder is a rarity in the United States : an immensely popular poet whose work is taken seriously by other poets. He is America's primary poet-celebrant of the wilderness, poet-exponent of environmentalism and Zen Buddhism, and poet-citizen of the Pacific Rim – the first American poet to gaze almost exclusively west toward the East, rather than east toward Western civilization.
…
Weinberger
But it is abnormal for poets not to be involved in the state. The United States remains an exception to most of the rest of the world, where poets commonly have served as diplomats or as bureaucrats in some ministry.
Snyder
Oh true. The whole history of Chinese poetry is full of great poets who played a role in their society. Indeed, I do too. I am on committees in my county. I have always taken on some roles that were there for me to take in local politics, and I believe deeply in civic life. But I don't think that as a writer I could move on to a state or national scale of politics and remain a writer. My choice is to remain a writer.
Weinberger
Let's get on to the writing and go back forty years or so. One of the amazing things about your work is that you seemed to burst on the scene fully formed with Riprap and Cold Mountain Poems, which were published in 1959 and 1958 but written earlier in the fifties when you were in your twenties. The poems in both books are unmistakably Snyder poems, and apparently, unlike the rest of us, you are not embarrassed by the work of your youth, for you picked eighteen of the twenty-three poems in Riprap for your Selected Poems.
Snyder
Actually the poems in Riprap are not the poems of my youth. Those are the poems that I've kept because those were the ones I felt were the beginning of my life as a poet. I started writing poems when I was fifteen. I wrote ten years of poetry before Riprap. Phase one: romantic teenage poetry about girls and mountains.
…
Snyder
… So when I wrote the first poems in Riprap it was after I had given up poetry. I went to work in the mountains in the summer of 1955 for the U.S. Park Service as a trail crew laborer and had already started classical Chinese study. I thought I had renounced poetry. Then I got out there and started writing these poems about the rocks and blue jays. I looked at them. They didn't look like any poems that I had ever written before. So I said, these must be my own poems. I date my work as a poet from the poems in Riprap.
…
Snyder
When I was twenty-two or twenty-three, I began working with Chinese and found myself being shaped by what I was learning from Chinese poetry, both in translation and in the original. And I had been reading Native American texts and studying linguistics.
Weinberger
What were you finding in Chinese poetry at that time?
Snyder
The secular quality, the engagement with history, the avoidance of theology or of elaborate symbolism or metaphor, the spirit of friendship, the openness to work, and, of course, the sensibility for nature. For me it was a very useful balancing force to set beside Sidney, The Faerie Queene, Renaissance literature, Dante. The occidental tradition is symbolic, theological, and mythological, and the Chinese is paradoxically more, shall we say, modern, in that it is secular in its focus on history or nature. That gave me a push.
Weinberger
Were you getting the ideogramic method from Pound or from the Chinese poetry directly?
Snyder
From the Chinese poetry directly. I could never make sense of that essay by Pound. I already knew enough about Chinese characters to realize that in some ways he was off, and so I never paid much attention to it. What I found in Pound were three or four dozen lines in the Cantos that are stunning—unlike anything else in English poetry—which touched me deeply and to which I am still indebted.
…
Weinberger
Since we are talking about Chinese poetry I wanted to ask you about the Han Shan translations, Cold Mountain Poems. It is curious because Chinese poetry is so canonical, and Han Shan is not in the canon. I think at the time there were people who thought that you made him up. I wondered how you discovered him?
Snyder
Well, he is only noncanonical for Europeans and Americans. The Chinese and the Japanese are very fond of Han Shan, and he is widely known in the Far East as an eccentric and as possibly the only Buddhist poet that serious Far Eastern litterateurs would take seriously. They don't like the rest of Buddhist poetry—and for good reason, for the most part.
To give you an example: in 1983 I was in China with a party of American writers—Toni Morrison, Allen Ginsberg, Harrison Salisbury, William Gass, Francine du Plessix Grey, and others—and we were introduced to some members of the Politburo upstairs in some huge building. The woman who was our simultaneous interpreter introduced me to these bureau members—I am embarrassed to say I don't remember who these impressive Chinese persons were—by saying, "He is the one who translated Han Shan." They instantly started loosening up, smiling and quoting lines from Han Shan in Chinese to me. He is well known. So whose canon are we talking about?
Weinberger
You haven't continued to translate much. Was this just something you felt you should do at the moment but that later there was too much other work to do?
Snyder
There is a line somewhere—is it Williams who says it?— "You do the translations. I can sing." Rightly or wrongly, I took that somehow, when I ran into it, as a kind of an instruction to myself, not to be drawn too much into doing translation. I love doing Chinese translations, and I have done more that I haven't published, including the longest shih in Chinese, the Ch'ang-hen ko, "The Long Bitter Song" of Po Chü-i. So I am not just translating these tiny things. I am working right now on finishing up the P'i-p'a hsing, the other long Po Chü-i poem about the woman who plays the lute. And I've done a few Tang poems. Maybe someday I'll get to doing more Chinese translations.
…
Weinberger
Going back—you basically left the scene in 1956 to go to Japan.
Snyder
In May of 1956 I sailed away in an old ship, headed across the Pacific for Japan.
Weinberger
Why did you go? It seems like it was an exciting moment in America when you left.
Snyder
Well, exciting as the scene was looking in 1956, I was totally ready to go to Japan. I had laid plans to go to the Far East, oh, three years prior to that, and had had several setbacks. The State Department denied me a passport for some of my early political connections.
Weinberger
Would you have gone to China if the political situation had been different at the time?
Snyder
I certainly would have.
Weinberger
It would have completely changed the course of the rest of your life.
Snyder
I'm sure it would have changed my life, although I don't know just how much, because my focus in going to the Far East was the study of Buddhism, not to find out if socialism would work, and the only Buddhists I would have found in China would have been in hiding at that time and probably covered with bruises. So it wouldn't have been a good move.
Weinberger
I get the sense that you are much more attracted to Chinese poetry than Japanese poetry.
Snyder
To some extent that's true. It is a karmic empathy that is inexplicable. I love Japanese literature and Japanese poetry too, but I feel a deep resonance with Chinese poetry.
…
Weinberger
Are you still a practicing Buddhist? Do you sit every day?
Snyder
Almost every day. Zazen becomes a part of your life, a very useful and beautiful part of your life—a wonderful way to start the day by sitting for at least twenty, twenty-five minutes every morning with a little bit of devotional spirit. My wife and I are raising a thirteen-year-old adopted daughter. When you have children you become a better Buddhist too, because you have to show them how to put the incense on the altar and how to make bows and how to bow to their food and so forth. That is all part of our culture, so we keep a Buddhist culture going. My grown sons say, when they are asked what they are, because they were raised that way, "Well, we are ethnic Buddhists. We don't know if we really believe it or not, but that is our culture."
Weinberger
What does zazen do for the poetry? Do you feel that there is a relation there that helps somehow in the writing?
Snyder
I was very hesitant to even think about that for many years, out of a kind of gambler's superstition not to want to talk too much or think too much about the things that might work for you or might give you luck. I'm not so superstitious anymore, and to demystify zazen Buddhist meditation, it can be said that it is a perfectly simple, ordinary activity to be silent, to pay attention to your own consciousness and your breath, and to temporarily stop listening or looking at things that are coming in from the outside. To let them just pass through you as they happen. There's no question that spending time with your own consciousness is instructive. You learn a lot. You can just watch what goes on in your own mind, and some of the beneficial effects are you get bored with some of your own tapes and quit playing them back to yourself. You also realize—I think anyone who does this comes to realize— that we have a very powerful visual imagination and that it is very easy to go totally into visual realms where you are walking around in a landscape or where any number of things can be happening with great vividness. This taught me something about the nature of thought and it led me to the conclusion—in spite of some linguists and literary theorists of the French ilk—that language is not where we start thinking. We think before language, and thought-images come into language at a certain point. We have fundamental thought processes that are prelinguistic. Some of my poetry reaches back to that.
…
Weinberger
Just as Chinese poetry is full of empty words, deliberately empty words for the ch'i, the sort of breath, to circulate through. In 1970 you moved back to the Sierra Nevadas, and you've been there ever since. I think from that moment on, when you finally settle down, you're talking much more about a poetry rooted in place.
Snyder
Certainly a number of the poems written since 1970 reflect the position of being in a place, a spot in the world to which I always return. A lot of poems, however, do come out of my hunting and gathering trips to other territories. The idea of being a person of place never excludes the possibility of travel. To the contrary, it reminds people of place—everybody else in the world except Canadians, Australians, and Americans—that they know where they come from. ..
…
Weinberger
Since we're talking about your map of the world, people have wondered about the general absence of European civilization—or at least Europe after the Paleolithic—in your work. To me it's no more shocking than the absence of Asia—not to mention Africa—from everyone else's work. But still the question comes up. Is this a deliberate criticism of Eurocentrism or merely just the track your interest followed?
Snyder
It's true that I haven't visited Europe much, but it isn't totally absent from my poetry, and there are some key points in my work that connect with occidental cultural insights that are classical, if not Paleolithic…
…
Snyder
If one's real work is the writing and if one is a fiction writer, I guess one's work as a writer really holds one to the literally physical act of writing and visualizing and imagining and researching and following out the threads of one's project. However, if one is a nonfiction prose writer or a poet, one is apt to be much more closely engaged with daily life as part of one's real work, and one's real work actually becomes life. And life comes down to daily life. This is also a very powerful Buddhist point: that what we learn and even hopefully become enlightened by is a thorough acceptance of exactly who we are and exactly what it is we must do, with no evasion, no hiding from any of it, physically or psychologically. And so finding the ceremonial, the almost sacramental quality of the moves of daily life is taught in Buddhism. That's what the Japanese tea ceremony is all about. The Japanese tea ceremony is a model of sacramental tea drinking. Tea drinking is taken as a metaphor for the kitchen and for the dining room. You learn how to drink tea, and if you learn how to drink tea well, you know how to take care of the kitchen and dining room every day. If you learn how to take care of the kitchen and the dining room, you've learned about the household. If you know about the household, you know about the watershed…
…

Snyder, Gary. Mountains and rivers without end [ID D29321].
Endless streams and mountains.
Ch'i shan Wu Chin
Clearing the mind and sliding in
to that created space,
a web of waters streaming over rocks,
air misty but not raining,
seeing this land from a boat on a lake
or a board slow river,
casting by.
The path comes down along a lowland stream
Slips behind boulders and leafy hardwoods,
Reappears in a pine grove,
no farms around, just tidy cottages and shelters,
gateways , rest stops, roofed but unwalled work space,
- a warm damp climate;
a trail of climbing stairsteps forks upstream.
Big ranges lurk behind these rugged little outcrops –
these spits of low ground rocky uplifts
layered pinnacles aslant,
flurries of brushy cliffs receding,
far back and high above, vague peaks.
A man hunched over, sitting on a log
another stands above him, lifts a staff,
a third, with a roll of mats or a lute, looks on;
a bit offshore two people in a boat.
The trail goes far inland,
somewhere back around a bay,
lost in distant foothill slopes
& back again
at a village on the beach, and someone's fishing.
Rider and walker cross a bridge
above a frothy braided torrent
that descends from a flurry of roofs like flowers
temples tucked between cliffs,
a side trail goes there;
a jumble of cliffs above,
ridge tops edged with bushes,
valley fog below a hazy canyon.
A man with a shoulder load leans into the grade.
Another horse and a hiker,
the trail goes up along cascading streambed
no bridge in sight –
comes back through chinquapin or
liquidambars; another group of travelers.
Trail's end at the edge of an inlet
below a heavy set of dark rock hills.
Two moored boats with basket roofing,
a boatman in the bow looks
lost in thought.
Hills beyond rivers, willows in a swamp,
a gentle valley reaching far inland.
The watching boas has floated off the page.
At the end of the painting the scroll continues on with seals and
Poems. It tells a further tale :
'- Wang Wen-wei saw this at the mayor's house in Ho-tung
Town, year 1205. Wrote at the end of it,
'The Fashioner of Things
has no original intentions
Mountains and rivers
are spirit, condenses.'
'…Who has come up with
these miraculous forests and springs ?
Pale ink
on fine white silk.'
Later that month someone named Li Hui added,
'…Most people can get along with the noise of dogs
and chickens;
Everybody cheerful in these peaceful times.
But I – why are my tastes so odd?
I love the company of streams and boulders.'
T'ien Hsieh of Wei-lo, no date, next wrote,
'…the water holds up the mountains,
The mountains go down in the water…'
In 1332 Chih-shun adds,
'…This is truly a painting worth careful keeping.
And it has poem-colophons from the Sung and the
Chin dynasties. That it survived dangers of fire and
war makes it even rarer.'
In the mid-seventeenth century one Wang To had a look at it:
'My brother's relative by marriage, Wên-sun, is learned and
has good taste. He writes good prose and poetry.
My brother brought over this painting of his to show me...'
The great Ch'ing dynasty collector Liang Ch'ing-piao owned it,
but didn't write on it or cover it with seals. From him it went into
the Imperial collection down to the early twentieth century. Chang
Ta-ch'ien sold it in 1949. Now it's at the Cleveland Art Museum,
Which sits on a rise that looks out toward the waters of Lake Erie.
Step back and gaze again at the land.
it rises and subsides –
ravines and cliffs like waves of blowing leaves –
stamp the foot, walk with it, clap turn,
the creeks come in, ah
strained through boulders,
mountains walking on the water,
water ripples every hill.
– I walk out of the museum – low gray clouds over the lake –
Chill March breeze.
Old ghost ranges, sunken rivers, come again
stand by the wall and tell their tale,
walk the path, sit the rains,
grind the ink, wet the brush, unroll the
broad white space:
lead out and tip
the moist black line.
Walking on walking,
Under foot earth turns.
Streams and mountains never stay the same.
Note :
A hand scroll by this name showed up in Shansi province, central China, in the thirteenth century. Even then the painter was unknown, 'a person of the Sung Dynasty.' Now it's on Turtle Island. Unroll the scroll to the left, a section at a time, as you let the right side roll back in. Place by place unfurls.
………
Hsüan Tsang
went to India 629 AD
returned to China 645
with 657 sûtras, images, mandalas,
and fifty relics –
a curved frame pak with a parasol, embroidery, carving,
incense censer swinging as he walked
the Pamir
the Tarim
Turfan
the Punjab
the doab
of Ganga and Yamuna,
he carried
'emptiness'
He carried
'mind only'
Vijnaptimâtra
The humpbacked flute player
Kokop'ele
His hump is a pack.
.............
The humb-backed flute player
Shooting the Hundred-Pace Rapids
Su Tung P'o saw, for a moment,
It all stand still.
"I stare at the water :
It moves with unspeakable slowness".
………..

Sekundärliteratur
1999
Anthony Hunt : Gary Snyder told Katherine McNeil that "Mountains and rivers is a title for a number of Chinese landscape paintings. One is by the Yuan dynasty painter Xuben, whose work inspired me. I'm writing about the complementarity of mountains and rivers, but that's really the planet, taking that on."
The Cleveland scroll is an unsigned handscroll done in ink and slight coloring on silk with nine colophons that provide information about the work's early history. Forty-eight seals of collectors, including eight belonging to Liang Qingbiao (1620-1691), give further evidence of the transmission of the scroll from the 1340s on ; but it is now thought by several eminent authorities to be more likely to date around 1150. Snyder draws attention to the scroll's anonymity in a note that concludes the first section of his poem 'the painter was unknown, a person of the Sung dynasty'. The misty painted Chinese mountains seen by Snyder in Seattle are 'real' on several levels : in a generic sense they appear to him a true reflection of the kind of mountains with which he grew up, the verifiable Cascade and Olympic ranges. Yet the mountains painted by the Chinese artist were not the mountains of the Pacific Northwest, but in their carefully drawn verisimilitude they are a real image of those Chinese mountains. These are mountains that Snyder feels are 'magical and difficult, the routes are not clear, yet they are passable'. After the Yuan dynasty, Snyder theorizes that 'painting kept love of nature alive' for a civilization that was 'living more in cities and farther from the hills'. At times, Snyder walks the spaces of the landscape painting as if they were actually under his feet ; the trails of the painting are maplike in his mind. At other times, his understanding moves outside the painting as he coolly becomes critical of its style or of the civilization that style reveals. And then there are the times when he clearly imagines going 'beyond' into the spaces farther than the spaces of the painting, into 'visionary timeless lands of mountain rocks and air-mist-breath and far calm vistas'.
Snyder has painted numberless little travelers across the scroll of his poetic landscape. Some are historical, while some are mythical or legendary ; some are ghostly ; many are human, and many more are animal. 'Fellow travelers in the scroll' as Snyder said, 'are the Chinese pilgrim Xuanzang, bears, and elderly farm woman, wild sheep, the female Buddha Tira, woodrats, Coyote, Raven, macaque monkey, the poet Su Shi, the Ghost Dance prophet Wovoka, and many others'. Snyder's concept of space always includes the possibility of Buddhist enlightenment.
2000
Robert Kern : Snyder pays tribute to certain teachers – those, for example, from whom he learned the discipline of the calligrapher's and painter's brush and pen, a discipline that becomes and important motif in the poem. He also acknowledges the importance to him of certain experiences, primarily of wilderness landscapes – mountains and rivers, in the Pacific Northwest and elsewhere – but also of representations of such landscapes, particularly in Asian art, encountered in books and museums. It was in Asian paintings that he became aware of 'the energies of mist, white water, rock formations, air swirls – a chaotic universe where everything is in place'. In this way, his direct experience of the natural world seems to have merged with what he saw in artistic representations of it, and a similar merging of nature and culture takes place in the poem. Another key element that animates the poem is Zen Buddhism. Instead, as the title of the book in its several variations suggests, it is Asian landscape paintings, and especially hand scrolls, that provide Snyder with his most immediate structural format. Such paintings, as Snyder points out, are 'not fully realized until several centuries of poems have been added'. The sections of 'Mountains and rivers' are contributions to the realization of the paintings that the book as a whole evokes, and one of Snyder's metaphors for producing them derives from the techniques of Asian painting.
2009
Joan Qionglin Tan : After his return to America, Snyder visited some museums and a Chinese Song dynasty landscape painting entitled 'Streams and mountains without end' in Cleveland inspired him to us it with the similar title 'endless streams and mountains' in the opening poem of his book.
Snyder made a series of long walks from different directions : a cultural walk through Chinese landscape scroll painting and through Native American lore, a physical walk through the real mountainous landscapes of China, Japan, India and North America, and a mental walk through Buddhist ideas, rituals and histories. Following natural boundaries, he made a great effort to explore the notions of origins and destinations through an extended meditative practice focusing upon the theme of 'walking on walking'. This project is an extended act of spiritual exploration and orientation through which Snyder hopes to create a set of guiding principles for a modern culture potentially set adrift from a sense of location or direction.
Snyder gives the reader the best endnote pertaining to his deep sympathy for mountain practice. It covers a wide range : from his early mountaineering to his part-time work in the mountains ; from his Zen practice to his building a house in the foothills ; from his learning 'East Asian landscape painting as a meditative exercise' to his observation of Chinese landscape paintings in the museums ; and from his translation of Chinese poetry to his watching the Japanese Nô play 'Yamamba' (Old mountain woman). Snyder explains that he obtained this sense from the discernable natural energy of fluidity in Eastern Asian landscape paintings, such as mists, water, rocks, and clouds. In the Chinese tradition, these natural energies refer to the 'yin' and 'yang', a balanced dynamic force in nature.
2009
Robin Cheng-hsing Tsai : In Mountains and rivers without end Snyder's cultural translation of Chinese literature, art and painting, resonates with Chinese motifs that help us to experience non-duality. In these exo-poetic figures, symbols, emblems or motifs, the real and virtual, profane and sacred, eye and gaze are juxtaposed in such a way what the polar ends are brought together. Snyder's translation of nature from the original Chinese texts expresses an insight that is both immanent and transcendent.
The first poem 'Endless streams and mountains' is the gateway to the rest of the work. 'Ch'i Shan Wu Chin' is a Chinese landscape painting.
Hsüan Tsang : Snyder tells the saga of the seventh-century Chinese monk Hsüan Tsang. In Snyder's hands, Hsüan Tsang and Kokop'ele are bringers of new ideas, appearing multifariously as culture 'carriers' or translators, journeyers and tricksters. Unlike Hsüan Tsang, who is mor of an ascetic, Kokop'ele is a bringer of sun and rain for good crops and a fertility god.

Zhao, Luorui. Wo de du shu sheng ya. (Beijing : Beijing da xue chu ban she, 1996). [My life with books]. 我的读书生涯
Henry James lacks a strong and profound perception of politics and society, once concerned about this aspect, he showed his extremely conservative attitude, he even satirized and mocked the progressive democratic movements (The Bostonians, The princess Casamassima), ignoring the social origin of morality and social surroundings ; although he knows the upper class well, he knows little about the lower class, furthermore, he has a spiritual aristocrat's prejudice against people and matters.

Qiu, Yin. Aosiding yu Yingguo nü xing wen xue [ID D30616].
Qiu Yin holds that Austen is an important feminist predecessor to modern women writers, one who promotes women's liberation in her works ; but what is paradoxical is that her works inevitably mix both rebellion against and conformity with patriarchal society.

Dong, Hengxun. Lun Sitanbeike de xing yu shu [ID D30673].
The greatest problem with Steinbeck, according to Dong, is that he was not at all outstanding in literary factors such as form, stylistic devices, and characterization. Even though his 'dramatic fiction' was somewhat original in conception, the lack of depth in the content was a serious flaw. Dong also criticized Steinbeck for his changes in viewpoint, and particularly for his relationship with the political VIPs in the government after the Second World War, and Dong supports his argument with a quotation from Steinbeck's son about his father's attitude toward the Vietnam War and also with Steinbeck's own comment : "Compared with the 30s, it is more difficult to say who are the underdogs in the 50s and 60s".

Lowry, Malcolm. La mordida. Ed. by Patrick A. McCarthy. (Athens, Ga. : University of Georgia Press, 1996). [MS].
"Fu indicates that there will be free course and progress (in what it denotes) (the subject of it) finds no one to distress him in his exits and entrances, friends come to him, and no error is committed. He will return and repeat his (proper) course. In seven days comes his return. There will be advantage in whatever direction movement is made… But the I ching then goes on to show the meaning of each line making up the Hexagram, from bottom up, and the last section contains a warning. It may have been bad to repeat (or rvisit) the scene of your book."

Lin, Shuming. Zhan zheng yin xiang xia zheng zha de fu Wu'erfu [ID D31609].
Lin explores Woolf's description of the two great forces : art and war and her denunciation of war in Mrs. Dalloway, To the lighthouse, The waves and Three guineas as well.

Interview with Allen Ginsberg ; 8.11.1996.
http://www.english.illinois.edu/maps/poets/g_l/ginsberg/interviews.htm.
Alen Ginsberg : First of all, open forum in poetry, rather than a closed forum. It's like when you split the atom, you get energy. So we were following Whitman and William Carlos Williams and the imagists and objectivists in technique, rather than the academic folks who were having a metronomic beat. That happened in painting, poetry, music and all the arts. And that involved candor and spontaneity, spontaneous composition, a classic thing from Tibet, Japan, China, not recognized here as classic because people weren't scholarly enough, so they thought it was some home-made spontaneous prosody, but it was the great tradition of Milarapa, the Tibetan poet.

Zeng, Yanju. [The thematic variation of the American dream and the pursuit of the dream by generations of American writers].
Zeng called James Fenimore Cooper one of the first explorer of the 'American dream' and regarded the Natty Bumppo in The Pioneers who 'had gone far towards the setting sun – the foremost in that band of pioneers who are opening the way for the march of the nation across the continent, as the archetypal hero of the 'Myth of America'.

Aufführung von Ta ren de qian = Other people's money = 他人的錢 von Jerry Sterner, unter der Regie von Daniel S.P. Yang, Shanghai People's Art Theatre, 1996.

Aufführung von Ci shen de er nü = Children of a lesser god = 次神的兒女 von Mark Medoff, unter der Regie von Daniel S.P. Yang, Hong Kong Repertory Theatre, 1st Chinese Theatre Festival Beijing, 1996.