China and the West

Eliot, T.S. Some notes on the blank verse of Christopher Marlowe. In : Art and letters ; vol. 2, no 4 (1919).
http://www.bartleby.com/200/sw8.html.
"It would show, I believe, that blank verse within Shakespeare’s lifetime was more highly developed, that it became the vehicle of more varied and more intense art-emotions than it has ever conveyed since; and that after the erection of the Chinese Wall of Milton, blank verse has suffered not only arrest but retrogression."

Wells, H.G. Quellen und gelesene Bücher.
Encyclopaedia Britannica
Hirth, Friedrich
Hsiung, S.I. The bridge of heaven. [ID D31340].
Hsiung, S.I. The romance of the western chamber [ID D31339].
Hsiung, S.I. Lady precious stream [ID D28788].
Huc, Evariste Régis
Parker, Edward Harper
Soong sisters.

Lin Huiyin studiert am St Mary's College, London.

Liu Chongjie nimmt am Friedensvertrag von Versailles teil.

Zhao Yuanren ist Lecturer on Physics an der Cornell University.

Tietjens, Eunice. The most-sacred mountain of China. In : Rittenhouse, Jessie B. ; Kerouac, Jack. The second book of modern veerse. (Boston : H. Mifflin, 1919).
http://www.bartleby.com/271/83.html.
SPACE, and the twelve clean winds of heaven,
And this sharp exultation, like a cry, after the slow six thousand steps of climbing!
This is Tai Shan, the beautiful, the most holy.
Below my feet the foot-hills nestle, brown with flecks of green; and lower down the flat brown plain, the floor of earth, stretches away to blue infinity.
Beside me in this airy space the temple roofs cut their slow curves against the sky, 5
And one black bird circles above the void.
Space, and the twelve clean winds are here;
And with them broods eternity—a swift, white peace, a presence manifest.
The rhythm ceases here. Time has no place. This is the end that has no end.
Here, when Confucius came, a half a thousand years before the Nazarene, he stepped, with me, thus into timelessness.
The stone beside us waxes old, the carven stone that says: 'On this spot once Confucius stood and felt the smallness of the world below'.
The stone grows old:
Eternity is not for stones.
But I shall go down from this airy place, this swift white peace, this stinging exultation.
And time will close about me, and my soul stir to the rhythm of the daily round.
Yet, having known, life will not press so close, and always I shall feel time ravel thin about me;
For once I stood In the white windy presence of eternity.

Ayscough, Florence. Written pictures [ID D32312].
Of late years, considerable attention has been attracted to Chinese poetry and to Chinese painting; but as yet the art peculiar to the Far East, the art considered by the Chinese as the most perfect medium by which "man can express himself, can record the reactions of his personality to the world he lives in" has entirely escaped notice. I refer to the Tzu Hua—"written pictures" or "hanging-on-the-wall poems."
It is of course quite natural that this should be the case; general knowledge of the Far East, of its customs, its art, its theory of life, its reactions to its environment, has been, is, and must be for some time to come, superficial. While a knowledge of its language, without which real comprehen-sion is impossible, has been attained by comparatively few Occidentals. It seems likely, therefore, that the Tzu Hua will remain unnoticed and unappreciated until a much closer understanding is established with the Far East.
Yet what art could be more subtle, more refined, more truly aesthetic! A beautiful thought perpetuated in beautiful hand-writing and hung upon the wall to suggest a mental picture—does not the possession of such a medium rouse the envy of Occidental imagists, who are indeed the spiritual descendants of the East?
In China, the arts of poetry and calligraphy have their common root in the ideographs which form the written language; these wonderful ideographs and the art of cal-ligraphy are vividly described by Lafcadio Hearn in his Glimpses of Unfamiliar Japan.
No rigid convention fetters the fancy of the calligraphist; each strives to make his character more beautiful than any others, and generation upon generation of artists have been toiling from, time immemorial with the like emulation so that through centuries of tireless effort and study the primitive ideograph has been evolved into a thing of beauty indescribable. It consists only of a certain number of brush strokes, but in each stroke there is an indescribable secret art of grace, proportion, imperceptible curve, which makes it seem alive, and bears witness that even in the lightning moment of its creation the artist felt for its ideal shape equally along its entire length.
In writing thus, however, Hearn refers only to form, he does not mention what constitutes the soul of the character, which is its composition. These marvelous collections of brush strokes which we call Chinese characters are really separate pictographic representations of complete thoughts. Complex characters are composed not of strokes, but of more simple characters, each having its own peculiar meaning and usage; thus, when used in combination, each plays its part in modifying either the sense or the sound of the complex; it is therefore impossible to seize a poet’s complete meaning unless each character is analyzed and broken up into its component parts; this can only be done by a careful study of the ideograph in its original form. Many have been so altered during the centuries which have passed since they were first traced, as to be almost unrecognizable.
About 200 A. D., realizing that this alteration was taking place, a scholar named Hsü Shih wrote the dictionary known as the Shuo Wen Chieh Tzü or the Speech and Writing— Characters Untied, containing about ten thousand characters in their primitive and final forms. This work is on the desk of every scholar in the Far East and is studied with the greatest reverence. Many editions have appeared since it was written, and by its aid one can trace the genealogy of characters in the most complete manner. While .translators are apt to ignore this important matter of "genealogy," if one may so call it, of the characters, it is ever present in the mind of the Chinese poet or scholar who is familiar with the original form, indeed he may be said to find his overtones in the actual composition of the character he is using.
In a recent review of a volume of Chinese poetry, a critic in the London Times writes:
The difference seems to be that the Chinese poet hardly knows he is one. The great poets of Europe, in their themes and their language, insist that they are poets—what they do is accompanied with a magnificent gesture; but the Chinese poet starts talking in the most ordinary language and voice of the most ordinary things, and his poetry seems to happen suddenly out of the commonplace as if it were some beautiful action happening in the routine of actual life.
This critic can have no knowledge of the Chinese language, as nothing can be further from the truth than his remark. It is true that the Oriental poet finds his themes in the most ordinary affairs of every-day life, but he describes them in a very special, carefully chosen medium. The simplest child's primer is written in a language never used in speaking, while the most highly educated scholar would never dream of using the same phrases in conversation which he would use were he writing an essay, a poem, or a state document; nor would he use the same written style for these three productions. For instance, in speaking of "sunset" one would probably say, in Chinese, quite simply "sun down"; in writing a poet would, however, employ a character which means "the sun disappearing in the grass at the hotizon"; a character which in its primitive form was an actual picture of the sun vanishing in long grass. Each language—the spoken, the poetic, the literary, the documentary—has its own construction, its own class of characters, and its own symbolism. A translator must therefore make a special study of whichever he wishes to render.
Although several great sinologues have written on the subject of Chinese poetry, none, so far as I am aware, has devoted his exclusive attention to the poetic style, nor has any translator availed himself of the assistance, so essential to success, of a poet, that is, one trained in the art of seizing the poetic value in shades of meaning; while, on the other hand, such poets as have been moved to make beautiful renditions of Chinese originals, have been hampered by inadequate translations. In a word, English translations of Chinese poetry, have not, as yet, been the result of collaboration between a sinologue and a poet. We have therefore but a faint conception of its possibilities.
It is time that a knowledge of Chinese art should come from a direct study of native sources. Although we are deeply indebted to the Japanese for all that they have done to make the whole subject comprehensible, we must never forget that in accepting their opinions and their renditions we are accepting those of a people alien' to the Chinese, a people who differ widely in their philosophy, their temperament, and their ideals; a people who, although they have borrowed the ideographs of the Chinesse have, in many cases, modified and altered the original meanings. For this reason, Chinese poems translated from Japanese transcriptions cannot fail to lose some of their native flavor and allusion, indeed it is not possible that they come very near the originals.
It is impossible to do more than hint at a few of the points which further study of Chinese poetry will bring out clearly ; we have, for instance, not mentioned the characteristic method of reading poems in a modulated chant, which is well described by Mrs. Tietjens in POETRY for October, 1916. She confines her remarks to the Classics; they apply, however, to a much wider field.
The poems which appear in the current issue are taken from a collection of Tzu Hua once in the possession of a Chinese gentleman of keenly aesthetic taste, and are excel-lent examples of an art universally popular in China.
It is a thousand pities that the readers of POETRY cannot realize how extremely literal Miss Lowell's arrangements are. Her remarkable gift, first shown in Six French Poets, for seizing the essence of the allusion which a poet wishes to convey, has enabled her to render in a phrase the different parts of a complicated character in using which the poet expresses a complete thought.
It is only by digging until the very roots of the character are laid bare that Chinese poetry can be really understood.

Letter from Amy Lowell to John Gould Fletcher ; 16 Aug. (1919). [About her work with Florence Ayscough].
We have found out something which has never yet been taken into consideration by the translators of Chinese poetry, namely, that the nuances, the shadings of expression are found in the roots of the characters. Our method is that she makes a translation direct fom the Chinese, an absolutely literal one, and she not only gives the equivalents of the signs, but all their roots. Then I take it and work out something as nearly like the original as possible. She again compares with the original, and between us we arrive at something she says, from her knowledge of the language, is practically exact. This discovery should knock out Ezra [Pound]'s translations completely, as far as their resemblance to the originals is concerned, for his were made from Fenollosa transcripts of Japanese translations. I do not claim that these translations are any better as poems, nor perhaps as good as Ezra's, but they are much more faithful.

Letter from Florence Ayscough to Amy Lowell ; 17 Sept. (1919).
When I had asked Dr. Darrock (a well known scholar) about a teacher, he had said, 'There is one man only (Dr. Nung Chu) whom I know, who would do what you want, and he, I think, would be just the person. He lives in Nanking, not Shanghai, and may not be available now, I will try to find him'. In the cours of time he found him and he is the man who is here now with me, and, as I have told you, work with him is an entirely different proposition to what it has ever been beford.

Advertisement of One hundred and seventy Chinese poems. Transl. by Arthur Waley [ID D8884] in The New Republic ; 31 May (1919).
Alfred Knopf got a letter from Amy Lowell (22 May 1919) :
"No better translations have so far appeared of Chinese poetry. He [Waley] has given the real feeling of Chinese poetry, its clarity, its suggestion, its perfec humanity. There is no other translation of Chinese poetry now available with anything like the merit of this."
The sentence which Alfred Knopf from the letter excised was : "I have been working lately on Chinese poetry with a friend of mine who lives in China, so I know whereof I speak, and while I do not always agree with Mr. Waley's renderings of those poems with which I am familiar, he has done what nobody else has."

Letter from Amy Lowell to Florence Ayscough ; Aug. 16 (1919).
The great poets of the T'ang Dynasty, particularily Li T'ai Po, are without doubt among the finest poets that the world has ever had. He seems to me to rank second to none in any country in lyric poetry, and it seems to me as though Tu Fu were equally fine.

M. Review of Fir flower tablets. In : The journal of the Royal Asiatic Society North China ; vol. 1 (1919).
In many ways Florence Ayscough is a pioneer, and this idea of hers to extract all she can, and more than others thought they sould, may be justified in the end. The character invites such a method as the one suggested. Of course the Chinese protests vigorously against such a treatment. Itself eing under rigid rules, and governed by inexorable laws it seems to object at every port at the idea often being carried too many feet, or being left as short measure. At present we are neutral and stand by to wait and see.

Baring, Maurice. Round the world in any number of days. (London : Chatto & Windus, 1919).
https://archive.org/details/roundworldinanyn00bari.
Sailors and Chinamen never break anything; but, on the other hand, there is nothing that children will not break…
Cut the anchovies in pieces and place on china plate…
There is a large Chinese population in Tahiti, but they busy themselves for the most part with agriculture. They do not do much work for the white people…
Apart from this, there are a few little carriages which act as cabs, driven by Chinamen, but they appear to go to sleep in the daytime, and only appear in the evening…
A lake in Manchuria covered with large pink lotus flowers, as delicate as the landscape on a piece of Oriental china…
Hotel life in America seems to me infinitely better organized than in any other country in the world, with the possible exception of China. Because when you order a room at a Chinese hotel, in a small Chinese town, the room is built for you while you wait; you choose the style of room, and the paper, the carpeting, and all the furniture are put in during the day…

Edwin Sheddan Cunningham ist Generalkonsul des amerikanischen Generalkonsulats in Shanghai.

Gründung des China Committee to support Swedish research in geology and paleontology in China.

Gründung und Bestehen der norwegischen Gesandtschaft in Beijing. 1943-1945 in Chongqing.

George Roerich studiert Indoiranisik in London.

Shen, Yanbing [Mao, Dun]. Tuoersitai yu jin ri zhi Eluosi [ID D36345].
"Modern Russian bolshevism has conquered the Eastern Europe and it will flood the Western Europe, too. The world stream of thought rushes forward and no one knows where it will end. And Tolstoy is its very initiator. Tolstoy was among the first to propagate the abolition of war."
Mark Gamsa : The article eulogized Tolstoy as the towering summit of Russian literature – a literature which, even after his death, he dominated so sompletely that it could be identified with his name.

Liu Jipiao geht nach Paris, studiert ab 1922 an der Ecole nationale des beaux arts und kehr 1927 nach China zurück.

Xu Beihong studiert an der Ecole nationale supérieure des beaux-arts de Paris europäische Malerei und reist im Anschluss nach Deutschland, Belgien, in die Schweiz und nach Italien.
Er ist der chinesische Maler, der westliche Stilelement in seinen Werken verwendete.