“Byron's literary fortunes in China” (Web, 1995)
Year
1995
Text
Chu, Chih-yu. Byron's literary fortunes in China. (Hong Kong : University of Hong Kong, 1995). Diss. Univ. of Hong Kong, 1995.
http://hub.hku.hk/bitstream/10722/34921/1/FullText.pdf. [Accept]. (Byr1)
http://hub.hku.hk/bitstream/10722/34921/1/FullText.pdf. [Accept]. (Byr1)
Type
Web
Contributors (1)
Chu, Chih-yu
(um 1995)
Mentioned People (1)
Byron, George Gordon
(London 1788-1824 Mesolongion, Griechenland) : Dichter
Subjects
Literature : Occident : Great Britain
/
References / Sources
Chronology Entries (38)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1819 |
Byron, George Gordon. Don Juan ; with a biographical account of Lord Byron and his family ; anecdotes of his Lordhip's travels and residence in Greece, at Geneva, & c. : canto III. (London : Printed for William Wright, 1819). Byron's knowledge concerning the Chinese went little beyond what was available in the writings of the early European missionaries who had visited China. Er schreibt : "Just as a mandarin finds nothing fine, At least his manner suffers not to guess That any thing he views can greatly please. Perhaps we have borrow'd this from the Chinese." "Or seen Timbuctoo, or hath taken tea In small-eyed China's crockery-ware metropolis." |
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| 2 | 1902-2000 |
Byron, George Gordon : Allgemein Chu Chih-yu : The first period of the Chinese reception of Byron starts from the beginning of the 20th century to around 1919, when the May fourth movement broke out. As the publications during this period bear a strong influence of Japanese scholarship, we may call it 'the Japanese period'. May fourth to 1949 may be called 'the European period. 1949-1959, when the Chinese swallowed wholesale the Russian-Soviet interpretation of Byron and his work, was the 'Soviet period'. Chinese academics always studies Byron in the context of the struggle between two opposing political forces. Byron was no longer a lone fighter, but a representative of a new political power, the rising radical democratism. Nor was his work merely the expression of his thought and the venting of his personal feelings. It was also the resentment and protest of the broad labouring masses against reactionary reality. Byron's contemporaries' adverse criticism and contemnation of him were looked upon as the manifestation of the reactionary classes' fear and hatred for the progressive forces. From 1960 to the beginning of the Cultural revolution, the Sino-Soviet split brouth great ideological changes. As a result, the study of Byron took an ultra-Leftist path, we can call this 'the Maoist period'. After the Cultural revolution, the study of Byron in China fell into a state of confusion, but gradually began moving towards the West again. 1902-1914 : The early translators introduced The Isles of Greece to China, to a great extent, out of political considerations. They intended to borrow this new image of Byron to awaken the Chinese people's love for freedom and justice, to encourage the oppressed to overthrow their feudal rulers. Liang Qichao found in Byron the political reformer he needed to promote his political principles and ideas. Lu Xun saw him as a revolutionary rebel-poet who could breathe some new air into Chinese literature. Su Manshu viewed him as an example in everything he did and vented his own longings and despair in translations. Liu Bannong added filial devotion, a quality the Chinese have held a virtue since ancient times. The Isles of Greece expresses a kind of patriotic spirit and rebellion that the passive resistance of the traditional Chinese poet could never reach. Above all, Byron had a special appeal for the Chinese translators primarily because of his sacrifice for the Greek independent cause. Byron's image and spirit, deep down, coincided with that of the traditional patriotic scholar. His rebellion and heroism provided a handy model, one which could serve as a 'catalyst' of political and social reform, of democracy and the cause of national independence. 1976-1985 : Since the essay by Anna Elistratova, the comments on the Turkish tales had usually been negative in China. But in the eighties we find a general confusion. From the perspective of class analysis, one scholar pointed out that Byronic heroes are 'in nature out-and-out egoists split off from the bourgeois aristocracy' (Zhang Yaozhi). This mainly referred to Conrad in The corsair and Lara : 'Restricted by his bourgeois world outlook, Byron fails to expose Conrad's nature of the bourgeois aristocracy who make their fortunes by piracy. Instead, he concentrates his efforts on presenting Conrad as having a bourgeois humanitstic virtue'. (Zhu Weizhi and Zhao Feng). Most of the critics rejected the individualism Byron advocated through his heroes. As for the source of Byron's individualism, it was determined by the limitations of the times - 'the rise of the English proletariat was still in its early rising stage – or it was 'determined by the bourgeois ideas of Byron's world outlook'. Manfred was looked upon in China as the summit of the development of Byron's individualism and pessimism. The image of Manfred was generally described as 'a free, independent but pessimistic rebel who defies any danger and temptation and never forsakes his dignity'. The profilic output of Byron's Italian period was customarily attributed by Chinese critics to his participation in the Italien revolutionary movement. Cain, written in Italy, was highly thought for its realistic meaning, as the play 'expresses Byron's concern for the fate of the European peoples in the recationary political conditions under the rule of the Holy Alliance. The year 1812, when Cain was created, was the year of the feudal restoration in European countries. Whether it was the poet's real intention or not, the Chinese critics believed that Byron, to counter the renewed power and authority of the Church, re-interpreted the bibliocal story from a revolutionary point of view. In the Chinese view, Cain and Lucifer are both positive heroes. Cain is a reaction against an 'anti-social, anti-human' religion and a protest against 'a religious mythology which imposes upon the people an attitude of submission the the 'status quo' and to their fate. Don Juan was the best received of Byron's works in China, because it exhibits the creative mode which the Chinese hold in the highest esteem, the combination of 'revolutionary realism with revolutionary romanticism'. The first and foremost content the Chinese critics pointed throughout the satire to Byron's strong antipathy towards and denunciation of the reactionary forces headed by the Holy Alliance, and his eulogy of freedom. In general, Don Juan was hailed as a progressive epic satire which punctured the arrogance of the reactionaries and enhanced the morale of the bourgeois democratic forces. In sum, Chinese studies of Don Juan lack more comprehensive reseach, they fail to treat the poem as a poetic entity. Byron's popularity in China has lain primarily in his participation in the Italian independence movement and his last heroic actions in Greece. The rebllion against social conventions revealed in his works greatly enhanced his reputation, but without his final sacrifice for the Greek independence cause, the poetry alone of a poet as morally flawed as Byron could not have had such a great impact. His poetry was introduced to China as the moral poetry of a moral poet. As a poet, Byron attracted the Chinese literati because he expressed openly the kind of rebellion that the passive resistance of the traditional Chinese poet could never reach. The Chinese introduction of Byron as a person has been highly selective, again to serve particular purposes. The fundamental reason for this selectivity, I believe, is that a complete picture of Byron, complete with all the controversies he stirred up in England, would not conform to the Chinese standards of a hero. If 'the complete Byron' is a combination of man, poet, rebel-fighter and thinker, the Chinese paid more attention to him as rebel-fighter and thinker. His poetic works were discusses only if they shed light on his heroic deeds and his thought. Guo Ting : From 1890 to 1930 Byron enjoyed his greates popularity in China for almost half a century. Especially in 1924, Byron's centenary year, several articles and whole issues of journals, written or compiled, were devoted to him. Moreover, in China, the interpretation of Byron's achievement and aristocratic background was slightly different from what was perceived in Japan. In China, Byron's early fame in English society was less talked about ; instead, the poverty that Byron experienced in his childhood and his being excluded by the English upper classes were associated with his determined resistance to tyrannical rules and oppression. Thus, despite his title of Baron, Byron became the spokesman of the poor and the oppressed in the eyes of the Chinese public. Byron became an alleged hero, who also wrote poetry, rather than a poet by profession and reputation. China's confucian culture and feudalistic ideology formed in the past centuries also contributed to a filtering of Byron's image as well as to a selective translation of his works. This explain why certain poems of Byron were repeatedly translated in a fairly short period, but other more romantic and rebellious works were overlooked for a long time, and why, in China, Byron could for so long enjoy the image of an idealist and passionate nationalist. As a Western romantic poet, Byron was presented as a nationalist and well-educated writer, aware of the Chinese poetic tradition, through archaic translation. During the period from 1944 to 1966, the romantic side of Byron was more emphasized, and his works such as The corsair, Dun Juan and Childe Harold's pilgrimage were translated. During the Cultural revolution, translation of Byron's works was completely halted. Byron's romantic poems were excluded because of his Western capitalist background. The situation changed in 1949, the classical poetics that had been used in the translation of Byron's works were supplanted by those of modern Chinese poetry, which allow a freer form and places less emphasis on rhyme and meter. This change came with the “New culture movement”, in which classical Chinese language was gradually abandoned, and was replaced by 'baihua'. Influence from both individual critics and literary organizations on the translation of Byron in China are particularly important, given the limited translations of Byron's work and the reputation that he developed in a fairly brief span of time. For many Chinese literati, the focus was not to review translations, but to support and reinforce Byron's established heroic image by adding or emphsizing certain information on the writer and his works. A few Chinese literary organizations, such as the Chu ang zao she (Creative Society) and Wen xue yan jiu hui (Literature Study Society), had given Byron and his works a pssionate welcome in the early 20th century. Nowadays, in a majority of the textbooks compiled for students studying English literature, Byron is listed as an important poet in the romantic period (along with other writers, such as William Blake, Robert Burns, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelles and John Keats). Like these other poets, Byron is often given a brief introduction outlining his background, accompanied by excerpts from his poems. But almost all these introductions and excerpts tend to represent and emphasize Byron as a progressive poet standing for the proletariat and human liberty. Gregory B. Lee : The reason for Byron's enthusiastic reception in a China faced with the high tide of British imperialist ambition, is perhaps yet more complex than a straighforward approval of Byron's alliance with Greeks independantists, of his defence of the marginalized, colonized subject. Two 19th century events connected by the role of one British ruling family, yet separated in space and time by six decades and a whole continent, arte both well-known to millions of Chinese readers ; yet only one of these is embedded in Green national consciousness. For the Chinese reader of the early 20th century, and in objective historical terms, the words penned by Byron had become even heavier with meaning. British imperialism had entered a new expansionist and territorialist phase and its ideological disdain for the Other, especially the Other of colour, knew few bounds. |
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| 3 | 1902 |
Liang, Qichao. Xin Zhongguo wei lai ji. [ID D21903]. Darin enthalten sind kurze Auszüge aus : The giaour : a fragment of a Turkish tale and The Isles of Greece von George Gordon Byron. Chu Chih-yu : Liang Qichao did his translation with the help of his student Luo Chang, who interpreted for him orally. The translation of The Isles of Greece, short and incomplete as it is, had a great influence on the younger generation of the time. All the contemporary translators of the poem read and admired Liang's translation and were influenced by it to a greater or lesser extent. Lu Xun was strongly affected 'intellectually and emotionally' by reading it ; Su Manshu ranked it above Ma Junwu's version ; Hu Shi was so impressed by the beauty of diction that he almost gave up his own effort half way. Liang Qichao found in Byron the political reformer he needed to promote his political principles and ideas. He adopted the pattern of the lyrical songs of Yuan drama. |
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| 4 | 1908 |
Lu, Xun. Mo luo shi li shuo = On the power of Mara poetry. [ID D26228]. [Auszüge]. Lu Xun erwähnt George Byron, Percy Bysshe Shelley, Thomas Carlyle, William Shakespeare, John Milton, Walter Scott, John Keats, Friedrich Nietzsche, Johann Wolfgang von Goethe, Henrik Ibsen [erste Erwähnung], Nikolai Wassil'evich Gogol, Platon, Dante, Napoleon I., Ernst Moritz Arndt, Friedrich Wilhelm III., Theodor Körner, Edward Dowden, John Stuart Mill, Matthew Arnold, John Locke, Robert Burns, Aleksandr Sergeevich Pushkin, Adam Mickiewicz, Sandor Petöfi, Wladimir Galaktionowitsch Korolenko. Lu Xun schreibt : "He who has searched out the ancient wellspring will seek the source of the future, the new wellspring. O my brothers, the works of the new life, the surge from the depths of the new source, is not far off". Nietzsche... Later the poet Kalidasa achieved fame for his dramas and occasional lyrics ; the German master Goethe revered them as art unmatched on earth or in heaven... Iran and Egypt are further examples, snapped in midcourse like well-ropes – ancient splendor now gone arid. If Cathay escapes this roll call, it will be the greatest blessing life can offer. The reason ? The Englishman Carlyle said : "The man born to acquire an articulate voice and grandly sing the heart's meaning is his nation's raison d'être. Disjointed Italy was united in essence, having borne Dante, having Italian. The Czar of great Russia, with soldiers, bayonets, and cannon, does a great feat in ruling a great tract of land. Why has he no voice ? Something great in him perhaps, but he is a dumb greatness. When soldiers, bayonets and cannon are corroded, Dante's voice will be as before. With Dante, united ; but the voiceless Russian remains mere fragments". Nietzsche was not hostile to primitives ; his claim that they embody new forces is irrefutable. A savage wilderness incubates the coming civiliization ; in primitives' teeming forms the light of day is immanent... Russian silence ; then stirring sound. Russia was like a child, and not a mute ; an underground stream, not an old well. Indeed, the early 19th century produced Gogol, who inspired his countrymen with imperceptible tear-stained grief, compared by some to England's Shakespeare, whom Carlyle praised and idolized. Look around the worls, where each new contending voice has its own eloquence to inspire itself and convey the sublime to the world ; only India and those other ancient lands sit motionless, plunged in silence... I let the past drop here and seek new voices from abroad, an impulse provoked by concern for the past. I cannot detail each varied voice, but none has such power to inspire and language as gripping as Mara poetry. Borrowed from India, the 'Mara' – celestial demon, or 'Satan' in Europe – first denoted Byron. Now I apply it to those, among all the poets, who were committed to resistance, whose purpose was action but who were little loved by their age ; and I introduce their words, deeds, ideas, and the impact of their circles, from the sovereign Byron to a Magyar (Hungarian) man of letters. Each of the group had distinctive features and made his own nation's qualities splendid, but their general bent was the same : few would create conformist harmonies, but they'd bellow an audience to its feet, these iconoclasts whose spirit struck deep chords in later generations, extending to infinity... Humanity began with heroism and bravado in wars of resistance : gradually civilization brought culture and changed ways ; in its new weakness, knowing the perils of charging forward, its idea was to revert to the feminine ; but a battle loomed from which it saw no escape, and imagination stirred, creating an ideal state set in a place as yet unattained if not in a time too distant to measure. Numerous Western philosophers have had this idea ever since Plato's "Republic". Although there were never any signs of peace, they still craned toward the future, spirits racing toward the longed-for grace, more committed than ever, perhaps a factor in human evolution... Plato set up his imaninary "Republic", alleged that poets confuse the polity, and should be exiled ; states fair or foul, ideas high or low – these vary, but tactics are the same... In August 1806 Napoleon crushed the Prussian army ; the following July Prussia sued for peace and became a dependency. The German nation had been humiliated, and yet the glory of the ancient spirit was not destroyed. E.M. Arndt now emerged to write his "Spirit of the Age" (Geist der Zeit), a grand and eloquent declaration of independence that sparked a blaze of hatred for the enemy ; he was soon a wanted man and went to Switzerland. In 1812 Napoleon, thwarted by the freezing conflagration of Moscow, fled back to Paris, and all of Europe – a brewing storm – jostled to mass its forces of resistance. The following year Prussia's King Friedrich Wilhelm III called the nation to arms in a war for three causes : freedom, justice, and homeland ; strapping young students, poets, and artists flocked to enlist. Arndt himself returned and composed two essays, "What is the people's army" and "The Rhine is a great German river, not its border", to strengthen the morale of the youth. Among the volunteers of the time was Theodor Körner, who dropped his pen, resigned his post as Poet of the Vienne State Theater, parted from parents and beloved, and took up arms. To his parents he wrote : "The Prussian eagle, being fierce and earnest, has aroused the great hope of the German people. My songs without exception are spellbound by the fatherland. I would forgot all joys and blessings to die fighting for it ! Oh, the power of God has enlightened me. What sacrifice could be more worthy than one for our people's freedom and the good of humanity ? Boundless energy surges through me, and I go forth ! " His later collection "Lyre and sword" (Leier und Schwert), also resonates with this same spirit and makes the pulse race when one recites from it. In those days such a fervent awareness was not confined to Körner, for the entire German youth were the same. Körner's voice as the voice of all Germans, Körner's blood was the blood of all Germans. And so it follows that neither State, nor Emperor, nor bayonet, but the nation's people beat Napoleon. The people all had poetry and thus the poets' talents ; so in the end Germany did not perish. This would have been inconceivable to those who would scrap poetry in their devotion to utility, who clutch battered foreign arms in hopes of defending hearth and home. I have, first, compared poetic power with rice and beans only to shock Mammon's disciples into seeing that gold and iron are far from enough to revive a country ; and since our nation has been unable to get beyond the surface of Germany and France, I have shown their essence, which will lead, I hope, to some awareness. Yet this is not the heart of the matter... England's Edward Dowden once said : "We often encounter world masterpieces of literature or art that seem to do the world no good. Yet we enjoy the encounter, as in swimming titanic waters we behold the vastness, float among waves and come forth transformed in body and soul. The ocean itself is but the heave and swell of insensible seas, nor has it once provided us a single moral sentence or a maxim, yet the swimmer's health and vigor are greatly augmented by it"... If everything were channeled in one direction, the result would be unfulfilling. If chill winter is always present, the vigor of spring will never appear ; the physical shell lives on, but the soul dies. Such people live on, but hey have lost the meaning of life. Perhaps the use of literaure's uselessness lies here. John Stuart Mill said, "There is no modern civilization that does not make science its measure, reason its criterion, and utility its goal". This is the world trend, but the use of literature is more mysterious. How so ? It can nurture our imagination. Nurturing the human imagination is the task and the use of literature... Matthew Arnold's view that "Poetry is a criticism of life" has precisely this meaning. Thus reading the great literary works from Homer on, one not only encounters poetry but naturally makes contact with life, becomes aware of personal merits and defects one by one, and naturally strives harder for perfection. This effect of literature has educational value, which is how it enriches life ; unlike ordinary education, it shows concreteley a sense of self, valor, and a drive toward progress. The devline and fall of a state has always begun with is refusal to heed such teaching... [The middle portion of this essay is a long and detailed description of Lu Xun's exemplary Mara poets, including Byron, Shelley, Pushkin, Lermontov, Michiewicz, Slowacki and Petöfi]. In 18th-century England, when society was accustomed to deceit, and religion at ease with corruption, literature provided whitewash through imitations of antiquity, and the genuine voice of the soul could not he heard. The philosopher Locke was the first to reject the chronic abuses of politics and religion, to promote freedom of speech and thought, and to sow the seeds of change. In literature it was the peasant Burns of Scotland who put all he had into fighting society, declared universal equality, feared no authority, nor bowed to gold and silk, but poured his hot blood into his rhymes ; yet this great man of ideas, not immediately the crowd's proud son, walked a rocky outcast road to early death. Then Byron and Shelley, as we know, took up the fight. With the power of a tidal wave, they smashed into the pillars of the ancien régime. The swell radiated to Russia, giving rise to Pushkin, poet of the nation ; to Poland, creating Mickiewicz, poet of revenge ; to Hungary, waking Petéfi, poet of patriotism ; their followers are too many to name. Although Byron and Shelley acquired the Mara title, they too were simply human. Such a fellowship need not be labeled the "Mara School", for life on earth is bound to produce their kind. Might they not be the ones enlightened by the voice of sincerity, who, embracing that sincerity, share a tacit understanding ? Their lives are strangely alike ; most took up arms and shed their blood, like swordsmen who circle in public view, causing shudders of pleasure at the sight of mortal combat. To lack men who shed their blood in public is a disaster for the people ; yet having them and ignoring them, even proceeding to kill them, is a greater disaster from which the people cannot recover... "The last ray", a book by the Russian author Korolenko, records how an old man teaches a boy to read in Siberia : “His book talked of the cherry and the oriole, but these didn't exist in frozen Siberia. The old man explained : It's a bird that sits on a cherry branch and carols its fine songs”. The youth reflected. Yes, amid desolation the youth heard the gloss of a man of foresight, although he had not heard the fine song itself. But the voice of foresight does not come to shatter China's desolation. This being so, is there nothing for us but reflection, simply nothing but reflection ? Ergänzung von Guo Ting : Byron behaved like violent weaves and winter wind. Sweeping away all false and corrupt customs. He was so direct that he never worried about his own situation too much. He was full of energy, and spirited and would fight to the death without losing his faith. Without defeating his enemy, he would fight till his last breath. And he was a frank and righteous man, hiding nothing, and he spoke of others' criticism of himself as the result of social rites instead of other's evil intent, and he ignored all those bad words. The truth is, at that time in Britain, society was full of hypocrites, who took those traditions and rites as the truth and called anyone who had a true opinion and wanted to explore it a devil. Ergänzung von Yu Longfa : Die Bezeichnung Mara stammt aus dem Indischen und bedeutet Himmelsdämon. Die Europäer nennen das Satan. Ursprünglich bezeichnete man damit Byron. Jetzt weist das auf alle jene Dichter hin, die zum Widerstand entschlossen sind und deren Ziel die Aktion ist, ausserdem auf diejenigen Dichter, die von der Welt nicht sehr gemocht werden. Sie alle gehören zu dieser Gruppe. Sie berichten von ihren Taten und Überlegungen, von ihren Schulen und Einflüssen. Das beginnt beim Stammvater dieser Gruppe, Byron, und reicht letztlich hin bis zu dem ungarischen Schriftsteller Petöfi. Alle diese Dichter sind in ihrem äusserlichen Erscheinungsbild sehr unterschiedlich. Jeder bringt entsprechend den Besoderheiten des eigenen Landes Grossartiges hervor, aber in ihrer Hauptrichtung tendieren sie zur Einheitlichkeit. Meistens fungieren sie nicht als Stimme der Anpassung an die Welt und der einträchtigen Freude. Sobald sie aus voller Kehle ihre Stimme erheben, geraten ihre Zuhörer in Begeisterung, bekämpfen das Himmlische und widersetzen sich den gängigen Sitten. Aber ihr Geist rührt auch tief an die Seelen der Menschen nachfolgender Generationen und setzt sich fort bis in die Unendlichkeit. Sie sind ohne Ausnahme vital und unnachgiebig und treten für die Wahrheit ein… Nietzsche lehnt den Wilden nicht ab, da er neue Lebenskraft in sich berge und gar nicht anders könne, als ehrlich zu sein. So stammt die Zivilisation denn auch aus der Unzivilisation. Der Wilde erscheint zwar roh, besitzt aber ein gütmütiges Inneres. Die Zivilisation ist den Blüten vergleichbar und die Unzivilisation den Knospen. Vergleicht man jedoch die Unzivilisation mit den Blüten, so entspricht die Zivilisation den Früchten. Ist die Vorstufe bereits vorhanden, so besteht auch Hoffnung. Sekundärliteratur Yu Longfa : Lu Xun befasst sich zwar nicht ausführlich mit Friedrich Nietzsche, aber auf der Suche nach dem 'Kämpfer auf geistigem Gebiet', dessen charakteristische Eigenschaften, besonders die Konfiguration des Übermenschen, macht er ausfindig. Lu Xun ist überzeugt, dass die Selbststärkung eines Menschen und der Geist der Auflehnung kennzeichnend für den Übermenschen sind. In Anlehnung an den Übermenschen zitiert er aus Also sprach Zarathustra : "Diejenigen, die auf der Suche nach den Quellen des Altertums alles ausgeschöpft haben, sind im Begriff, die Quellen der Zukunft, die neuen Quellen zu suchen. Ach, meine Brüder, die Schaffung des neuen Lebens und das Sprudeln der neuen Quellen in der Tiefe, das dürft wohl nicht weit sein !" Tam Kwok-kan : Earliest reference to Henrik Ibsen. This is the first Chinese article that discusses in a comprehensive manner the literary pursuits of the Byronic poets. Lu Xun ranks Ibsen as one of these poets and compares the rebellious spirit exemplified in Ibsen's drama to Byron's satanic tendency. Lu Xun had a particular liking for the play An enemy of the people, in which Ibsen presented his ideas through the iconoclast Dr. Stockmann, who in upholding truth against the prejudices of society, is attacked by the people. Lu Xun thought that China needed more rebels like Ibsen who dared to challenge accepted social conventions. By introducing Ibsen in the image of Dr. Stockmann, the moral superman, together with the satanic poets, Lu Xun believed that he could bring in new elements of iconoclasm in the construction of a modern Chinese consciousness. As Lu Xun said, he introduced Ibsen's idea of individualism because he was frustrated with the Chinese prejudice toward Western culture and with the selfishness popular among the Chinese. Chu Chih-yu : Lu Xun adapted for the greater part of Mara poetry his Japanese sources (Kimura Katataro), he also added some of his own comments and speculations. Guo Ting : Given Lu Xun's leading position in the Chinese literary field at that time, his defense of Byron was powerful and set the overarching tone for the time of Byron when he was first introduced to Chinese readers. Liu Xiangyu : On the power of Mara poetry itself is an expression of Byronism to 'speak out against the establisment and conventions' and to 'stir the mind'. Lu Xun criticized traditional Chinese culture and literature. |
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| 5 | 1913 |
Su, Manshu. Tao Yuan xuan yan. In : Min li bao (21. Juli 1913). Er schreibt : "In the old days, when Greece was fighting for its independence, the English poet Byron joined in the military actions of the Greeks, wrote poems to encourage them and lamented their past glory, saying, 'Greece ! Change thy lords, thy state is still the same ! Thy glorious day is o'er, but not thy years of shame'." |
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| 6 | 1924 |
100. Todestag von George Gordon Byron. In April 1924 over twenty literary magazines in China produced special sections on Byron, carrying over fifty memorial articles and about a dozen new translations of Byron's poetry in addition to the numerous passages cited in the articles. Many articles or translations were published in more than one magazine at the same time. The most prominent were Xiao shuo yue bao, Chuang zao yue kan and Chen bao. |
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| 7 | 1924 |
Xiao shuo yue bao ; vol. 15, no 4 (1924). Zum 100. Todestag von George Gordon Byron. Zheng Zhenduo schreibt in der Einleitung : "We love writers of genius, especially great rebels. That is why we prise George Gordon Byron, not only for his preeminent genius but for his impassioned rebellion which moves us more deeply than his poetry. He is indeed one of the supreme rebels of modern times, rebelling against the devil who suppresses freedom and against all hypocritical and pseudo-moralistic societies. Byron is the exception to the rule that poets owe their immortality to their works." |
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| 8 | 1924 |
[Brandes, Georg]. [Bailun]. Zhang Wentian yi. [ID D26458]. Zhang Wentian translated the Byron section in the book of Georg Brandes' Main currents in 19th century literature in Chinese. Brandes schreibt : "It is probable that the subject of love between brother and sister was one often discussed by Shelley and Byron. What incensed Byron more than anything else was the pious horror displayed by the orthodox Bible Christians, one article of whose faith it is that the human race, as descended from one man and woman, multiplied by means of marriage between brother and sister." Chu Chih-yu : Brandes attributed Byron's loneliness and his erratic behaviour to genetic factors : "thus the poet [Byron] had wild blood in his veins". This view was readily accepted by Chinese scholars. Wang Tongzhao wrote "Genetics has become one of the important sciences” and most of Byron's neurotic behavious was “inherited from his mother". Gan Naiguang argued : "If we ascribe Byron's romantic character to the society, then we underestimate the power of genetics". The term 'romantic character' used by Wang Tongzhao refers to 'uncontrollable passion' or simply to Byronism in its broadest sense. Byron's lifestyle, his spirit of revolt, his passion, impulsiveness, restlessness, indignation, revenge, cynicism, etc. It may seem superficial for the Chinese to have simply borrowed from Brandes whatever he had to say about Byron. But this borrowing demonstrates respect not so much for Brandes as for a totally new and scientific approach to literature hitherto absent in Chinese criticism. Georg Brandes' interpretation of Byron's fortunes in England, both literary and personal, was conveyed faithfully to Chinese readers, although few of the Chinese writers acknowledged their sources. He accredited the fall of Byron's reputation, not unustifiably, to his wife and the general public, and most of all to other jealous writers. It is true that Byron's marriage [with Annabella Milbanke] was a big mistake. The Chinese are more circumspect in dealing with matters like incest. It is obvious, that almost every contribution of Xiao shuo yue bao had read Brandes' book, or at least the chapters on Byron. But they all avoided touching on this sensitive subject directly. Xi He mentioned the separation briefly and his only comment was : "Generally speaking, English society resented Byron's conduct and sympathized with Annabella Milbanke". Wang Tongzhao's version was more ambiguous : "Byron returned to London to find, to his surprise, that he was attacked without reason by the blind public". Gan Naiguang put the blame on Miss Milbanke but his argument was hardly convincing. He observed that the English reasonably expected Miss Milbanke to be able to tame the wild horse [Byron] once they were married, but that Miss Milbanke did not prove equal to the heavy task. She was a woman who observed the so-called moral principles of the time ; she was upright but unfeeling. She never sinned but she never forgave. Gan's article was basically a free translation of passages from Hippolyte Adolphe Taine's History of English literature. Transl. From French into English by J. Scott Clark. (New York, N.Y. : Colonial Press, 1900). |
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| 9 | 1924 |
Tang, Chengbo. Bailun de shi dai ji Bailun de zuo pin [ID D26413]. Tang schreibt : "Byron's life-long career can be contained in the word 'rebellion'... Byron is a great second class poet, although the second class is not the best. His verse is the best poetry of emotional tragedy.... The disturbance and conflicts inside Byron's heart could only be expressed through his poetry. What he saw, felt, thought, fantasized, and dreamed of were only himself. Byron tried in vain to liberate himself from himself. All the sorrows, disillusions, revolts, sentiments, and travels in his poetry were his own." Chu Chih-yu : Tang Chengbo's essay, a translated version of Taine's chapter [History of English literature], is one the first attempts to introduce Byron as a poet. It covers Byron's social background, poems, style, his European influence, and Byron in the eyes of Western critics. |
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| 10 | 1924 |
[Koizumi, Yakumo = Hearn, Lafcadio]. Ping Bailun. Chen Bao yi. [ID D26398]. Lafcadio Hearn schreibt : "Byron has a double personality : on one hand he is imprudent, selfish and sensual ; on the other generous, chivalrous, and noble... That Byron's influence spread all over Europe is not because he promoted any thought, but because his works revealed a truth to the world. Ne was neither a philosopher nor a logical thinker. Byron temporarily confused the European literary wordls with his satanism. But we should keep in mind that Byron himself did not intend to do so, nor did he fully understand the thought himself, but he made it all the rage for a time. He liked to write about the violent, brutal characters, making people aware, perhaps he was not aware himself, of the force of nature : no one could be absolutely free from the control of the force of the nature. His heroes' lives were a symbol of this contradiction. Later, with the emergence of people greater than Byron, who revealed the same truth through sound and accurate thinking, Byron began to be forgotten." Chu Chih-yu : Hearn believed that Byron's distorted character was influenced by his perverse parents and his clubfoot, the causes of his unhappy childhood. His assessment of Byron's achievements in poetry was from a purely academic point of view. He attempted to answer the question why Byron's work had been so popular in England and Europe during his own lifetime and why suddenly he had lost most of his readers in recent years. Byron incorporated a satanic quality in his heroes, who were not real daemons but 'noble and gloomy, mysterious and beautiful'. |
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| 11 | 1924 |
Chen bao fu kan : Supplement ; 21. und 28. April (1924). Zum 100. Todestag von George Gordon Byron. Darin enthalten sind sechs Artikel über Byron und acht Übersetzungen von Gedichten von Byron. |
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| 12 | 1924 |
Xu, Zhimo [Bailun]. [ID D26491]. The first essay is by Xu Zhimo. It is a poet's personal admiration for and appreciation of the English hero expressed in lyrical prose, an eulogy of Byron's physical beauty and romantic sentiments with passages from Byron's poetry incorporated into it with or without the author's translations. Xu Zhimo schreibt : "Byron stands on the beach of Missolonghi. The sea undulates in the setting sun. Before him is a bleak evening scene : no human traces, only a stretch of sand, several shabby huts, ruins of ancient temples, two or three grey pillars, a few broad-winged sea-gulls hovering in the sky. He stands on the beach, recalling the glories of ancient Greece : literature of Athens, valour of the Spartans ; the colour of the evening hue has not faded over the past two thousand years, but the souls of freedom have not left a trace. He stands there alone, thinking of his own life." |
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| 13 | 1924 |
Wang, Tongzhao. Bailun shi zhong de se jue [ID D26459]. Er schreibt : "From the colours he used, we see mountains exuberant and murky, seas vast and gloomy ; we see even more of the wounded heart of the young poet, bathed in flowers of blood, struggling in the great, profound, dark and gloomy nature. Is this Wordsworth's scenery full of friendly creatures ? Is this the nature meticulously and leisurely analyzed by Keats ? No, it is Byron's own. This is the dark, deep colour rising from Byron's broad, gloomy heart, covering all his impressions of mountains, seas, forests, ripples and flowers, animals and humans." Chu Chih-yu : The idea, argument, and examples – except the general tone and conclusion – are taken from the Byron chapter of Pratt, Alice Edwards. The use of color in the verse of the English romantic poets. (Chicago, Ill. : University of Chicago Press, 1898). He noted that in his early poems, Byron particularly favoured several colous of the eyes, hair and skin, and loved the 'dark-blue deep'. And here he summed up the characteristics of Byron's immature poetry : first, 'the meagerness and conventionality of colouring' ; secondly, 'his interest in Man was not as great as in Nature' ; and thirdly, 'his love for the hues of large expanses of water'. |
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| 14 | 1924 |
Liu, Runsheng. Bailun zhuan lue de pian duan [ID D26460]. Liu schreibt : "Byron's mother was a talented and moral lady with a noble and pure mind. She tried her best to educate her son, so most of Byron's knowledge was learnt from her. This was the most fortunate thing in Byron's life. Without it he would never have been as great as he has become today." |
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| 15 | 1924 |
Ye, Wei. Bailun zai wen xue shang de wei zhi yu qi te dian [ID D26461]. Ye Wei's essay is essentially a condensed paraphrase of the chapter “Characteristics : place in literature” in : Nichol, John. Byron. (London : Macmillan, 1902). Er schreibt : "Goethe ranks him [Byron] as the first English poet after Shakespeare, and is followed by the leading critics of France, Italy, and Spain. Goethe urged Eckermann to study English that he might read him ; remarking : 'A character of such eminence has never existed before, and probably will never come again. The beauty of Cain is such as we shall not see a second time in this world. Byron issues from the sea-wave ever fresh. In Helena, I could not make use of any man as the representative of the modern poetic era except him, who is undoubtedly the greatest genius of our century. The English may think of him as they please ; this is certain, they can show no (living) poety who is comparable to him... Of those poets of the early part of the nineteenth century, Lord John Russell thought Byron the greatest. Macaulay had no hesitation in referring to Byron as 'the most celebrated Englishman of the 19th century... Byron has been sinking at an accelerated rate for the last ten years, and has now reached a very low level. His fame has been very great, but I do not see how it is to endure ; neither does that make him great. No genuine productive thought was ever revealed by him to mankind. He taught me nothing that I had not again to forget... Shelley tells us, 'wheter he went, became the nucleus'. But he was too overbearing to form many equal friendships, and apt to be ungenerous to his rivals. His shifting attitude towards Lady Byron, his wavering purposes, his impulsive acts, are a part of the character we trace through all his life and work, a strange mixture of magnanimity and brutality, of lauther and tears, consistent in nothing but his passion and pride. Many other critics were very lenient towards his excesses, but there is one respect which we cannot be happy with him. He once said, 'I regard them as very pretty but inferior creatures. I look on them as grown-up children give a woman a looking-glass and burnt almonds, and she will be content." |
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| 16 | 1924 |
Xu, Zuzheng. Bailun de jing shen [ID D26463]. Xu schreibt : "When commemorating a [foreign] poet, we naturally want to understand his real world. Just empty and matter-of-fact biographical sketches will not do ; to lump together some free translation of foreign criticism is meaningless. At least we should study and introduce his poems, such as translate and annotate [his poetry] before we can fully appreciate him." Xu Zuzheng pointed out the contemporary relevance of the study of Byron in China. He was not only dissatisfied with the mere translation of Western materials about Byron, he was disappointed with the reality of literary developments in China. |
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| 17 | 1924 |
Liang, Shiqiu. Bailun yu lan man zhu yi [ID D26464]. Liang schreibt : "Byron represents an extremist rebellious spirit. Let's look at his portrait : dishevelled curly hair ; brilliant eyes looking as if they could penetrage all the vanity of life ; head held high, back straight, as if ready to fight the world. Don't they vividly embody his rebellious spirit ?" |
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| 18 | 1924 |
Jiang, Jiayan. Bailun de lang man shi [ID D26465]. Er schreibt : "True, we should encourage revolutionary literature ; but, we do not need to oppose literature about [life's] depression and love. It has its own eternal value. Just let those who enjoy it study it. The sentimental and passionate works of Byron, Shelley, Dante, and Goethe have their eternal value. And now their works will be considered inferior because the authors were not proletarians. Isn'it that writers of the first and second classes are being oppressed by the proletariat ? I shall have to appeal on their behalf." |
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| 19 | 1925 |
Lu, Xun. Za yi (1925). [ID D26466]. Lu Xun schreibt : "It is said that the youth are fond particularly of Byron, and I think this is generally true. As far as I am concerned, I still remember how I enjoyed and was excited and envouraged by reading his poems. Another reason for the exceptional affection for Byron among the Chinese in those days was that he had assisted the independence cause of Greece. During the last years of the Qing dynasty, revolutionary thought prevailed among a section of Chinese youth. Any cry for revenge and rebellion was bound to have a response." |
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| 20 | 1927 |
Zheng, Zhenduo. Wen xue da gang [ID D11275]. Erwähnung von Johann Wolfgang von Goethe, Friedrich Hölderlin, Henrik Ibsen, Walt Whitman, Jane Austen, Edgar Allan Poe, Mark Twain, James Fenimore Cooper, Washington Irving, Nathaniel Hawthorne, Harriet Beecher Stowe. Darin enthalten ist eine Abhandlung über Faust von Johann Wolfgang von Goethe. Zheng alluded to William Dean Howells' famous appellation for Mark Twain as 'the Lincoln of American literature'. He asserts that Huckleberry Finn is Twain's most important representative work. He described Georg Brandes as 'the most important critic of Europe'. Zheng mentioned Jane Austen, but said very briefly that her works have calm irony, delicate characterization, and pleasing style. Washington Irving made American literature first recognized in Europe, while it is Edgar Allan Poe who first made American literature greatly influence European literature. In 1909, the year of Poe's centennial, the whole of Europe, from London to Moscow, and from Christiania to Rome, claimed its indebtedness to Poe and praised his great success. Zheng Zhenduo regarded Nathaniel Hawthorne as "the first person who wrote tragedy in America". It was Hawthorne's emphasis upon psychological description that led to Zheng's high praise. According to Zheng's theory, the American tradition in literature exerted a strong influence upon Hawthorne's exploration of the depth of the human soul. "Hawthorne's psychological description could be traced back to Charles Brown." |
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| 21 | 1936 |
[Maurois, André]. Bailun de tong nian. Tang Xirui yi. [ID D25277]. Chu Chih-yu : Maurois's Byron was a great contribution to Western Byron scholarship. Maurois was a good critic and biographer. In this book, he did not try to prove something, but simply presented to use a life character, a human being as well as a noble soul. Unlike Brandes, who distrusted Byron's journals and letters, Maurois relied on them abundantly, especially regarding Byron's private affairs. Again, unlike Brandes, he stood on a more neutral ground. He did not raise Byron to the level of God nor did he try to cover up or defend his weaknesses. The book is a biography, focussing more on life than on poetry. When poems are discussed, they often serve as illustrations of certain aspects of his life. Its translation should have provided Chinese readers with a more comprehensive understanding of Byron as a real person. From this translation (chap. 1-13) the Chinese learned more about Byron's early childhood, his mother, his school life, and some of his women. |
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| 22 | 1943 |
[Tsurumi, Yusuke]. Bailun zhuan. Chen Qiuzi yi. [ID D26447]. Chen Qiuzi schreibt in der Einführung : "Will the striving Chinese intellectuals of today, especially the younger generation, who worship Byron for his heroic deeds, be deeply moved and nobly inspired by this biography ?" Chu Chih-yu : Tsurumi's Byron came during the Japanese War. At this time of national crisis, the glorious image of Byron again played a very important role in encouraging the Chinese to defend their country. Tsurumi believed in the political power of Byron's poetry. He wrote the book in the hope that Byron's spirit could inspire Japanese youth. The aspect of Byronism he admired the most seems to have been Byron's uniqueness, his unique ideas, 'ideas that shocked all the people'. All the facts, the analysis and interpretation of Byron's behaviour, and very often, even the diction were taken from Maurois. The difference is, that Tsurumi usually quoted Byron's letters and journals directly from Moore's book and at greater length, and he adapted remarks from Taine and Arnold on Byron's poetry. He also added some brief description of the plots of Byron's major poems. The book was overloaded with eulogistic words such as heroism, genius, freedom, revolution, rebellion, uniqueness etc. About Byron's women, Tsurumi followed Maurois' presentation except in his description of Byron's relationship with his half-sister. He neither supported nor rejected the charge of incest again Byron, but simply shunned the topic as best as he could. |
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| 23 | 1946 |
[Nichol, John]. Bailun zhuan. Gao Diansen yi. [ID D26446]. Chu Chih-yu : Nichol paid more attention to Byron's achievement in literature and his treatment of the subject was in a different fashion and style from Brandes, Maurois and Trsurumi. Nichol was more objective than the non-English critics. He describes Byron from the points of view of other people. The book comments on Byron from different people and perspectives, which include Byron's contemporaries, relatives, associates, friends, and enemies, as well as later critics. Byron was presented not as a great hero or fighter but as a real human being, with strengths and weaknesses, a Romantic poet with a creative imagination and artistic limitations. |
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| 24 | 1951 |
Makesi, Engesi lun wen xue yu yi shu [D26469]. Marx schreibt : "The true difference between Byron and Shelley is this : those who understand and love them think it fortunate that Byron died in his thirty-sixth year, for if he lived longer, he would have become a bourgeois reactionary ; the regret, however, that Shelley died at twenty-nine, for he was a revolutionary through and through, and would always have been in the vanguard of socialism." |
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| 25 | 1954 |
[Gorky, Maksim]. Gao'erji lun wen xuan ji [ID D26435]. In literary criticism, the most often quoted Soviet critic Gorky became a bible for all Chinese critics, and whose critical views can still be seen in literary magazines today. Gorky saw two main trands or tendencies in literary history, realism and romanticism. This kind of writing encouraged and promoted in the Soviet Union and China was 'socialist realism', which encompassed some romantic elements. |
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| 26 | 1954 |
[Elistratova, A.A.]. Bailun. Li Xiangchong yi. [ID D26434]. Elistratova schreibt : "It is the workers who are most familiar with the poetry of Shelley and Byron. Shelley's prophetic genius has caught their imagination, while Byron attracts their sympathy by his sensuous fire and by the virulence of his satire against the existing social order. The middle classes, on the other hand, have on their shelves only ruthlessly expurgated 'family' editions of these writers." Chu Chih-yu : Elistratova criticized the English critics' hostility towards Byron and their distortion of his work. She emphasized the ideological connection between Byron's political stand and the aspiration of the popular masses to seek emancipation. She pointed out : “Byron's political comments and his poetry embodied the democratic cultural elements conceived under the living condition of the explited labouring class of England”. Byron was 'an exited witness, protector, and singer of the English labouring class' early spontaneous and immature activities'. She thus raise Byron's political comment to the same level as his poetry. The so-called political stand was, as far as Elistratova was concerned, the writer's attitude towards the labouring poeople. This happened to coincide with the criterion proposed by Mao that literature and art should serve the broad labouring masses. Byron's scepticism, malancholy and gloom were construed by Elistratova as the result of the temporary failure of the progressive trends in their struggle against the reactionary forces. To Byron's melancholy she took a critical attitude. But her criticism was not pointed at Byron himself. From the perspective of historical materialism, she regarded this drawback of Byron's character as a limitation of his times. Byron's contradictions reflect the historical contradictions of the English democratic movement itself. About Byron's social life, she dwelt upon his two parliamentary speeches, which Chinese scholars had seldom mentioned before ; and later this subject was to become imperative in all Chinese biographies of Byron. One of the most important arguments which run through Elistratova's article : 'The people versus the individual'. She regarded Manfred as the summit of Byron's individual rebellion and, at the same time, paradoxically, as marking the failure of his individualism. She observed that Manfred's rebellion against society is presented as an issue of philosophical ethics, which is not too far away from Western interpretations. Elistratova commended Prisoner of Chillon, Prometheus and the last two cantos of Childe Harold in which, the revolutionary poet asserted that the meaning of life and art lies in the fighting for freedom. Like most modern critics, Elistratova regarded Don Juan as the summit of all Byronic creation, calling it 'an excellent combination of revolutionary romantic enthusiasm with cool-headed realism and understanding of material relations which constitute the base of social development'. Her interest in Don Juan was focussed on its progressive political significance, its satire on the Holy Alliance, and its scoffing at the Lakers. Firstly, starting from a Marxist point of view, Elistratova underlined the realistic significance of Byron's work. Secondly, as a socialist critic, she showed a particular interest in the relationship between the individual and society. She put a high value upon Byron's affinity with the people but held a critical view of his individualistic tendency. Elistratova had a profound influence on Chinese academic circles. The Chinese translation immediately became an authority in the field, a blueprint for the Byron section of Chinese versions of English literary history. Its political viewpoint and research methodology were followed faithfully and mechanically. This article put an end to what we call the 'European period' of Byron studies in China, and marked the beginning of the 'Soviet socialist period'. |
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| 27 | 1954 |
[Elistratova, A.A.]. Bailun. Li Xiangchong yi. [ID D26434]. Elistratova schreibt : "It is the workers who are most familiar with the poetry of Shelley and Byron. Shelley's prophetic genius has caught their imagination, while Byron attracts their sympathy by his sensuous fire and by the virulence of his satire against the existing social order. The middle classes, on the other hand, have on their shelves only ruthlessly expurgated 'family' editions of these writers." |
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| 28 | 1956 |
Du, Bingzheng. Ge ming lang man zhu yi shi ren Bailun de shi [ID D26467]. Chu Chih-yu : Du Bingzheng made the first echo of Elistratova's article. The article is not an introduction of Byron's poetic works, but more like a report on his research into the political meaning of Byron's poems. Du was one of the few real experts of English literature. It is the effect of Du's adjustment to the demands of the new literary policy. At that time the Chinese, following the Soviet example, were beginning to criticize the 'idealist conception of literature' of Western bourgeois scholars. Du Bingzheng found the 'materialistic basis' for Byron's rebellion, that is, the woker's movements in English society and the contemporary European situation : the French Revolution, the Napoleonic War, and the Holy Alliance. Yet in treating Byron's individualism, he insisted, "It is Byron's 'Class status', that made it impossible for him to rid himself of individualism : the idea of the individual conflicting with the masses often does mischief in his mind". Du's essay bears a strong mark of the new Soviet age of Byrton studies. |
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| 29 | 1957 |
Zhang, Yuechao. Yingguo de ge ming de lang man shi ren Bailun [ID D26468]. The text is an enthusiastic endorsement of Byron's progressive thought and political activities. |
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| 30 | 1960 |
An, Qi. Shi lun Bailun shi ge zhong de pan ni xing ge [D D26470]. An Qi schreibt : "Childe Harold exiles himself because he is sick of the voluptuous dissipation of the nobles. He finds expression of his protest against the society he loathes in nothing more than dissipation and the beauty of nature. Conrad revolts against the ugly society with piratical acts of murder and arson and Manfred with his pessimistic world-weariness. What about Cain ? The one who supports him against God is the daemon. No doubt, God and his world order should be challenged and negated, but the daemon is a daemon after all ; he is not the force to liberate the people. The daemon is only God who has lost his office or power. Don Juan's rebellion against the society of the time was a series of dissolute acts. In Don Juan and other works, Byron fights evil with evil. If these works give his reader the impression that they are 'an eulogy of vice', that is truly what they are." Chu Chih-yu : An Qi's arguments reflect a typical dialectic materialism with 'Chinese characteristics'. He rised again (like Elistratove and Du Bingzheng) the issue of 'the rebellious character of Byronic heroes'. He sought explanation for Byron's rebellious spirit in the class and national conflicts of European society, but he did not mention Byron's 'spiritual connection' with the English workers' movement. He wanted to describe Byron as a 'radical bourgeois democrat', who did not belong to the proletarian camp. He noted some personal reasons : Byron's disillusion and anger with English society as ruled by the nobles and the church, and his dissipated life. In his view, English society made use of Byron's separation as an excuse to attack his private style and forced him to leave England for political reasons ; and this political persecution pushed Byron into a more dissipated life and a stronger rebellion. An Qi recognized Byron's influence on the European democratic intellectuals and the progressive role he had played in Chinese literary history. The value of Byronic heroes consists only in their adding to our knowledge of feudalism and capitalism. He tried to accdentuate is to the effect that 'Byron's self-centred, absolute freedom is not only visionary but, after the maturing proletariat showed their power, could turn to the opposite of the proletarian revolutionary movement'. |
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| 31 | 1961 |
Yang, Dehua. Shi lun Bailun de you yu [ID D26471]. Yang Dehua schreibt : "According to some people, in his poetry Byron was not only opposed to the feudal autocratic system but also opposed to the bourgeoisie, and his sympathy was with the workers. They believed that Byron's works are tinged with melancholy because the contemporary workers' movements were not fully developed and because Byron could not see the beautiful prospect of human emancipation. In this point, we beg to differ." Chu Chih-yu : Yang Dehua's essay was also intended to provide an annotation to Marx's commentary. His article was less well organized compared to An Qi's, full of Byronic 'digressions', self-contradictory statements, and arguments which are confused and confusing. He posed more questions than he answered. Yang tried to give an explanation for Byron's melancholy from a historical perspective, which is one of the common features of Marxist criticism. He quoted extensively from Marx's assessment of the political and economical relations of 19th-century Europe. Yang Dehua analyzed the contemporary political and economic situation, observing that Europe was in a state of transition with the feudal system on the brink of collapse and capitalist relations of production spinging up. He classified Byron as an 'aristocrat in decline' who 'betrayed his own class and came over to the bourgoisie under the impact of the bourgeois revolution'. |
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| 32 | 1964 |
Yuan, Kejia. Bailun he Bailun shi ying xiong [ID D26472]. Yuan schreibt über Byron's Childe Harold : "After the first six pages [of Canto I], as soon as Childe Harold enters Napoleon-occupied Spain, the author kicks out Childe Harold and steps forward. The listlessness, boredom of the young aristocrat a moment ago is replaced by the fiery enthusiasm of a democratic combatant. In the second canto, [Byron] censures the English plunder of the Greek relics, attacks religious superstition, eulogizes the Albanian fighters, and expresses his discontent with Greek submission to Turkish rule, he does this all by himselb. He does not even allow Childe Harold to get a work in edgeways." Chu Chih-yu : Yuan applied a more eclectic approach, dividing Byronic rebellion in two aspects, the progressive and the passive. He observed that after the French Revolution, there appeared in Europe a wave of bourgois national and democratic revolutions. He considered these revolutions progressive and believed that the Byronic heroes' pursuit of individual freedom, dignity, happiness, and liberation coincided with the ideal of freedom and democracy which the democratic classes were striving for, and that, in terms of historical materialism, it was in keeping with the historical trend. The passive side of the Byronic hero to which he referred was mainly his melancholy and despair. Yuan found two different kinds of rebellion in Childe Harold : Childe Harold's ennui and escapism and Byron's direct call to the oppressed people to drive out the invaders. Ye Zi accused Yuan of 'objectively propagating bourgeois ideology'. Yuan replied : While obliged to admit that individualism was the core of bourgeois ideology. He insisted on the separability of bourgeois revolutionary thought from bourgeois individualism, especially in the case of Byron. Luo Li criticized Yuan mainly out of political considerations. He wrote : "Comrade Yuan's refusal to acknowledge the bourgeois individualistic nature of Byron's works disminishes the line of demarcation between proletarian and bourgeois ideology, which is very harmful to the present struggle to promote proletarian ideology and eliminate bourgeois ideology." |
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| 33 | 1978 |
Zhang, Yaozhi. Lun Bailun he ta de chang shi "Qiaerde Haluode you ji" [ID D26476]. Zhang schreibt : "[Byron] uses the magnificence of nature as a contrast to the ugliness of reality ; he uses it as an expression of his strong detestation for reality, and of his political passion. Byron describes the Rhine and the Alps as if they were a realm of freedom and harmony, in order to express his opposition to the restoration of autocracy in Europe and his loathing of social reality." |
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| 34 | 1980 |
Yang, Zhouhan. Guan yu ti gao wai guo wen xue shi bian xie zhi liang de ji ge wen ti [ID D26474]. Yang schreibt : "We often treat writers and literary schools as if they are sharply divided and share nothing in common, as if they belong to different classes. This is simply not true in reality. Take 'active' and 'passive' Romanticism as an exemple : the two have something in common both in class status and ideology and in cultural background. Wordsworth, for instance... it is true, dropped out of the struggle for fear of the Jacobin dictatorship, but Napoleon's war of invasion was also one of the causes for his disappointment. On the other hand, even the 'active' Romantic poets differed. Some literary histories describe Byron's motive force as pride and Shelley's as love. Perhaps that was what was meant by Marx's alleged remark, that Shelley would have become a revolutionary, Byron a reactionary. Byron is a complicated character. That is why literary histories have always given him both praise and censure. Starting from the Soviet literary histories, there has been a tendendy [in China] to cover up Byron's faults and publicize his merits. Generally speaking, Byron should be considered progressive, but we have not done enough research into his motive for joining the progressive trend." |
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| 35 | 1981 |
Zheng, Min. Yingguo lang man shi ren Huazihuasi de zai ping jia [ID D26489]. Chu Chih-yu : Zheng Min made the first attempt to rehabilitate Wordsworth. Although she still used a Marxist approach, the critic discussed with an attention to detail the poet's artistic achievements rarely found in discussions of Byron. |
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| 36 | 1981 |
Pan, Yaoquan. Bailun de Qiaerde Haluode you ji [ID D26475]. Pan schreibt : "The narrator and Childe Harold are both opposite and complementary to each other ; they embody the complete Byron. After all, Byron is a bourgeois fighter, so in certain aspects he has something in common with Childe Harold, and from time to time reveals certain traits of his individualistic world outlook. Thus it is not difficult for us to understand why the first two cantos sold so well immediately after its publication – he shook the whole of European society with one single book ! And Byron became famous overnight. In the broad reading public of the time, different social classes had different interpretations of the poem, and each took what he or she needed." |
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| 37 | 1982 |
Feng, Guozhong. Bailun he Yingguo gu dian zhu yi chuan tong [ID D26477]. Chih Chih-yu : Feng's essay is one of the very few essays which treat the artistic aspects of Byron's work. Despite the traces of the Marxist viewpoint, his ideas and the basic approach to the subject are marked by the influence of modern Western scholarship, which was the first instance since the founding of socialist China. Byron's affiliation with the classicist poetics was reflected first of all in 'his carrying forward and developing the fine classicist tradition of portraying human nature and human society'. According to Feng, Byron's method of nature description conforms to classicist creative principles. He contended that Byron's real interest in nature description was human nature and human society. |
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| 38 | 1986 |
[Byron, George Gordon]. Ai Xila. Liu Wuji yi. [ID D26399]. Liu Wuji schreibt im Nachwort : "Byron is a revolutionary poet and particularly in this poem he reveals his revolutionary enthusiasm. Although he is a subject of an empire, he is strongly against the policy of aggression by the imperialists. He is willing to help a small nation – Greece – and to fight for her. The sixteen stanzas of this poem are a crystallization of his life's thought. This is the most representative of all his works. It is such a great poem that I think it necessary to translate it in the style of the new poetry." |
Sources (30)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1905 | [Byron, George Gordon]. Ai Xila ge. Ma Junwu yi. In : Xin wen xue (1905). Übersetzung von Byron, George Gordon. The Isles of Greece. In : Byron, George Gordon. Don Juan ; with a biographical account of Lord Byron and his family ; anecdotes of his Lordhip’s travels and residence in Greece, at Geneva, & c. : canto III. (London : Printed for William Wright, 1819). | Publication / Byr7 | |
| 2 | 1909 |
[Byron, George Gordon]. Bailun shi xuan. Bailun ; Su Manshu yi. (Buxiang : Bian zhe zi kan, 1914). [Übersetzung der Gedichte von Byron ; in Englisch und Chinesisch]. [Foreword by W. J. B. Fletcher, dated Oct. 6, 1909]. [Enthält] : Qu guo xing. Übersetzung von Byron, George Gordon. My native land, good night. (London : Printed & sold by Chappell & Co., 1820). Liu bie Yadian nü lang. Huang Kan yi. Übersetzung von Byron, George Gordon. Maid of Athens, ere we part. [Geschrieben in Athen 1810]. Zan da hai. Übersetzung von Byron, George Gordon. The ocean Roll on, thou deep and dark blue Ocean. In : Byron, George Gordon. Childe Harold's pilgrimage : a romaunt. (London : Printed for John Murray, 1812). Da mei ren zeng shu fa men dai shi. Übersetzung von Byron, George Gordon. To a lady who presented the author with the velvet band which bound her tresses. In : Byron, George Gordon. Hours of Idleness : a series of poems. (Newark, S. & J. Ridge, 1808). [Geschrieben 1806]. Ai Xila. Übersetzung von Byron, George Gordon. The Isles of Greece. In : Byron, George Gordon. Don Juan ; with a biographical account of Lord Byron and his family ; anecdotes of his Lordhip’s travels and residence in Greece, at Geneva, & c. : canto III. (London : Printed for William Wright, 1819). 拜伦诗选 |
Publication / SuM10 | |
| 3 | 1916 |
Liu, Bannong. Bailun yi shi. In : Xin qing nian ; vol. 4, no 2 (1916). [Biographie von George Gordon Byron]. [Enthält] : Übersetzung eines Briefes von Byron und eine Übersetzung eines Teils von Byron, George Gordon. The giaour : a fragment of a Turkish tale. (London : Printed by T. Davison, Whitefriars, for John Murray, 1813). 拜伦 譯詩 |
Publication / Byr48 | |
| 4 | 1924 | [Koizumi, Yakumo = Hearn, Lafcadio]. Ping Bailun. Chen Bao yi. In : Xiao shuo yue bao ; vol. 15, no 4 (1924). | Publication / Byr10 | |
| 5 | 1924 | Tang, Chengbo. Bailun de shi dai ji Bailun de zuo pin. In : Xiao shuo yue bao ; vol. 15, no 4 (1924). [Artikel über George Gordon Byron]. | Publication / Byr25 | |
| 6 | 1924 |
[Byron, George Gordon]. Manfuleide. Fu Donghua yi. In : Xiao shuo yue bao ; vol. 15, no 4 (1924). ). Übersetzung von Byron, George Gordon. Manfred : a dramatic poem. (London : John Murray, 1817). 曼弗雷德 |
Publication / Byr30 | |
| 7 | 1924 | [Brandes, Georg]. [Bailun]. Zhang Wentian yi. In : Xiao shuo yue bao ; vol. 15, no 4 (1924). [Enthält das Kap. Byron. In : Brandes, Georg. Main currents in nineteenth century literature]. | Publication / Byr63 | |
| 8 | 1924 | Wang, Tongzhao. Bailun shi zhong de se jue. In : Chen bao fu kan : Supplement ; 28. April (1924). [The use of colour in Byron's poetry]. | Publication / Byr64 | |
| 9 | 1924 | Liu, Runsheng. Bailun zhuan lue de pian duan. In : Chen bao fu kan : Supplement ; 28. April (1924). [Episodes of Byron's life]. | Publication / Byr65 | |
| 10 | 1924 | Ye, Wei. Bailun zai wen xue shang de wei zhi yu qi te dian. In : Chen bao fu kan : Supplement ; 11. Mai (1924). [Byron's characteristics and place in literature]. | Publication / Byr66 | |
| 11 | 1924 |
Chuang zao yue kan. Vol. 1, no 3, 4, 6 (1924). [Zum 100. Todestag von George Gordon Byron]. 創造月刊. |
Publication / Byr67 |
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| 12 | 1924 | Xu, Zuzheng. Bailun de jing shen. In : Chuang zao yue kan ; vol. 1, no 4 (1924). [Byron's spirit]. | Publication / Byr68 | |
| 13 | 1924 | Liang, Shiqiu. Bailun yu Lan man zhu yi. In : Chuang zao yue kan ; vol. 1, no 3 (1924). [Byron and Romanticism]. | Publication / Byr69 | |
| 14 | 1924 |
Jiang, Jiayan. Bailun de lang man shi. In : Chuang zao yue kan ; vol. 1, no 6 (1924). [History of Byron's romances]. ] |
Publication / Byr70 | |
| 15 | 1924 |
Xu, Zhimo. [Bailun]. In : Chen bao fu kan ; 21. April (1924). [Artikel über George Gordon Byron] 拜倫 |
Publication / Byt83 | |
| 16 | 1925 |
Lu, Xun. Za yi (1925). In : Lu Xun quan ji ; vol. 1 (1963). [Enthält Eintragungen über George Gordon Byron]. 杂艺 |
Publication / Byr71 | |
| 17 | 1954 |
[Elistratova, A.A.]. Bailun. Li Xiangchong yi. In : Yi wen ; no 6 (1954). [Artikel über George Gordon Byron]. 拜伦 |
Publication / Byr40 | |
| 18 | 1956 | Du, Bingzheng. Ge ming lang man zhu yi shi ren Bailun de shi. In : Beijing da xue xue bao ; no 2 (1956). [The poetry of the revolutionary poet Byron]. | Publication / Byr72 | |
| 19 | 1957 | Zhang, Yuechao. Yingguo de ge ming de lang man shi ren Bailun. In : Xi ou jing dian zuo jia yu zuo pin. (Wuhan : Chang jiang wen yi chu ban she, 1957). [The English romantic poet Byron]. | Publication / Byr73 | |
| 20 | 1960 | An, Qi. Shi lun Bailun shi ge zhong de pan ni xing ge. In : Shi jie wen xue ; no 8 (1960).[An attempt to analyze the rebellious character of Byron's poetry]. | Publication / Byr75 | |
| 21 | 1961 | Yang, Dehua. Shi lun Bailun de you yu. In : Wen xue ping lun ; no 6 (1961). [An attempt to analyze Byron's melancholy]. | Publication / Byr76 | |
| 22 | 1962 | Fan, Cunzhong. Lun Bailun yu Xuelai chuang zuo zhong xian shi zhu yi he lang man zhu yi xiang jie he de wen ti. In : Wen xue ping lun ; no 2 (1962). [On the combination of realism and romanticism in the works of Byron and Shelley]. | Publication / Byr77 | |
| 23 | 1964 | Yuan, Kejia. Bailun he Bailun shi ying xiong. In : Guang ming ri bao ; 12. Juli (1964). [Byron and Byronic heores]. | Publication / Byr78 | |
| 24 | 1978 | Zhang, Yaozhi. Lun Bailun he ta de chang shi "Qiaerde Haluode you ji". In : Qiqihaer shi yuan xue bao ; no 3 (1978). [On Byron and his long poem "Childe Harold"]. | Publication / Byr81 | |
| 25 | 1980 | Yang, Zhouhan. Guan yu ti gao wai guo wen xue shi bian xie zhi liang de ji ge wen ti. In : Wai guo wen xue yan jiu ji kan ; no 2 (1980). [For a better history of world literature ; Vortrag Guangzhou Conference]. | Publication / Byr79 |
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| 26 | 1981 |
[Byron, George Gordon]. Bailun zheng zhi feng ci shi xuan : Shen pan di huan jing : Ai'erlan tian shen xia fan : Qing tong shi dai. Qiu Congyi, Shao Xunmei yi. (Shanghai : Shanghai yi wen chu ban she, 1981). [Byron's political satires]. [Enthält] : Shen pan di huan jing = Vision of judgment. (London : The Liberal, 1822). Ai'erlan tian shen xia fan. [Original-Titel nicht gefunden]. Qing tong shi dai = The age of Bronze ; or, Carmen seculare et annus haud mirabilis. (London : Hunt, 1823). 拜伦政治讽刺诗选 : 审判的幻景 : 爱尔兰天神下凡 : 青铜时代 |
Publication / Byr21 | |
| 27 | 1981 |
Pan, Yaoquan. Bailun de Qiaerde Haluode you ji. Wuhan : Wuhan da xue xue bao ; no 4 (1981). ["Childe Harold" von George Gordon Byron]. 恰尔德. 哈洛尔德游记 |
Publication / Byr80 | |
| 28 | 1981 | Zheng, Min. Yingguo lang man shi ren Huazihuasi de zai ping jia. In : Nanjing da xue xue bao ; no 4 (1981). [Re-appraisal of the English Romantic poet William Wordworth]. | Publication / ZheM1 | |
| 29 | 1982 | Feng, Guozhong. Bailun he Yingguo gu dian zhu yi chuan tong. In : Wai guo wen xue ; no 3 (1982). [Byron and the English classicist tradition]. | Publication / Byr82 | |
| 30 | 1986 | [Byron, George Gordon]. Ai Xila. Liu Wuji yi. In : Liu, Wuji. Su Manshu yu Bailun "Ai Xila shi". In : Cong Mo jian shi dao Yan zi kann : ji nian Nan she liang da shi ren Su Manshu yu Liu Yazi. (Taibei : Shi bao wen hua chu ban qi ye you xian gong si, 1986). [Su Manshu und George Gordon Byron]. Übersetzung von Byron, George Gordon. The Isles of Greece. In : Byron, George Gordon. Don Juan ; with a biographical account of Lord Byron and his family ; anecdotes of his Lordhip's travels and residence in Greece, at Geneva, & c. : canto III. (London : Printed for William Wright, 1819). | Publication / Byr11 |