Year

2006

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Type

Publication

Contributors (1)

Mentioned People (10)

Subjects

Chronology Entries (11)

#	Year	Text	Linked Data
1	1912-1922	Wen Yiduo liest englische Lyrik, vor allem aus der Anthologie The golden treasury von Francis Turner Palgrave. He was immediately attracted to Keats, Tennyson, and other English poets. These two poets stimulated him to address such themes as the tension between an idealized timeless world of art inhabited by beauty, love and truth and the world of dark reality marked by suffering and pain.	Person: Keats, John Person: Tennyson, Alfred Person: Wen, Yiduo
2	1920-1921	Xu Zhimo studiert Political Economics am King's College, Cambridge. Er übersetzt das Gedicht "To Fanny" von John Keats und schreibt Yuehan ji ci de ye ying ge. [John Keats's Ode to a nightingale].	Document: Chan, Sin-wai. A chronology of translation in China and the West : from the legendary period to 2004. (Hong Kong : The Chinese University Press, 2009). (Chan, Publication) Person: Keats, John Person: Xu, Zhimo
3	1920	Tian, Han ; Zong, Baihua ; Guo, Moruo. San ye ji [ID D11262]. Enthält : Letter from Guo Moruo to Zong Baihua ; March 30 (1920). Guo Moruo translated the first eight lines of The song of the open road von Walt Whitman aus Leaves of grass. Guo Moruo schreibt : "Heine's poems are beautiful but not vigorous ; while Whitman's poems are vigorous but not beautiful." The poem was translated by Guo to describe his strong feeling of freedom gained during a train journey in Japan.	Document: Huang, Guiyou. Whitman and China. In : Whitman & the world. Ed. by Gay Wilson Allen and Ed Folsom. Iowa City : University of Iowa Press, 1995. http://whitmanarchive.org/criticism/current/pdf/anc.01049.pdf. (WhiW19, Publication) Document: Whitman East & West : new contexts for reading Walt Whitman. Ed. by Ed Folsom. (Iowa : University of Iowa Press, 2002). (Iowa Whitman series). http://whitmanarchive.org/criticism/current/pdf/anc.01053.pdf. S. 181. (WhiW130, Publication) Person: Guo, Moruo Person: Heine, Heinrich Person: Whitman, Walt Person: Zong, Baihua
4	1921	Guo Moruo. Nü shen = The goddesses [ID D11264]. Guo Moruo : "It was Whitman who made me crazy about writing poems. It was in the year when the May 4th Movement broke out that I first touched his Leaves of grass. Reading his poems, I came to see what to write and how to voice my personal troubles and the nation's sufferings. His poems almost made me mad. Thus, it was possible for me to have the first poetry collection The goddesses published." [Enthält] : Guo, Moruo. Chen an. [Good morning]. I greet you with a Good Morning, Atlantic Ocean Flanked to the new World, Graves of Washington, of Lincoln and of Whitman. Whitman, Whitman ! Whitman who was similar to Pacific ! Pacific Ocean !... Sekundärliteratur 1929 Caochuan, Weiyu [Zhang, Xiuzhong]. Zhongguo xin shi tan di zuo ri jin ri he ming ri. (Beijing : Hai yin shu ju, 1929). [China's new poetry]. 中國新詩壇的昨日今日和明日 Caochuan denigrates Guo Moruo's Whitmanesque poems, claiming the The goddesses [ID D11264] is a failure for two main reasons : abstractness and verbosity. 2002 Liu Rongqiang : To Guo Moruo, Whitman believed that all things that exist are equally divine, and all are God's self-expressions. Such ideas became significant for Guo when his concerns turned to China's movement toward becoming a nation building up a democratic system. Reading Leaves of grass, he was inspired by Whitman's embrace of democracy, individualism, and science. He found that what Whitman exalted was identical to the ideals in China in his day, and he came to believe that Whitman's poetic techniques were the best way to express those ideals. Under Whitman's influence, Guo became a pioneer in writing Chinese vernacular poems. He exalted democracy, individual emancipation, and science in many of his poems, and he also made creative use of Whitman's dynamic techniques, including repetition, parallelism, enumeration, and even foreign words. 2006 Yang Liping : Guo Moruo was intoxicated for a time by Walt Whitman's stormy poems in Leaves of grass. These poems offered him an ideal form for expressing his strong sentiments about himself and China, and directly inspired him to pen such 'masculine and violent poems'. Guo was fascinated with Whitman's poetry : Whitman's style, which has broken with all conventional rules, is by and large in tune with the spirit of 'Sturm und Drang' sweeping across China during the May fourth and New Culture movements. Under the influence of Whitman, Guo paid little attention to rhyming and broke away from the metrical stricture of traditional Chinese poetics. Both Whitman and Guo attached great importance to spontaneity in emotional expression in their poetry and believed that the spirit of a poem always takes precedence over the letter.	Document: Gálik, Marián. Kuo Mo-jo's "The goddesses" : creative confrontation with Tagore, Whitman and Goethe. In : Gálik, Marián. Milestones in Sino-Western literary confrontation, 1898-1979. – Wiesbaden : Harrassowitz, 1986. (Asiatische Forschungen ; Bd. 98). [Guo Moruo]. (WhiW56, Publication) Document: Huang, Guiyou. Whitman and China. In : Whitman & the world. Ed. by Gay Wilson Allen and Ed Folsom. Iowa City : University of Iowa Press, 1995. http://whitmanarchive.org/criticism/current/pdf/anc.01049.pdf. (WhiW19, Publication) Document: Whitman East & West : new contexts for reading Walt Whitman. Ed. by Ed Folsom. (Iowa : University of Iowa Press, 2002). (Iowa Whitman series). http://whitmanarchive.org/criticism/current/pdf/anc.01053.pdf. S. 172-175. (WhiW130, Publication) Person: Guo, Moruo Person: Whitman, Walt Person: Zhang, Xiuzhong
5	1922-1925	Wen Yiduo studiert westliche Malerei am Art Institute in Chicago. Er studiert und liest klassische chinesische und englische Lyrik. 1923 schreibt er einem Freund am Qinghua-College : "I spent a whole day doing assignments with great relish at school and planned to illustrate my poetry thereafter. However, the moment I came back to my room, I found Byron, Shelley, Keats, Tennyson, Tu Fu, and Lu You were waiting for me there on the bookshelf, on the desk and in my bed. So I itched and could not wait to endear myself with them.	Person: Wen, Yiduo
6	1922	Brief von Wen Yiduo an Liang Shiqiu. (Dec. 27, 1922). Er schreibt : "I think our belief in beauty as the heart of art leads us inevitably to pay our homagt to Keats in the West."	Person: Keats, John Person: Wen, Yiduo
7	1923	Xu Zhimo hält Vorlesungen über modern englische Literatur an der Nankai-Universität. Xu regarded Thomas Hardy as "a completely negative and extremely pessimistic novelist and poet".	Person: Hardy, Thomas
8	1924	Letter from Guo Moruo to Cheng Fangwu (1924). "I cannot help admiring Byron when I think of his heroic death far away from his homeland. Yet considering the fact that he is a noble, a wealthy and happy noble, I realize his world does not belong to me at all."	Person: Byron, George Gordon Person: Guo, Moruo
9	1925	Xu Zhimo besucht Thomas Hardy. Xu had a brief discussion with Hardy on Chinese poetry and the importance of metrics. Hardy’s argument on the indispensability of metrical rules to poetry inspired Xu to seriously reconsider his poetic outlook, resulting in a shift from the free-verse style that dominated his first collection ofpoetry (Poems of Zhimo 1925) and this poetic reorientation is seen clarly in his second collection (Feilengcui di yi ye 1927), and continued will into his third and fourth collections. Hardy asked Xu : "You’ve translated my poems ? How did you do that ? Is Chinese poetry metrical ?" Xu : "I told him that we used to have only metrical poetry and no such thing as blank verse, but recently… He [Hardy] interrupted me, saying he was in favor of metrical poetry, which was correct by principle. You throw a piece of stone into the lake and ripples spread out in circles. And metrics are the ripples which you cannot forgot… I told him that I liked his poems because they not only have a tight architectural structure but also have veins of thoughts flowing through like an organic whole…" "Yes, organic, yes, organic. A poem ought to be a living thing".	Person: Hardy, Thomas
10	1928	Xu, Zhimo. Tang mai shi Hadai [ID D27729]. Er schreibt : "With his four novels (Jude the obscure, Tess oft he D'Urbervilles, The return oft he native, Far from the madding world) alone, Hardy has secured a lofty status in the literary world comparable to Shakespeare and Balzac. In the history of English literature, Hamlet and Jude the obscure stand out like two fiery trees shining on each other. A large amount of good writings has indeed been produced in the three centuries in between, yet none of them measures up to these two poles which will give off their sacred sheen forever in the realm of literature and art." "Hardy is not an arbitrary pessimist though he could not check his anger and melancholy sometimes. He never gave up his resolve to seek a way out for his personal ideal and the prospects of humanity as well, even during the darkest and most tiresome hours of his life. His realism and his pessimism reflect exactly his mental faithfulness and bravery." "The act of imagination is the starting-point for the creation of a universe. But only a select few, possessed of 'complete imagination' or 'absolute imagination', have the capacity to create a complete universe : Shakespeare, for example, or Goethe or Dante. Hardy's universe also is a whole. If some should suggest that in that universe the climatic variation was altogether too monotonous, the aspect always that of autumnal or wintry gloom, that no gay blaze of the sun ever came bursting through the clouds and mists, then Hardy's answer would be that the age he represented was not, unfortunately, that of Elizabeth I, but that era of the fullest development of self-consciousness which began with the closing years of the nineteenth century : a most stern season in the history of man... Even in the moments of the greatest distress, the blackest darkness, Hardy never abandoned his determination to find a way out for his thinking, to find a way out for the future of mankind. His realism, his so-called pessimism, are names for nothing but the honesty and courage of his thought." "No one else could gauge as closely as Hardy the pulse-beat of his age ; under his fingers the slightest movement was made to divulge its inner secret. The death of Thomas Hardy properly concludes an important historical era. The era opens with the thinking and the character of Rousseau, in whose words and deeds there was realized the formal birth of the 'liberation of the self' and the 'consciousness of the self' of the modern age. From the Confessions to the French Revolution, from the French Revolution to the Romantic movement, from the Romantic movement to Nietzsche (and Dostojevsky), from Nietzsche to Hardy – through this hundred-and-seventy-year span we watch the struggles of human feeling as it emerges from the grip of Reason, bursting forth like flame, and in the bright blaze shooting out its various movements and doctrines, meanwhile in the embers nourishing the 'modern consciousness', pathological, self-analytical, questioning, weary ; and even as the flying sparks diminish, so does the heap of ashes beneath broaden out until a sense of disillusionment tones down all the throbbings of energy, crushes feeling, paralyzes intellect, and mankind suddenly discovers that its footsteps have strayed to the brink of despair, that if it does not hold back then the future offers only death and silence. When Hardy began the writing of his novels the days of Victoria were at their most flourishing, the indications of evolutionary theory and the achievements of the doctrine of laissez-faire had thrown up a high tide of optimism which within a short time blotted out all inequalities and mysteries. By the time he ceased writing fiction a fin-de-siècle melancholy had replaced the hollow hopes of the early years. When Hardy first published a volume of his verse the forces of destruction, gathering for a century past, had formed a hidden current which might at any moment burst its banks. As he was publishing his later volumes this current broke out in the Great War and the Russian Revolution."	Document: Birch, Cyril. Hsu Chih-mo's dept to Thomas Hardy. In : Tamkang review ; vol. 8, no 1 (1977). S. 4, 20-21. (Hardy106, Publication) Person: Hardy, Thomas Person: Xu, Zhimo
11	1958	Liang, Shiqiu. Tan Xu Zhimo [ID D27730]. Er schreibt : "A dominant feature of Thomas Hardy’s short poems is that they open with some minor scenarios in a rather simple tone but conclude with a tragic irony and this skill is picked up and successfully applied by Xu Zhimo to some of his poems."	Person: Hardy, Thomas Person: Liang, Shiqiu Person: Xu, Zhimo

Sources (5)

#	Year	Bibliographical Data	Type / Abbreviation	Linked Data
1	1920	[Shelley, Percy Bysshe]. Zhi yun que. Guo Moruo yi. In : Letter from Guo Moruo to Zong Baihua ; March 3 (1920). Übersetzung von Shelley, Percy Bysshe. To a skylark. In : Shelley, Percy Bysshe. Prometheus unbound. (London : C. and J. Ollier, 1820). 之雲雀	Publication / Shel32	Person: Guo, Moruo Person: Shelley, Percy Bysshe
2	1922	[Shelley, Percy Bysshe]. [Sechs Gedichte]. Guo Moruo yi. In : Chuang zao ji kan (1922).	Publication / Shel31	Person: Guo, Moruo Person: Shelley, Percy Bysshe
3	1927	Xu, Zhimo. Feilengcui di yi ye. (Shanghai : Xin yue shu dian, 1927). ["A night in Florence". Enthält Übersetzungen von drei Gedichten von Thomas Hardy : Cynic's epitaph, Fain heart in a railway train, The two wives]. 翡冷翠的一夜	Publication / Hardy2	Cited by: Worldcat/OCLC (WC, Web) Person: Hardy, Thomas Person: Xu, Zhimo
4	1928	Xu, Zhimo. Tang mai shi Hadai. In : Xin yue yue kan ; no 1, March (1928). [Biographie von Thomas Hardy mit Übersetzungen seiner Gedichte]. 哈代	Publication / Hardy3	Person: Hardy, Thomas Person: Xu, Zhimo
5	1958	Liang, Shiqiu. Tan Xu Zhimo. (Taibei : Yuan dong tu shu gong si, 1958). 談徐志摩	Publication / Hardy4	Person: Hardy, Thomas Person: Liang, Shiqiu Person: Xu, Zhimo