Gu, Hongming
(Penang, Malaysia 1857-1928 Beijing) : Beamter, Übersetzer, Autor
Name Alternative(s)
Gu, Licheng
Ku, Hung-ming
Subjects
Index of Names : China
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Translator
Chronology Entries (24)
| # | Year | Text | Linked Data |
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| 1 | 1871-1877 | Gu Hongming studiert Lateinisch, Griechisch, Mathematik, Metaphysik, Philosophie, Rhetorik und englische Literatur an der University of Edinburgh. |
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| 2 | 1877 | Gu Hongming erhält den M.A. in Literatur der University of Edinburgh. |
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| 3 | 1878-1879 ca. | Gu Hongming studiert in Leipzig und erhält vermutlich ein Diplom als Ingenieur und reist dann für einige Monate nach Paris. |
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| 4 | 1880 ca. | Gu Hongming kehrt nach Penang zurück und arbeitet für die Kolonialregierung. |
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| 5 | 1881-1882 | Gu Hongming ist Dolmetscher von Archibald R. Colquhouns Expedition von Guangzhou (Guangdong) bis Yunnan. | |
| 6 | 1885-1905 | Gu Hongming ist Dolmetscher, Privatsekretär und Berater von Zhang Zhidong. | |
| 7 | 1905 | Gu Hongming ist Sekretär des Ministeriums für Auswärtige Angelegenheiten in Beijing. |
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| 8 | 1905 ca.-1908 | Gu Hongming ist Direktor des Huang pu jiang jun xie ju (Whangpoo Conservancy Board) in Shanghai. |
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| 9 | 1906 |
Gu, Hongming. The universal order [ID D10718]. Gu schreibt : "The distinguishing traits of the devil's character, as we know from Milton, are in an active form, - pride, arrogance, conceit, ambition, presumption, insubordination, 'having no regard or fear for the moral law' or for any thing." |
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| 10 | 1906 |
Gu Hongming sent to Leo Tolstoy through the intermediary of the Russian Consul-general his two works Papers from a Vieroy's yamen and Et nunc, reges, intelligite ! : the moral causes of the Russo-Japanese war. Tolstoy, Leo. Letter to a Chinese (1906). [Letter to Gu Hongming]. "I have received your books and read them with great interest, especially the Papers from a Vieroy's yamen. The life of the Chinese people has always interested me to the hightest degree, and I have taken pains to become acquainted with the things in Chinese life which were accessible to me, for the most part Chinese religious wisdom : the books of Confucius, Mencius, Lao Tzu, and the commentaries on them. I have also read on Chinese Buddhism, as well as the books of Europeans on China. The Chinese people, who have suffered so much from the immoral, crudely egoistic, and avaricious cruelty of the European peoples, have up to the present replied to all the violence committed against them with a majestic and wise composure, and have preferred patience in the struggle against force. I speak of the Chinese people and not of their government. The successes of some thieves provoke the envy of others, and the seized prey becomes an object of wrangling and thus brings the thieves themselves to ruin. So it is with dogs, and so also it is with people who have lowered themselves to the level of animals. I believe, that a great upheaval in the life of humanity is taking place in our time, and that in this upheaval China, at the head of the peoples of the Orient, must play an important rôle. It seems to me that the rôle of the oriental peoples of China, Persia, Turkey, India, Russia, and perhaps also Japan (if it is not completely entangled in the net of the corruption of European civilization) consists in showing to the world the right way to freedom, for which, as you write in your book, the Chinese language has no other word than 'Tao', a way, that is, an activity, which agrees with the eternal fundamental law of human life. In our time, I believe the turn has now come likewise for orientals in general and Chinese in particular to become aware of the utter harm caused by despotic rule and to seek a means of liberation from it, since under present conditions of life it has become intolerable. I know that it is taught in China that the highest ruler, the Emperor, must be the wisest and most virtuous man, and if he is not, his subjects can and should refuse him allegiance. But I believe that this doctrine represents only an excuse for despotism. The Chinese people cannot know whether their emperor is wise or virtuous. Especially is this true of China because of the peace-loving character of its people and the poor organization of its army, which give Europeans the opportunity to plunder Chinese territory with impunity under the pretext of various clashes and disagreement with the Chinese government. Thus the Chinese people cannot but feel the necessity of changing their relation to the ruling power. And here I can see from your book, as well as other sources of information, that some light-minded people in China, called the reform party, believe that this change should consist of doing just what the European nations have done, that is, of replacing a despotic government by a republican one, and establishing the same kind of army and industry as those of the West. This decision, which seems at first glance the simplest and most natural, is not only light-minded but very stupid, and, from all that I know about China, quite unnatural for the wise Chinese people. As soon as people recognize human power as superior to that of God and of His law (Tao), they then become slaves ; all the more so when that power becomes increasingly comples (as in the case of a constitution which they establish and obey). Freedom can exist only for that people for whom the law of God (Tao) is the only supreme law, to which all other laws are subordinate. If you, by refusing to bey your government, will give no help to the foreign powers in their aggressions agains you, and if you refuse to serve them, whether it be in a private, civil, or military capacita, then there will be none of those disasters from which you now suffer. May the Chinese people but continue to live their peaceful, industrious, agricultural life as they have before, behaving in accordance with the fundamentals of their religions : Confucianism, Taoism and Buddhism, all three of which basically agree on liberation from all human power (Confucianism), not doing to others what you do not wish to be done to yourself (Taoism), and self-abnegation, humility and love to all people and creatures (Buddhism). Then all those disasters from which they supper will automatically disappear, and no power will be enough to conquer them." |
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| 11 | 1908-1910 | Gu Hongming ist Assistent des Direktors des Ministerium für Auswärtige Angelegenheiten in Beijing. |
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| 12 | 1911 | Gu Hongming ist Rektor des Nanyang College in Shanghai. |
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| 13 | 1911 |
Ku, Hung-ming [Gu Hongming]. Chinas Verteidigung gegen europäische Ideen [ID D11435]. Er schreibt : Der Engländer kann nicht durch die gelbe Haut hindurch das Innere sehen, das moralische Wesen und den geistigen Wert des Chinesen. Wenn er es könnte, so würde er sehen, was für eine Feenwelt tatsächlich im Innern des Chinesen mit Zopf und gelber Haut verborgen ist. Er würde unter anderen Dingen den Taoismus erblicken, mit Bildern von Feen und Genien, die den Göttern des alten Griechenlandes nichts nachleben : er würde den Buddhismus finden und seinen Sang von unendlichem Leid, Mitleid und Gnade, so süss und traurig und tief wie der mystische unendliche Gesang des Dante. Und schliesslich würde er den Konfuzianismus finden mit seinem Weg des „Edlen“… Hermann Hesse schreibt eine Rezension über das Buch. Daraus erfährt er etwas über die chinesische Geschichte des 19. Jahrhunderts, den Boxeraufstand und den Opiumkrieg. Er schreibt : Man erfährt daraus viel über die massgebenden politischen Persönlichkeiten Chinas, speziell über die Ära von Li-Hung-Tschang [Li Hongzhang], und darunter manches Erstaunliche. Der sympatische Autor ist, ohne sonderlich originall zu sein, ein feiner, gescheiter Vertreter der alten chinesischen Kultur und Moral, die einer Verteidigung gegen Europa freilich sehr bedarf. Im letzten Grunde hat er Recht : Wir Europäer haben den Chinesen wenig Gutes und viel Schlechtes ins Land gebracht. Wu Xiaoqiao : Gu Hongming verfasste dieses Werk um zu zeigen, wie seit der Ankunft der Europäer in China wir Chinesen versucht haben, die zerstörenden Kräfte der materialistischen Zivilisation Europas zu bekämpfen und verhindern, dass dadurch Schaden geschehe an der Sache der guten Regierung und wahren Kultur. Er schreibt : "Wir Chinesen als Nationa haben uns bisher dieser echten Macht innerhalb der chinesischen Kultur noch wenig bedient, um die Kräfte der modernen Zivilisation Europas zu bekämpfen". Er versucht den Geist, oder die Seele der chinesischen Zivilisation zu erklären und ihren Wert zu zeigen. Das Buch gilt als eine Erklärung an die europäische Welt und erweist sich als heftige Verteidigung der traditionellen chinesischen Kultur gegen die militärischen und materialistischen Tendenzen der modernen europäischen Zivilisation sowie als Kritik gegen den Gedanken der "Pöbelverehrung". Seiner Ansicht nach führte diese Rücksichtsnahme auf die Masse des Volkes auch zum Weltkrieg. Was die Ähnlichkeiten der verschiedenen Kulturen betrifft, meint Gu : "Wenn man in der Tat die a+b=c Gleichung richtig gelöst hat, wird man finden, dass nur ein geringer Unterschied zwischen dem Osten des Konfuzius und dem Westen Shakespeares und Goethes besteht..." Gu übte heftige Kritik an der Übertragung von klassischen chinesischen Werken, die seiner Meinung nach zum falschen Verständnis der chinesischen Kultur in Europa beigetragen haben. Walter Benjamin schreibt an einen Freund über das Buch : Es ist im einzelnen bei meiner völligen Unkenntnis der chinesischen Politik nich anschaulich gewesen ; doch es überrascht, unter ganz fernen Verhältnissen einen so radikalen Kulturwillen zu bemerken, wie Gu Hongming ihn bewährt. Er steht jenseits der Parteipolitik, beurteilt die führenden Persönlichkeiten rücksichtslos nach ihrer moralischen Dignität und sieht für das heutige China mit Schrecken die Gefahr, dass es vom zynischen industrialistischen Geist Europas vergewaltigt werden kann. Im Vorwort wird erwähnt, dass Gu Hongming in Weimar war und Goethe kannte. Er schreibt, dass die Aufklärung ihre "wirksamsten Ideen" dem Studium chinesischer Ideen und chinesischer Einrichtungen zu verdanken hat. |
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| 14 | 1914-1920 | Gu Hongming unterrichtet englische Lyrik an der Beijing-Universität. |
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| 15 | 1915 |
Gu, Hongming. The spirit of the Chinese people [ID D10756]. Gu schreibt : "In fact this 'gentleness' of the real Chinaman, in the Chinese woman, becomes sweet 'meekness'. The meekness, the submissiveness of the woman in China is like that of Milton's in the Paradise lost, who says to her husband : 'God is thy law, thou, mine ; to know no more. Is woman's happiest knowledge and her praise'. |
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| 16 | 1917-1924 ca. | Gu Hongming ist Sekretär für Auswärtige Angelegenheiten von Liang Dunyan. | |
| 17 | 1917 |
Pannwitz, Rudolf. Die Krisis der europäischen Kultur. (Nürnberg : H. Carl, 1917). (Freiheit des Menschen ; Bd. 1. Werke ; Bd. 2). Ingrid Schuster : Es finden sich in diesem Buch vom Dao de jing abgeleitete Tiefsinnigkeiten : "die natur ist das unendliche der mensch das endliche der mensch als natur ist das unendliche der Übermensch das endliche der typus mensch ist der weg vom unendlichen ins endliche die kultur des menschen ist das mittel die natur des menschen zu überwinden die spannung des bogens bis der pfeil fliege. Pannwitz nennt Buddha und Konfuzius an erster Stelle, Laozi scheint ihm ebenfalls wichtig, aber im Wesentlichen beschränkt er sich auf unsachliche Kritik. Er schreibt : "wir brauchen dringend vollwertige übertragungen der klassischen werke des orients. Kungfutse ist uns überhaupt noch nicht zugänglich gemacht so wenig wie irgend etwas chinesisches, übertragungen wie die der gespräche des kungfutse oder des werks des laotse von dr. richard wilhelm spotten jedes begriffs und verdienen die härteste verdammung es ist unbeschreiblich mit welcher rohheit und frechheit die letzten zartesten bilder und sinne da in ein deutsches pastoren und assessoren tohuwabbohu zusammengerührt werden". Pannwitz, der keinerlei sinologische Qualifikation hatte, verliess sich ganz auf Gu Hongming. Er schreibt : "Der klassische chinese Kuhungming wie zu fürchten ist der einzige Mensch der heute noch lautere absichten mit der kultur hat - nicht der materialismus der idealismus im materialismus ist die verderbnis - hat die erstaunliche vergleichung der letzten vornehm geistigen bewegung in china mit der bis ins einzelne entsprechenden englischen oxfordbewegung die shelleyschen geist erweckt erschütternd durchgeführt und damit auf beide weltgeschichtes licht geworfen der chinesische demosthenes"... trotzdem sieht er das ganz entscheidende die krisis der europäischen kultur als tatsache und ihre letzten ursachen richtiger als die europäer heute und gibt weite strecken hin endgültige lösungen ob auch gerade die politische lösung aussichtslos optimistisch ist. damit dass wir keinen andern weg haben als die reine sittlichkeit - religion des kungfutse um aus unserer sogenannten sozialen frage herauszukommen wird er einfach recht haben - wenn wir jetzt nicht europäer werden so müssen wir schliesslich chinesen werden und grosze schichten europäer wollen und müssen chinesen werden auf alle fälle... Luo Wei : Über Buddha und Konfuzius schreibt Pannwitz : Dies sind die beiden gröszten Sittenlehrer des Ostens und eben die Elemente der Sittlichkeit fehlen dem Europäer… Wenn wir nicht Europäer werden so müssen wir schliesslich Chinesen werden und grosze Schichten Europäer wollen und müssen Chinesen werden auf alle Fälle. Trotz seines gleichzeitigen Interesses am Taoismus und Buddhismus, kommt für ihn an erster Stelle im Konfuzianismus das Vorbild und der Ausweg aus der Kulturkrise für den Westen… in der Verschmelzung der europäischen Halbkulturen mit den grossen orientalischen klassischen Kulturen. |
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| 18 | 1920 |
Ku, Hung-ming [Gu Hongming]. Vox clamantis : Betrachtungen über den Krieg und anderes. Vorwort von Heinrich Nelson. (Leipzig : Verlag der Neue Geist, 1920). (Öffentliches Leben ; 20/24). Gu Hongming schreibt : "Wenn es zu einer Zeit im Journalismus verkommene Schelme gab, dann gab es in ihm damals, wie Carlyle richtig sagt, auch entwurzelten wirklichen Spiritualismus, ja sogar unsterbliche Götter. Von diesen unsterblichen Göttern im Journalismus zu früherer Zeit brauchen wir hier nur drei Namen zu nennen, John Milton, Jonathan Swift und den unbekannten Schriftsteller, der sich Junius nannte." Heinrich Nelson schreibt im Vorwort : "Wir stehen hier einem ganz ungowöhnlichen Phänomen gegenüber, das bei weitem noch nicht genug beachtet worden ist : einem Manne, der die westliche Kultur in umfassendster Weise in sich aufgenommen und verarbeitet hat, der Goethe wie nur ein Deutscher, Carlyle, Emerson und andere angelsächsische Schriftsteller wie nur ein Angelsachse kennt, der in der Bibel zu Hause ist wie der beste Christ, dessen selbständiger, klarer Geist aber die Kraft besessen hat, sich nicht nur selbst in seiner Eigenart zu erhalten, sondern auch zu erkennen, daß es für die Völker des Ostens zu ihrer Selbsterhaltung notwendig ist, fest auf dem Boden der eigenen uralten bewährten Kultur stehen zu bleiben und sich nicht die auf ganz andere Verhaltnisse zugeschnittene westliche Kultur aufdrängen zu lassen, deren moderne materialistische Zivilisation auf sie nur als ein zersetzendes und tötendes Gift wirken müßte." |
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| 19 | 1922 |
Maugham, W. Somerset. On a Chinese screen [ID D30791]. This was a collection of 58 short story sketches, which Maugham had written during his 1919-1920 travels through China and Hong Kong, intending to expand the sketches later as a book. Inhalt I THE RISING OF THE CURTAIN II MY LADY'S PARLOUR III THE MONGOL CHIEF IV THE ROLLING STONE V THE CABINET MINISTER VI DINNER PARTIES VII THE ALTAR OF HEAVEN VIII. THE SERVANTS OF GOD IX THE INN X THE GLORY HOLE XI FEAR XII THE PICTURE XIII HER BRITANNIC MAJESTIES REPRESENTATIVE XIV THE OPIUM DEN XV THE LAST CHANCE XVI THE NUN XVII HENDERSON XVIII DAWN XIX THE POINT OF HONOUR XX THE BEAST OF BURDEN XXI Dr. MACALISTER XXII THE ROAD XXIII GOD'S TRUTH XXIV ROMANCE XXV THE GRAND STYLE XXVI RAIN XXVII SULLIVAN XXVIII THE DINING-ROOM XXIX ARABESQUE XXX THE CONSUL XXXI THE STRIPLING XXXII THE FANNINGS XXXIII THE SONG OF THE RIVER XXXIV MIRAGE XXXV THE STRANGER XXXVI DEMOCRACY XXXVII THE SEVENTH DAY ADVENTIST XXXVIII THE PHILOSOPHER XXXIX THE MISSIONARY LADY XL A GAME OF BILLIARDS XLI THE SKIPPER XLII THE SIGHTS OF THE TOWN XLIII NIGHTFALL XLIV TIIE NORMAL MAN XLV THE OLD TIMER XLVI THE PLAIN XL VII FAILURE XLVIII A STUDENT OF THE DRAMA XLIX THE TAIPAN L METEMPSYCHOSIS LI THE FRAGMENT LII ONE OF THE BEST LIII THE SEA-DOG LIV THE QUESTION LV THE SINOLOGUE LVI THE VICE-CONSUL LVII A CITY BUILT ON A ROCK LVIII A LIBATION TO THE GODS Sekundärliteratur 1923 The Times literary supplement, Book review digest ; vol. 79 (1923). "It is a very pretty piece of Maughamware, a bibelot in which the dainty marionettes of his lively imagination, delicate irony, pathos, and whimsical humour play their parts." 1974 Stephen C. Soong : The subject of Maugham's description in the chapter A student of the drama concerns his father Song Chunfang who met Maugham. 1994 / 1996 Philip Holden : Rather than representing itself as a diary, or a chronological record of a journey, On a Chinese screen is constituted through visual metaphors. The text's title is a visual metaphor, and the preface introduces the work as making 'a lively picture', giving an 'impression' of the East. Maugham's text seems less a guide, but closer to other forms of tourist memorabilia, such as the photograph album or sketch book. Like a photograph album, it cuts China up into a series of representative metonyms ; the narrator's actual geographical location does not matter. Maugham's narrator insistently pushes Europeans and Americans into the picture. There are individual portraits of representative types again : the British consul, the expatriate woman on a last 'fishing trip', various missionaries, all of whom are held up against the background of China. Yet there are also Westerners who sneak into the foreground of a portrait. On a Chinese screen is not held together by a rhetorical or a narrative structure. Its conclusions regarding China's allochrony are made in a slightly different way. Almost every contact between China and the West is mediated by the narrator's interlocution. The Chinese and Europeans who are the subjects of Maugham's portraits never meet upon equal terms. Locales, commercial and industrial enterprieses, the higher echelons of local government, or the putatively national government in Beijing, are scrupulously avoided. The narrator himself controls intercourse between the two worlds. He interviews representative types on both sides of his modern/premodern binarism, critiquing Europeans for their lack of understanding of China, and then applying the same caustic irony to the Chinese. 2004 Jeffrey Meyers : Maugham never mentions his route or indicates where he is. Though traveling with Gerald Haxton, he claims to be alone. As he moves restlessy from place to place, he remains a detached and impersonal observer. He offers brief, impressionistic, sometimes satiric snapshots, with thumbnail physical descriptions of the people he meets and an ironic sting in the tail of his anecdotes. Maugham's not primarily interested in the Chinese, but in the English in China. Living in a time warp, permanent exiles with little desire to return to England, mos of the old China hands don't know and don't want to know the Chinese. Their lives of quiet desperation reveal the emotional attrition and spiritual waste of the white man in the East. 2011 Zhang, Yanping : China is represented as a piece of art : it is projected on a screen in the form of a series of pictures. China's foreignness is embodied not only in pictures of landscapes, but also in individual close-ups : slightly deformed coolies in ragged clothes, women walking on bound feet, a Mongol chief leading a truculent caravan, and a singing girl 'in splendid silks and richly embroidered coat, with jade in her black hair'. Maugham's conception of China as a land of 'singular' artistic sensibilities reflects the prevailing British imagination of China in his time. His Chinese screen is strewn with Chinese 'bibelots' : porcelain, bronze, embroidery, elegant calligraphy, exquisite Chinese paintings which bring you 'in touch with the eternal', elaborately-embellished shop-fronts and 'image of Buddha in his eternal meditation'. His collection includes also people. The 'strange' Chinese figures, such as a Chinese official in 'a long black robe of figured silk, lined with squirrel' and an old man wearing 'a small round cap of black silk', 'an old woman goes by in her blue smock and short blue trousers, on bound feet', are depicted as chinoiserie novelties. For Maugham, their exotic appearances have an invigorating effect on the imagination. What Maugham considers to be 'toleration' is less a kind of moral virtue than a sort of cultural freedom. His experience of China's strangeness enables him to shed off cultural prejudice that is inscribed in his cultural formation and allows him to acquire 'a new self'. The chapter 'The Philosopher' refers to Gu Hongming. Maugham visited Gu Hongming in 1920 in Beijing. He writes : "And here lived a philosopher of repute the desire to see whom had been to me one of the incentives of a somewhat arduous journey. He was the greatest authority in China on the Confucian learning… He was an old man, tall, with a thin grey queue, and bright large eyes under which were heavy bags. His teeth were broken and sicoloured. He was exceedingly thin, and his hands, fine and small, were withered and claw-like… He was very shabbily dressed in a black gown, a little black cap, both murch the worse for wear. I hastened to express my sense of honour he did me in allowing me to visit him." Gu Hongming presented Maugham the translation of a Chinese poem. What is so fascinating aoubt Gu in Maugham's eyes is his irreconcilable otherness – double otherness, not only in terms of his unambiguous Chineseness, but also of his being the other of the Chinese. Maugham discovered in Gu what he looked for – diversity. Through recognizing the diversity exhibited by Gu, Maugham discovered diversity within himself. It makes visible what is hidden in Maugham : his difference from other British people, his transgression from the banality and monotony that characterize British middle-class culture. 2013 Du Chunmei : The book is filled with caricatures of Western expatriates in China, who live a luxurious and wasted life there, and remain ignorant and disinterested in knowing the real Chinese, fearing racial pollution through direct contact. Maugham's darkest satires are undoubtedly reserved for missionaries, who appear hypocritical, pathetic, and corrupted. A devoted missionary is unable to conquer his innate hatred for the Chinese, whom he is at the same time striving to convert. Maugham's travel book and play take place in the essential old China, manifested in its narrow streets, rickshaw men, opium dens, and gambling houses, and resembles the familiar scenes of London's Chinatown in popular imagination. The nature of Maugham's projection, creating images of Chinamen as dangerous, immoral, and deviant, in fact results from Westerners' unacknowledged anxieties over their own amoral behavious in China. 'The philosopher' Gu Hongming was 'said to speak English and German with facility' and 'had been for many years secretary to one of the Empress Dowager's greatest viceroys'. Gu is an anachronism who lives in the imperial past and who opposes the reform and revolutionary movements in the new China. Maugham was greatly annoyed by Gu's behaviours in the meeting, calling the philosopher a 'pathetic figure'. Gu seems to illustrate the fundamental Oriental danger : its mimicry and retribution. Gu's attack on Western violence against Eastern civilisations – the machine gun as white superiority – explicitly exposes the violent nature of Western domination. Gu trapped Maugham in an uncomfortable position, an arena of pedagogy and punishment. He educated Maugham on the civlised nature of the Chinese and the barbarism of Westerners and their failues ; he punished Maugham by attacking, ignoring, and humiliating him. Gu set up the rules of Chinese etiquette from the very beginning, and forced the English guest to act on the Chinese terms. Gu insisted on giving Maugham a calligraphy poem in Chinese, which turned out to be an erotic love poem. "You loved me not ; your voice was sweet ; Your eyes were full of lauther ; your hands were tender. And then you loved me ; your voice was bitter ; Your eyes were full of tears ; your hands were cruel. Sad, sad that love should make you Unlovable. I craved the years would quickly pass That ymou might lose The brightness of your eyes, the peach-bloom of your skin. And all the cruel splendor of your youth. Then I alone would love you And you at last would care. The envious years have passed full soon And you have lost The brithness of your eyes, the peach-bloom of your skin. And all the charming splendor of your youth. Alas, I do not love you And I care not if you care." |
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| 20 | 1924-1927 | Gu Hongming gibt Vorlesungen an der Aitô bunka kyôkai (Eastern Culture Association) in Japan. |
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| 21 | 1927 | Gu Hongming ist Ratgeber von Zhang Zuolin. |
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| 22 | 1928 | Gu Hongming ist Rektor der Shandong-Universität. |
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| 23 | 1953 |
Ling, Shuhua. Gu yun. In : Ling Shuhua san wen xuan ji. Zhu Xiaozheng bian. (Tianjin : Bai hua wen yi chu ban she, 1986). (Bai hua san wen shu xi). [Ancient melodies]. 古韵 / 凌叔華散文選集 Ling schreibt : "Once Uncle Ku [Gu Hongming] came together with Uncle Liang. Perhaps because of something Uncle Liang had said of him, Uncle Ku, before sitting down, handed an English book to my cousin, crying, 'I'll let you hear if I can recite Paradise Lost or not. Uncle Liang said I was boasting. Confucius taught us, 'No modesty against morality'. When it comes to learning, I'm against the least modesty." "With these words, he began to recite steadily and smoothly. My eyes quickly followed my cousin's fingers (at that time I knew no more English than the alphabet). Goodness, he finished the nearly thousand lines of Milton's Paradise Lost without a single mistake ! Then his eyes shone the splendor of the cat's-eye, at the sight of which one was filled with so much admiration as to be ready to kowtow to him. Then, as it seems, he would go on with more books to stop Uncle Liang's mouth, when Father started and managed to divert him with other topics." |
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| 24 | 1998 |
Jiang, Wenjin. Gu Hongming yu Lin Yutang. In : Gu, Hongming. Kuang shi guai jie : ming ren bi xia de Gu Hongming, Gu Hongming bi xia de ming ren. Huang Xingtao bian. (Shanghai : Dong fang chu ban zhong xin, 1998). (Zou jin er shi shi ji wen hua ming ren cong shu). 辜鴻銘与 林语堂 / 曠世怪傑 名人筆下的辜鴻銘, 辜鴻銘筆下的名人 Jiang Wenjin schreibt : Gu recited the whole of Paradise lost when he studies literature at the University of Edinburgh and over the course of his life reviewed and recited the poem fifty times. |
Bibliography (8)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
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| 1 | 1898 | Gu, Hongming. The discourses and sayings of Confucius : a new special translation, illustrated with quotations from Goethe and other writers. (Shanghai ; Hong Kong : Kelly and Walsh, 1898). [Johann Wolfgang von Goethe]. | Publication / Gu1 |
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| 2 | 1906 | The universal order ; or, Conduct of life : a confucian catechism, being a translation of one of the four confucian books, hitherto known as the Doctrine of the mean. By Ku Hung Ming [Gu Hongming]. (Shanghai : Shanghai Mercury, 1906). [Zhong yong]. | Publication / Gu6 |
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| 3 | 1909 | Ku, Hung-ming [Gu Hongming]. The story of a Chinese Oxford movement. (Shanghai : Shanghai Mercury, 1909). [2nd ed. with letter from Chinese official to German pastor, and appendices. (1912)]. | Publication / Gu9 |
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| 4 | 1911 | Ku, Hung-ming [Gu, Hongming]. Chinas Verteidigung gegen europäische Ideen : kritische Aufsätze. Hrsg. mit einem Vorw. von Alfons Paquet ; Übersetzung von Richard Wilhelm. (Jena : Diederichs, 1911). Übersetzung von Ku, Hung-ming [Gu Hongming]. The story of a Chinese Oxford movement. (Shanghai : Shanghai Mercury, 1909). [2nd ed. with letter from Chinese official to German pastor, and appendices. (1912)]. | Publication / GuH2 |
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| 5 | 1915 |
Ku, Hung-ming [Gu, Hongming]. The spirit of the Chinese people ; with an essay on 'The war and the way out'. (Peking : The Peking daily news, 1915). = Ku, Hung-ming. Der Geist des chinesischen Volkes und der Ausweg aus dem Krieg. (Jena : Diederichs, 1916). [Betr. 1. Weltkrieg ; enthält Zitate von Goethe]. |
Publication / Gu8 | |
| 6 | 1924 | [Pu, Songling]. Contes chinois. Traduit par Panking et Kou Hong-ming [Gu Hongming]. (Pékin : La Politique de Pékin, 1924). (Collection de la Politique de Pékin). | Publication / Gu5 |
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| 7 | 1927 | Le catéchisme de Confucius : contribution à l'étude de la sociologie chinoise. Kou Hong Ming [Gu Hongming] et Francis Borrey. (Paris : M. Rivière, 1927). | Publication / Gu4 |
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| 8 | 1956 |
[Cowper, William]. Chi han qi ma ge. ([S.l. : s.n.], 1956 repr.). Übersetzung von Cowper, William. The diverting history of John Gilpin. In : Cowper, William. The task. (London : J. Johnson, 1785). = The diverting history of John Gilpin : shewing how he went farther than he intended, and came safe home again. (Newburyport, Mass. : Printed at Osborne's Press, 1793). 癡漢騎馬歌 |
Publication / Gu2 |
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Secondary Literature (4)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1967 | Liu, Ts'un-yan. Ku Hung-ming and his interpretation of Chinese civlization. In : Symposium on historical, archaeological and linguistic studies on Southern China, South-East Asia and the Hong Kong region : papers presented at meetings held in Sept. 1961 as part of the Golden Jubilee Congress of the University of Hong Kong = Hua nan Gang Ao ji Dong nan Ya li shi kao gu yu wen yan jiu lun wen ji. F.S. Drake, general ed. ; Wolfram Eberhard, chairman of the proceedings. (Hong Kong : Hong Kong University Press, 1967). [Gu Hongming]. | Publication / Gu3 |
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| 2 | 2005 | Hao, Tianhu. Ku Hung-ming, an early Chinese reader of Milton. In : Milton quarterly ; vol. 39, no 2 (2005). [Gu Hongming]. | Publication / Milt1 | |
| 3 | 2007 | Wu, Xiaoqiao. Ku Hung-ming und der Kulturdialog zwischen China und Europa im 20. Jahrhundert : http://www.inst.at/studies/s_0712_d.htm. | Web / KuHu1 |
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| 4 | 2008 | Richard Wilhelm (1873–1930) : Missionar in China und Vermittler chinesischen Geistesguts : Schriftenverzeichnis, Katalog seiner chinesischen Bibliothek, Briefe von Heinrich Hackmann, Briefe von Ku Hung-ming. Zusammengestellt von Hartmut Walravens; mit einem Beitr. von Thomas Zimmer. (St. Augustin: Institut Monumenta Serica Steyler Verlag, 2008). | Publication / Wal31 |