The development of China literature in the Qing Dynasty is characterized by orthodox poetry and prose, and the suppression of modern people by the ancients.
The literary revolution in the late Qing Dynasty was to break this pattern. Liang Qichao put forward the slogan of "revolution in poetry". "... unless there is a revolution in Zhina's poetry circle, poetry will be finished. "Think (poetry if not revolution, will come to an end, come to a dead end. )
There are three standards for poetic revolution, two of which have the word "new": "one is new artistic conception, and the other is new sentence."
The new artistic conception is "ideal depth". (Get rid of Confucius and Mencius and connect with the world)
New sentence, a noun term from Europe, expresses a new trend of thought.
It is Huang Zunxian who really advocates the poetry revolution as a poet. He wrote a famous sentence in 1868' s Miscellaneous Feeling: "I wrote my mouth by hand, how can I stay in the past?" That is to say, if I publish an outline; Five thousand years later, it's amazing. " These sentences directly use vulgar words.
My Handwritten Mouth advocates writing poems with common sayings, and at the same time, it uses new ideas and new materials to "what the ancients didn't have, what they didn't have", which has a great influence on 19 18' s "new poetry movement" in concept and method.
Zhu Ziqing's summary of "Poetry Revolution" in "Introduction to China's New Literature Series and Poems" is: "Tan Sitong and others in Xia Cengyou in the late Qing Dynasty had already had the desire of" Poetry Revolution ",but they chose some new terms to express their differences. Only Huang Zunxian went further. He advocated writing poems with proverbs-so-called "I write by hand"-and using new ideas and new materials-so-called "what the ancients didn't have, what the ancients didn't have". Although this' revolution' failed, its influence on the new poetry movement of Chi Min (19 18) was conceptual, not methodological. "
2. Literary Revolution
Liang Qichao once called himself "Chen Guang" in the media in his letter to Yan Fu. He put forward the slogan of "literary revolution", borrowed the ideological content and language form of "Ouxi" and tried "new style".
These political articles have unprecedented pioneering and innovative spirit, novel ideas, words between classical Chinese and vernacular Chinese, "relaxed and fluent, sometimes mixed with slang rhyme and foreign grammar", "clear organization" and "writing often carries feelings", which has a strong drum power.
The slogan of "literary revolution" was put forward by him in 1899, and his "new style" was transformed by learning the ideological content and language form of "ou".
In his travel notes "Khan Manlu", he commented on the famous Japanese political commentator Dezhimi Suo: "His literary talent is bold and quick, and he is good at transforming western thinking into Japanese. He is really a literary pioneer, and I love him very much. If there is a literary revolution in China, it will also start. "
He deliberately broke Tongcheng ancient prose, absorbed the eloquence of western Greece and Rome and the miscellaneous styles of modern Britain and France, and combined with the liberal articles of Wei and Jin Dynasties to liberate ancient prose from "meaning, textual research and rhetoric". The concrete content of Liang Qichao's "literary revolution" is to replace the sage meaning of classic chapters with modern western thoughts, to make textual research in the form of rich historical breakthroughs in world evolution and change, and to enrich the expression of articles with proverbs and loanwords.
(To "Tongcheng Fallacy")
The "literary revolution" has played a great role in the development of China's prose.
In the first decade after the May 4th Movement, the greatest literary achievement was essays, which could not be traced back to the foreshadowing of various political styles during that period.
Prose in this period covers all aspects of politics, thought and culture. The article reflects the strong sense of hardship, change and criticism of a new generation of intellectuals, and also reflects the rise of the initial scientific and democratic enlightenment thought in that period and the renewal of various concepts under the theme of enlightenment and racial revolution.
3. "Novel Revolution"
The highest reputation.
The change of China's novel concept began with the origin of the print narrative department of our library published in 1897 Tianjin National News. The authors Yan Fu and Xia Cengyou said: "The prosperity of narrative department is deeply rooted in people's history, and the customs of people all over the world are inevitably controlled by narrative department", and they also said that "it is also famous in Europe and America." In view of the fact that novels in the "Four Great Novels" can only be attached to books and history, they emphasized that "novels are the root of official history" from the perspective of creating people's hearts, which changed the traditional practice that novel critics attached to classics and placed novels above classics.
As early as 1897, Kang Youwei thought that novels played a great role in developing people's wisdom. "Only those who can read, some don't read classics, and some don't read novels, so the Six Classics can't be taught, and they should be taught with novels; Official history cannot enter, novels must enter; Quotations cannot be compared with novels; Statutory law cannot be cured, and novels must be cured. " Understanding Japanese Bibliography
Liang Qichao even boasted passionately about the social function of novels, and raised the modest style that has been a road since ancient times to an "incredible" height.
On the relationship between novels and group governance (1902);
"If you want the people of a new country, you must start with the novels of the new country. Therefore, if you want new morality, you must have new novels; If you want a new religion, you must have a new novel; If you want new politics, you must have a new personality; If you want new customs, you must have new novels; If you want to learn new skills, you must learn new novels; Even if you want a new heart and a new personality, you must create a new novel. Why? Novels have incredible power to dominate mankind. "
I am interested in novel enlightenment and the instrumental role of new people.
Liang Qichao's "novel revolution" did not bring the novel concept of pure literature, and a number of works with the theme first, idealization and conceptualization appeared.
Liang Qichao's account of the future of new China illustrates his political views.
Fifty years later, China defeated the Russian Federation and organized a world congress. )
No sense of art
But many of them touched on China's problems: women's foot-binding, breaking superstition, constitutionalism, South China University of Technology, anti-imperialism, etc.
(May 4th Movement: Sacred Labor)
After the "revolution" in which the social function was infinitely improved, the novel concept had its own spontaneous revision. 1908, Xu Nianci published his novel view in Xiao Shuo Lin, pointing out that "in the past winter, it was hard to avoid being too strict to bake a person's mind, treat novels with poisonous mold and prevent children from tasting their tripod; Now that the translated books have been sold, the so-called customs have improved, people are evolving, and salty novels have become dependent, but they are inevitably over-respected. " Valuably, he also pointed out that "novel and life are inseparable", which is the origin of the proposition that writers of the May 4th Literature Research Association put forward literature for life. Xu Nianci emphasizes the aesthetic value of novels, and his novel view is between Liang Qichao's social function theory and Wang Guowei's independent value theory. It is said that Zi was the first to introduce Hegel's aesthetics.
The translation of western novels also has an influence on China's novel concept. Lin Shu does not have the aesthetic concept of novels like Xu Nianci, nor does he have the enlightenment concept like Liang Qichao. He even mistakenly compared Dickens' novels with Historical Records and Hanshu in the history of China. But he also tells the successful experience of Dickens' realistic novels with his own understanding, and summarizes some artistic experiences of western novels in several translation sequences.
4. Renew the concept of drama
Chen Duxiu is a representative who advocates the renewal of drama concept.
1905 He wrote in "The Reasons for the Opening of Anhui Daily" that "the theater is a university hall for the whole people, and the actors are the teachers of the whole people", and illiterate people can also open up the atmosphere by watching plays.
Going to the theatre is no longer just a game, and actors are no longer inferior.
He also pointed out that drama improvement is not as convenient as novels and newspapers, and illiterate people can also open up the atmosphere by watching movies.
This year, Chen Qubing and Liu Yazi, leaders of Nanshe, founded the earliest drama magazine "The 20th Century Grand Stage" in China. 1906, Li Shutong and Zeng Xiaogu initiated the establishment of the Spring Willow Society in Tokyo, and soon Ou Yangyuqian and Lu Jingruo also participated in the activity, with the aim of "studying old and new operas and taking Wing as the forerunner of the improvement of Chinese art circles." (Ou Yangyuqian's Memories of Spring Willow) Their first plays were La Traviata (Act III) and The Black Slave Record. Wang Zhongsheng, a cutting-edge dramatist, initiated the establishment of Chunyang Society in Shanghai to perform "The Record of Black Slaves Calling Heaven". 1908, with the help of Ren Tianzhi who came back from Japan, he performed a drama of the same name in the name of Tong Jian School, which was adapted from the English novel The Biography of Cain translated by Andy Skell and Bao. The drama has got rid of the characteristics of Beijing Opera, which marks the germination of new domestic operas. According to records, on 1899, students from Shanghai St. John's College performed a new drama on current affairs, The Ugly History of Officialdom. (Zhu Shuangyun, History of New Drama).