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aesthetics, xii, 387n141; of Cai Yi, 357–58, 359, 372n17, 449n17; Chinese, 356–61, 374n35; of duplicity, 330; education in, 355–56; Great Debate on, xiii, 357, 372n17; Japanese fascist, 418n37; of Li Zehou, 372n17, 373n20, 450n21, 451n35; lyrical (shuqing meidian), 4, 360; of Tai Jingnong, 340, 342, 345; of Zong Baihua, 374n35
Ah Long: Ren he shi (The human and poetry), 4
Ai Qing, xv, 66, 77, 113, 375n39; “Bali” (Paris), 62; “Caise de shi” (Poetry in color), 237–38, 239; “Chuihao zhe” (The bugler), 62; “Dayanhe,” 397n90; and Feng Zhi, 148; and He Qifang, 147–48; and Lin Fengmian, 237–39; “Ludi” (Reed flute), 62; and Mu Dan, 70; Shilun (Treatise on poetry), 3, 62–64; vs. Zhu Guangqian, 62–64
Allegra, Gabriele Maria, 232
An Lushan Rebellion (755–763), 131, 298
Anti-Rightist Campaign, 98, 148
Apollinaire, Guillaume, xv, 62
Bai Juyi (Bo Juyi), xv, 64, 112, 375n39; “Maitan weng” (Old charcoal seller), 31; and Průšek, 30–31, 33; “Yanshang fu” (Salt merchant’s wife), 109
Ban Gu: “Liangdu fu” (Rhapsody of two capitals), 9
Baqian lilu yun he yue (Eight Thousand Miles of Clouds and Moon; film), 291
Barthes, Roland, 92; Lover’s Discourse, 156
Battle at Red Cliff (Chibi zhizhan), 15, 268
Baudelaire, Charles, 34, 60, 62; and He Qifang, 114, 118; and Jiang Wenye, 217; Les fleurs du mal, 59, 433n64; and Lin Fengmian, 241
Beethoven, Ludwig von, 221, 250
Beijing Cultural Artifacts, Society of Preservation of, 330
Benjamin, Walter, xiv, 34, 35, 111, 354, 403n31; on history, 43, 392n10; and Průšek, 32; and revolution, 213–14; and Shen Congwen, 21; “The Work of Art in the Age of Mechanical Production,” 213
Bitter Bamboo (Kuzhu; magazine), 157, 158, 161
Brooks, Cleanth, x, 37–38, 72, 354; Modern Poetry and the Tradition, 37; Understanding Poetry, 37; The Well-wrought Urn, 37
Brunetière, Ferdinand, 274
Buddhism, xii, xv, 47, 61, 254, 386n131; and Fei Mu, 305; and Feng Zhi, 69; and Hu Lancheng, 4, 182, 186, 187, 189, 419n69; and Jiang Wenye, 208, 211, 220, 221; and Lu Xun, 52; and Shen Congwen, 362, 451n37; and Tai Jingnong, 318, 326, 340, 342; and Zhu Guangqian, 55
Byron, George Gordon, Lord, 46
calligraphy, x, xvi, 1, 4, 265, 360; and Lu Xun, 331, 332, 445n51; as music and dance, 343, 447n83; and Shen Congwen, 27, 82; of Tai Jingnong, xviii, 311–13, 327–47, 348, 349–51, 353, 365
Camel Grass (Luotuocao; magazine), 132
Chang, Eileen (Zhang Ailing), xvii, 189–90, 365; “Fengsuo” (Sealed off), 180; and Hu Lancheng, 155–56, 158, 160, 161, 175, 180, 183, 184, 186; and Lin Fengmian, 261–62; The Rice-Sprout Song, 175; “Wangbuliao de hua” (Unforgettable Paintings), 262; Xiaotuanyuan (Little Reunion), 155, 156, 180
Chen Duxiu, 47–48, 164, 331; “Meishu geming—da Lü Cheng” (Art revolution—a reply to Lü Cheng), 255; and Tai Jingnong, 312, 321, 322–23, 444n34, 444n40; “Wenxue geminglun” (On literary revolution), 47
Chen Shih-hsiang, xvi, 353, 360, 361, 384n96; “Genesis of Poetic Time,” 14–15; “In Search of the Beginning of Chinese Literary Criticism,” 13; “Jinri de shi” (Poetry of today), 17; Literature as Light Against Darkness, 18–19; on lyrical tradition, 3, 4, 11–20, 38, 77; on Ming period, 51–52; Modern Chinese Poetry (ed.), 16; “On Chinese Lyrical Tradition” (Chen Shih-hsiang), 3, 11; and Průšek, 30, 32; “Shih-ching: Its Generic Significance in Chinese Literary History and Poetics,” 13; on xing, 25, 170
Chen Ziang: “Deng youzhoutai” (On climbing Youzhou terrace), 230–32
China: and Japan, 215, 426n66; Jiang Wenye in, 193–94, 205, 207; Lin Fengmian in, 239–40, 259–60; lyricizing, 44, 207; obsession with, xiii, 38, 165, 257, 265, 325, 373n22, 407n6. See also Hong Kong; Taiwan; particular dynasties and periods
China, People’s Republic of (PRC): founding of (1949), ix, 2, 74, 80, 144, 167; Hu Lancheng on, 173; Lin Fengmian in, 265–66, 270; lyricism in, 74–77; painting in, 270. See also Revolution, Chinese Communist
China Daily (Zhonghua ribao; newspaper), 159
Chinese Communist Party (CCP): and Chen Duxiu, 321; and Feng Zhi, 143–44, 146, 148; and He Qifang, 114, 125, 146; and Hu Lancheng, 167, 174; vs. Nationalists, 409n51; and poetry, 113, 146–47; and Qu Qiubai, 60; and Shen Congwen, 82, 89; and Tai Jingnong, 319; and Xu Beihong, 265
Christianity: and born-again lyricism, 116; and Hu Lancheng, 419n69; and Jiang Wenye, 221, 232–33
Chu T’ien-wen: Huangren shouji (Notes of a desolate man), 367
Chuci (Songs of the south), xvi, 5, 9, 387n141; and Chen Shih-hsiang, 11, 12, 14; and Lu Xun, xii, 2, 46; Mao Zedong on, 372n11; and Shen Congwen, 24, 102, 110
Chunqiu (Spring and autumn annals), 10, 171
collaborationism, 72–74; vs. collaboration, 160–61, 166; and de Man, 178–79; of Hu Lancheng, 157–67, 178–79, 182, 184, 185; and Jiang Wenye, 208, 232, 233
Compendium of Modern Chinese Literature (Xiandai Zhongguo xinwenxue daxi), 316
Confucianism, xiii, 7, 373n21, 387n141, 388n141, 452n49; and aesthetics, 359, 361; and Asia, 427n67; and film, 3, 277, 279, 281, 307–8; vs. German thought, 142; and Hu Lancheng, 188; and Jiang Wenye, 195, 211–12, 214–18, 225, 226, 228, 229, 232, 233; and Liang Qichao, 54; and music, xvii, 195, 196, 207–11, 226; and Shen Congwen, 24; and Tang Junyi, 187; utopian, 228–29
Cultural Revolution (1966), ix, xi, xiii, 2; and aesthetics, 358, 359; and He Qifang and Feng Zhi, 150, 415n144; and Jiang Wenye, 234; and Lin Fengmian, 238, 267; and Shen Congwen, 103, 105, 386n127
Dagnan-Bouveret, Pascal, 241
Dagongbao (newspaper), 406n2
Dame aux camellias, La, 45
de Man, Paul, x, 354, 356, 407n7; and Adorno, 391n190; on atrocities, 179; Blindness and Insight, 178; and Hu Lancheng, 163, 177–79; “Literary History and Literary Modernity,” 178; “Lyric and Modernity,” 36–37; and Nazism, 37, 178; works by, 36–37, 178
deconstructionism, 36, 178
Dingjunshan (Dingjun mountain; film), 271
Dream of the Red Chamber (Hongloumeng; Story of the Stone; Cao Xueqin), xv, 162, 172, 204, 308, 356, 441n98; and Hu Lancheng, 182, 183–85, 422n116
du (gauge and modulate), 359, 369
Du Fu, 10, 443n33; and aesthetics, 359–60; “Bazhentu” (The design of eight-fold array), 15; “Chunwang” (Spring prospect), 298–99, 301, 304; and Fei Mu, 305, 306, 308; and Feng Zhi, 69, 114, 131–32, 135–36, 145, 149; and film, 298–99, 304, 305; and Jiang Wenye, 207; and Lin Fengmian, 260; on poet-historian, 31, 382n64; and Průšek, 31, 33; and Shen Congwen, 112; and Tai Jingnong, 320, 347, 349; and Zhu Guangqian, 55
Eight Thousand Miles of Clouds and Moon (Baqian lilu yun he yue; film), 291
Eliot, T. S., 16, 65, 69; and Chen Shih-hsiang, 15; and He Qifang, 114, 118, 119, 123; and Hu Lancheng, 163; and Mu Dan, 71; “The Waste Land,” 119
enlightenment (qimeng), 376n7; and aesthetics, 357, 359, 361; and Hu Lancheng, 163; and language reform, 329; and lyricism, 224, 354–55; and national salvation (jiuwang), xiii, 359, 371n5; and revolution, x, xi–xii, xiii, 44, 53, 89, 163–64, 224, 354–55, 357, 359; and Shen Congwen, 89, 362; and Wang Guowei, 53
epic, the: and Chen Shih-hsiang, 12; in China, x, 2, 74, 368; and Jiang Wenye, 228, 233, 234, 235; and Lin Fengmian, 243; and the lyrical, x, 4, 11, 37, 44, 75, 76, 144, 152, 153, 195, 217–32, 234, 235, 353, 354, 361, 369; and Průšek, 5, 28–38; in Spring In a Small Town, 301; and “strong” thought, xii–xiii; and Xu Beihong, 247
Europe: collaborationism in, 160–61; and Fei Mu, 291; and Feng Zhi, 132, 135; and Hu Lancheng, 175–79; and Jiang Wenye, 193, 203, 206; and Lin Fengmian, 239, 252, 364; music in, 196–97, 198; poetry and politics in, 175–76; woodblock prints from, 256; and Xu Beihong, 241, 242–43, 247. See also France; West, the expressionism, 239, 241, 249, 261, 267, 278, 364
Far-away Love (Yaoyuan de ai; film), 291
feeling/qing, xii–xiii, xv–xvii, 45–54, 388n141; and actions, 41–42, 44, 104; and aesthetics, 357, 358, 359, 361; and Ai Qing, 62, 63; buqing (feeling/unfeeling), 183–84, 308, 380n35; and Chen Shih-hsiang, 20; etymology of, 6–9, 354; and Feng Zhi, 68–69; heroic vs. romantic, 45; and history, 77, 82, 104, 369; and Hu Lancheng, 73, 157, 158, 163, 164, 166, 167, 171–75, 179–88, 367; and Li Zehou, 450n23; and Liang Qichao, 54; Lu Xun on, 45–46; and lyricism, 2, 73, 379n24; and materiality (wu), 38, 109; and Mei Lanfang, 283; Ming cult of, 6, 182; and Mu Dan, 70, 71; and new poetry, 76–77; Průšek on, 31; and Sansan group, 189; and Shen Congwen, 22–23, 43–44, 109; Wang Guowei on, 303
Fei Ming (Feng Wenbing), xv, 51, 132; Tan xinshi (On new poetry), 4
Fei Mu, xviii, 3, 271–309, 353, 367–68; on “air,” 273, 275–77, 279, 280, 287, 288, 292, 298, 303, 305; Chengshi zhiye (Night in the city), 273–74; Chungui mengduan (Interrupted dream in the spring chamber), 277–78, 279; “Daoxu fa yu xuanxiang zuoyong” (On the function of narratage and flashback), 274; early work of, 273–81; Gu Zhongguo zhige (Songs of ancient China), 281, 436n6; “Guochanpian de chulu wenti” (On the future of Chinese-made cinema), 290–91; Kongfuzi (Confucius), 281, 378n14; Langshan diexue ji (Blood on Wolf Mountain), 277, 279; Lianhua jiaoxiang qu (Symphony of Lianhua Studio), 277–78; “Lüetan ‘kongqi’” (A brief Discussion of “air”), 275; lyricism of, 306–7, 308; and Mei Lanfang, 272–73, 296–98, 305–6, 307, 308; and poetry, 278, 300–301, 304, 306–7, 308; Rensheng (Life), 274; Tianlun (Song of China), 276; working methods of, 292–96, 439n75; Xiangxue hai (Sea of fragrant snow), 274–75, 302; “Zaxie” (Miscellaneous Writing), 275–76; Zhanjingtang (Murder in the oratory), 272, 278, 279, 280; “Zhongguo jiuju de dianying hua wenti” (Issues in making cinema of traditional Chinese theater), 279. See also Eternal Regret; Spring in a Small Town
Feishi: “Zhongguo yinyue gailiang shuo” (A proposal for reforming Chinese music), 196
Feng Zhi, xvii, 114–17, 131–53, 353; and Ai Qing, 148; “Autobiography” (“Getting Old”; Zizhuan), 364–65, 366; Beiyou (Northern journey), 69; Beiyoujiqita (Journey to the North and others), 135; “Bo Ai Qing de ‘liaojiezuojia, zunzhongzuojia’” (A rebuttal of Ai Qing’s “understand writers; respect writers”), 148; “Canma” (Horse cocoon), 410n77; and CCP, 143–44, 146, 148; “Cong youpaifenziqiequ de yizhongwuqitanqi” (On a kind of weapon stolen by the rightists and other issues), 148; and Cultural Revolution, 150, 415n144; and Du Fu, 69, 114, 131–32, 135–36, 145, 149; Du Fu zhuan (A biography of Du Fu), 145; in Germany, 68, 132, 136–37; and He Qifang, 132, 143, 148–49; in Kunming, 114, 131, 413n116; “Lierke—wei shizhounian erzuo” (Rilke—in memory of the tenth anniversary of his passing away), 68; and Lin Fengmian, 259; and Lu Xun, 3, 114, 132, 135; “Lunfushide li de renzaoren” (The homunculus in Faust), 144; “Lüyiren” (A man in green), 132–33, 134; “Nanfang de ye” (The night of the south), 148–49; and obsession with China, 407n6; in PRC, 75, 77; and Rilke, 68–69, 114, 115, 136–139, 141–144, 147, 149, 412n93, 412n110, 415n143; “She” (Snake), 134–35, 148–49; and Shen Congwen, 413n119; “Shenianjixing” (Thought occasioned by the year of the snake), 152; Shisihang shi (Fourteen sonnets), 69, 114, 138–40, 142, 146, 149; “Wodeganxie” (My thanks), 145–46, 147; “Wotongku” (I am in pain), 151–52; Wu Zixu (Wu Zixu), 142–43, 412n110, 415n143; “Wumian de yeban” (Sleepless midnight), 411n92; “Ye II” (Night II), 152–53; “Zizhuan” (Autobiography), 364–65, 366
film, x, xvi, xviii, 271–309, 353; and Chinese opera, 271–73, 276, 281–90, 305–6, 308, 436n6; and Confucianism, 3, 277, 279, 281, 307–8; and Du Fu, 298–99, 304, 305; gender in, 278, 287, 288, 297, 307–8; German expressionist, 278; and Jiang Wenye, 221; lyricism in, 3, 272, 288, 301, 308; national, 272, 304, 307, 308; neorealism in, 440n87; and poetry, 298–306, 440n84; Taiwan New Wave, 439n73; techniques in, 292–96, 302, 303; Western, 278, 279, 303
Five Dynasties period, 27, 106
folk music, 75, 147, 384n84, 401n145, 414n131; and Hu Lancheng, 172–73; and Jiang Wenye, 197, 198, 200; and Tai Jingnong, 330; and Tcherepnin, 203
Four Wangs of the Qing, 242, 246
Fujiwara Yoshie Kageki Dan (opera company), 197
Goethe, Johann Wolfgang von, 118, 414n119; “Blessed Yearning,” 138; Faust, 137, 144; and Feng Zhi, 69, 77, 114, 115, 136–39, 141–44, 146, 147, 151, 365, 413n116, 415n143; Poetry and Truth, 137; Sorrows of Young Werther, 136, 137
Gongzuo (Work; magazine), 123
Greater East Asia Co-Prosperity Sphere (Dai-tō-a Kyōeiken), 215, 216, 217
Gu Hongzhong: Han Xizai yeyantu (Han Xizai’s nightly banquet), 106
Guo Moruo, 14, 52, 60, 256, 398n108; and Chen Duxiu, 444n40; and Daoism, 53, 395n58; “Diqiu, wode muqin” (Earth, my mother), 49; “Feilengcui de yiye” (A night in Florence), 48; “Fenghuang niepan” (Phoenix nirvana), 49; and He Qifang, 148; “Jiashen sanbainian ji” (Commemoration of the three hundredth anniversary of the Jiashen year), 444n40; on lyricism, 65–66; and May Fourth Movement, 48–49, 115; and New Folksong Movement, 401n145, 414n131; Nüshen (Goddess), 66; in PRC, 77; and Shen Congwen, 21; and Tai Jingnong, 323; “Tiangou” (Heavenly dog), 49
Guodian Chu Bamboo Slips (Guodian chujian), 6–7
Gushi shijiu shou (Nineteen old poems), 182, 324
Hanyuan Trio (Hanyuan sanyou), 16
He Jingzhi, 145; “Fangsheng gechang” (Sing out loud), 74, 144
He Qifang, xvii, 16, 51, 71, 114–31, 144–53, 353, 406n2; “Bailianjiao” (White lotus cult), 121; “Bei Zhongguo zairanshao” (North China is aflame! II), 129; “Chengdu: rangwobaniyaoxing” (Chengdu: let me shake you awake), 123–24; “Chunyu Fen” (Chunyu fen), 121; and Cultural Revolution, 415n144; “Ding Lingwei” (Ding Lingwei), 121; dream of, 117–31; and Feng Zhi, 132, 143, 148–49; “Gaizaoziji, gaizaoyishu” (Reform the self, reform the arts), 130; Guanyuxianshizhuyi (On realism), 130; “Gucheng” (The ancient city), 119; “Gudairen de qinggan” (The feeling of people in ancient times), 120–21; Huameng lu (Painted Dreams), 121, 122, 126, 128, 143, 147, 149, 415n143; “Huida” (Response), 146, 147; “Jiaohan” (Screaming), 127; “Jieshiziji” (Explain myself), 126–27; “Kaitan” (Lament), 118–19; “Liangzhong butong de daolu” (Two different paths), 130; “Lungongzuo” (On work), 123; and Mao Zedong, 117, 125, 130, 131, 150, 414n129; “Mao Zedong zhige” (The song of Mao Zedong), 150; “Mengzhong de daolu” (Paths in dreams), 121; and obsession with China, 407n6; “Shan” (Fan), 121–22, 128; “Shanshang de yanyun” (Mists and clouds on a fan), 121, 122, 143; “Shimian ye” (A night of insomnia), 126; Tang Shi on, 415n143; “Wogechang Yan’an” (I Sing for Yan’an), 117; “Women zuiweidadejieri” (Our greatest festival), 130; “Womengjian” (I dreamed of), 150; “Xiuxihong” (Do not wash away the red), 119–20; Yege (Night songs), 114, 125–28, 129, 131; Yege he baitian de ge (Night songs and daytime songs), 131; Yuyan (Prophecy), 118, 120; “Zhu zongsiling de hua” (Words of Commander Zhu De), 130; Zonglüshu (Palm trees), 409n49
Heidegger, Martin, x, 15, 354, 371n7; and Hu Lancheng, 163, 176–77; “Letter on Humanism,” 176–77; and Nazism, 37, 176; on poetry, 35–36
history: and feeling, 77, 82, 104, 369; and Fei Mu, 296; and Hu Lancheng, 157, 164, 167–75; and Liang Qichao, 54; and Lin Fengmian, 266–67; Lu Xun vs. Zhu Guangqian on, 57–58; and lyricism, 354; and modernity, 407n7; and Mu Dan, 71; and painting, 246, 249; and poetry, 9–10, 31, 33, 38, 43, 177–79, 375n1, 382n64; and Shen Congwen, 41–44, 81, 82, 89, 99, 103–12, 392n8; and Tai Jingnong, 322, 323, 326–27, 330, 336, 351
Hölderlin, Friedrich, 36, 137
Hong Kong: film in, 436n7; Hu Lancheng in, 160, 167, 184, 186; Lin Fengmian in, 238, 259, 268, 363; Tang Junyi in, 4, 12–13, 186; Xu Chi in, 64
Hou Hsiao-hsien: Kafei shiguang (Café Lumiere), 368
Hou Yao, 274–75; Yingxi juben zuofa (Techniques of writing shadow play scripts), 274
Hu Feng, xiv, xv, 65–68, 113, 145, 356, 398n111; and He Qifang, 130; on lyricism, 65, 66–67; on poetry, 4, 67–68; in PRC, 74, 77; “Shijian kaishile” (Time has begun), 74
Hu Lancheng, xiv, xvii, 3, 13, 155–90, 353, 365; and anarchism, 169, 175, 186; on atrocities, 179, 187; attempted coup of, 166; and Buddhism, 4, 182, 186, 187, 189, 419n69; collaborationism of, 157–67, 178–79, 182, 184, 185; and Communism, 164, 165–66; and Daoism, 4, 163, 182, 185–88, 419n69; and de Man, 163, 177–79; on East vs. West, 162, 163, 165, 168–70, 173, 186; and Eileen Chang, 155–56, 158, 160, 161, 175, 180, 183, 184, 186; and European poetics, 175–79; and feeling, 73, 157, 158, 163, 164, 166, 167, 171–75, 179–88, 367; “Gei qingnian” (To youth), 157, 160, 162, 166–67, 189; Jinsheng jinshi (This life, this world), 4, 156, 157, 179–88, 422n116; and lyricism, 156–57, 161, 167, 175, 179, 180–81, 190, 422n116; and lyricism of betrayal, 72–74; and poetry, 4, 73, 163, 164, 168, 171, 172, 182; in PRC, 77; Shanhe suiyue (China through time), 4, 157, 167–75, 177, 181, 187, 189; and Story of the Stone, 182, 183–85, 422n116; as vagabond (dangzi), 181–82, 367, 422n116; and Wang Jingwei, 184–85; “Wenming de chuantong” (The tradition of civilization), 162; “Wenyi fuxing tishi” (Suggestions on renaissance), 164; works by, 160–64, 167, 169, 417n15; Xijiang shang (On the West River), 417n15; on xing, 167–75; “Zhannan, he yi buyi” (To seek battle is difficult; to seek peace is no less easy), 160; “Zhongguo wenming yu shijie wenyi fuxing” (Chinese civilization and world civilization), 163–64; “Zhongguo xiangdang zhidu yange kao” (A study of the changes and continuities of Chinese rural society), 169
Hu Shi, 29, 164, 347; Changshiji (Collection of experiments), 66
Huashan Inscriptions (Huashan bei), 331, 351
Huayanjing (mahā-vaipulya-buddhâvataṃsaka-sūtra), 211
Hundred Days’ Reform (1898), 254
Hundred Flowers Campaign (Baihua yundong), 98
ikoku jōchō (exotic mood), 202, 206
individualism/selfhood, ix–x, 1, 24, 375n4; vs. collectivism, 2–3, 114, 150, 224, 243–44; and Feng Zhi, 140, 141, 152; and Guo Moruo, 53; and lyricism, 2, 9, 65; and May Fourth era, 50; Průšek on, 28–29, 32, 35, 38; and romanticism, 377n7; and Yuan Kejia, 72
Ingres, Jean Auguste, 250
Japan: and China, 215, 426n66; and Chinese calligraphy, 350; exoticism in, 203; fascist aesthetics in, 418n37; and Greater East Asia Co-Prosperity Sphere, 215, 216, 217; and Hu Lancheng, 157, 158, 160, 162–65, 167, 169–70, 173, 181, 182, 184–85, 189, 418n37; and Jiang Wenye, 193, 195, 197, 199, 206, 207, 210, 213, 227, 228, 424n21; and Mei Lanfang, 281, 282, 283, 284; and painting, 252; and Russia, 202; and Taiwan, 342, 368; and the West, 426n66, 427n67. See also Sino-Japanese War, Second
Ji Kang, 50, 428n95; “Shengwu aile lun” (Sound contains neither sadness nor happiness), 225
Jiang Guangci, 60, 319; Yeji (Memorial Service in the Wilderness), 319
Jiang Wenye (Jiang Wenbin; Chiang Wen-yeah), 193–235, 353, 427n84; Ali shan zhisheng (The voice of Mount Ali), 234; Bon odori shudaikōkumikyoku (Symphonic suite based on the subject of bon odori), 198; and Buddhism, 208, 211, 220, 221; in China, 193–94, 205, 207; and colonialism, xvii, 195, 199–200, 217, 227, 235, 368, 424n21; and Confucian music, 207–11; and Confucianism, 195, 211–12, 214–18, 225, 226, 228, 229, 232, 233; Daidō sekibutushō (Hymn to the Stone Buddha of Datong), 218, 221; and the epic, 228, 233, 234, 235; Fu Tiantan (Rhapsody of the Temple of Heaven), 218, 221–24, 228–32; Ichiu dōkō (Symphonia universalis), 215, 216; and imaginary nostalgia, 202, 217, 234–35; Jōdai Shina ongaku kō (Study of Music in Ancient China), 209, 211–14, 216, 222, 229; Jyūroku no bagateru (16 Bagatelles, Op. 8), 206–7; Kōbyō taisei gakushō (Music of the Confucian Temple), 194, 207–11, 215, 216, 232, 234; Kōhi den (Princess Xiangfei), 207, 215; Koto sobyō (Sketches of the old capital), 207; Melodiae Psalmorum, 232–33; Miluo chenliu (Drowned in flows of the Miluo River), 233; Minami no shima ni yoru kōkyōteki sketchi (Symphonic Sketch of South Island), 200, 202; Pekinmei (Inscriptions of Beijing), 218–21; “Seibo no arutokini” (A moment at the end of the year), 422n4; Seiki no shinwa ni yoru shōka (Song for the myth of the century), 215; Shunkō kagetsu no yoru (Night by the river with flower and moon), 207; Taiwan no Bukyoku (Formosan dance), 193, 198, 200, 201, 424n25; Taiwan Santidōhōka (Aboriginal songs from Taiwan), 198; Tōa no uta (Song of East Asia), 216
Journey to the West (Xiyouji), 422n116
Kant, Immanuel, xiii, xv, 16, 64, 226; on aesthetics, 356, 358, 450n21; double bind of, 355–61, 363
Kao Yu-kung, xviii, 4, 11, 357, 359–61; “Tu Fu’s ‘Autumn Meditations’: An Exercise in Linguistic Criticism,” 359–60
Kropotkin, Peter: Fields, Factories and Workshops, 168–69
Kuriyagawa Hakuson, 67; Symbol of Angst, 66
Kuzhu (Bitter bamboo; magazine), 157, 158, 161
La Fontaine, Jean de: “Injured Birds,” 241
Lakeshore Poems (Hupan shiji), 66
League of Leftist Writers, 57
League of Leftist Writers, Northern Chinese (Beifang zuolian), 312, 315
Lengyanjing (Śūramgama-sūtra), 326
Li Changzhi: Lu Xun pipan (A critique of Lu Xun), xv
Li Guangtian, 16; Shide yishu (The art of poetry), 3
Li Zehou, xviii, 24, 357–59, 361, 369, 450n23; aesthetics of, xiii, 357, 372n17, 373n20, 387n141, 450n21, 451n35; on enlightenment, xiii, 371n5
Liang Zongdai, xv, 58–61, 170; Shi yu zhen (Poetry and truth), 58; “Tanshi” (On poetry), 59
Lin Fengmian, xvii–xviii, 237–70, 353, 363–64, 404n60, 432n48; Bawang bieji (Farewell, my concubine), 266–67; Beitan mingyun de niao (Ill-fated birds), 241; Chibi (The battle at red cliff), 268; and Chinese vs. Western art, 240–49, 252; Emeng (Nightmare), 363–64; essay by, 252; female figures of, 261–62, 269; Fengjing (Landscape), 260–61; Jiangzhou (A boat on a river), 261; Lingren zanshang de chuntian shiqule tade xiangwei (Praiseworthy spring loses her fragrance), 241; and National Exhibition of Art (1929), 251; paintings by, 248, 260–61, 266–67, 268, 364; and poetry, 243, 267–68; in PRC, 265–66, 270; Rendao (Humanity), 248, 260; Renlei de tongku (Agony of human beings), 248, 260, 364; square formation of, 259–60; Tongku (Agony), 364; “Xizuo I” (Exercise I), 258; and Xu Beihong, 240, 241–44, 252, 265, 266, 269, 430n13; “Zhongguo huihua xinlun” (New treatise on Chinese painting), 252
literature (wenxue): and calligraphy, 312–13, 325, 326; Chinese classical, 29, 56, 58, 210, 328; Chinese vernacular, 28, 32, 51, 276, 325, 327, 328; Chinese vs. Western, 394n46; and civil war, 409n51; Far Eastern, 12; fiction, ix, 26, 29, 37–38, 45, 51, 108, 269–70, 316–18, 323, 438nn60–61; and film, 306; and history, 47, 407n7; Japanese, 11, 51; mandarin ducks and butterflies, 438nn60–61; Maoist, 112; and music, 210; and painting, 243; and politics, 45, 60–61, 372n9; Průšek on, 29, 37–38; revolutionary, 38, 47–48, 57, 66, 318; Soviet, 314; Western, 12, 13, 15, 16, 29, 31, 32, 34, 38, 47, 56, 59, 69, 135, 136–39, 141–44. See also poetry; theater; particular authors
Liu E: Lao Can youji (Travels of Lao Can), 45
Liu Shaoqi: “Lungongchandangyuan de xiuyang” (On the Self-Cultivation of Communist Party Members), 127
Lu Huai: Shuqing ji (Accounts of lyrical expressions), 382n59
Lu Ling: Caizhu de ernümen (Children of the rich), xv, 67; Ji’e de Guo Su’e (Hungry Guo Su’e), 67
Lu Xun, xii, xiv, xv, 45–54, 375n38, 433n64; call to arms of, 135, 196, 224; and calligraphy, 331, 332, 445n51; and Chuci, xii, 2, 46; classical poetry of, 336, 338, 339; on feeling, 45–46; and Feng Zhi, 3, 114, 132, 135; “Five Talks,” 315; Gushi xinbian (Old stories retold), 322, 323; “Guxiang” (My old home), 316; “Han wenxueshi gangyao” (Outline of the literary history of the Han dynasty), 46–47; and He Qifang, 124, 130; and Hu Feng, 66–67, 68; and Hu Lancheng, 73, 158, 172, 182; “Kuangren riji” (Diary of a madman), 328; and language reform, 328–29; “Lülun Mei Lanfang ji qita” (On Mei Lanfang and other issues), 283; and lyrical tradition, 396n71; Mara poet of, 46, 66, 115; on Mei Lanfang, 283–84, 285; “Moluo shilishuo” (On the power of the Mara poet), 46; “Mujiewen” (Epitaph), 52, 135; Nahan (Call to Arms), 135; and painting, 255–57, 433n55; Panghuang (Wandering), 46; in PRC, 77; and Průšek, 28, 29; and Qu Yuan, 2, 46, 52, 58; and stone rubbings, 446n57; on subjectivity, 52, 57, 393n21; and Tai Jingnong, 312, 314–17, 319, 321–23, 336, 338–40, 343, 442n19, 446n57; and Tcherepnin, 204; and Trotsky, 398n111; “Weijin fengdu jiwenzhang yu yaojijiu zhiguanxi” (On the manners and literary expressions and their relationship to alcohol and drugs), 47; “Wenhua pianzhi lun” (On cultural aberrations), 45–46; and Woodcut Movement, 84, 256, 403n25; “Xiwang” (Hope), 52; “Yao” (Medicine), 319; Yecao (Wild grass), 315; “Yinyue?” (Music?), 422n4; “Zai jiulou shang” (In the tavern), 443n23; vs. Zhu Guangqian, 55–58; “Zhufu” (New Year’s sacrifice), 316
Lukács, György, xv, 356; Theory of the Novel, 34
Lunacharsky, Anatoly, 257, 356
Luotuocao (Camel grass; magazine), 132
lyrical tradition, Chinese, 3, 4, 8, 360, 361; Chen Shih-hsiang on, 11–20, 38, 77; and foreign influences, 51; and Průšek, 28, 30; and Tao Qian, 396n71; in thirties, 55–58
lyricism/shuqing, ix–xiii, xvi–xviii, 1–5, 353–55; abstract, xvi, 4–5, 20–22, 25–26, 38, 77, 81, 83, 88, 104, 111, 362, 363, 368–69; and aesthetics, 357, 359–61; Ai Qing vs. Zhu Guangqian on, 62–64; attacks on, 49, 65; of betrayal, xvii, 72–74, 155–90, 367; born-again, xvii, 113–53; born-again defined, 115–17; and calligraphy, 330, 445n53; critical, xviii, 4, 249, 357; dramatic, 71–72; and the epic, x, 4, 11, 37, 44, 75, 76, 144, 152, 153, 195, 217–32, 234, 235, 353, 354, 361, 369; etymology of, 5–11, 378n24; exiling (fangzhu), xvi, 44, 64–72, 75, 113; and Fei Mu, 306–7, 308; in film, 3, 272, 288, 301, 308; history of, 5–11, 45–58; and Hu Lancheng, 156–57, 161, 167, 175, 179, 180–81, 190, 422n116; and Japanese literature, 11; and Liang Qichao, 54; Liang Zongdai vs. Qu Qiubai on, 58–61; and Lin Fengmian, 239–40, 243–44, 246–47, 252, 257–58, 364; and loom, 288–90; and May Fourth, 50, 52, 394n46; and Mei Lanfang, 283, 284; Mu Dan’s new, 70; and music, 1, 195; performative, 416n5; and poetry, 1, 48, 75–77, 113, 115–117, 175–179, 217, 360; political, xvi, 44, 147; and popular culture, 175; in PRC, 74–77; and revolution, 2, 44, 60–61, 224, 354–55; and romanticism, 9, 44, 50, 394n46; vs. sentimentality, 307–8; and Shen Congwen, xiv, xvi, 21–22, 24, 28, 38, 82, 83, 85, 110–12, 225, 386n124; vs. shuqing zhuyi, 393n37; and Tai Jingnong, 321, 347, 351; Wang Guowei on, 303; Western, x, xvi, 1–2, 11, 353; and woodblock prints, 85; and Xu Beihong, 264
Mao Zedong: and Feng Zhi, 77, 145, 146, 147, 415n143; and He Qifang, 117, 125, 130, 131, 150, 414n129; and Hu Feng, 66–67; and Hu Lancheng, 167; and Hundred Flowers Campaign, 98; on national form, 388n154; and poetry, xii, 74–75, 76, 113, 147, 225, 372n11, 407n9, 414n130; and Rectification Campaign, 145; and Shen Congwen, 22, 105; thought of, 452n49; and Xu Beihong, 265; Yan’an Talks of, 67, 113, 114, 116, 125, 127, 130
Marco Polo Bridge Incident (1937), 347
Marxism, xiii, 57, 77, 159, 257; and aesthetics, 357, 358, 359, 361, 372n17; and Průšek, 32, 33
Mathesius, Bohumil, 28, 33
Matsudaira Yoritsune, 198
May Fourth Movement, xii, xv, 1, 255; and Chen Duxiu, 321; and Feng Zhi, 135; and Guo Moruo, 48–49, 115; and He Qifang, 123; and Hu Feng, 66; and Hu Lancheng, 159, 163–66, 172, 173; and language reform, 328–29; and lyricism, 48, 49, 50, 52, 394n46; and music, 196, 204; and Průšek, 29; and Shen Congwen, 87, 112; and Tai Jingnong, 312, 314; and Zhou Zuoren, 72
McDougall, Bonnie, 17, 118
Mei Lanfang, xviii, 204, 256, 280, 281–85, 353; in Eternal Regret, 285–90, 309; and Fei Mu, 272–73, 296, 297, 298, 305–6, 307, 308
Mei Tsu-lin, 4; “Tu Fu’s ‘Autumn Meditations’: An Exercise in Linguistic Criticism,” 359–60
Meiji Restoration (Japan), 163
Melipiero, Gian Francesco, 198
Milton, John: Paradise Lost, 19
Ming dynasty, 3, 10; calligraphy of, 333; fall of, 321–22, 331, 444n40; and Liang Qichao, 54; and Lin Fengmian, 257, 267; and lyricism, 51–52; and May Fourth era, 50; painting in, 246, 431n18; and Shen Congwen, 106; and Xu Beihong, 242; and Zhou Zuoren, 394n48
modernism: and Ai Qing, 62; Anglo-American, 119; Beijing school of, 16, 56, 57, 69, 80, 114, 118, 119, 123; and Chen Shih-hsiang, 15–17; Chinese, 48, 51; and He Qifang, 114, 118–20, 123, 150, 152; and Jiang Wenye, 193, 195, 198, 199, 209–10, 213, 214, 217, 226, 233, 235; and Lin Fengmian, 240, 261; and lyricism, 65, 68–72; and Průšek, 32, 35; and Tcherepnin, 204, 205; and time, 245–46; Western, 193, 194, 209–10
modernity: and aesthetics, 359; Chinese, ix, x, xii, xiii, 1, 2, 5, 16, 29, 32, 45, 51; colonial, 199; and enlightenment/revolution, x, 371n5; and epic vs. lyric, 234; and film, 276, 298, 307; and history, 36, 51, 178, 407n7; and Hu Lancheng, 73, 164, 166, 173; and lyricism, 115, 224, 354, 355; and Mei Lanfang, 283; and music, 196; and New Literature Movement, 51; and painting, 240, 250, 433n57; and realism, 257; revolutionary, 5, 32, 377n7; and Shen Congwen, 89; socialist, 116; and Tai Jingnong, 325, 327; and time, 392n10; and Wang Guowei, 53; and Xu Beihong, 242, 265
Murnau, Friedrich Wilhelm, 439n73
music, x, xv, xvi, 11, 171; and calligraphy, 343, 447n83; and Confucianism, xvii, 195, 196, 207–11, 226; and film, 3, 279, 283, 300; and harmony, 373n21; of Jiang Wenye, 193–235, 353; and Lin Fengmian, 243; and lyricism, 1, 195; and mathematics, 226, 227; and May Fourth Movement, 196, 204; and poetry, 55–56, 63, 214, 222–24, 225, 227; and politics, 197, 212, 214–17, 426n56; Russian, 203; and Shen Congwen, 26, 82, 83, 226–27; Western, 194, 196–211; Zhu Guangqian on, 63. See also folk music
Mussorgsky, Modest Petrovich: Pictures at an Exhibition, 206
“Nanfeng” (Southern Ode), 229
National Exhibition of Art (1929), 250, 251, 253
national form (minzu xingshi), 388n154
National Writers’ Association, 80
nationalism: and Fei Mu, 279; and Hu Lancheng, 161, 165; and Jiang Wenye, 198, 199, 215, 368; and Mei Lanfang, 282; and music, 197, 198, 204, 207; in Spring In a Small Town, 301
Nationalists (Guomindang): and Chen Duxiu, 321; vs. Communists, 409n51; executions by, 58, 61, 80; and Feng Zhi, 144; and Gan Army, 87; and Hu Lancheng, 155, 159, 160, 164, 166, 167, 181; and Lin Fengmian, 248, 251, 259, 364; and Qu Qiubai, 58, 61; and Tai Jingnong, 312, 322, 340, 342, 347; and Zhou Zuoren, 72
nativism, 3, 198, 207, 316, 368; and Shen Congwen, 4, 21, 26, 80, 374n32
New Citizen Society (Xinmin hui), 208
New Composers’ Federation, 198
New Democratism (xinming zhuzhuyi), 130
New Literature Movement, 49, 51
New Third Front (Xin disan fangmian), 413n118
New Tide Music (Ongaku shinchō; magazine), 216
Nietzsche, Friedrich, xv, 46, 47, 176, 413n113; Birth of Tragedy, 16, 57; and Chen Shih-hsiang, 16; and Feng Zhi, 132; and Jiang Wenye, 217, 221; and Lu Xun, 52; Thus Spoke Zarathustra, 132; and Zhu Guangqian, 56, 57
“Nine Leaves” (jiuye) school, 69, 71, 72
Nineteen Old Poems (Gushi shijiu shou), 182, 324
nostalgia: anticipatory, 25, 80, 86, 403n31; cultural, 325; and exoticism, 202; and film, 367; imaginary, 100, 195, 203, 217, 234–35, 368; and Jiang Wenye, 202, 217, 234–35
On Lu Xun and His Works (Guanyu Lu Xun jiqi zhuzuo; ed. Tai Jingnong), 314
Ongaku shinchō (New tide music; magazine), 216
opera, Chinese, xviii; and Fei Mu, 278–79, 280, 296; and film, 271–73, 276, 281–90, 305–6, 308, 436n6; Jiang Wenye in, 197; and Lin Fengmian, 266, 268, 364; Shaooxing, 174. See also Mei Lanfang
Owen, Stephen, 8, 10, 60, 210, 306, 376n6, 377n10, 386n131, 399n119, 400n140
painting, x, xvi, xvii–xviii, 4, 353; Chinese traditional, 246, 254, 258, 259, 263, 285, 294–95, 303, 307, 431n18, 433n57; Chinese vs. Western, 240–57; and Fei Mu, 294–95, 306, 307; and film, 285, 303; French, 256; hand-scroll, 295; horizontal distance (pingyuan) in, 439n71; Kang Youwei on, 254; landscape, xv, 100, 260–61, 268, 306; and Lu Xun, 255–57, 433n55; and modernity, 240, 250, 433n57; nationalizing Western, 247; and politics, 255–57, 433n55; and Shen Congwen, 26, 27–28, 82, 106–7, 388n153; Soviet, 255; Wanderers school of, 255; xieyi (expressive-style), 240, 241, 244–47, 249, 252, 254, 258, 261, 264. See also Lin Fengmian; Xu Beihong
Peace Movement (Wang Jingwei), 184–85
poetry (shi), xvi, 353; Ai Qing on, 62–63; Chen Shih-hsiang on, 13; Chinese concept of, 376n6; and Chinese language, 389n160; and feeling, 7–8, 76–77; and Fei Mu, 278, 300–301, 304, 306–7, 308; and Feng Zhi, 132–33, 137, 140–41; and film, 298–306, 440n84; Heidegger on, 35–36; and history, 9–10, 31, 33, 38, 43, 177–79, 375n1, 382n64; Hu Feng on, 4, 67–68; and Hu Lancheng, 4, 73, 163, 164, 168, 171, 172, 182; of Jiang Wenye, 194–95, 201, 207, 217–24, 235; in late Qing-Republican era, 47, 48; Liang Zongdai on, 58–59; and Lin Fengmian, 243, 267–68; and lyricism, 1, 48, 75–77, 113, 115–17, 175–79, 217, 360; and Mao Zedong, xii, 74–75, 76, 113, 147, 225, 372n11, 407n9, 414n130; and music, 55–56, 63, 214, 222–24, 225, 227; new, 4, 75, 76–77; political lyrical (zhengzhi shuqingshi), 75–76; and politics, ix, xvii, 2, 3, 19, 113, 145, 175–79; and revolution, 45, 54, 115, 377n7; and Shen Congwen, 21, 25, 43, 81, 83, 108, 227; subjective, 30; and Tai Jingnong, 313–16, 319–20, 323–27, 329, 365, 443n33; and violence, 176–79; and woodblock prints, 83–84; Xu Chi on, 64–65
poetry, classical Chinese: and Fei Mu, 278; and film, 298–306; and He Qifang, 150–51; and Jiang Wenye, 220; lüshi (regulated verse), 11, 17, 389n167; and Mao Zedong, 75, 147, 372n11, 407n9, 414n130; and Průšek, 29, 30, 32, 35; and Qu Qiubai, 60–61; Shen Congwen on, 43; and Tai Jingnong, 320, 323–27, 329, 443n33; Tang, 11, 55–56, 114, 119–20, 360; Zhu Guangqian on, 63–64
politics: and aesthetics, 356; and Ai Qing, 62; of art, 255; and calligraphy, 333, 335; and clothing, 104–6; cultural, 76–77; and Fei Mu, 291, 292; and Feng Zhi, 114, 143–50, 151, 413n119; and film, 272; and He Qifang, 114, 123–31, 145, 146–47; and Hu Feng, 66, 67; and Hu Lancheng, 159, 166, 167, 168; identity, xiv; and Jiang Wenye, 195, 220; and Liang Zongdai, 58; and Lin Fengmian, 249; and literature, 45, 60–61, 372n9; Lu Xun on, 57–58; and lyricism, 44, 49, 60–61, 72–77, 116, 369; and music, 197, 212, 214–17, 426n56; and painting, 255–57, 433n55; and poetry, ix, xvii, 2, 3, 19, 113, 145, 175–79; and Průšek, 31, 38; and romanticism, 377n11; and Sansan group, 189–90; and Shen Congwen, 82, 98–99, 103, 107, 110, 363, 413n119; and Tai Jingnong, 313, 314–15, 318–21, 325, 340, 342, 345; and Woodcut Movement, 84–85; and Xu Beihong, 241, 262–63, 265; and Zhu Guangqian, 57–58, 64
Prud’hon, Pierre-Paul, 241, 244
Průšek, Jaroslav, xvi, 4–5, 11, 354; on the epic and the lyrical, x, 5, 28–38, 75, 77, 195, 224, 234, 361; on fiction, 29, 37–38; and Lu Xun, 28, 29; My Sister China, 28; “Some Marginal Notes on the Poems of Po Chü-i,” 30–31; “Subjectivism and Individualism in Modern Chinese literature,” 28, 35
Pushkin, Alexander, xi, 60
Qian Qi, 56, 57; “Shengshi xiangling guse” (A poem composed at the capital exam: “Spirits of the River Xiang playing the zither”), 55
Qiantai yu houtai (On Stage and Backstage; film), 436n6
qing buqing (feeling so deeply as to become unfeeling), 183–84, 308, 380n35
Qing dynasty, xii, 44–45, 242; and Hu Lancheng, 167, 172; and Lin Fengmian, 257, 267; painting in, 246, 431n18; and Shen Congwen, 106, 107, 109
Qu Qiubai, xii, 77, 433n60; Chidu xinshi (A spiritual pilgrimage to the red capital), 61; Duoyu dehua (Superfluous words), 61–62; Exiang jicheng (A journey to the country of hunger), 61; vs. Liang Zongdai, 58–61; “Yishu yu rensheng” (Art and life), 60
Qu Yuan, xv, 5, 42, 53; and Chen Shih-hsiang, 14–15; and Feng Zhi, 132; and Jiang Wenye, 233; “Jusong” (Ode of orange), 76; and Lu Xun, 2, 46, 52, 58; and Shen Congwen, 24, 102; suicide of, 24, 81; and Tai Jingnong, 323; Tianwen (Interrogations of heaven), 15; works of, 15, 76; and Zhu Guangqian, 55, 58
realism, xvii–xviii; and aesthetics, 357; Chinese vs. Western, 250–57; and Fei Mu, 279–80, 287, 290, 291, 294, 296, 297, 304, 308; in film, 274, 275–76; and Lin Fengmian, 237–70; vs. lyricism, 224, 227; and Mei Lanfang, 284; mimetic, 240, 242, 244, 247, 249, 252, 257, 265, 280, 295, 394n46, 431n22; and music, 197; New, 250–51, 256–57; and new poetry, 75; and Průšek, 31; revolutionary, 21, 256, 284; and Shen Congwen, 25; socialist, 5, 270; and Tai Jingnong, 312, 316; and time, 246; and Wang Guowei, 47; Western, 263, 431n18; and Xu Beihong, 241–43, 252–54, 257–58, 262–65, 266, 267
Rectification Campaign, 130, 145
Renjian (Human world; magazine), 161
Renoir, Pierre Auguste, 250
revolution (geming), 45–54; and aesthetics, 357, 359; Ai Qing on, 62–63; in art, 254–55; and Benjamin, 213–14; and Chen Duxiu, 321; and Chinese literature, 38, 57, 66, 318; and collectivity, 224–25; and enlightenment, x, xi–xii, xiii, 44, 53, 89, 163–64, 224, 354–55, 357, 359; and Fei Mu, 296, 307; and Feng Zhi, 143, 150; and Guo Moruo, 53; and He Qifang, 146, 148, 150; and Hu Feng, 67; and Hu Lancheng, 73, 157–58, 161, 163, 164, 166, 173–75, 185, 416n8; vs. involution, 448n3; and Liang Zongdai, 58; literary, 38, 47–48, 57, 66, 318; and Lu Xun, 57–58; and lyricism, 2, 44, 60–61, 224, 354–55; and May Fourth, 52; and modernity, x, 5, 32, 377n7; and music, 196, 227; and poetry, 45, 54, 115, 377n7; and Průšek, 30, 33; and Qu Qiubai, 61–62, 77; and realism, 21, 256, 284; and romanticism, 2, 21, 45–54; and Sansan group, 189; and Shen Congwen, 81, 89, 92, 111, 362; and Tai Jingnong, 316, 318–21, 325; and Wang Guowei, 53; and Woodcut Movement, 84–85; and Xu Beihong, 262–63; Zhu Guangqian on, 57–58, 64
Revolution, Chinese Communist: Eileen Chang on, 175; and Fei Mu, 291, 309; and Feng Zhi, 115; first (1927), 248, 364; and Guo Moruo, 444n40; and He Qifang, 115; and Hu Lancheng, 175; and Jiang Wenye, 233; and Průšek, 5, 32; and Shen Congwen, 43, 80–81, 89, 111; and Tai Jingnong, 312, 342; and Tang Junyi, 187; and Xu Beihong, 265. See also China, People’s Republic of; Chinese Communist Party
Revolution, Republican (1911), 163, 173
Rilke, René Maria, xi, 36, 77; Duino Elegies, 136; and Feng Zhi, 68–69, 114, 115, 136–39, 141–44, 147, 149, 412n93, 412n110, 415n143; Lay of Love and Death of Cornet Christopher Rilke, 136, 412n110; Letters to a Young Poet, 137; Sonnets to Orpheus, 412n93
romanticism, 377n7; and Byron, 46; Czech, 32, 33, 389n164; and the epic, 34; and Fei Mu, 291, 304; and Feng Zhi, 68, 132, 137, 138, 141; German, 137, 197; and He Qifang, 118; and Jiang Wenye, 194, 200, 233; in late Qing-Republican era, 46, 48; and Lin Fengmian, 241, 244; and lyricism, 9, 44, 50, 394n46; and May Fourth, 50, 52, 394n46; and music, 197; and new poetry, 75; and politics, 377n11; and Průšek, 29, 30; and revolution, 2, 21, 45–54; and Tai Jingnong, 316; of the vagabond, 182; Western, 3, 9, 29, 38, 48, 50, 75, 198, 204, 224
Russo-Japanese War (1904–5), 202
Sansan (Three-three) group, 189
Sanxia haoren (Still Life; film), 367–68
saoyanzhi (poetry that expresses intent), 24
Schlegel, August Wilhelm von, 15
Scriabin, Alexander: Divine Poem, 214; Poem of Ecstasy (Hōetsu no shi), 214
Seven Sages of the Bamboo Grove (Zhulin qixian), 311
Shanghai Art Academy, 252
Shen Congwen, xv–xvii, 11, 13, 20–28, 79–112, 353; and abstract lyricism, xvi, 4–5, 20–22, 25–26, 38, 77, 81, 83, 88, 104, 111, 362, 363, 368–69; and art objects, 20, 27–28, 38, 43, 82, 83, 102–12, 374n32; attempted suicide of, 3, 79–81, 93, 99; Biancheng (Border Town), 21, 80, 86, 92, 109; Changhe (Long River), 27, 109, 386n135, 405n65; “Chouxiang de shuqing” (Abstract lyricism), 20, 22, 111, 362, 363, 368–69; and Dagongbao, 406n2; “Du Zhan Ziqian youchuntu” (Reading Zhan Ziqian’s Spring Excursion), 27; epiphanies of, 83–102; and Feng Zhi, 365, 413n119; and He Qifang, 114; on history, 41–44, 392n8; illness of, 88–89; illustrated letters of, 94–102; and Jiang Wenye, 226, 227; “Kanhong lu” (Gazing at a rainbow), 25, 27; lyrical archaeology of, xiv, xvi, 21–22, 24, 28, 38, 82, 83, 85, 110–12, 225, 386n124; and mathematics, 26, 82, 222, 227; and music, 26, 82, 83, 226–27; and painting, 26, 27–28, 82, 106–7, 388n153; and poetry, 21, 25, 43, 81, 83, 108, 227; and PRC, 77, 80–81; and Průšek, 28; Qiseyan (Seven-colored nightmares), 25–26; “Shuiyun” (Water cloud), 26; and socialist materialism, 22–23, 83, 105, 386n127; “Sugeladi tan beiping suoxu” (Socrates on the needs of Peking), 89–90; suicide attempt of, 89; and West Hunan, 21, 24, 84, 87–88, 95, 102, 108; “Wuyue sanshiri xiashidian beiping sushe” (In a dorm, Peking, May 30, 10:00 p.m.), 79; Xiangxing sanji (Notes on a trip to Hunan), 21, 102, 108; Xiangxing shujian (Letters on a trip to West Hunan), 95; “Xiaoshuo chuangzuo” (On fiction writing), 26; “Yige chuanqi de benshi” (True story of a legend), 84, 88; Zhongguo gudai fushi yanjiu (Research on Ancient Chinese Costume), 83, 103–12; and Zhu Guangqian, 384n96; “Zhuxu” (Candle extinguished), 26
shihua (remarks on poetry) tradition, 63
Shijing (Classic of Poetry, Book of Songs), xvi, 24, 33, 384n84, 400n140; and Chen Shih-hsiang, 11, 12, 13; Great Preface to, 7–8; and Hu Lancheng, 4, 73, 168, 182; Liang Zongdai on, 59; and New Folksong Movement, 75; on qing, 6, 7–8; and Qu Qiubai, 61–62; and Shen Congwen, 25; on xing, 170, 171
Shixuan (Poetry selection; anthology), 74, 145
shiyanzhi (poetry expresses what is intended in the mind), 8, 13–14, 24
shiyuanqing (poetry follows from emotion), 8, 13
Sima Qian, 47, 360; Shiji (Record of the historian), 41–44
Sino-Japanese War, Second (1937–45), ix, xvii, 2, 3; and Chen Shih-hsiang, 19; collaborators in, 72–74; and Fei Mu, 277, 291, 297–98; and film, 272–73; and Guo Moruo, 65–66; and Hu Lancheng, 155, 157, 159–60, 162, 165–66, 173, 174; and Jiang Wenye, 194, 207–8, 216, 229; and Lin Fengmian, 240, 249, 257–62; and lyricism, 44, 113, 175–79; and Mei Lanfang, 281–82; and music, 214–17; and Tai Jingnong, 312, 321–22, 327; and Xu Beihong, 263, 264; and Xu Chi, 64
Songs of the South. See Chuci
South China Daily (Nanhua ribao; newspaper), 160
Soviet Union (USSR), 60, 75, 255, 256, 433n64; and Hu Lancheng, 174; literary criticism from, 257, 356; Mei Lanfang in, 282, 283, 284
spiritual resonance (shenyun), 56
Spivak, Gayatri Chakravorty, 357, 369, 450n27; Aesthetic Education in the Era of Globalization, An, 355–56
Spring and Autumn Annals (Chunqiu), 10, 171
Spring in a Small Town (Xiaocheng zhichun; film; Fei Mu), xviii, 272–73, 290–98, 307, 309; “air” in, 305; and Eternal Regret, 297–98; long takes in, 292–95; and poetry, 300–301; remake of, 367; shooting of, 308; slow motion in, 292, 295–96
Spring River Flows East, A (Yijiang chunshui xiangdongliu; film), 291
Springtime in a Small Town (film; 2002), 367
Stanislavski, Nicolai, 284, 296
structuralism: and aesthetics, 360; and Chinese poetry, 4; Prague, 32, 33
suicide, xi, 87, 88; of Qu Yuan, 24, 81; and Shen Congwen, 3, 21, 90, 92, 93, 111
symbolism: and Fei Mu, 273, 290; French, 51, 58, 59, 60, 170, 220; and He Qifang, 119, 120; and Jiang Wenye, 220; and Liang Zongdai, 58, 59, 60; and Lin Fengmian, 364; and Mei Lanfang, 284, 285; and Mu Dan, 70; Russian, 256; Western, 119
Tai Jingnong, 50, 311–51; “Baitang” (Wedding ceremony), 317; “Baodao” (Precious knife), 313–14; “Bingyin zhongqiu” (Moon Festival of the bingyin year), 324; calligraphy of, xviii, 311, 312, 313, 327–47, 348, 349–51, 353, 365; “Chunye de youling” (Ghosts of the spring night), 318, 347; “Dianyi” (Pawn clothes), 324; Dizhizi (Sons of the earth), 316, 318; Guanyu Lu Xun jiqi zhuzuo (On Lu Xun and his works), 314; “Hongdeng” (Red lantern), 316–17, 320; imprisonment of, 318–20, 443nn29–30; “Ji qiumengan guiyang” (For Autumn Dream Studio in Guiyang), 324; “Jianshan ciye han” (Mountains and rivers chill at this night), 343–44; Jiantazhe (Tower builders), 316, 318; “Jingzhe xibi” (Master Quietude’s playful strokes), 344; Longpo zawen (Miscellaneous essay of Dragon Slope), 347; and Lu Xun, 312, 314–17, 319, 321–23, 336, 338–40, 343, 442n19, 446n57; “Lun xiejingsheng” (On sutra transcribers), 340, 342; “Nitu” (Muddy journey), 324; “Qingni” (Would you please), 315; “Qiuyin men” (Earthworms), 443n19; “Qiying” (An abandoned baby), 316; “Quzhu” (Leave or stay), 325–26; “Rensheng shinan, dadao duoqi” (Life is hard indeed; the Way has many branches), 311, 312, 313, 345–47; “Renzhi” (Renzhi), 443n19; “Shijing sangluan” (First encounter with losses and disturbances), 347, 349, 351; “Shoushang de niao” (Wounded bird), 316, 320; “Sishi de huixing” (Comet in the house of death), 318, 347; “Tian erge” (Second brother Tian), 316; Wangming jiangshi (Saga of the Fall of the Ming), 321–22, 325, 333, 335; “Weibi zhufu” (God bless you), 316; “Xinfen” (New tomb), 443n19; “Yeqi” (Rising at night), 323; “Yexing” (Night walk), 324; “Yuzhong jian luohua” (Seeing a fallen blossom in jail), 319–20; “Zhuyan” (Candle flame), 443n19
Taiwan: colonial, 193, 194; Hu Lancheng in, 157, 189; and Japan, 342, 368; and Jiang Wenye, 193, 197, 199, 200–202, 203, 205, 206, 217, 218, 229, 233, 234, 368; New Wave film in, 439n73; and Tai Jingnong, 312, 327, 330, 340, 342, 365
Takeuchi Yoshimi: Lu Xun, xv
Tang dynasty, 50, 51, 57, 145, 163; painting in, 254, 255, 433n57; poetry of, 11, 55–56, 114, 119–20, 360; and Shen Congwen, 106, 108, 109; and Xu Beihong, 242, 263
Tao Qian, xv, 50, 406n103; Lu Xun vs. Zhu Guangqian on, 58; and lyrical tradition, 396n71; and Shen Congwen, 112; and Tai Jingnong, 313; “Zijiwen” (An essay of self-obituary), 311, 312
Taohua shan (The peach blossom fan), 186
Tennyson, Alfred, Lord, 118, 123
theater, x, xvi, 7, 11, 12, 353; epic, 284; and Fei Mu, 272, 290, 294, 296, 297, 307, 308; and film, 275, 276; and Lin Fengmian, 243, 266–67; national, 271–72, 279, 280, 283, 285; new (xinju), 276; and song lyrics, 300; spoken (huaju), 296; traditional Chinese, 51, 272; Western, 276, 280, 284. See also opera, Chinese
Tiandi (Heaven and earth; magazine), 161
time, 419n69; and calligraphy, 343; and Chen Shih-hsiang, 15, 19, 20; and Fei Mu, 294, 296, 298; in film, 302, 440n85; and modernism, 245–46; and modernity, 392n10; and painting, 245–46; and revolution, 416n8; and Shen Congwen, 80, 100, 109, 110–11; in Spring In a Small Town, 301–2; and Tai Jingnong, 326, 345
Tomorrow Society (Mingtian she), 314
“Tu Fu’s ‘Autumn Meditations’: An Exercise in Linguistic Criticism” (Kao Yu-kung and Mei Tsu-lin), 359–60
Turgenev, Ivan, 118; Notes of a Hunter, 102
utopianism, 189, 261, 321; Confucian, 228–29; and Hu Feng, 66, 67; and Hu Lancheng, 166, 169, 170, 175, 177, 187; and Shen Congwen, 81, 90, 388n154
Vico, Giovanni Battista, xv, 16
Wang Can, 311; “Qiaishi, sanzhiyi” (Poems of seven sorrows, the first one), 442n18
Wang Guowei, xv, 9, 54; on aesthetics, 356; and Fei Mu, 305, 306; and film, 303–4; “mental vista” of (jingjie), 47, 53, 56, 64, 303; on obstruction, 441n91; Renjian cihua (Remarks on song lyrics and the human condition), 47, 53, 64; suicide of, 52–53, 89; “Yingguo dashiren baiyilong xiaozhuang” (A short biography of the great British poet Byron), 46; and Zhu Guangqian, 56, 64
Wang Mian: Nanzhi zaochuntu (South-facing branches in early spring), 324
Wang Xizhi, 330; “Sangluan tie” (Letter on losses and disturbances), 349–51
Warring States period, 106, 172
West, the: and aesthetics, 357; art of, 240–49, 252; film in, 278, 279, 303; Heidegger on, 176–77; and Hu Lancheng, 162, 163, 165, 168–70, 173, 186; and Japan, 426n66, 427n67; and Lin Fengmian, 239–40, 244, 245, 257–58; literature of, 12, 13, 15, 16, 29, 31, 32, 34, 38, 47, 56, 59, 69, 135, 136–139, 141–144; lyricism in, x, xvi, 1–2, 11, 353; modernism in, 193, 194, 209–10; music of, 194, 196–211; painting in, 240–57; realism in, 263, 431n18; romanticism in, 3, 9, 29, 38, 48, 50, 75, 198, 204, 224; theater in, 276, 280, 284; and Woodcut Movement, 84; and Xu Beihong, 242; and Zong Baihua, 226
West Hunan: illustrations of, 95, 97, 100, 101; and Shen Congwen, 21, 24, 84, 87–88, 95, 102, 108
Whistler, James McNeill, 250
Wiene, Robert: Cabinet of Dr. Caligari, 278
Wu Jianren: Wu Jianren ku (Wu Jianren weeps), 45
Wu Zhen: “Yufu tu” (Scroll of fishermen), 100, 101
Wumingshi (Bu Ning), 269–70; Jinse de sheye (Golden night of the serpent), 269; Wuming shu (A book without title), 269, 270
“Wuse” (Literary Mind and Carving the Dragon), 23
Xi Dejin (Hsi Teh-chin), 430n15
Xian Xinghai, 196; Manzhou qiutu jinxingqu (The march of Manchurian prisoners), 215
Xiao fangniu (The little cowherd; film), 436n6
Xiao Tong: Zhaoming wenxuan (Selections of literature), 9
Xiaoxiang shanshui (Landscape in the area of the Xiao and Xiang rivers) genre, 100–101
xieyi (expressive-style) painting, 240, 244–45, 249, 252, 254, 258, 264; and Lin Fengmian, 241, 246–47, 261; and time, 245–46
Xin Tangshu (New history of the Tang), 109
xing (evocation; spontaneous outburst of feeling), 15, 354, 367, 369; and Chen Shih-hsiang, 14, 19, 20, 25, 170; and dissent (yuan), 38; vs. fu, 171; and Heidegger, 177; and Hu Lancheng, 73, 167–75, 179; and Jiang Wenye, 219; and Liang Zongdai, 59–60; and metaphor, 60; and qing, 183; and Qu Qiubai, 61; and Shen Congwen, 24
xing (inborn nature), 6, 7
Xingxing (Stars; magazine), 76–77
“Xingzi mingchu” (Disposition arises from the Mandate; Guodian chujian), 6–7
Xinqingnian (La Jeunesse; magazine), 254–55
Xinxiaoshuo (New fiction; periodical), 45
Xinyue (Crescent moon; magazine), 433n64
Xu Beihong, xvii–xviii, 432n48, 433n55; Bawang bieji (Farewell, my concubine), 266, 267; Fangxia nide bianzi (Put down your whip), 263–64; “Huo” (I am puzzled), 250–54; and Kang Youwei, 254; and Lin Fengmian, 240, 241–44, 252, 265, 266, 269, 430n13; and painting, 433n57; and realism, 241–43, 252–54, 257–58, 262–65, 266, 267; Tian Heng wubai zhuangshi (Tian Heng and his five hundred retainers), 247–48, 253, 263; works by, 250–54, 263–64, 266, 267; and Xu Zhimo, 249, 250–56; Yugong yishan (Mr. Foolish Removes the Mountain), 263; “Zhongguohua gailiang zhi fangfa” (Methods of reforming Chinese painting), 254
Xu Fuguan, 13, 187–88, 421n110; Zhongguo yishu jingshen (The spirit of Chinese art), 4
Yaoyuan de ai (Far-away Love; film), 291
Yijiang chunshui xiangdongliu (A spring river flows east; film), 291
Yizhuan (Commentary on the Book of Changes), 142, 226
Yu Xin: “Ai Jiangnan fu xu” (Preface to rhapsody of lament for the south), 348–49
“Yufu” (fisherman; Chuci), 102
Zang Kejia: Wode shishenghuo (My poetic life), 3
Zhan Ziqian: Youchuntu (Spring excursion), 27, 107
Zheng Zhisheng: Manjiang hong (The whole river red), 215
Zhongguo lishi tupu (An illustrative account of Chinese history), 103
Zhou Fang: Zanhua shinü tu (A portrait of ladies with floral decorations), 106
Zhou Zuoren, xii, 48, 50, 77, 170, 182, 394n48; and Feng Zhi, 132; and He Qifang, 123, 130; and Hu Lancheng, 161; and lyricism of betrayal, 72–74
Zhu Dequn (Chu Teh-chun), 430n15
Zhu Guangqian, xiii, xiv, xv, 11, 16, 17, 50; on aesthetics, 357–58, 359, 360, 372n17; vs. Ai Qing, 62–64; Beiju xinlixue (Psychology of tragedy), 57; and He Qifang, 114, 123; and Liang Zongdai, 58, 60; vs. Lu Xun, 55–58; and lyrical tradition, 396n71; in PRC, 77; and Shen Congwen, 384n96; Shilun (Treatise on poetry), 3, 62–64; works by, 57
Zhu Ziqing: Xinshi zahua (Random talks on new poetry), 4
Zhuang Ji, 5–6; “Ai shiming” (Alas that my lot was not cast), 5