Confucian Philosophy Essay

2000 by Andre Levy All rights saved No piece of this book might be repeated or used in any structure or using any and all means, electronic or mechanical, including copying and recording, or by any data stockpiling and recovery framework, without authorization in. composing from the distributer. The Association of American University Presses’ Resolution on Permissions comprises the main special case to this preclusion. The paper utilized in this distribution meets the base necessities of American National Standard for Information Sciencesâ€Permanence of Paper for Printed Library Materials, ANSI Z39. 48-1984. Produced in the United States of America Library of Congress Cataloging-in-Publication Data Levy, Andre, date [La litterature chinoise ancienne et classique. English] Chinese writing, old and old style/by Andre Levy ; interpreted by William H. Nienhauser, Jr. p. cm. Incorporates record. ISBN 0-253-33656-2 (alk. paper) 1. Chinese literatureâ€History and analysis. I. Nienhauser, William H. II. Title. PL2266. L48 2000 895. 1’09â€dc21 99-34024 1 2 3 4 5 05 04 03 02 01 00. For my own initial interpreters of French, Daniel and Susan Contents ix Preface 1 Introduction Chapter 1: Antiquity 5 I. Beginnings II. â€Å"Let a hundred blossoms sprout, Let a hundred ways of thinking fight! † 1. Mo zi and the Logicians 2. Legalism 3. The Fathers of Taoism III. The Confucian Classics 31 Chapter 2: Prose I. Account Art and Historical Records II. The Return of the â€Å"Ancient Style† III. The Golden Age of Trivial Literature IV. Scholarly Criticism Chapter 3: Poetry 61 I. The Two Sources of Ancient Poetry 1. The Songs of Chu 2. Verse of the Han Court II. The Golden Age of Chinese Poetry 1. From Esthetic Emotion to Metaphysical Flights 2. The Age of Maturity 3. The Late Tang III. The Triumph of Genres in Song Chapter 4: Literature of Entertainment: The Novel and Theater 105 I. Account Literature Written in Classical Chinese II. The Theater 1. The Opera-theater of the North 2. The Opera-theater of the South III. The Novel 1. Oral Literature 2. Stories and Novellas 3. The â€Å"Long Novel† or Saga Index 151 Translator’s Preface. I originally became-keen on deciphering Andre Levy’s history of Chinese writing, La litterature chinoise ancienne et classique (Paris: Presses Universitaires de France, 1991), in 1996, subsequent to discovering it in a bookshop in Paris. I read areas and was fascinated by Professor Levy’s approach, which was displayed on artistic sorts as opposed to political times. I quickly pondered interpreting parts of the book for my alumni History of Chinese Literature class at the University of Wisconsin, a class wherein the significance of dynastic change was likewise made light of. In the same way as other plans, this one was saved. The previous spring, in any case, when the board on our field’s desiderata headed by David Rolston at the 1998 Association for Asian Studies Meeting articulated that one of the significant needs was for a brief history of Chinese writing in around 125 pages (the specific length of Professor Levy’s unique content), I resuscitated my enthusiasm for this interpretation. I proposed the book to John Gallman, Director of Indiana University Press, and John affirmed it very quickly at the same time, not before notice me that this sort of undertaking can take significantly more time than the interpreter initially imagines. In spite of the fact that I regard John’s experience and information in distributing, I was certain I would demonstrate the special case. All things considered, what sort of difficulty could a little book of 125 pages cause? I before long discovered. Teacher Levy had initially composed an any longer original copy, which was to be distributed as an advantageous volume to Odile Kaltenmark-Ghequier’s La Litterature chinoise (Paris: Presses Universitaires de France, 1948)’ in the Que sais-je? (What Do I Know? ) arrangement. This idea, be that as it may, was before long relinquished, and it ‘Several decades back Anne-Marie Geoghegan deciphered this volume as Chinese Literature (New York: Walker, 1964). x Translator’s Preface was chosen to distribute the Levy â€Å"appendix† as a different volume-in 125 pages. Educator Levy was then approached to cut his original copy by 33%. Accordingly, he was now and again compelled to assume in his crowd certain information that a few perusers of this book-for instance, college understudies or invested individuals with little foundation in Chinese writing might not have. Thus, working cautiously with Professor Levy, I have included (or restored) various relevant sentences in light of these perusers. More data on huge numbers of the creators and works talked about in this history can be found in the sections in The Indiana Companion to Traditional Chinese Literature (volumes 1 and 2; Bloomington: Indiana University Press, 1986 and 1998). Point by point references to these passages and other applicable examinations can be found in the â€Å"Suggested Further Reading† segments toward the finish of every section (where the contracted reference Indiana Companion alludes to these two volumes). I likewise found that re-deciphering Professor Levy’s French interpretations of Chinese messages once in a while brought about versions that were excessively far from the first, even in this time of â€Å"distance training. † So I have interpreted practically the entirety of the in excess of 120 portions of unique works straightforwardly from the first Chinese, utilizing Professor Levy’s French forms as a guide at every possible opportunity. This was finished with the gift and participation of the creator. For sure, among the numerous individuals who assisted with this interpretation, I might want to particularly express gratitude toward Professor Andre Levy for his undeterred enthusiasm for and backing of this interpretation. Educator Levy has perused a great part of the English variant, including all sections that I knew were hazardous (there are no uncertainty others! ), and offered remarks in a long arrangement of letters in the course of recent months. Without his help the interpretation could never have been finished. Here in Madison, a trio of graduate understudies have helped me with questions Translator’s Preface xi about the Chinese writings: Mr. Cao Weiguo riftlal, Ms. Huang Shuâ€yuang MV and Mr. Shang Cheng I*. They spared me E, from multitudinous blunders and accomplished their work with intrigue and cheerful dispositions. Mr. Cao additionally helped by bringing up issues in my understanding of the first French. Mr. Scott W. Galer of Ricks College read the whole original copy and offered various significant remarks. My significant other, Judith, was tenacious in her requests in the interest of the general peruser. The most cautious peruser was, be that as it may, Jane Lyle of Indiana University Press, who meticulously duplicate altered the content. On the off chance that there is an artistic style to this interpretation, it is because of her endeavors. My because of, the Alexander von Humboldt Foundation which bolstered me in Berlin through the late spring of 1997 when I previously read Professor Levy’s content, and particularly to John Gallman, who remained behind this venture from the earliest starting point. Madison, Wisconsin, 16 February 1999 (Lunar New Year’s Day) Chinese Literature, Ancient and Classical Introduction Could one despite everything compose, as Odile Kaltenmark-Ghequier did in 1948 in the What Do I Know arrangement Number 296, which went before this book, â€Å"the investigation of Chinese writing, since a long time ago ignored by the Occident, is still in itsâ infancy? â€Å"‘ Yes and no. There has been some astounding advancement and some foundering. At any rate, starting toward the beginning of the twentieth century, it was Westerners who were the first-trailed by the Japanese, before the Chinese themselves-to deliver accounts of Chinese writing. Not that the Chinese custom had not observed a development in artistic classes, however the notoriety of wen 5 implying both â€Å"literature† and â€Å"civilization,† set it above history-collections, accumulations, and indexes were liked. In addition, the famous side of writing fiction, dramatization, and oral section due to its absence of â€Å"seriousness† or its â€Å"vulgarity,† was not made a decision about honorable enough to be viewed as wen. Our objective isn't to add another work to an effectively long rundown of narratives of Chinese writing, nor to override the amazing synopsis by Odile Kaltenmark-Ghequier which had the inconceivable errand of introducing a past filled with Chinese writing in around a hundred pages. Our longing would be somewhat to supplement the rundown by giving the peruser an alternate methodology, one progressively concrete, less subject to the dynastic order. As opposed to a history, it is an image unavoidably incompleteof Chinese writing of the past that this little book offers. Chinese â€Å"high† writing depends on a â€Å"hard core† of traditional preparing comprising of the remembrance of writings, almost a half-million characters for each applicant who arrives at the most noteworthy serious assessments. We may consider the to be craft of composing as the organizing, in a proper and sharp style, of lines reviewed by memory, something , ‘Odile Kaltenmark-Ghequier, â€Å"Introduction,† La litterature chinoise (Paris: Presses Universitaires de France, 1948), p. 5; â€Å"Que saisâ€je,† no. 296. 2 Chinese Literature, Ancient and Classical that came naturally to conventional Chinese educated people. The objective of these authors was not exclusively artistic. They trusted through their works to gain a notoriety that would assist them with discovering support for their endeavors to pass the majestic common help assessments and along these lines in the end win a situation at court. In spite of the fact that there were prior tests prompting political headway, the framework that existed about until the finish of the supreme period in 1911 was known as the jinshi Aâ ± or â€Å"presented scholar† assessment (in light of the fact that effective up-and-comers were â€Å"presented† to the sovereign)