This article explores the stylistic innovations in the Ancient-Style Verse （gutishi 古体诗）, and particularly in the subgenre ofgexing 歌行, from the Late Qing to the 1930s and 1940s. It argues that the relative fre...This article explores the stylistic innovations in the Ancient-Style Verse （gutishi 古体诗）, and particularly in the subgenre ofgexing 歌行, from the Late Qing to the 1930s and 1940s. It argues that the relative free prosody of the Ancient-Style allowed innovation disguised as restoration. Yet, instead of being the prelude to modem vernacular poetry, the innovations in this genre may have found an end in themselves--namely, creating a style of verse which showed a unique combination of modern elements and deliberate stylistic archaism. Its lyric archaism and innovation were formulated in dialectical terms, which have been frequently evoked in the reformative moments of the Chinese tradition. This paper examines the evolution of the new gexing style through the close reading of a few gexing poems by Huang Zunxian 黄道宪 （1848-1905）, Liang Qichao 梁启超 （1873-1929）, Lin Gengbai 林庚白 （1896-1941）, and Liu Yazi 柳亚子 （1887-1958）. Given the rise of vernacular poetry since 1917, the poems of Lin and Liu may be called the Classicist Verse, which represents the author＇s conscious choice to elaborate on the subject matter using a particular classical genre, when other modern genres are available. In the end, I will also discuss the gexing style verses by Li Sichun 李思纯 in the translation of multi-stanza European poetry, as a practice in accord to the indigenization agenda of the Critical Review magazine.展开更多
This paper examines the birth of classicist poetry by paying attention to the Southern Society＇s （Nanshe） diachronic succession of the late Qing Poetic Revolution. It provides a careful analysis on the novelty of H...This paper examines the birth of classicist poetry by paying attention to the Southern Society＇s （Nanshe） diachronic succession of the late Qing Poetic Revolution. It provides a careful analysis on the novelty of Huang Zunxian＇s poetry and shows how the Southern Society transformed Huang＇s Europeanized innovation into something that was rooted in both traditional scholarship and modern political discourse. I argue that the poetry of the Southern Society as being more formally conservative than Huang＇s; however, spiritually, it represents a kind of progress as it styled itself as the ＂poetry of the cotton-clothed＂ （buy/zhi shi）--the ＂cotton- clothed＂ stands for the scholars not serving in court. In this regard, its poetry could be seen as modern in spirit. It selectively integrated the traditional and the Western, for pragmatic and utilitarian purposes.展开更多
文摘This article explores the stylistic innovations in the Ancient-Style Verse （gutishi 古体诗）, and particularly in the subgenre ofgexing 歌行, from the Late Qing to the 1930s and 1940s. It argues that the relative free prosody of the Ancient-Style allowed innovation disguised as restoration. Yet, instead of being the prelude to modem vernacular poetry, the innovations in this genre may have found an end in themselves--namely, creating a style of verse which showed a unique combination of modern elements and deliberate stylistic archaism. Its lyric archaism and innovation were formulated in dialectical terms, which have been frequently evoked in the reformative moments of the Chinese tradition. This paper examines the evolution of the new gexing style through the close reading of a few gexing poems by Huang Zunxian 黄道宪 （1848-1905）, Liang Qichao 梁启超 （1873-1929）, Lin Gengbai 林庚白 （1896-1941）, and Liu Yazi 柳亚子 （1887-1958）. Given the rise of vernacular poetry since 1917, the poems of Lin and Liu may be called the Classicist Verse, which represents the author＇s conscious choice to elaborate on the subject matter using a particular classical genre, when other modern genres are available. In the end, I will also discuss the gexing style verses by Li Sichun 李思纯 in the translation of multi-stanza European poetry, as a practice in accord to the indigenization agenda of the Critical Review magazine.
文摘This paper examines the birth of classicist poetry by paying attention to the Southern Society＇s （Nanshe） diachronic succession of the late Qing Poetic Revolution. It provides a careful analysis on the novelty of Huang Zunxian＇s poetry and shows how the Southern Society transformed Huang＇s Europeanized innovation into something that was rooted in both traditional scholarship and modern political discourse. I argue that the poetry of the Southern Society as being more formally conservative than Huang＇s; however, spiritually, it represents a kind of progress as it styled itself as the ＂poetry of the cotton-clothed＂ （buy/zhi shi）--the ＂cotton- clothed＂ stands for the scholars not serving in court. In this regard, its poetry could be seen as modern in spirit. It selectively integrated the traditional and the Western, for pragmatic and utilitarian purposes.
