| Description |
1 online resource |
| Contents |
Cover -- Contents -- Translators' Preface -- Introduction: The Making of Modern Chinese Poetry in the Twentieth Century -- PART 1: PIONEERS -- Introduction -- Hu Shi -- Thought -- Dream and Poem -- Liu Dabai -- Turtle -- Tracks of Tears 21 -- Spring in the Air -- Autumn Evening on the River -- Xu Yunuo -- A Child -- As the Sun Slides Down behind the Mountain -- The Cage of Reality -- If I Weren't Such a Coward -- Conflagration -- Lu Xun -- Dreams -- Humanity and Time -- The God of Love -- Guo Moruo -- A Night Walk through Jurimatsubara -- Snow on the Emei Mountains -- A Confrontation with the Moon -- Taking All by Storm -- The Iron Virgin -- Bing Xin -- No Forgetting -- A Token of Remembrance -- Myriad Stars 10, 28, 48, 95 -- Spring Rivulets 24, 25, 33, 66, 105, 112, 118, 153, 169, 182 -- Paper Boats -- Thoughts of Love -- Don't Trample This Flower -- After the Rain -- Liu Yanling -- Sailor -- Ye Shaojun -- A Small Fish -- Zheng Zhenduo -- Distraction 1, 3, 4, 7, 9, 12 -- Zhu Ziqing -- Annihilation -- PART 2: FORMALISTS -- Introduction -- Xu Zhimo -- On Hearing the Ritual Chant of Repentance at Tianning Temple, Changzhou -- The Paradise of the Poor -- Beggar, It Serves You Right! -- Sayonara -- Beside a Mountain Path -- Coincidence -- I Cannot Tell -- The Rebirth of Spring -- Dusk: Six Views from a Car Window -- Acknowledging Sin -- The Oriole -- Farewell to Cambridge -- On the Train -- Wandering Cloud -- Go -- Wen Yiduo -- A Gathering of Chrysanthemums -- Pondering -- A Little Brook -- Red Beans 9, 10, 14 -- The Laundryman's Song -- Stagnant Water -- Perhaps: An Elegy -- The Last Day -- I Wanted to Come Home -- The Deserted Village -- One Phrase -- Statement under Oath -- Silent Night -- Zhu Xiang -- The Pawnbroker -- Bury Me -- Shao Xunmei -- The Serpent -- Sweet Dream -- May -- The Soul of Shanghai -- Chen Mengjia -- An Old White Russian |
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Spring Landscape with a Small Temple -- Shen Congwen -- Panegyric -- I Delight in You -- Fang Lingru -- Sailing Past Zhenjiang Pavilion -- A Stone -- Fleeting Vision -- Feng Zhi -- Snake -- Sonnet 1: Deep Down We Are Preparing -- Sonnet 2: Whatever We Can Shed -- Sonnet 4: Edelweiss -- Sonnet 5: Venice -- Sonnet 12: Du Fu -- Sonnet 16: We Stand on a Lofty Mountain Peak -- Sonnet 18: Occasionally We Have Spent an Intimate Night -- Sonnet 26: We Tread Our Daily Path -- Sonnet 27: From a Stretch of Formless, Overflowing Water -- Wu Xinghua -- In Dedication 1 -- PART 3: SYMBOLISTS -- Introduction -- Li Jinfa -- Casting Her Aside -- Cherished Desires -- Yao Pengzi -- Your Face -- Lin Huiyin -- A Smile -- Do Not Forget -- Fei Ming -- Assorted Poems 1, 3 -- The Dressing Table -- A Pot of Flowers -- Street Corner -- He Qifang -- To a Friend at the End of the Year -- Autumn -- Beneath the Moon -- Cypress Grove -- A Prophecy -- Night Scene (i) -- The Clouds -- Our History Is Rushing Forward (i) -- North China Is Ablaze (iv): Cities -- Dai Wangshu -- Rainy Lane -- Homesick for the Sky -- My Memory -- Soon Old Age Arrives -- A Fly in Autumn -- Come Here to Me -- Thoughts of a Wayfarer -- Village Girl -- White Butterfly -- With My Injured Hand -- Inscribed on a Prison Cell Wall -- To Endure as a Witness (ii) -- Impromptu: At the Tomb of Xiao Hong -- Bian Zhilin -- A Demon's Serenade -- Cast to the Earth -- Let the Current Take It -- A Friend and Cigarettes -- Disjointed Lines -- Untitled No. 1 -- Untitled No. 4 -- Untitled No. 5 -- Train Station -- The First Lamp -- Lin Geng -- May -- Mist at Twilight -- Night -- Li Guangtian -- Window -- Crossing the Bridge -- Ji Xian -- To Maybe Man -- Burning City -- Autumn on the River -- The Star-Snatcher -- The Lost Telescope -- Bird Variations -- A Locust Leaf -- Pipesmoking Psychoanalysis -- Gold Gate Sorghum |
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The Death of Aphrodite -- Incompletion: One -- Qin Zihao -- Desert Wind -- Inkfish -- Sunflower -- Hair -- PART 4: "PEASANTS AND SOLDIERS" POETRY -- Introduction -- Yin Fu -- Metropolis at Dusk -- Feng Xuefeng -- Qingming Festival -- Songs of Spring (ii) -- A Poem from the Mountain -- The Song of Soul Mountain -- Tian Jian -- Song of the Hill Country -- from She Too Will Kill -- One Rifle, One Zhang Yi -- Zang Kejia -- The Old Horse -- The Rickshaw Puller -- Workmen Resting at Noon -- Refugees from Famine -- The International Cemetery -- A Goddess -- The Top -- The Execution Ground -- Home Leave -- A Grave -- Stagnant Water -- An Arrest -- Ai Qing -- Diaphanous Night -- Dayanhe -- Old Man -- Beggars -- The North -- The Street -- He Dies the Second Time -- Autumn Morning -- The Wilds -- A Pond in Winter -- Burdens -- Gambling Men -- A Young Man's Journey -- On a Chilean Cigarette Package -- Wang Yaping -- Winter in the City -- To Pawn an Arm -- Before the Troops Marched Off -- Ding Ling -- from Yan'an in July -- Zou Difan -- Trekking North -- Five Short Poems, 1, Rickshaw -- Wang Tongzhao -- The Battle Hymn of Shanghai, I -- A Long -- Old Soldier -- Gao Lan -- Elegy for My Daughter Sufei -- Liu Jia -- Governor Yan Xishan's Collector of the Grain Tax -- PART 5: THE NINE LEAVES POETS -- Introduction -- Mu Dan -- Spring -- Eight Poems -- The Flag -- Demobilized -- Du Yunxie -- The Well -- Moon -- Bivouac -- A Common Soldier Left Dead at the Side of the Road -- The Season's Mournful Face -- Language -- Tang Shi -- The Girl Who Steals Ears of Wheat -- Tang Qi -- Fog -- Time and Banner -- The First Light of Dawn -- Hang Yuehe -- Last Performance -- Yuan Kejia -- Nanjing -- Shanghai -- Pregnant Woman -- Thinking about Our Times -- Chen Jingrong -- Yellow -- To Xingzi -- A Knight's Love: A Dialogue -- Pulsation -- Left Behind -- A Painting of Running Water |
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The Web of Images -- Idle Chat -- Isolation -- Crossing Paths -- Writing in Chinese -- The Radio Strangles Spring -- Weavers of Nets -- The Sculptor -- Spring Comes to One Sick of Logic -- The Unknown Me -- Spring Song of Youth -- The Pearl and the Seeker after Pearls -- On Reading a Midsummer Biography -- The Walls of the Ancient City of Gaochang -- The Long Cry of the Peacock -- Moth -- A Porcelain Bas Relief of Bodidharma Walking across the Sea -- After an Illness -- What the Painted Eyebrow Sings -- The Sound of Footsteps -- Zheng Min -- Golden Rice for Threshing -- Forest -- Meeting at Night -- Village in Early Spring -- Dipping My Feet in the Water -- Two Lotus Flowers: On a Painting by Zhang Daqian -- Wild Beasts: A Painting -- Apparition on a Winter Afternoon: A Painting -- The Student -- A Glance -- Drought -- Tree -- Horse -- Portrait of an Imperial Maid of Honour by Wu Guxiang -- Silkworms -- The Wings of Swans -- Glossary -- A -- C -- D -- G -- H -- I -- J -- L -- M -- N -- P -- S -- T -- U -- Y -- Bibliography |
| Summary |
"This is an anthology of vernacular verse written in China between 1918 and 1949, which has been translated into English by Herbert Batt and Sheldon Zitner. Over 200 poems from more than forty authors are presented. The selections trace the development of the new form of verse that arose during the May Fourth Movement, as part of a transformation of Chinese culture. Innovative writers produced a new poetry written in the common vernacular, baihua, meaning "plain speech"--Thus breaking with centuries of literary tradition that prized the classical form. The collection spans the period up to the establishment of the People's Republic in 1949, when the imposition of censorship by Mao arrested the production of experimental poetry on the mainland. Taking a broad perspective, the anthology presents poets of all political allegiances and poetic schools, from committed Communists to Nationalist poets who escaped from Mao with Chiang Kai-shek. There is a rich selection of poetry by women, including poems by well-known writers Bing Xin and Chen Jingrong, and the first English translation of poetry by the novelist Ding Ling. "The rise of vernacular verse in China in the early twentieth century coincided with a period of intense social dislocation. While ours is not a history book, the momentous social and political transformation in early twentieth-century China is the backdrop (in a sense even the engine) of the rise of New Poetry. Many of the poems were written in response to political and/or social events: imprisonment, battle, Japanese burning of villages and bombing of cities, wanderings through the war-ravaged countryside, and the deprivations of the poorest peasants of the great northwest. Other poems speak of the authors' experiences of the joys and sorrows of parenthood and family life, often set against the backdrop of war. The goal is to give a nuanced picture of the astonishingly rapid development of vernacular verse in China from its first appearance during the May Fourth Movement through 1949, the year of Mao's takeover and his imposition of censorship."-- Provided by publisher |
| Bibliography |
Includes bibliographical references |
| Subject |
Chinese poetry -- 20th century -- Translations into English
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FICTION -- General.
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Chinese poetry
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| Genre/Form |
Translations
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| Form |
Electronic book
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| Author |
Zitner, Sheldon P, translator
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Hockx, Michel, writer of introduction
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Batt, Herbert J., 1945- translator.
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| ISBN |
9780773599444 |
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0773599444 |
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9780773599451 |
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0773599452 |
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