
898 BIBLIOGRAPHICAL ESSAYS
has already begun, is the compendious series
Chung-kuo hsien-tai wen-hsueh
shih
t^u-liao
hui-pien
(Collected materials on the history of modern Chinese literature),
which will consist of materials on literary movements, societies, controversies,
as well as on writers and their works, plus indexes to individual writings and
articles in newspapers and journals. This massive project represents
a
collaborative
effort of scholars from a dozen leading universities under the supervision of the
Institute of Literature of the Academy of Social Sciences. When publication is
completed (projected for 1985), this new compendium, numbering perhaps
hundreds of volumes, will become the most valuable repository for students and
researchers of the field, both Chinese and Western.
This sheer quantity of
Chinese
scholarship is, however, not necessarily matched
by interpretive quality. Although post-1976 works evince less Maoist ideology,
the basic Marxist-Leninist framework, made vulgarly schematic by successive
ideological campaigns over the past thirty years, is not abandoned. Most recent
textbooks still tend to emphasize the literary debates of the 1930s and the
significance of party leadership in the League of Left-wing Writers and, of course,
in the Yenan literary scene. Accordingly, leftist literary trends and works receive
more extensive coverage than non-leftist writers or artistically interesting works,
especially those published in wartime Chungking and in Japanese-occupied
Shanghai. Among writers of the
hsien-tai
period, Lu Hsun remains a towering
giant occupying a politically deified position, although a small number of studies
(such as a refreshing biography by Liu Tsai-fu and Lin Fei, Lu
Hsun chuan)
have
attempted to portray him in more human proportions.
Most recent textbooks on the history of modern Chinese literature tend to give
prominence to six major writers, ranked in the following order: (1) Lu Hsun,
(2) Kuo Mo-jo, (3) Mao Tun, (4) Pa Chin, (5) Lao She, and (6) Ts'ao Yii. Those
who are valued highly in C. T. Hsia's A
history
of
modern Chinese
fiction
—
Chang
T'ien-i, Wu Tsu-hsiang, Shen Ts'ung-wen, Ch'ien Chung-shu, and Eileen
Chang - seem obscured in Chinese literary histories. The modernistic trend in
poetry, which flowered briefly in the early 1930s, hardly received any attention
in previous Chinese studies and is only beginning to attract scholarly interest in
China, partly as a result of the recent controversy centred around the young
practitioners of 'obscure poetry'
(meng-lung
shih).
In contrast, poetry and the works of such non-leftist writers as Hsu Chih-mo
and Yii Ta-fu remain the only part of the larger legacy of May Fourth literature
which is allowed to be read in Taiwan, whereas most other writers, including
Lu Hsun, are banned for being 'Communists'. A rather daring scholarly series,
Chung-kuo hsien-tai wen-hsueb yen-chiu
ts'ung-k'an (Collection of modern Chinese
literature studies), edited by Chou Chin and numbering about thirty volumes,
represents an initial effort to circumvent the official ban, although the intellectual
quality of the individual volumes is uneven.
Much remains to be done, therefore, in advancing the study of modern Chinese
literature as
literature
in the context of social and cultural history, rather than
mainly as a reflection of political ideology and policy. This challenge is being
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