中國現(xiàn)代作家的浪漫一代（英文版）

LeoOu-fanLee

TheRomanticGenerationof

ModernChineseWriters

HARVARDUNIVERSITYPRESS,CAMBRIDGE,MASSACHUSETTS,1973

?Copyright1973bythePresidentandFellowsofHarvardCollegeAllrights

reservedPreparationofthisvolumehasbeenaidedbyagrantfromtheFordFoundation.Library

ofCongressCatalogCardNumber73-75058SBN674-77930-4PrintedintheUnitedStatesof

America

Tomyparentsandtheirgeneration

Preface

MorethanfiftyyearshaveelapsedsincetheChinesestudentsinPeking

unleashedwhathascometobecalledtheMayFourthmovement.Another

shoreandatimespanoffiftyyearslendadifferentperspectivetoMayFourth.

ThedistancerevealsmuchaboutatleasttwogenerationsofmodernChinese

intellectuals,theMayFourthgeneration,nowfathers,andayounger

generationbroughtupbytheminchangedcircumstances.Foramemberofthis

post-MayFourthgeneration,astudyoftheMayFourthmovementis

necessarilyburdenednotonlywiththeissueofhistoricalobjectivitybutalso

withthatperennialphenomenon,thegenerationgap.

Theoriginalstimulusforthisstudyinfactfirstcamefrommyparents.As

"emancipateduintellectualsfreshfromcollegeintheearlythirties,myparents

adopteda"modern"methodinraisingtheirfirstson,steepinghiminGreek

mythologyandthemusicofChopin.Westernliterature—Dumas,Lamartine,

Byron,andRomainRollandinChinesetranslation-becametheregular

educationalfareinmyadolescentyearsinTaiwan.Icanstillrecallwithvivid

immediacyhowmyfathergavemespecialpermissiononenighttoread

throughLaDameauxCameliasuntilearlydawn.Anditdidnottakeme

vu

PREFACE

muchtimetofindoutthattheinitialletterinmyfather'sEuropeannamestood

forAnnand.TheremusthavebeencountlessArmandsandWerthersinthe

more"modem'*sectorsofChinainthetwentiesandthirties.Andmyparents,

whowenttocollegeinNankinginthethirties,musthavebeentypicalof

youngintellectualsinthecoastalcities.

AllthesepersonalconjecturesblendedintomyacademicdisciplinesasI

beganthestudyofChinesehistoryintheUnitedStatessometenyearsago.

MemoriesofmyupbringingpredisposedmetomodernChineseliteratureand

theMayFourthmovement.ForIamconvincedthatthestudentprotestitself,

onthatmemorableSundayafternoon,May4,1919,wouldnothavebeenso

historichaditnotbeenassociatedbothbyitsmetteursensceneandbylater

scholarswithwhatisbroadlydefinedastheNewCulturemovement,inwhich

NewLiteratureplayedacentralrole.TheimportanceofNewLiteratureasa

cluetomodernChinesesocialandintellectualhistoryhasbeengenerally

acknowledgedbutseldomseriouslyexplored.Anendeavoralongthislinethus

becomesbothanacademicandapersonalchallenge,becausemyfather,a

musicianbyprofession,wasalsoapoetinhiscollegeyearsinNanking.

WhatarethelegaciesofthisMayFourthgeneration?Wehavebeen

informedthattraditionwassweptaway,newcurrentsofthoughtfromtheWest

wereintroduced,younggirlsinhighschoolsandcollegeswereemancipated,

andNewLiterature,writteninthevernacular(pai-hua),becameimmensely

popular.Asidefromallthesegeneralizations,whicharebynownomorethan

academiccliches,wehavenotlearnedanythingfromscholarlyworksasto

howtheparaphernaliaofNewCulturemadeinroadsintothepersonallivesof

youngChineseintellectualsintheMayFourthperiod.Howdidthe

exhilarationoficonoclasmandWesternismaffecttheirlife-styles,fashiontheir

personalities,andconditiontheirgeneraloutlooks?Insofaras"Confucian

personalities11havebecomestandardfareinChinesestudiesintheWest,can

oneperhapssuggestanewtypeofMayFourthpersonality?Ifso,whatareits

basiccomponents?Howisonetoassessitinthecontextofitsowntime?And

finally,torepeat,whatarethelegaciesoftheMayFourthmovementin

Chineseliterature

vmPREFACE

andlife?Ishallattempttoexploresomeoftheprecedingquestionsby

examiningthelivesandworksofafewofthewritersrepresentativeofthetime.

Thesourcematerialsareliterary,butthequestionsandanswersarehistorical.

Mypresentapproachhastobeacombinationofboth.

Theconceptualcategoryofthe''generation1'isnotentirelyoutofplaceina

worklikemine,butitmustbeflexible.TheeminentFrenchhistorianMarc

Blochhasgiventheclassicdefinitionofageneration."Menwhoareborninto

thesamesocialenvironmentaboutthesametimenecessarilycomeunder

analogousinfluences,particularlyintheirformativeyears.Experienceproves

that,bycomparisonwitheitherconsiderablyolderorconsiderablyyounger

groups,theirbehaviorrevealscertaindistinctivecharacteristicswhichare

ordinarilyveryclear.Thisistrueevenoftheirbitterestdisagreements.Tobe

excitedbythesamedispute,evenonopposingsides,isstilltobealike.This

commonstamp,derivingfromcommonage,iswhatmakesageneration."*

Thepurposeofthisstudyistoexploresomeofthe"analogousinfluences"

and"distinctivecharacteristics"oftheMayFourthgenerationofliterary

intellectuals.ItaketheMayFourthgenerationtomeanthosewhowerebornat

theturnofthecentury,grewupwiththedemiseoftheManchuempireandthe

foundingoftheRepublic,andreachedmanhoodinthe1920sorearly1930s.

ThustheybecameactiveontheliteraryscenefollowingtheLiterary

Revolutionof1917andtheMayFourthdemonstrationsof1919.Thechoiceof

representativefigures,whichisentirelymyown,reflectsinlargemeasurethe

developmentofacentraltheme,onwhichIwillelaborateintheconcluding

part.ForthematicpurposesIhavechosentobeginwithtwoprecursors一Lin

ShuandSuMan-shu-whoembarkedupontheirliterarycareersbeforethe

emergenceoftheMayFourthliteraryscenebutwhoneverthelesshadan

enduringimpactontheyoungmenandwomenoftheMayFourthgeneration.

YiiTa-fuandHsuChih-moaretheprincipalprotagonistsofmystudy,asis

KuoMo-jo.IhavenotdiscussedKuo2indetailbecauseofDavidRoy'srecently

publishedbookonKuo'searlyyears.Mytreatmentofthisimportantfigureis

thereforemorethematicthanbiographical.IdiscussKuotogetherwithChiang

Kuang-tz'uandHsiaoChiinasthreeprominentwriters

IX

PREFACE

whoseindividuallivesepitomizethefateoftheromanticturnedleftist.The

leftwarddriftofNewLiteratureconcludesmystoryandushersinanewphase

inthehistoryofmodemChineseliterature,whichhasbeenadmirablystudied

3

intheWestby,amongothers,thelateT.A.HsiaandMerleGoldman.I

includeHsiaoChun,whotakesthestoryforwardintimeandsomewhat

beyondthescopeofmystudy,inordertodemonstratecertaincontinuities

betweenmyworkandtheirs.

IwouldhavelikedtoincludeachapteronwomenwritersintheMayFourth

period.Butsomepreliminaryresearchhasconvincedmethatthesubjectis

muchtoovastandimportanttobetreatedsummarily.Inviewoftherecent

upsurgeofmovementsforwomen'sliberationintheWesternworld,aseparate

bookdevotedexclusivelytowomenwritersinmodernChinamaywellbea

worthysubjectforacademicpursuit.Althoughthepresentstudyisnotgraced

withwomenwritersascentralfigures,thevalidityofmyover-allthemeisnot,

Ihope,drasticallyhampered.Forthesemenandwomen,livinginthesame

historicalmilieuandpracticingthesameprofession,wereinevitablybound

togetherbytheirsharedexperience.

1.MarcBloch,TheHistorianrsCraft(NewYork,Knopf,1953),p.185.

2.DavidTodRoy,KuoMo-jo:TheEarlyYears(Cambridge,Mass.,HarvardUniversity

Press,1971).

3.T.A.Hsia,TheGateofDarkness:StudiesontheLeftistLiteraryMovementinChina

(Seattle,UniversityofWashingtonPress,1968).MerleGoldman,LiteraryDissentin

CommunistChina(Cambridge,Mass.,HarvardUniversityPress,1967).

Acknowledgments

MyinterestinmodernChineseliteratureandhistorybeganattheUniversity

ofChicagoundertheguidanceofProfessorT.H.Tsien.Thepresentbookisa

revisedversionofmyPh.D.dissertationatHarvardUniversityunderthe

supervisionofProfessorsBenjaminI.SchwartzandJohnK.Fairbank.My

intellectualdebtsaremainlytothesethreeoutstandingteachers.

Likemanystudentsofintellectualhistory,Iamprofoundlyindebtedto

ProfessorSchwartz,whoseeruditionandinsighthaveexertedastrong

influenceonmywork,andIherebygratefullyacknowledgeitsmany

"Schwartzian”elementsinbothconceptionandapproach.ProfessorFairbank

hasalwaysbeenpatientwiththeerraticprogressofmyresearch.Withouthis

constantencouragementandperceptivecriticismofthevariouspreliminary

draftsthisbookwouldneverhavebeencompleted.

IhavealsobenefitedfromthewisdomofErikH.Erikson,whoseseminaron

psycho-historyIattendedasalaymanandwhosetheorieshaveaddedanew

angletomyanalyticalthinking.ThescholarshipandinstructionofProfessor

JaroslavPrusekhavealsolefttheirimprintonthiswork;itwashispioneering

researchonthesubjective

xi

ACKNOWLEDGMENTS

tendenciesinmodernChineseliteraturethatledmetomythesis.

Manyscholarsandfriendshavehelpedmeintheresearchstagesofthis

book.ProfessorLiuWu-chikindlyallowedmetodrawuponhisauthoritative

workonSuMan-shu.DavidRoy'sbookonKuoMo-jomademytaskmuch

easier.RobertComptonwarnedmeofmanyerrorsinthetranslatedtitlesof

LinShu.GaryMelyanbroughtmeuptodate,especiallywithJapanese

scholarship,onYiiTa-fu.MartinBernalhelpedmetofindHsiiChih-mo's

academicrecordatKing'sCollege,Cambridge.Mr.LeonardK.Elmhirst

placedatmydisposalhisprivatecollectionofsometwentylettersfromHsii

Chih-mo,whichhaveneverbeenpublished.ThelateT.A.Hsia,whotaught

meEnglishliteratureatNationalTaiwanUniversity,continuedtoadvisemeon

Chineseliterature.MychaptersonChiangKuang-tz'uandHsiaoChiinarebut

anextensionofhiswork.Andfinally,myformercolleaguesand"proteges11at

DartmouthCollege—particularlyMarysaNavarro,ManonSpitzer,andGeorge

Wen—assistedmegallantlyineditingandresearchofthefinalpartofthe

manuscript.

Amongscholarswhohavetakenpainstoreadthroughtheentiremanuscript,

IamespeciallygratefultoProfessorsDavidArkush,CyrilBirch,Jerome

Grieder,FrederickMote,andJonSaari.Theycorrectedmynumerousmistakes

andgavemeinvaluablecommentsandsuggestions.Iwasalsohonoredto

spendanafternoonofpleasantreminiscenceaboutHsiiChih-mowith

ProfessorI.A.Richards.IamindebtedtoSirIsaiahBerlinforabrief,but

rewarding,lessoninEuropeanromanticism.

ThestaffoftheHarvard-YenchingLibraryandtheHooverLibraryat

Stanfordpermittedmetousetheirimpressiveresources.The

Harvard-YenchingInstituteandtheCouncilonInternationalandRegional

StudiesofPrincetonUniversityprovidedfinancialsupportwhenIneededitto

surviveandtowork.Iamgratefultotheseinstitutions.

Inabookonromanticwriterswhodefiedconventions,itisperhaps

appropriatetodepartfromtheconventionalpracticeofscholarstothanktheir

tirelessandlong-sufferingwives.Rather,Iwouldliketosharethejoysofthis

firstbookwithEllenF.Soulliere,whohasgiveninspirationtomyworkandto

mylife.

xii

Contents

PartOne.TheSetting

1TheEmergenceoftheLiteraryScene1

2ThePhenomenonofWen-jenandVJen-t'an28

3LinShu41

4SuMan-shu58

PartTwo.TwoProtagonists

5YiiTa-fu:DriftingsofaLoner81

6YiiTa-fu:VisionsoftheSelf110

7HsuChih-mo:ALifeofEmotion124

8HsuChih-mo:ExultationsofIcarus156

PartThree.TheRomanticLeft

9KuoMo-jo177

10ChiangKuang-tz'u201

11HsiaoChiin222

xin

CONTENTS

PartFour.TheRomanticGeneration:VariationsonaTheme

12TheModernWen-jenandChineseSociety13TheJourneyofSentiment257

14TheRomanticHeritage275

Notes299

Bibliography335

Glossary348

Index353

xiv

PartOneTheSetting

Chapter1

TheEmergenceoftheLiteraryScene

OnFebruary1,1917,Ch*enTu-hsiufirstraisedthebanneroftheLiterary

RevolutioninthepagesofhisHsinch'ing-nien(Newyouth)magazine.What

followedisnowfamiliarhistory.Polemicsweresuccessfullydirectedagainsta

nonetooformidableenemybythe"ArmyoftheLiteraryRevolution/*which

consistedinitiallyofCh*enTu-hsiu,HuShih,andCh*ienHsiian-t'ung.The

vernacularlanguage(pai-hua)graduallycametoenjoynationwideusage,literary

i

journalsmushroomed,andtheso-calledNewLiteraturewasbroughtintobeing.

BeforeNewYouthwasfoundedfirstinShanghaiin1915,thepublishing

industryofthiscityhadatleasttwodecadesofgrowingprosperity.Tofindthe

appropriatesettingforthisexcitingdramaoftheliteraryRevolution—perhaps

themostsplendidfacetoftheMayFourthMovementandoneofitsmost

momentouslegacies—onemustfirstprobeintothepublishingmarketandits

vanguard,journalism.

Treaty-PortLiteraryJournalism

SincetheT'angdynastytherehadexisted,inoneformoranother,akindof

officialnewspaperwhichservedtocommunicateimperial

THESETTING

2

decreesandcourteventsforthecapitalarea.InthelateCh'ingperiod,

especiallyinthelastdecadeofthenineteenthcentury,someunofficialand

semi-officialnewspapershadalsobeenpublished,atthesuggestionof

missionarieslikeTimothyRichard,JohnFryer,andGilbertReid.These

publicationsinPekingoftenprovidedthereform-mindedofficialsandliterati

withareadychannelforvoicingpoliticalopinionsandcommentsandtherefore

4

werebannedsporadicallybythecourt.

Westernmissionariesalsopioneeredindevelopingnonofficialnewspapersin

China.RobertMorrisonsetthefirstexamplebyfoundingin1815theChinese

MonthlyMagazineinMalacca.Foreignlanguagenewspapersandjournals

mushroomedinthesecondhalfofthenineteenthcenturyinthetreatyports,

culminatinginthewidelypopularNorthChinaHeraldofShanghai,foundedin

1850.Shanghaithusbecameoneofthefirstcitiestowitnessthebeginningof

ChinesenewspapersunderthetutelageofWesternmissionariesandjournalists.

WangT'aohadpioneeredsuccessfullyinHongKonginthe1870s.InShanghai,

thetwomostfamousChinesenewspapersattheturnofthecenturywereShen

pao(Shanghainews;foundedin1872)andHsin-wenpao(Newstribune;

foundedin1893),bothofwhichweresupportedinthebeginningbyforeign

5

capital.

In1896,LiangCh'i-ch'aofoundedShih-wupao(Currentaffairs)inShanghai,

thussettingtheprecedentforusingJournalismasthemostpowerfulmedium

6

toinstillnewideasandinstigatesocialandpoliticalchange.Moreover,hewas

notaloneinthefield.In1904,areturnedstudentfromJapan,TiCh'u-ch'ing,

foundedShihpao(Times),whichin1905playedanimportantrolein

promotingtheboycottagainstAmericangoodsinprotestagainstthe

7

unfavorabletreatmentofChineseworkersbyanactofCongress.Asthe

impendingrevolutionwasgatheringmomentum,LiangandTiwerejoinedby

revolutionariesofvariousshades.ChangPing-lineditedthefamousSupao

(Kiangsutribune)inShanghai;whenheandothereditorswerearrestedand

imprisonedin1903othermembersfoundedtheKuo-minjih-jih-pao(National

people'sdaily),towhichSuManshucontributedhisarticles.YiiYu-jen,

anotherrevolutionary,publishedasuccessionoffournewspapers,including

theshort-livedTHEEMERGENCEOFTHELITERARYSCENE

8

Shen-choujih-pao(Chinadaily).WiththefoundingoftheRepublic,more

newspapersjoinedtheranks,thebestknownofwhichwasT'ciip'ing-ycmgpao

(Pacificnews).

Thesetreaty-portnewspapersservednotmerelyaspoliticalweapons;they

alsoprovidedthebreedinggroundforanewgenreofmassliteraturewhich

wasgraduallyemergingaftertheturnofthecentury.Sincetheverybeginning

ofnonofficialjournalism,ithadbeencommonpracticetospiceupnewsitems

withafewpoemsorsomeleisurelycommentsonlocalcustomsandthetheater.

In1897oneoftheShanghainewspapersestablishedaspecialsupplementtitled

"NewsofLeisure/1thususheringinthephenomenonoftheliterarysupplement

(fu-k'an),whichsoonbecamearegularfeatureofallthemajornewspapers.As

moredemandwasfeltinthemarketforliterarysupplements,somemore

enterprisingjournalistsbeganpublishingindependentmagazineswhichwere,

infact,expandedliterarysupplementsnowseparatefromthenewspapers.Li

Pao-chia(Po-yiian)foundedYu-hsipao(Playfulnews)in1897andmore

magazinesfollowed.

Itwasintheseliterarysupplementsand"littlemagazines"thatthenew

"massliterature"burgeonedandprospered.Editedbyahybridgroupwho

mightbecalledjournalist-litterateurs—menwhohadaninklingofWestern

literatureandforeignlanguagesbutamoresolidbackgroundintraditional

Chineseliterature-thesepublicationsfeaturedaplethoraof

pseudo-translations,poetry,andessayswhich,althoughclaimingtoawaken

thesocialandpoliticalconsciousnessofthepeople,servedalsothepurposeof

entertainment.

Theideaofmassliteraturemagazinesaswellastheirideological

window-dressingwasobviouslytakenfromLiangCh'i-ch'ao,whoin1903had

foundedtheinfluentialHsinhsiao-shuoNewfiction).Bywayofaninaugural

manifesto,Liangpublishedhiscelebratedessay,"OntheRelationshipbetween

FictionandPeople'sSovereignty."DrawinguponexamplesfromtheWest,he

assertedforcefullythatthenovelperformedacrucialfunctioninrenovatingthe

io

social,political,religious,andmoralconditionsofanation.Thecontentsof

Hsinhsiao-shuopresentedaninterestingmixtureoffictioncarryingpolitical

andsocialmessages,plays,poetry,songs,andtranslationsof

THESETTING

Westernsciencefictionanddetectivestoriesofdoubtfulquality.Theportraits

ofTolstoy,Hugo,Byron,Shelley,Goethe,Schiller,Maeterlinck,andthe

Polishromanticwriter,HenrykSienkiewicz(18461916)appearedonthefront

ii

pagesofitsissues,althoughnotranslationsfromtheirworkswereattempted.

ItwasinthisimportantmagazinethatLinShulaterpublishedhistranslations

ofH.RiderHaggardandsomeofthemosttalentedtreaty-port

journalist-litterateursmadetheirdebuts.WuWo-yao(Yen-jen),perhapsthe

bestknownofthem,wroteamasterpieceofsocialandpoliticalsatire,Erh-shih

menmu-tuchihkuaihsien-chuang(Strangethingswitnessedintwentyyears).

LiPao-chia,editorofthefortnightlyHsiu-hsianghsiao-shuo(Illustrated

fiction),hadnotonlyperfectedthetraditionalsatiricalstoryinsuchserialized

favoritesasKuan-ch'anghsien-hsingchi(Exposesofofficialdom),Wen-min^

hsiao-shih(Shorthistoryofmoderntimes),andHuoti-yii(Livinghell)but

alsodabbledintranslationsandpopularizedWesternhistory,suchasT'ai-hsi

li-shihyen-i(PopularexplanationofWesternhistory;yen-iwasacommon

termintraditionaltitlesofchivalricorhistoricalfiction).Athirdman,Chou

Kuei-sheng,whocollaboratedwithWuWo-yaoineditingYueh-yiieh

hsiao-shuo(Monthlyfiction),wasalsoapioneertranslatorwhoseworks

included,amongmanyothers,SirArthurConanDoyle'sSherlockHolmes

stories,TheArabianNights,andAesop'sFables.

Thesewriterswrotefeverishlyinordertomeetdeadlinesandprofuselyto

makemoney.Itwasbynomeansuncommontofindthattheeditorofa

magazinewastheauthorofeverypieceinanentireissue.Theworksofsuch

writersreachedawideaudience:theliterateorsemi-literatesegmentsofthe

urbanpopulation.

Thepopularityofthesejournalist-litterateursandtheirnewbrandof

treaty-portliteraryjournalismrepresentedaphenomenonofgreathistorical

significance.Longbeforethemodernvernacularliteratureappearedwiththe

LiteraryRevolution,ahalf-modernizedformofmassliteraturehadalready

sneakedontothetreaty-portscenethroughthebackdoorofjournalism.With

theproliferationofliterarysupplementsattachedorunattachedtonewspapers

andtheirgrowingreadingpublic,amarkethadalreadybeenestablishedforthe

MayTHEEMERGENCEOFTHELITERARYSCENE

FourthpractitionersofNewLiterature.Moreover,thetreaty-port

journalist-litterateurs,intheirarduouseffortstomakemoney,hadalso

managedtoestablishanewprofession.Theircommercialsuccessprovedthat

literatureasavocationwasnotonlypossiblebutalsolucrative.Itremainedfor

theirMayFourthsuccessorstoestablishfurthertheconventionthattobea

literarymanwasnotonlyeconomicallyfeasiblebutalsosociallyprestigious.

JournalismandLiteratureintheMayFourthEra

WhenCh'enTu-hsiutalkedaShanghaipublisherintofundinghisnew

journal,mostoftheliterarysupplementswerestillunderthecontrolof

journalist-litterateurs.BythefirstdecadeoftheRepublic,themostpopular

genreofmassliteratureaspracticedbythemhaddegeneratedfromsocialand

politicalreformismtowhatcametobeknownastheSaturdaySchoolof

13

"Butterfly"fiction.Theliterarysupplementsofthethreemajornewspapersin

Shanghai—Shenpao,Hsin-wenpao,andShihpao—wereundertheeditorship

ofsuchSaturdaylitterateursasChouShou-chiian,ChangHen-shui,YenTu-ho,

HsuChen-ya,andPaoT'ien-hsiao.Theirstoriesof"talentmeetsbeauty"vied

forattentionandpopularitywithdetectivestories,pseudo-translations,and

moresentimentalfictionwrittenbyotherjournalist-litterateursandprintedina

hostofpopularsemi-literarymagazines—Yiieh-yiiehhsiao-shuo,Hsiaoshuo

Un(Forestoffiction),Hsiao-shuoshih-chieh(Worldoffiction),Hsiu-hsiang

hsiao-shuo,'Hsiao-shuoshih-pao(Fictionnews),Hsiao-shuoyiieh-pao

,14

(Fictionmonthly).Allenjoyedlargecirculations.Tocompetewithsuch

establishedpublicationswasnoeasymatter.

AsNewYouthraisedtheclarion-callforNewLiterature,theauthorsneeded

morechannelstopublicizetheircauseandtotrytheirpens.Fortunately,they

foundripesoilinthreeinfluentialnewspapers.InShanghai,theKuomintang's

Min-kuojih-pao(Republicdaily)lentitssupportviaitsliterarysupplement

Chueh-wu(Awakening),inwhichoneofthenewlyestablishedmodem

Chinesepoets,LiuTa-pai,firstexperimentedwithhissemi-vernacularlove

poetry.NotablecontributorstothesupplementincludedTs*aiYiian-p'ei,Hu

Shih,

THESETTING

18

ChouTso-jen,LuHsiin,KuoMo-jo,JohnDewey,andBertrandRussell.New

LiteraturefoundanotheroutletinHsiieh-teng(Academiclamp),establishedin

March1918asaliterarysupplementtotheShihshihhsin-pao(TheChina

times),anorganoftheYen-chiuhsi(Politicalstudiesclique),whichwas

composedofLiangCh'i-ch'ao'sfollowers.Itsfirsteditor,TsungPai-hua,

becameKuoMo-jo'sgoodfriendthroughcorrespondenceandpropelledKuo

tonationwidefamebypublishingeverypoemwhichKuosenthim.YiiTa-fu's

earlywork,"Silver-greyDeath'1wasalsofirstserializedinHsiieh-teng.In

1921anotherliteraryjournal,Wen-hsiiehhsiXn-k'an(Ten-dayliterary

publication),editedbyChengChen-towithcontributionsfrommembersofthe

newlyfoundedAssociationforLiteraryStudies,beganpublicationasanother

supplementtothisnewspaper.Thusitcanbesaidthattheearlytalentsofthe

twomostimportantliteraryorganizationsinthe1920s—LiteraryStudies

AssociationandtheCreation

Society—werenourishednparasiticallynbythispowerfuljournalisticorganof

LiangCh'i-ch'ao.

ThethirdchampionforNewLiteraturewastheCh'en-pao(Morningnews)

ofPeking.Thetremendousprestigeandinfluenceofitsliterarysupplement

wasduetotheeffortsofonededicatedlitterateur,SunFu-yiian,whoderisively

17

calledhimself"awriterwithoutworks."Withproselytizingzealhe

championedtheworksofnewwritersinthePekingarea,especiallythoseof

theChoubrothers—LuHsiin(ChouShu-jen)andChouTso-jen.LuHsiin's

"TrueStoryofAhQ"wasfirstserializedinthissupplement.In1923Sun

resignedabruptlyinafitoftemperoverLuHsiin'ssatiricalpoem,"My

UnrequitedLove,"whichwastakenoutbyanothergeneraleditorwithout

18

Sun'spriorconsentasitwasreadyforprint.Butthereputationofthis

prestigiousjournalremainedandin1925reachednewheightsofgloryunder

theeditorshipofHsuChih-mo.AfterSunFu-yiianleftCh'en-pao,hetookover

theliterarysupplementoftheChing-pao(Capitalnews)inPekingandturnedit

intoanotherbastionofNewLiterature.

Withthepioneeringeffortsofthesethreenewspapers,otherssoonfollowed

suit.Hundredsof"literarysupplements"andmagazineswerefounded

19

specificallyforthepropagationofNewLiterature;THEEMERGENCEOF

THELITERARYSCENE

otheralreadyexistingoneswerewrestedfromthehandsoftheSaturday

SchoollitterateursandtransformedforNewLiterature.Hsiaoshuoyiieh-pao,

publishedbytheCommercialPressandanestablishedarenaforButterfly

fiction,wastakenoverin1921bytheAssociationforLiteraryStudiesand

madeintooneofthemostpopularjournalsofNewLiterature.Theliterary

supplementoftheShenpao,Tzu-yutan(Randomtalk),underwentasimilar

transformation.Thustheoldstagewhichhadbeenconstructedbythe

journalist-1itterateurswasdecoratedanewandnewactswereperformed.

ThePeking"Aggregate”

Alongwiththemushroomingofliteraryjournalscamet