The Columbia Sourcebook of Literary Taiwan

Sung-sheng Yvonne Chang, Michelle Yeh, Ming-ju Fan

• Publisher: Columbia University Press
• Year: 2014
• ISBN:
  9780231537544
• Topic: Littérature
• Subtopic: Critique littéraire asiatique

This sourcebook contains more than 160 documents and writings that reflect the development of Taiwanese literature from the early modern period to the twenty-first century. Selections include seminal essays in literary debates, polemics, and other landmark events; interviews, diaries, and letters by major authors; critical and retrospective essays by influential writers, editors, and scholars; transcripts of historical speeches and conferences; literary-society manifestos and inaugural journal prefaces; and governmental policy pronouncements that have significantly influenced Taiwanese literature.

These texts illuminate Asia's experience with modernization, colonialism, and postcolonialism; the character of Taiwan's Cold War and post–Cold War cultural production; gender and environmental issues; indigenous movements; and the changes and challenges of the digital revolution. Taiwan's complex history with Dutch, Spanish, and Japanese colonization; strategic geopolitical position vis-à-vis China, Japan, and the United States; and status as a hub for the East-bound circulation of technological and popular-culture trends make the nation an excellent case study for a richer understanding of East Asian and modern global relations.

PART I

The Beginnings and Entry Into Modernity Through Colonial Mediation (1728–1948)

The first four entries in this section represent the earliest discourse on literature in Taiwan in the eighteenth and early nineteenth centuries. In language, form, and literary convention, they embodied a continuation of the classical Chinese tradition, which would be carried into the twentieth century, when a clash with the emergent modern literature was inevitable.

The majority of entries in this section come from the period of Japanese colonization (1895–1945). In the mid-1920s, a vigorous modern literary movement was launched, which initially emphasized replacing classical Chinese with the modern vernacular, either Mandarin or Taiwanese (Hoklo).

By the latter half of the 1930s, however, the main linguistic medium employed by Taiwanese authors was Japanese—the colonizer’s language. The inherent tension between linguistic assimilation and cultural resistance created an identitarian complex that not only did not go away but was exacerbated when Taiwan was reunited with China in 1945.

1. Preface to Volume 1 of Jade Ruler Between Sky and Sea

XIA ZHIFANG

… Taiwan is a beautiful place where mountains and oceans meet. An island of singular peaks in the midst of a vast ocean, it is permeated with an air of profundity and magnificence. Where there is a concentration of divine spirituality, there are bound to be men of elegance and refinement. Besides, in recent years [Taiwan] has benefited from the imperial policy of peace and edification; through ever-deeper immersion, it has been transformed by the Way. Every household is versed in music and poetry; people elevate themselves and contribute to the flourishing of literature and arts. Of the four social classes, scholars are the leaders; their integrity or depravity determines the moral climate. Now that culture is flourishing in the prefecture of Taiwan, why worry about a lack of talent? If talent is not fully developed, it is flawed by impurity and inferiority. Confucius once said: “Scholars must first develop moral character and foresight before they engage in literature and arts.” If a scholar is immoral but world famous for his literary embellishments, not only is it not beneficial, but it is in fact detrimental, to the people.

When the prefecture of Taiwan was first established, preliminary civil service exams had to rely on such interior prefectures as Zhangzhou and Quanzhou. Recently, the emperor issued a decree that the practice be abolished and only those born in Taiwan be enrolled in schools in this land. This indicates the sincere intention of the Illustrious Court to develop the frontier. Men of the Taiwan Prefecture, whose refinement has come from the beautiful mountains and seas, should feel encouraged and not exclude themselves from the recruitment of talent so as to repay the emperor’s grace. Liu Zongyuan [773–819] said: “It is only through fine writing that one repays the country.” Born into a time of prosperity and justice, scholars should engage in learning and moral cultivation, so they produce writings that are useful and valuable. Moreover, they should educate students and enlighten village folks with poetry and music, so the air of harmony and goodness fills the vast sky and the green mountains. Rising upward, it promotes peace and excellence; downward, it transforms societal customs. Such is the earnest hope of the officials. Taking the responsibility of observing and edifying societal customs is how they repay the emperor.

Now that the exams have concluded, I select writings of exceptional elegance and publish them in this volume. I make this proclamation not only to present the writings but also to inform the people of Taiwan.

Newly Compiled Archives of Taiwan Prefecture (Record of Literature and Arts), ed. Fan Qian and Liushiqi, annotated by Chen Weizhi (Taipei: Yuanliu Publishing, 2005), 834, translated by Michelle Yeh.

2. Preface to Collection of Coral Branches

ZHANG MEI

What is Collection of Coral Branches? It is the name for the literary writings by men from east of the ocean. What are coral branches? They are branches of coral reef. The ocean is so vast that it contains everything; the rarest treasures in the world are all found within. Why coral? Did not Du Fu say: “On the wind the Royal Attendant rides / Literary brilliance like a coral branch”? To compare literature to coral is to confer high value on it and at the same time to suggest its difficulty. Difficulty lies in the [harvesting of coral] branches. What about them? It is said: “Coral branches live at the bottom of the sea. They turn yellow when they are one year old, red when they are three. To harvest them, fishermen must use iron nets. They cannot be harvested before their time, and they rot when the time is past.” Therefore, coral harvesting, like literature, is considered a difficult task.

Taiwan is an island surrounded by the ocean and isolated from the world. For sixty years, it has been basking in the glory of divine edification; dimness has given way to light. Many men in the marine territory display fine literary talent. In earlier times, there were no writings to collect, because the coral reef had yet to put forth branches. If I don’t collect them now, I am afraid I will miss the time for harvesting them. However, does this mean that no one has collected writings [in Taiwan] thus far? The answer is no. In the sixth year of the Yongzheng reign [1728], Royal Attendant Xia Yunzhuang [a.k.a. Zhifang] of Gaoyou collected them under the title Jade Ruler Between Sky and Sea. “Jade ruler” means that Yunzhuang is excellent in assessing talent.

Following in his footsteps, I have tried my best, even though I may not be up to the task. Although I dare not call myself a ruler, I consider myself a net that gathers talents. I am pleased to present these pieces of precious jade for the world to share. In compiling this collection, I am also realizing Yunzhuang’s wish. Therefore, I pen this preface.

Newly Compiled Archives of Taiwan Prefecture (Record of Literature and Arts), ed. Fan Qian and Liushiqi, annotated by Chen Weizhi (Taipei: Yuanliu Publishing, 2005), 834, translated by Michelle Yeh.

3. Preface Number 5 (by the Author)

ZHANG FU

Poetry arises from emotion. In my youth, I was enamored of poetry; in adulthood, I wrote poems on many topics; now in old age, I have not stopped chanting poetry. I have no idea why I have sustained the passion for six decades. I used to think my life would be complete if I could travel around the country and express my feelings along the way like the poet Mr. Huang Wuye [1524–1590]. It is a pity, however, that I always threw up when I was aboard a ship. After exhausting myself by embarking on three voyages to take the civil service examinations [on the mainland], I never traveled west again. I was thirty-two years old then. Now in my old age, I regret that I have never traveled beyond central Fujian. I have allowed all my expressions of feelings and descriptions of scenes to go to waste. It was only when my students raised the concern that my poems would all be lost that they began to select some from my extant writings. They compiled them in a collection and asked me to name it before it went to the press.

I only express what I feel at any given moment; it is as spontaneous as an insect chirping in autumn or a bird singing in spring. How can I call that poetry and what should I name the collection? The only reason to publish these shallow words of mine is to recover my true self. My style name is Half Pine; this is what I will call the collection. Readers to come will know that there was someone on the east of the coast of Fujian who expressed his heart and soul in poetry, even though he knew not why he was so enamored of it.

Recorded by Zhang Fu of Shenyou on the Sixteenth Day of the Third Month in the Twenty-First Year of the Jiaqing Reign [1816]

A Short Compilation of Half-Pine Collection (Nantou: Archives Committee of Taiwan Province, 1997), 11, translated by Michelle Yeh.

4. Ars Poetica

LIN ZHANMEI

Is there no poetry besides that of Du Fu and Su Dongpo?

It is self-deception to draw a line between the Song and the Tang.

Why bother looking for immortals on the Isles of the Blessed?

One finds a teacher whenever one meets compatible temperament.

Complete Poems of Taiwan, 7 vols., ed. Shi Yilin (Tainan: National Museum of Taiwan Literature, 2008), 213, translated by Michelle Yeh.

5. Elucidating the Meaning of Literature

XIE XUEYU

When it comes to the meaning of literature, views differ, and there has been no consensus in China since antiquity. In Japan or Western countries, it has a variety of meanings too. Literary language in my country has a long history. The word “literary” (wen) contrasts with “martial” (wu); it is also the collective term for learning, as seen in this statement by Emperor Wen [187–226] of the Wei dynasty: “Literary writing is a grand enterprise of governing the world and a noble endeavor of lasting value.” To give a recent example, in Japan before 1885, the educational structure of the Imperial University offered “literary disciplines,” which included law, economics, and political science. This shows how “literature” was defined then.

It goes without saying that language is different from literature; the same applies to books, which are different from literature. By the same token, mathematics is different from literature, so is politics. The differences are obvious. Yes, since antiquity literature has often been confused with language. Everything in writing may be treated as literature. Webster’s Dictionary defines literature in the broadest sense to encompass everything that is based on observation, intellect, and imagination, and is preserved in writing, including all books in print. The only exception is publications of experimental science. Sometimes, the word refers to a branch of literature. Belles lettres refers to graceful and zesty writing or writing rich in feeling—such as poetry—which is distinguished from historiography and the like. In addition, abstract expositions and scholarly treaties are excluded. These definitions, however, are passive and far from complete.

Perhaps it is appropriate to define literature more narrowly. In his introduction to A History of European Literature, Dr. Morell defines literature as all writings, except those related to particular sciences and technologies.¹ Although this definition is more precise, it is still possible to mistake interesting diaries and records for literature.… Needless to say, statistical tables, legal documents, mathematical formulas, and so on cannot be called literature, but what the world commonly views as literature, such as historical biographies and critical studies, cannot be regarded as literature either. Keiro Shingu says that writing can be divided into the scientific and the poetic. But the so-called scientific writing and poetic writing are differentiated based on content, not on form. Poetic writing appeals to the imagination, whereas scientific writing appeals to the intellect. This is the basic distinction. Poetic writing appeals to the imagination and moves people through emotion, whereas scientific writing appeals to the intellect and induces people to evaluate their theses. What Shingu calls poetic writing is equivalent to literature and is still applicable today. This definition is based on an extreme comparison, for example, comparing poetry with mathematics. Although their difference is clear, there is still room for ambiguity. Thus, when it comes to the definition of literature, there is always confusion. When it comes to defining the boundary of literature, it is always difficult.

Narrowly defined, literature is that which appeals to human emotions, expresses the beauty of human thought, and instills in humans universal feelings and ideas. It may also be called pure literature to distinguish it from literature in the broader sense. The latter includes biography, philosophy, and literary criticism.… Narrowly defined literature is poetry, which includes narrative poetry, lyric poetry, and poetic drama. In terms of form, poetry can be divided into prose poetry and rhymed poetry. In terms of substance, literature can be divided into hard and soft, pure and popular. Philosophy, biography, criticism, and the like are hard literature. Soft literature can also be called light literature.

Taiwan Daily News (Chinese edition), iss. 2847 (October 28, 1907), translated by Michelle Yeh.

NOTE

1. J. R. Morell, A History of European Literature (London: T. J. Allman, 1874).

6. Congratulations on the Founding of the Taiwan Literary Society

WEI QINGDE

That which one intends to articulate and comes forth from the mouth are spoken words. However, spoken words are inadequate for reaching into the past and the present and illuminating both. That is why writing comes into being. Writing replaces the mouth with the brush as the vehicle; it replaces the listening ear with the observing eye. Thus, spoken and written words complement one another and expand the horizon of world literature.

… Every time I read the history of evolution, I cannot help sighing over the fact that writing is a powerful pioneer. When it comes to writing, unity and lucidity are important so as to illuminate all without any regret. East Asian cultures are largely unified by the Chinese script, but there are diverse spoken languages, which are narrowly confined and mutually unintelligible. To abolish the Chinese script is to abandon East Asian thought. Buddhism states that one cannot be liberated when the true self is hidden. Barbaric peoples did not lack spoken languages, but their writing systems were incomplete, and as a result they could not spread their cultures, living forever in the dark without a dawn. However, the Chinese script is not perfect either; compared with European languages, it is less precise and cannot elucidate all things. If we add scientific terms from abroad and translate them into Chinese, we will succeed in introducing modern culture with all of i...