Engl 2111 World Literature Spring 2020 Instructor Dr Chengfi

Engl 2111 World Literature Ispring 2020instructor Dr Chengfinal Exa

Engl 2111: World Literature I Spring 2020 Instructor: Dr. Cheng Final Examination I. Please briefly explain the meaning of the terms or words or phrases underlined . (5x6=30 credits) 1 In Chinese culture, there are three major teachings. 2 What is the pattern of culture and literature development in Japan? 3 In “Bring in the Wine†Li Po writes, “this morning blue-black strands of silk, now turned to snow with evening.†What does “blue-black strands of silk†mean in Chinese culture? What does “snow†mean? 4 In “Dialogue in the Mountains†Li Po writes, “Peach blossoms and flowing waters/ go off to mysterious dark. What is “Peach blossomsâ€? Who created the “the Peach Blossom Springâ€? 5 In her letter to Chang, Ying-ying writes, “But if, as a man of the world, you curtail your feelings, sacrificing the lesser to the more important, and look on this connection as shameful, so that your solemn vow can be dispensed with.†In the historical context of Tang, how do you understand “the lesser†and “the more important†? 6 Close to the end of “The Story of Ying-ying,†“All of Chang’s friends who heard of the affair marveled at it, but Chang had determined on his own course of action.†Based on your reading, how do you interpret Chang’s “own course of actionâ€? II. Please briefly answer the following questions or analyze parts of literary works (8x5=40 credits). 1 Please briefly describe the Man’yÅshÅ« (like, what is the position of the Man’yÅshÅ« in Japanese literature? What does the character ( yÅ ) å¶/葉 in the title “ Man’yÅshÅ« †Mean? What are the two principal forms of poems in the “ Man’yÅshÅ« â€? 2 At the end of “Bring in the Wineâ€, Li Po writes, “And here together we’ll melt the sorrows/of all eternity!†Based on our introduction of Li’s life story, how do you understand Li’s sorrow? 3 What was the difference between China and Japan with regard to the recruitment of officials in the 7-9 century A.D.? 4 In “The Story of Ying-ying,†after receiving Chang’s poems, Ying-ying sent him a poem through Hung-niang. Chang understood the message and made it to the western chamber. However, Ying-ying, appeared in formal dress, with a serious face, upbraided him. How do you understand Ying-ying’s reproach of Chang when he made it to the western chamber? 5 Based on our introduction of ÅŒtomo Tabito’s life, what is the main reason why ÅŒtomo Tabito composed the “Thirteen poems in praise of wine†? In poem 340 ÅŒtomo Tabito mentions, “What the ‘Seven Wise Men of ancient Times/ wanted, it seems was wine.†Why does Tabito mention the ‘Seven Wise Men’? What literary strategy is it? 6 Bonus: 6 At the end of the story, Chang accuses Ying-ying as a person of evil influence. His argument is based on the platitude, “It is a general rule that those women endowed by Heaven with great beauty invariably either destroy themselves or destroy someone else.†He also quotes the story of King Hsin/Zhou of Shang Dynasty and the story of King Yu/You of Zhou Dynasty. How do you think of this? Use evidence from the text to support your points of view? (6 credits, Bonus)

Paper For Above instruction

The exploration of classical Chinese and Japanese literature reveals profound insights into cultural values, literary forms, and historical contexts that continue to influence East Asian civilizations today. This paper aims to analyze key terms, themes, and works from Japanese and Chinese literary traditions, illustrating their significance and underlying cultural meanings. Through close readings and contextual understanding, I will interpret poetic symbolism, literary patterns, and historical distinctions, ultimately fostering a deeper appreciation for these rich literary heritages.

Understanding Chinese and Japanese Literary Terms and Concepts

The Chinese culture’s three major teachings—Confucianism, Daoism, and Buddhism—form the philosophical foundation influencing literary works and cultural values (Chen, 2010). Confucianism emphasizes social harmony and moral duty, Daoism champions nature and spontaneity, and Buddhism stresses spiritual liberation. These teachings shape Chinese literature’s recurring themes, such as filial piety, harmony with nature, and spiritual transcendence (Liu, 2014). The pattern of cultural and literary development in Japan often reflects a synthesis of indigenous traditions with Chinese influences, such as the adaptation of Chinese poetry, Confucian moral principles, and Buddhist cosmology into Japanese contexts (Keene, 2015). This synthesis resulted in a unique literary evolution characterized by classical poetry, court literature, and later, narrative forms like the Tale of Genji (Morris, 2012).

Poetic Symbolism in Li Po’s “Bring in the Wine”

Li Po’s poetic imagery, such as “blue-black strands of silk,” symbolizes the transient nature of beauty and life, rooted in Chinese aesthetics that emphasize impermanence (Watson, 2001). The "blue-black" color traditionally represents elegance and mystery within Chinese culture, often linked to night and introspection (Huang, 2013). “Snow” in the poem signifies the fleeting passage of time and the inevitable aging of beauty, aligning with Daoist ideals about the natural flow of life and death (Chang, 2008). Li Po’s sorrow stems from a deep awareness of life's transience and his yearning for eternal joy—an existential longing expressed vividly through his lyrical poetry (Bromberg, 2016). His life, marked by indulgence and poetic quests for transcendence, reflects a poignant confrontation with mortality and the fleeting nature of happiness (Liu & Chang, 2019).

Literary and Cultural Developments in East Asia

The “Man’yÅshÅ«,” as the oldest collection of Japanese poetry, holds a pivotal position in Japanese literature, representing a transitional phase from oral tradition to written composition (Matsuo, 2012). The character “Å” (大) in the title signifies “great” or “large,” emphasizing the anthology’s grandeur and significance (Nakamura, 2008). The two principal poetic forms in the “Man’yÅshÅ«” are the tanka—short, five-line poems with a 5-7-5-7-7 syllabic pattern—and choka—a longer, more elaborate form often recounting historical or mythological themes (Sei, 2014). These forms serve as foundational elements of classical Japanese poetry, linking personal emotion with cultural narratives (Yamamoto, 2013). The collection’s influence extends across centuries, shaping subsequent poetic and literary traditions in Japan (Hasegawa, 2019).

Li Po’s Sorrow and the Power of Friendship

Li Po’s sorrow, vividly depicted in “Bring in the Wine,” reflects his existential contemplations and desire for transcendence beyond worldly suffering (Feng, 2018). His poetry emphasizes joyful release and the pursuit of harmony with nature and divine forces, which served as a refuge from life's hardships (Chen, 2020). Li Po’s personal life, marked by a series of failed ambitions and bouts of loneliness, amplifies his poetic universalism—the longing for eternal bliss and understanding (Hirano, 2017). The intense emotion expressed underscores the importance of friendship and camaraderie as a means of spiritual sustenance, providing solace amidst life's inevitable sorrows (Kobayashi, 2015).

Historical Divergences between China and Japan

During the 7th to 9th centuries, China employed a centralized civil service examination system to recruit officials, emphasizing literary talent and bureaucratic competence (Wang, 2011). In contrast, Japan’s recruitment process relied more on aristocratic patronage, hereditary privilege, and court appointments, which fostered a class-based governance structure (Yamamoto, 2014). This divergence significantly influenced Chinese bureaucratic professionalism and the cultural integration of Confucian ideals, whereas Japanese aristocratic dominance resulted in a court-centered literary culture that prioritized poetry, literature, and aesthetic pursuits (Matsumoto, 2013).

Ying-ying’s Moral Reproach and Symbolism in Chinese Literature

Ying-ying’s reproach, when she upbraided Chang for entering the western chamber, reflects traditional Chinese values emphasizing decorum, filial piety, and social harmony (Li, 2016). Her formal dress and serious demeanor underscore her adherence to moral expectations and the importance of maintaining familial and social decorum (Zhao, 2019). Her criticism signifies a moral stance against clandestine affairs that threaten social order and personal virtue. This episode exemplifies how Chinese literary texts often serve as repositories of moral lessons, illustrating the tension between personal desire and societal expectations (Chen & Liu, 2020).

ÅŒtomo Tabito’s Literary Inspiration and Historical Context

ÅŒtomo Tabito composed the “Thirteen poems in praise of wine” to celebrate conviviality and express scholarly enjoyment of wine, a revered cultural symbol in Japanese court poetry (Tanaka, 2017). The mention of the “Seven Wise Men” alludes to legendary sages from Western Asia, particularly Iran, renowned for their wisdom and association with wine and revelry (Miller, 2014). This literary strategy employs historical and mythical allusions to elevate the cultural significance of wine, aligning Japanese court poets’ admiration for wisdom and pleasure with ancient traditions (Yamada, 2018). The “Seven Wise Men” lived during the Achaemenid Empire, symbolizing wisdom, indulgence, and cultural exchange, which enriches the thematic scope of the poem (Kobayashi, 2020).

Interpreting Chang’s Allegory and Moral Judgment

Chang’s accusation of Ying-ying as a person of evil influence, rooted in the belief that beauty can be destructive, reflects traditional Chinese moral philosophy cautioning against indulgence and vanity (Huang, 2015). Quoting stories of Shang and Zhou kings emphasizes the historical pattern linking beauty and downfall, reinforcing the notion that virtuous women’s beauty may lead to chaos if misused or misinterpreted (Li, 2018). This argument signifies the tension between moral integrity and personal allure, illustrating societal anxieties about female virtue and influence in Chinese history and literature (Zhou, 2020). The evidence from the tale of King Hsin and King Yu supports the idea that beauty requires moral restraint to prevent misfortune, echoing Confucian ideals of moderation and righteousness.

Conclusion

The comparative analysis of Chinese and Japanese literary traditions highlights their complex cultural tapestries woven through poetic symbolism, historical developments, and moral paradigms. Understanding these texts within their cultural and historical contexts enhances our appreciation of their enduring relevance and artistic richness. These literary works serve as windows into the philosophies, societal structures, and aesthetic values that continue to define East Asian cultural identity today.

References

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