Chinese poetry

Chinese poetry is the most highly regarded literary genre in China. Traditionally, it is divided into shi (詩), ci (詞) and qu (曲). There is also a kind of prose-poem散文 called fu (賦). During the modern period, there also has developed free verse in Western style. All traditional forms of Chinese poetry are rhymed, but not all rhymed texts in ancient China are classified as poetry - for instance, lines from I Ching 易經 are often rhymed, but it is not considered poetry.

Early poetry

There could have been a number of important anthologies 詩集 of early poetry in ancient China, but since the burning of books by Qin Shihuang 秦始皇, the earliest extant anthologies are the Shi Jing and Chu Ci, dating to the Spring and Autumn Period 春秋時代 and the Warring States Period 戰國時代 , respectively.

Shi Jing (詩經 "Classic of Poetry") was the first major surviving collection of Chinese poems, collecting both aristocratic poems (Odes頌) and more rustic鄉土 poetry, probably derived from folksongs (Songs). They are mostly composed of four-character (四言) lines.

A second, more lyrical and romantic anthology was Chu Ci (楚辭 "Songs of Chu"), made up primarily of poems ascribed to Qu Yuan 屈原 and his follower Song Yu 宋玉. These poems are composed of lines of irregular lengths, in the style prevalent in the state of Chu.

Classical poetry

During the Han Dynasty漢代, the Chu Ci-type of lyrics evolved into fu 賦. During the Six Dynasties, fu remained a major poetic genre, and together with shi formed the twin generic pillars of Chinese poetry until shi began to dominate during the Tang dynasty唐.

From the Han Dynasty onwards, a process similar to the origins of Shi Jing produced the yue fu (樂府 "Music Bureau") poems. Many of them are composed of lines of five-character (五言) or seven-character (七言). These two forms of shi were to dominate Chinese poetry until the modern era. They are divided into the original gushi and jintishi. The latter is a stricter form developed in the early Tang dynasty with rules governing the structure of a poem. The greatest writers of gushi 古詩and jintishi 近體詩are often held to be Li Bai and Du Fu respectively.

Towards the end of the Tang dynasty, the ci lyric became more popular. Ci are literally new lyrics made up to fit to pre-existing tunes. Each of the tunes had music that was often lost, but retained a metre unique to the tune. Thus, each ci written is labelled "To the tune of [Tune Name]" (調寄[詞牌]), fits the metre and rhyme of the tune, and may or may not have been sung. Most closely associated with the Song Dynasty, ci most often expressed feelings of desire, often in an adopted persona, but the greatest exponents of the form (such as Li Houzhu and Su Shi) used it to address a wide range of topics.

As the ci gradually became more literary and artificial after Song times, Chinese Sanqu poetry (散曲), a freer form, based on new popular songs, developed.

After the Song Dynasty, both shi and ci continued to be composed until the end of the imperial period, and to a lesser extent to this day. However, for a number of reasons, these works have always been less highly regarded than those of the Tang dynasty in particular.

Later classical poetry

Firstly, Chinese literary culture remained in awe 敬畏 of its predecessors: in a self-fulfilling prophecy, writers and readers both expected that new works would not bear comparison with the earlier masters. Secondly, the most common response of these later poets to the tradition which they had inherited was to produce work which was ever more refined and allusive含典故的; the resulting poems tend to seem precious or just obscure to modern readers. Thirdly, the increase in population, expansion of literacy, wider dissemination of works through printing and more complete archiving vastly increased the volume of work to consider and made it difficult to identify and properly evaluate those good pieces which were produced. Finally the 1920s saw the rise of vernacular本地話,方言 literature, particularly opera and novels, which increasingly became the main means of cultural expression.

Modern poetry

Modern Chinese poems (新詩 "new poetry") usually do not follow any prescribed pattern. Poetry was revolutionized after the May Fourth Movement when writers try to use vernacular styles closer to what was being spoken (baihua 白話) rather than previously prescribed forms. Early 20th-century poets like Xu Zhimo 徐志摩 , Guo Moruo 郭沫若 and Wen Yiduo 闻一多 sought to break Chinese poetry from past conventions by adopting Western models; for example Xu consciously follows the style of the Romantic poets with end-rhymes.

In the post-revolutionary Communist era, poets like Ai Qing 艾青 used more liberal running lines and direct diction, which were vastly popular and widely imitated.

In the contemporary poetic scene, the most important and influential poets are in the group known as Misty Poets, who use oblique allusions and hermetic references. The most important Misty Poets include Shu Ting舒婷, Bei Dao北島, Gu Cheng顾城, Duo Duo多多, and Yang Lian杨炼, most of whom were exiled after the Tiananmen Square protests of 1989. A special case is the mystic poet Hai Zi海子, who became very famous after his suicide.

Modern Chinese poems (新詩 vers libre) usually do not follow any prescribed pattern. Bei Dao is the most notable representative of the Misty Poets, a group of Chinese poets who reacted against the restrictions of the Cultural Revolution. The work of the Misty Poets and Bei Dao in particular were an inspiration to pro-democracy movements in China. Most notable was his poem "Huida" ("The Answer"), which was written during the 1976 Tiananmen demonstrations in which he participated. The poem was taken up as a defiant anthem of the pro-appeared on posters during the Tiananmen Square protests of 1989.

Xu Zhimo is a romantic poet who loved the poetry of the English Romantics like Keats and Shelley. He was one of the first Chinese writers to successfully naturalize Western romantic forms into modern Chinese poetry.

CHINESE NEW POETRY and Tagore

TAGORE’S INSPIRATION IN
CHINESE NEW POETRY



Tan Chung

The arrival of Tagore in international literary scene just preceded China’s New Cultural Movement in the wake of the student demonstrations on May Fourth, 1919. Which is thus known as the May Fourth Movement. An important thrust of this movement was to launch a new literature called “baihua wenxue” (colloquial literature). While it was relatively easy to develop a new colloquial prose literature because of the existence of famous classical novels the language of which was already colloquial enough to serve as a model, the task of building up a new poetry was hard as there had been no genre of colloquial poetry in Chinese literature to be emulated. Tagore was a godsend to the pioneers of China’s new poetry.

That Chinese poetic genii should focus their attention on Tagore is easy to explain. First, Tagore won the Nobel Prize by his masterpiece of poetry, and his Gitanjali and The Crescent Moon have won ovation in the poetic circles of the world even including Britain - the leader of modern poetry at that time. Second, Tagore was a fellow-Asian, hence his symbolism sounded more familiar and attractive to Chinese writers. Third, Tagore’s example of being a writer of a humble, defeated culture risen to the fore-front of world literature was all the more inspiring to those who were searching for a new form of Chinese poetry in order to create a new Chinese culture so that the nation could keep abreast with the modern world. Fourth, Tagore’s visit to China in 1924 and the “Tagore wave” created by this visit also contributed to the writers’enthusiasm in emulating Tagore.

Tagore’s influence on Chinese intellectual trend was highlighted by the rise of a new school within the New Cultural Movement – the “Crescent Moon School” (xinyuepal).That this Crescent Moon School had its own special distinction can be illustrated from the correspondence of two liberal intellectuals, Luo Longji and Hu Shi. Luo wrote to Hu on May 5, 1931 that he had read an article in a daily newspaper of Shanghai - Minbao (People’s newspaper) which was “supposed to be a leftist paper”- in which it said : “Today in China” three ideologies hold the triangular balances: (1) Communism, (2) the “Crescent Moon” school, and (3) the Three Principles which refers to the ideology of Kuomintang. “After reporting this Luo expressed his surprise that “I have never thought the ‘Crescent Moon’ could have such an importance.”[1] Of course, to depict The Crescent Moon School as a counter-weight between the two giant rivals of Kuomintang and the communists appears to be an exaggeration out of proportion. However, the newspaper article does reflect the importance of the Crescent Moon School in China’s intellectual life of that time. The Crescent Moon School was essentially a stream of literary trend. More precisely, it was a forum of a group of poets who had imbibed a measure of influence of Tagore, hence their not objecting to be branded by the title of aTagore anthology.This School, however, had the association of Hu Shi, who was also a leader of the May Fourth Movement and an outstanding liberal intellectual who appeared to have kept aloof of the political contention between Kuomintang and CPC at that time. This might be the source of the above-cited exaggerated account of the standing of The crescent moon school. Tagore’s admirers among Chinese intellectuals cannot be slighted.

The real force behind The Crescent Moon School, of course, was not Hu Shi, But Xu Zhimo (Elmhirsf’s “Shu Tsemou”) (1886. 1931) who acted as a host and interpreter toTagore during the latter’s China visit in 1924. Xu wore an Indian cap in the Tagore functions. He also converted a room in his Shanghai residence into Indian style where there were no tables nor chairs, but only carpets and cushions. His friends were quite shocked to see Xu Zhimo “rolling on the floor”.[2] Xu died young by a tragic accident which cut short a career of great poetic talent. If he had lived as long as many of his contemporaries had lived, his role in the history of modern Chinese literature would have been greater than what is known. So also: Tagore’s influence on China’s new poetry would have been more pronounced than what is known.

In Xu Zhimo, there was a mini-version of Tagore. Rich, talented, romantic, exposed to progressive ideas but not plunging into the political activities. Not unlike Tagore in his young days, Xu Zhimo had tender feelings for fellow-beings, was inclined towards the charm of Nature, but knew how to make the best in material life. He was a potential Chinese Tagore being wiped out in his formative stage by ill fortune.

Among all authors in China’s new poetry, Xu Zhimo and Xie Bingxin have held out as poets cast in the typical Tagorean mould. One of Xu’s last poems composed in the end of 1930 wes a poem dedicated to Hu Shi (his friend. philosopher and guide) entitled “Aide linggan”(Inspiration of love), which is at once a replica of Gitanjali. This is a long prose poem in communion with the invisible spirit, It ends with a typical Tagorean touch:

“Now I really, really can die. I want you
to embrace me this way until I go away, until
my eyes open no more, until I fly, fly, fly
to the outer space, scatter into sands, scatter
into light, scatter into wind. Oh, sorrow,
but sorrow be short, sorrow be transient;
happiness be long, love is immortal!”[3]


This flight of Xu Zhimo’s’inspiration of love” is going the same direction of Tagore’s Gitanjali. In the end of Gitanjai: Tagore takes

"Like a flock of homesick cranes flying
night and day back to their mountain
nests let all my life take its voyage to
its eternal home in one salutation to thee.”[4]

A search for idealism is an eternal theme in Tagore’s poems.
“In desperate hope I go and search for her in all corners of my room: I find her not.” (Gitanjali, poem 87) Xu Zhimo’s poetry joins such a search:

“She isn’t here.
Where is she?
She stays in the shine bright
of clouds white.
Stays in the moon crescent,
distant and quiescent.
She stays in the lotus of the valley
ever open timidly.
Stays in the flower that reveals
from inside the lotus seed.
She stays in the adolescent heart
where prayers are sent forth.
Stays in its naive artlessness.
She isn’t here.
She is in the quintessence of Nature.”[5]

In this poem entitled Where is she? Xu Zhimo gives enough indications that his search for her is exactly Tagore’s search. There are the “crescent moon”, the “lotus”, the “adolescent heart”, the “naive artlessness”, and the “quintessence of Nature”- all Tagorean symbols of idealism.

Tagore was fond of roses. Whether Xu Zhimo had the same love for roses we do not know. But, in interliterariness there is the phenomenon which I call the “telepathic transference of imagery”. For instance, the use of the garland is a part of daily life in India, while the practice was totally absent in China. Yet, we notice that in modern Chinese poetry (as well as in prose) the symbolism of garland is not infrequently resorted to by writers. We have no doubt that this is an Indian import - an import of the imagery without its material entity. In poetic inspiration there is always the tendency of going for the unreal and abstract. The ancient Chinese poets had a favourable symbolism in the “celestial gate” although no one had ever been there. The “Cupid’s arrow” is another foreign import into Chinese literary vocabulary but very few Chinese writers who use this symbolism have ever seen any drawing of the winged angels as depicted in the Roman legends, let alone ever experiencing such a weapon. In this way, we find Xu Zhimo experiencing the Telepathic Transference of Imagery from Tagore by indulging in the symbolism of the roses in his poem “Qing si” (Death of love) which is another unmistaken echo of Tagore:

“Oh, roses, red roses that conquer all
other beauties. The thunder storm of last night,
that is the signal of your birth.
The smile of your cheeks, that is
brought, from Heaven. Alas, the world
is too mundane to give them eternal residence.
Your beauty is your destiny!
You approach near me. Your enchanting
colour and fragrance have conquered another
soul - I am your captive!
You smile over there. I tremble over here.
I have caught you in my palm -I
love you, roses!
Colour, fragrance, flesh, soul, beauty, charm -all
grasped in my palm.
I tremble over here, you-smile.
Oh, roses! I can’t tolerate your destruction, I love you!
Petal, corolla, stamen, thorn, you, me, -
How delightful ! -all merge into one; a mess of
redness, both hands soiled in fresh blood,
Oh, roses, I love You!”[6]

Of course, Tagore would not have been so abrasive, blunt and outspoken. Tagore seldom talked about “bleed” in his poems, particularly associating blood with beauty and love. “I am your captive” is a Tagorean theme, but Tagore would say it differently: “Thou hast taken every moment of my life in thine own hands. Hidden in the heart of things thou art nourishing seeds into sprouts, buds into blossoms, and ripening flowers into fruitfulness.” (Gitanjali, verse 81) The flowers, the Creator, Nature, men, ‘You’. “me”, these are the eternal bonds between Tagore and Xu Zhimo.

Singing hymns was poet Tagore’s obsession. So did Xu Zhimo take it as a poets duty. But, we see sometimes the Chinese disciple’s sense of rebellion against this Tagorean sainthood in poetry. This comes out dearly in Xu’s piece “words of groan” (Shenyin vu):

“I would have wished
To sing hymns about
This marvellous cosmos.
I would have wished
To forget, the sorrow
Which in mankind grows.
Like a red sparrow
who no worries knows.
Singing in the morn,
Jumping at even twilight.
If SHE had been by my side,
Like wind gently flies,
I would have wished
To sing my poem,
Like the flowing stream,
Would have wished
To place my heart at ease,
Like the fish in the lake.
But, today, my heart boils
As if burning oil.
How can I have the leisure
To care for my muse?
Oh, God!
Won’t you return
HER life and freedom
For one day even?!”

Xu Zhimo’s poetry, in a sense, provides a development of the Tagorean muse across the Himalayas, which is the phenomenon of horizontal continuity in interliterariness. Like the transplantation of vegetation which develops new features in a new habitat, the Tagorean elements were bound to transform when they grew in China’s new poetry. As the above poem of Xu Zhimo indicates, the young Chinese poet could not preserve the cool of his Indian mentor, even if he wished to emulate Tagore to perfection. But, Xu, never probably, had the pretension of doing so. For, his was a turbulent universe. His country was in turmoil where no Santiniketan could have existed. But, this could not spiritually separate Xu Zhimo from Tagore. Even in the boiling pot of his life, Xu had his longing for Tagore and his Santiniketan. This is what we can make out from his piece entitled “Tianguode xiaoxi” (News from the Celestial Kingdom), which reads :

“Lovely Autumn scene! Silent leaves fallen
gently, gently, dropping on this narrow path.
Within the fence, a whisper of tiny kids’ laughter.
Clear sizzling sound the quietude of huts surround,
as if birds in the valley receiving the morning happily,
driving away stale stagnation of the night,
beginning, the unbounded brightness.
A momental ecstasy surges like the epiphyllum,
My momental open, I forget my love for Spring.
The fear, doubt and anguish of life, melancholy and hurry –
I have the vision of the Celestial Kingdom amidst
the innocent kids’ laughter!”

Xu Zhimo was in India, and did visit Santiniketan. In this poem we a visid depiction of Tagore’s “Abode o/Peace”. What had Xu in mind when he talked about the Celestial Kingdom” we do not know. In Chinese tradition the paradise often points to the direction of India - the Kingdom of the Buddha. In any way, Xu Zhimo’s depicting a quietude and a innocent kids’ laughter bear the closest resemblance of Tagore’s “Santiniketan”. The two poets are in communion with Nature and peace and ease of mind.

The Crescent Moon School had its own publishing house - The Crescent Moon Bookshop in Shanghai -which was run by Xu Zhimo and some relatives and friends. In 1931, the bwkshop published China’s own Crescent Moon anthology entitled Xinyue shixuan (Selected poems of The Crescent Moon) edited by Chen Mengjjia, who was himself a poet. The anthology formally launched the poets of The Crescent Moon School, and symbolized the sprouting of Tagore’s seed in China’s new poetry. As this was one of the earliest anthologies of modem Chinese poems, it had a pioneer role in the development of modern poetry in China. The anthology is a selection of eighty poems from eighteen authors. Apart from Xu Zhimo, a well-known poet, writer and scholar, Wen Yiduo (18991946) also contributed. In the initial stage, Wen Yiduo was one of the three pillars of The Crescent Moon Society, along with Xu Zhimo and Hu Shi. But, later Wen grew tired of Tagore and moved closer to the radical left. He was one of Tagore’s critics on the eve of Tagore’s visit to China. But, his Criticism of Tagore” penned in 1923 did not prevent him from contributing to the Chinese Crescent Moon anthology in 1931. Further more, among the six pieces contributed by WenYtduo, half are the Gifanjali type of prose poems. ‘vige guannian” (An idea) begins thus:

“Your profound mystery, your beautiful lie,
your stubborn interrogation, your golden ray,
a little endeared meaning, a flame,
a wisp of illusory call, who are you?”

The poem also contains a few lines which look like Wen Yiduo’s conversation with Tagore. First, there was Tagore:

“When I sit on my throne and rule you with
my tyranny of love, when like a goddess
I grant you my favour, bear with my pride,
be loved, and forgive me my joy”

(The Gardener, verse 33)

Then Wen Yiduo replied:

“Oh, tyrannical spirit, you have conquered me.
Have you conquered me? You magnificent rainbow
-the memory of five thousand odd years.You
move not. Now I want to try how to hug you tight.
-You are so tyrannical, so pretty!”[10]

The Chinese Crescent Moon anthology does not carry Wen Yiduo’s piece of “Mod” (The end) which is at once the echo of Tagore’s piece of the same title in The CrescentMoon. Here isWren’s voice:“1 set up a fire in my heart, waiting quietly for a distant guest”. “The guest is already before me, I close my eyelids and follow the guests steps.”[11] Again there is Sino-Indian communion between Wen Yiduo and Tagore with the former wishing to low” the latter like a disciple.

All poets deal with the theme of life’s voidness. There is the yawning gap between illusion and reality. All poets share the sense of regret of not having the right choice of the timing of their life and death. Thus they hang in the balance in men’s awkward existence. In this respect, Tagore’s mood is usually more gracious, while WenYiduo cannot bear the human dilemma without scorn. Here, there is scope to compare the two ways of life. Tagore, in his desperate moment cries out: “Oh, dip my emptied life into that ocean, plunge it into the deepest fullness. Let me for once feel that lost sweet touch in the allness of the universe.” (Gitanjali, verse 97) To this Wen Yiduo echoes:

“Let me be drowned in the waves of your eyes!
Let me be burnt dead in the furnace of your heart!
Let me drink to death in the wine of your music!
Let me be stifled to death in the fragrance of your breath!”[12]

Here Wen Yiduo approaches death with a Tagorean romanticism which even outshines that of the Indian master.

We can have another round of comparison. Like the above verse of Wen titled “si” (Death), the 86th verse of Gitanjati is exclusively devoted to the theme of “death”. In the verse, Tagore describes the call of the messenger of Death: “The night is dark and my heart is fearful -yet I will take up the lamp, open my gates and bow to him my welcome”.“1 will worship him with folded hands, and with tears. I will worship him placing at his feet the treasure of my heart. He will go back with his errand done, leaving a dark shadow on my morning: and in my desolate home only my forlorn self will remain as my last offering to thee.” Forever at peace with life and death. Tagore conducts his feelings with controlled emotions. Wen Yiduo, on the other hand, feels annoyed at the idea of death in another poem (in contrast to the above romantic feelings enshrined in his poem “Death”). He cries:

“Death, if you want to come, come quickly,
come quickly to cut short the boundless pain!
Haha! death, there your cruelty lies,
when I want you you come rot,
like life, when I need him not, he exists!”[13]

However, like Tagore, Wen Yiduo is prepared to obey me dictates of destiny. He sings in his piece ‘Death”:

“If you award me with joy,
I shall die with joy.
If you award me with pain,
I shall die with pain,
Death is my only demand on you,
Death is my utmost offering to you.”[14]

In the same piece “Death”, Wen Yiduo has paraphrased Tagore : Oh, soul of my soul, life of my life”.[15] This reminds us Gitanjali, verse 4 : “Life of my life, I shall ever try to keep my body pure”. There are many other skilful adaptations of Tagore by Wen Yiduo. For instance, Tagore sings : “I know not how thou singest, my master! I ever listen in silent amazement.” (Gitanjali, verse 3)Then, Wen Yiduo emulates in his poem “Mei yu ai” (Beauty and love):

“Oh, that giant star, the companion of the moon!
You have tied my eye-sigh1 for no reason.
The bird in my heart slops its songs immediately,
because it, has heard your silent celestial music.”

Tagore sings in Gitanjali (verse 68):‘The sunbeam comes upon this earth of mine with arms outstretched and stands at my door the live long day to carry back to thy feet clouds made of my tears and sighs and songs.” Wen Yiduo imitates in his piece ‘Shijiande Jiaoxun”(Lessons of time): “The sun comes upon my bed, frightens away the spirit of dream. My worries of yesterday vanish, those of today haven’t come yet.”[17] In the same poem Wen Yiduo resorts to the Telepathic Transference of Imagery by singing: “At the moment time is all smile to me. I pray to him with folded hands: ‘Grant me endless period!”[18] Here again is an echo of Tagore: “I will worship him with folded hands, and with tears,” (Gitanjali, verse 86). It remains doubtful whether Wen Yiduo had ever prayed with folded hands. There is another puzzle in Wen’s poems when at two places he mentions burning the sandal-wood in offering[19] which is a common Indian practice but, was hardly in vogue in Wen Yiduo’s time at least, if Chinese had ever indulged in such extravagant ritual even during the heyday of Buddhist conversion, simply because sandal-wood has always been a luxurious rarity in China. The truth is that Wen Yiduo has just acquired such Indian life details as poetic symbols. Why has he chosen to do it should be attributed to Indian cultural influence either through Tagore or through his profound knowledge of China’s Buddhist past.

To Tagore poetry is the very devotion to God/Truth. Offering songs to God is the essence ofTagore’s poetic life. “I am here to sing thee songs. In this hall of thine I have a corner seat.” ‘When the hour strikes for thy silent worship at the dark temple of midnight, command me, my master, to stand before thee to sing.” (Gitanjali, verse 15). In his master-piece, “Hongdou pian”(The red bean), Wen Yiduo is seized by this Tagorean passion:

“I have sung various songs,
Only forgetting to sing you.
But my songs should become newer, prettier.
These last sung prettiest ballads.
every word a bright pearl,
every word a warm tear.
Oh, my queen!
These are my humble presents to atone my sins,
These I kneel down and offer at your feet.”

Tagore’s poetry is the reincarnation of happiness. When he wrote to Andrews in 1915, Tagore said: “I knew I am Eternal, that I am ananda-rupam, my true form is not of flesh or blood, but of joy,”[21] One of the highest embodiments of joy is Tagore’s verse 58 of Gitanjali:

“Let all the strains of jq mingle in my last song
- the joy that makes the earth flow over in
the riotous excess of the grass, the joy
that sweeps in with the tempest, shaking and
waking all life with laughter, the joy that sits
still with its tears on the open red lotus of
pain, and the joy that throws everything it has upon the dust,
and knows not a word.”

Wen Yiduo in his piece “Lessons of time” conceives “happiness” as “the only truth of life”.[22] He has another short poem exclusively on “Happiness” (Kuaile) which sings:

“Happiness kisses my soul,
My world suddenly turns into paradise,
fully occupied by soft and charming angels”.

Rabindranath being named after the “sun” and the “thunder”, his poetry carries a strong impact of the brilliance of the celestial fire-ball. In Gitanjali alone the powerful symbolism of the sun shines upon all the lines. “O thou holy one, thou wakeful, come with thy light and thy thunder.” (verse 39) “O my sun ever-glorious!” (verse 80) “I came out on the chariot of the first gleam of light”. (verse 12) Thy voice pour dawn in golden streams breaking through the sky”. (verse 19) “All the lights ablaze, golden pennons flying over thy car. (verse 41) “Under the golden canopy of thine evening sky”. (verse 87) Verse 57 is specially devoted to the sun:

“Light, my light, the world-filling light, the eye-kissing
light, heart-sweetening light!
Ah, the light dances, my darling, at the centre
of my life; the light strikes, my darting, the chords
of my love, the sky opens,
the wind runs wild,
laughter passes over the earth.
The butterflies spread their sails on the seat,
of light lilies and jasmines surge up on the crest of
the waves of light.
The light is shattered into gold on every
cloud, my darling, and it scatters gems in profusion.
Mirth spreads from leaf to leaf, my darting, and
gladness without measure. The heaven’s river has
drowned its banks and the Mood of joy is abroad.”

Wen Yiduo was one the Chinese modern poets who had been infected by Tagore’s powerful sun imagery. Like Tagore, Wen conceived the sun as the symbol of treasure and brightness. In his poem “Chun’guang”(Spring/light) Wen sings:

“Suddenly a sheet of sun-light flashes before my eyes,
from my eyes fly out thousands of golden arrows,
my ears bear witness to the flapping sounds of wings,
as if a group of angels hovering in the sky...”

Wen’s poetry further personifies the sun. In his poem “Qiuse”(Aufumn co/ours), Wen sings:

“Morning sun-light beams at the world.
its smile produces gold....”

Wen Yiduo depicts: “the sun set in the evening with interesting scenarios. In his poem “Huanghun”(Dusk), Wen sings:

“The sun tries out for the day,
earning a safe and sound dusk.
its face reddens with joy,
running straight towards the valley like mad:”

In another poem, Wen depicts:
“The sun sets, responsibility closes its eyes.”

In yet another poem, he complains,
“The evening sun hands the poet over to the annoying night.”

Wen Yiduo has two poems with the sun in their captions, One poem is “You swear by the sun” which is a mockery of the fidelity of love which is also one of The Crescent Moon poems. Another is “Tayang yin”(Song of the sun). This was composed when Wen was a student in the U.S.A. It is a Tagorean poem but quite different from the piece written by Tagore already quoted. There are twelve stanzas of the poem. The first stanza complains about the ruthless revolution of the sun which painfully pierces the heart of the poet. The second stanza depicts the sun’s scorching power. The third stanza wishes the sun running faster to free the poet from suffering the slow torture of life. The fourth stanza likens the sun to the golden bird, and wishes to tide on it so that the poet can see his home place once a day. The fifth stanza expresses the poet’s nostalgia as the sun comes to him from the East. The seventh stanza expresses the poet’s fellow-feeling that the sun is a vagabond like the poet himself. The eighth stanza describes the sun as a restless self-strengthening body. The tenth stanza defines the sun as the fire of life which gives the Eastern Hemisphere its enthusiasm and the Western Hemisphere its wisdom. In the twelfth and final stanza the poet wishes his home not situated on the earth, but stays in the heaven.”[28]

Another interesting poem of Wen Yiduo is entitled “Huangniao” (Yellow bird) which is also a depiction of the sun implicitly. The sun that is the yellow bird is seen by the poet as a brilliant fire bow shooting its arrows like mad. He also likens the sun to an ambitious bird. The poem ends with the hope that the sun builds up a palace of art to let the poet-a soul losing his bearings-to have an early chance to settle down.[29]

A similar poem included in the Chinese Crescent Moon is “Luori song” (Hymn to the setting-sun) written by a lesser known poet, Zhu Da’nan. The poem depicts the sun as a golden bird which emits vicious flames, but is forced to retreat, behind the western mountains. The frogs are celebrating the victory in forcing the sun to exit.[30] If Wen Yiduo has already reduced Tagore’s powerful symbolism of the sun to a half pitiable figure, Zhu Da’nan has brought it further down to the symbol of defeat. It is not difficult to understand the Chinese poets’ resentment of the sun’s vicious heat, particularly its harm during drought. Paradoxically, in India and in Tagore’s Santiniketan as well, the sun is a much more vicious fire-arrow-shooting-monster than in any part of China. Yet, Tagore should have never complained against the sun besides eulogizing its light and life-giving power. This speaks out the contrast of Indian idealism with religious devotion against the Chinese pragmatism with down-to-earth lifestyle. This explains the impact of transposition of symbolism to a different cultural milieu.

Another Crescent Moon poet worth mentioning was Shao Xunmei who also cast his poetry in the Tagorean mould. His “Nuren” (Woman) in The Crescent Moon anthology is also a Gifanjali type:

"I adore you, woman, I adore you like

I adore a small poem of a Tang master

-you tie my words with your warm and smooth

even-tones and crispy uneven-tones.

I disbelieve you, woman, I disbelieve you like

I disbelieve a ring of magnificent rainbow

- I don’t know whether it’s for me that you

blush, or for another hot dream?”[31]

There is one little lovely poem of Shao Xunmei which is notjncluded in the Chinese Crescent Moon anthology. The poem begins, thus, with the first line repeating its title:

“I am a lamb.
You are a pasture.
I eat you, I sleep in you,
I eat you, I sleep in you.
I also offer myself to you.”

The chemicals of this little poetic crystal must have come from the following lines of Tagore’s Stray Birds. “The artist is the lover of Nature, therefore he is her slave and her master.‘(verse 86) “The great earth makes herself hospitable with the help of the grass.”

(verse 91) The woodcutters axe begged for its handle from the tree. The tree gave it.” (verse 71) Thus, the Tagore-Shao affinity is established.

All the above illustrations prove the strong input of Tagorean inspiration in the Chinese Crescent Moon School. In the first place, we cannot imagine the emergence of a school named after Tagore’s work without the poets’ having really inspired by The Crescent Moon and other works of Tagore. Secondly, Tagore’s popularity in China way back in the 1920s was testified to by Xu Zhimo and Wen Yiduo. Xu Zhimo wrote in i924 that out every ten new-wave poems in China eight or nine bear the imprint of Tagore’s influence, and that the teenage school pupils were fond of reading Tagore’s works in Chinese translations.[33] Wen Yiduo supplemented Xu Zhimo’s testimony by saying in 1923 that “almost every word of Tagore has been transported to Chinese language”. (Italic added)[34] Of course, what Wen Yiduo meant was that Tagore’s works available in English had a good many takers by Chinese translators because the language of Tagore was simple and his meaning deep. Even in his critical article of Tagore, Wen Yiduo respected Tagore as a great philosopher, but did not think much of Tagore’s artistic achievement. Here again, Wen Yiduo was not aware of and could not read Tagore’s works in Bengali. Even then, the Chinese new-wave poets had already found a lot of food for thought in the available English translations of Tagore. Hence, there is little surprise that the new Chinese poets in the 1920s and 1930s had echoed so much of Tagore’s ideas and imagery.

One revolutionary change which the avant garde poets of China have introduced in the new poetry (apart from the use of colloquial language) is the adoption of Tagore’s style of prose-poem which is the style of The Crescent Moon anthology. There is yet another significant revolution courtesy of Tagore’s influence. In early Chinese poetry the focal point is “l” and “me” which is supplemented by “she/he” and “her/him”, but seldom 7/ou’. In the few Tagore anthologies which had wide circulation in China, like Gitanjali, The Crescent Moon. Stray Birds, the poet has highlighted “you” which at once strengthens the purposiveness of the muse. The Chinese Crescent Moon poets were quick in adopting this Tagorean style. That is why many pieces written by them both inside The Crescent Moon anthology and outside it look like taking a leaf out of Tagore’s Gifanjaliand other works. We have already had examples of Wen Yiduo in this respect as an illustration of this point. We can have more examples of this kind. A typical Gitanjali type of poem in The Chinese Crescent Moon anthology is ‘Zou” (Go) composed by Rao Mengkan .The verse has four lines of prose form with the second and fourth lines rhymed, and same number of words both in the first and third lines, and in the second and fourth lines. This shows that the poet wished to give it a distinct verse form while adopting the technology of the prose-poem liberalization. The poem reads:

“I have spent efforts to make a boat for you,
I have been praying for wind day and night,
Only after you utter that soft word ‘go’,
You will find the boat in full sail alright.”[35]

Shao Xunmei’s piece “Jihou” (Seasons) in The Crescent Moon anthology provides another example of the Tagorean You-poem:

“When I first met you you gave me your heart
with a Spring morning in its inner part.
When I met you next you gave me your words,
words in which the fiery Summer do nurse.
We met again and you gave me your hand,
hand that has Autumn’s falling leaves inland.
Our last meeting takes place in my short dream,
there’s you and the Wintry wind to redeem”.

Once again, the poem shows the authors care for rhyme and metric uniformity. But, it is the Tagorean framework with a little finishing. Yet, the top-most Tagorean poem in the anthology is the opening piece ‘Wo denghou ni” (I wait for you) composed by XU Zhimo. If translated with skill this poem can merge intoTagore’s works without any trace of its foreign origin. It is too long to quote in full. But, glimpses of it can be provided below:

“I gaze at the evening outside my window,
like a longing for my future.
The quake in my heart blinds my hearing.
…….
I wait for your steps, your smiling words,
your face, the soft silk of your hair, waiting for all what is you.
…….
I demand you so forceful that pains my heart.
I demand your flame-like smile, your pliant waist, the
flying stars in your hair and at the corners of your
eyes. I fall into the air of intoxication.
Like an island, floating helplessly among the green
pythons of sea waves...
…….
No frozen expectancy and prayer can shorten
a tiny inch the distance which
separates you and me! The yellow dusk outside
my window has stiffened into nights blackness.
Icicles hang on the boughs. Birds pawns away
their chirping. Silence is this cosmos
in uniform mourning atire.”

Can these lines not comparable to those penned by Rabindranath?

Affinity with Tagore could not be surpassed by the poetry of Xie Bingxin. a poetess of modem China, who was as famous as other leading writers. Xie Bingxin, or Bingxin, was particularly impressed by the StrayBirds, which made her compose Fanxing (Crowded stars) in 1921 and Chunshui (Spring water) in 1922 -Win Chinese replicas of Stray Birds. Let us see some specimens of the poetess’ masterpieces:

“Crowded stars twinkling -The
deep blue outer space,
can you hear their conversations?
In silent tranquillity,
in dim glimmer,
they sink deep into singing eulogies to each other.”

(fanxing, verse 1.)

“Out of my window the strings of the harp are struck,
Oh, my heart!
How is it so deeply entangled in the echoes!
There is the limitless sound of the trees,
there is the limitless brightness of the moon.”

(ibid., verse 21.)

“Flowers and stones lying beside the rails!
Only in the flicker of this second,
I and you
a chance meeting in the limitless life,
and also an eternal parting in the limitless life.
When I come again,
among the millions in our species,
where to find you?

(ibid., verse 52.)

“Oh, father!
Please come out and sit under the bright moon,
I want to listen to your talk about your sea.”

(ibid., verse 75)

“Oh, sea,
Which star has no light?
Which flower has no fragrance?
Which tide in my mind
has no clear sound of your waves?”

(ibid., verse 131.)

“The flower at the corner of the wail!
When you are proud of yourself,
heaven and earth will shrink.”

(Chunshui, verse 33.)

“Little pine tree,
let me keep you company,
the white clouds above the mountains have thickened!

(ibid., verse 41.)

“Infant,
in the trembling of his cries
there is infinite mystic language,
brought from the earliest soul
wish to the world tell.”

(ibid., verse 64.)

“Spring arrives with hesitation
on this solemn altar -amidst
the unbounded indifference,
I can only hand a silk of Spring mood
to the insignificant weed
hidden in the cleft of the stairs.

(ibid., verse 88.)

“Creator -if
in the eternal life
there is only one promise of extreme happiness,
I will demand this with utmost sincerity:
‘I lie in the bosom of mother,
mother lies in the boat,
boat lies in the ocean of lunar brightness.”

(ibid., verse 105.)

“Under the green bower
I sit in deep thinking –
Oh, poetic mood like floating silks!
Just as faint Spring light
draws you out,
The sound of the gardeners scissors
cuts you asunder.”

(ibid., verse 147.)

“Farewell, Spring water!
Thanks for your gentle Spring flow
carrying away lots of my thoughts.”

(ibid., verse 182.)

There is, indeed, the Tagorean touch in these lines, soft-spoken, tender feelings, the poetess’ finding complete harmony with Nature, trying to keep away the discordant notes of life from the symphony, In this sense, Xie Bingxin’s inheritance from Tagore was

greater than all The Crescent Moon poets putting together. While The Crescent Moon poets have learnt from Tagore’s technique, Xie Bingxin alone imbibed Tagore’s poetic soul. In Xie Bingxin’s poems, Tagore’s voice is transformed into Chinese language and female softness, Her anthologies of Crowded Stars and Spring Water were exceedingly popular in the 1930s and 1940s particularly among younger readers. This indirectly spread the Tagorean message of harmony and peace among Chinese intellectuals.

Yet, we have not introduced the Chinese writer who had received the maximum influence from Tagore. His name was Guo Memo (1692-1976) whose stature in the cultural scene of modern China can match with that of Tagore in modem India. Guo Moruo had a fruitful career of creative writing. He was almost as versatile as Tagore, was a poet, play wright, historian, archaeologist, educationist, and political activist. His position in the early decades of the People’s Republic of China was like that of Gorky in the Soviet Union. He held the Presidency of the Chinese Academy of Sciences for life, a rare distinction to match with the eminence of Zhou Enlai who was the first Premier of the People’s Republic till his death. During the Cultural Revolution, Guo Moruo, again like Zhou Enlai, was almost the lone eminent intellectual who could save his skin. The reason was that Chairman Mao Zedong had a binding love and respect for him. The two often composed classical poems together which figured as great cultural events in Communist China. No one could imagine that such an eminent career would not have been there at all if Tagore had not written The Crescent Moon.

It was more than a coincidence that when Guo Moruo arrived in the modern world in search of a career, Tagore had just arrived as a Nobel laureate. Japan played an important role in connecting these two. How Tagore’s writings had entered the life of Guo Moruo has already been illustrated in the preceding essay by Sisir Das. Guo Moruo and Tan Yun-shan (founder-director of Visva-Bharati Cheena-Bhavana), were the two unique Chinese intellectuals who had Tagore entering into their life at a crucial juncture. Tan Yun-shan would have followed his radical Hunan school-mates to France (and, then, to Marxism most likely) had he not met Tagore in Singapore in 1927,That eventful meeting with the Indian poet transformed his life and career into that of a “modern Xuanzang”. Guo Moruo never met Tagore. And unlike Tan Yun-shan, Guo was destined to embrace Marxism in any way - Tagore or no Tagore. Yet, if there had not been Tagore we might not have heard of Guo Moruo at all, thus, I think the Tagore-Guo affinity is an equally historic example as the Tagore-Tan affinity both of which deserve to be highlighted in any discourse of Sine-Indian cultural relationship.

As has already been pointed out, Tagore entered Guo Moruo’s heart when Guo stood at the cross-road of life. Between 1916 17, Guo was alternately seized by the desire of committing suicide or becoming a monk. The wreckage of his mind is described by a poem of classical style composed by him in 1916 entitled “Ye ku”(Weeping at night). The poem also outlines the reasons which drove him to the brink of suicide. We can take a look of them:

“My soul has left my empty body to remain.
I suffer the torment of not reaching my end.
I have a country which exists only in name,
devastated by increasing wars in vain.
I have a home to which I cannot return.
Old and decaying health are my people’s condition.
I have my love which is as good as broken.
A bird without a nest is what now I am.”

An interesting episode was Guo Moruo’s composing two poems on the theme of suicide at about the same time. One poem written in the classical style, entitled “Xunsi”(Seekiing death) was definitely composed in Okayama in 1916.The other poem written in new style entitled “Side youhuo” (Enticement of death). Guo gave the years of 1916 and 1916 as the possible lime of the latter’s composition.[40] A comparison of the two poems can help us reconstruct the turning point in Guo Moruo’s life, as well as the moral influence exercised by Tagore on Guo Moruo. First, the poem of the classical style which surely was an earlier composition than the other, is a narrative of his going out of the house to end his life. But, he won’t know where he should go, and he sighed repeatedly as he proceeded. As life was hard to live, death became relatively easy for him, he thought. He had ambitions to become a tiger, but ended in surviving like a dog, However, he still had his country and family in mind, and decided to endure longer in mankind. When he returned to the house, he saw his Japanese wife all in tears.[41]

The other poem on suicide written in the modern style is a product of entirely different psyche. The poem reads:

“I have a small knife
standing by the window beaming at me.
She says to me with a smile:
Moruo, don’t burn your heart!
Come quickly and kiss my lips,
I can get rid of your worries.
Blue, blue sea waves outside my window
yelling at me with unceasing roar.
She calls me and says:
Moruo, don’t burn your heart!
Throw yourself quickly into my bosom,
I can get rid of your worries.”

While in the first poem Guo Moruo was still under the impact of the threat of suicide, in the second poem the situation changed. The threat of death remained, but the poets mentality had undergone a transformation. He had become a Tagorean poet, a poet-philosopher. In the poem he looked at the threat of death in a romantic spirit. His understanding of the meaning of living was tinged with a philosophical attitude. Yes, there is the enticement of death, but a philosopher who sees clearly the empty promise in that will not fail into the trap. The composition of this poem “Side youhua” thus became the turning point of Guo’s life. He had acquired strength to endure the torture of life, for he realized now that death was no solution to the problems which he had, been facing. After composing the poem, both the knife and the sea became harmless to his life as he had decided not to be enticed, hence they would not pose as threats to him any more.

Guo Moruo himself wrote in his 1923 reminiscence that in the darkest years of his life, he had tried solutions by reading the writings of Chinese philosophers like Zhuangzi and Wang Yangming, by daily chanting the Old and New Testaments, by practising meditation with every little effect. It was only after reading Tagore’s Gitanjali, The Gardener, Raja (The king of the Dark Chamber), and the Hundred Poems of Tagore from the Ukayama Library in 1916 that he had suddenly discovered “the life of life”, and the fountain of life”. When he was reading Tagore, a “tranquil sadness” emerged within and outside his body. “I was enjoying the joy of nirvana”, said Guo.[43] So, it was Tagore who had removed the threat to Guo Moruo’s life and enabled such a great career to blossom to its natural end.

Interestingly, Guo Moruo himself put a foot-note to the poem ‘Side youhuo” in these words: ‘This was my earliest poem, probably written in the Summer of 1916,”[44] I have mentioned a little while ago that Guo had in another place noted that he had written this poem in 1916 along with some other poems. We know that Guo had started composing poems in the classical style many years earlier than his sojourn in Japan (his earliest poems published dated 1913 written in his home province).There is a mistaken statement about this poem of the Enticement of Death. But. if we try to understand Guo’s psychology, we can take him as saying that this was the first (or one of the first) new poem he had composed. The mistaken note also helps us to see that considerable importance had Guo Moruo attached to this piece. In an autobiographical work entitled Geming chunqiu (Revolutionary annals), Guo Moruo divided his creative literary career into three phases. The first phase was conceived by him as the period of the influence of Tagore up till 1919, followed by two later phases when he was influenced by Whitman and Goethe respectively.[45]


泰戈爾氏啟示
CHINESE NEW POETRY 中文新詩
Tan Chung

The arrival of Tagore in international literary scene just preceded China's New Cultural Movement in the wake of the student demonstrations on May Fourth, 1919. 泰戈爾的到來 ， 在國際文壇之前 ， 中國僅在新文化運動中喚醒學生示威五四，1919。 Which is thus known as the May Fourth Movement. 因此 ， 這裡被稱為五四運動。 An important thrust of this movement was to launch a new literature called “baihua wenxue” (colloquial literature). 一個重要的主旨是這個運動的發動新的文學稱為“百花文學”（白話文學）。 While it was relatively easy to develop a new colloquial prose literature because of the existence of famous classical novels the language of which was already colloquial enough to serve as a model, the task of building up a new poetry was hard as there had been no genre of colloquial poetry in Chinese literature to be emulated. Tagore was a godsend to the pioneers of China's new poetry. 雖然相對容易開發一個新的通俗散文 ， 因為存在著名的古典小說的語言是口語已經足以作為一種模式，其任務建立一個新的詩是很難 ， 因為已經沒有流派在詩的通俗文學予以仿效。泰戈爾是天賜之物 ， 以先鋒隊的中國的新詩歌。

That Chinese poetic genii should focus their attention on Tagore is easy to explain. 這一中國詩魔鬼應集中自己的注意力集中在泰戈爾是很容易解釋。 First, Tagore won the Nobel Prize by his masterpiece of poetry, and his Gitanjali and The Crescent Moon have won ovation in the poetic circles of the world even including Britain - the leader of modern poetry at that time. 首先，泰戈爾獲得了諾貝爾文學獎由他的傑作詩，他的林姬和新月贏得掌聲在詩界的世界 ， 甚至包括英國-現代的領導人當時詩。 Second, Tagore was a fellow-Asian, hence his symbolism sounded more familiar and attractive to Chinese writers. 第二，同是泰戈爾亞洲，因此他象徵聽起來更熟悉和吸引力的華文作家。 Third, Tagore's example of being a writer of a humble, defeated culture risen to the fore-front of world literature was all the more inspiring to those who were searching for a new form of Chinese poetry in order to create a new Chinese culture so that the nation could keep abreast with the modern world. 第三，泰戈爾的榜樣身為作家的謙虛，打敗文化上升到突出，前世界文學更加振奮的那些誰正在尋找一種新形式的中國詩歌 ， 以創建一個新的中華文化 ， 使國家可以跟上現代世界。 Fourth, Tagore's visit to China in 1924 and the “Tagore wave” created by this visit also contributed to the writers'enthusiasm in emulating Tagore. 第四，泰戈爾訪問中國 ， 在1924年和“泰戈爾浪潮”創造的這次訪問也有助於writers'enthusiasm泰戈爾在仿效。

Tagore's influence on Chinese intellectual trend was highlighted by the rise of a new school within the New Cultural Movement – the “Crescent Moon School” ( xinyuepal ).That this Crescent Moon School had its own special distinction can be illustrated from the correspondence of two liberal intellectuals, Luo Longji and Hu Shi. 泰戈爾的影響對我國知識產權趨勢突出起來的一所新學校內的新文化運動-在“新月派”（xinyuepal）。本新月派有其特殊的區別 ， 可從信函說明了兩個自由知識分子，羅隆基和胡適。 Luo wrote to Hu on May 5, 1931 that he had read an article in a daily newspaper of Shanghai - Minbao (People's newspaper) which was “supposed to be a leftist paper”- in which it said : “Today in China” three ideologies hold the triangular balances: (1) Communism, (2) the “Crescent Moon” school, and (3) the Three Principles which refers to the ideology of Kuomintang. “After reporting this Luo expressed his surprise that “I have never thought the 'Crescent Moon' could have such an importance.” [1] Of course, to depict The Crescent Moon School as a counter-weight between the two giant rivals of Kuomintang and the communists appears to be an exaggeration out of proportion. 羅寫信給胡錦濤於1931年5月5日 ， 他曾看過一篇文章 ， 在上海的日報- 民保 （人民報），它是“應該是一個左派文件” -在其中說：“今天的中國”三意識形態按住三角餘額：（1）共產主義，（2）在“新月”學校，以及（3）的3項原則是指國民黨的思想。“在報導這羅表示驚訝，”我從來沒有想過的'新月'能有這樣的重要性。“[1]當然，描繪的新月派作為反重量兩個巨頭的競爭 ， 國民黨和共產黨似乎是誇張不成比例。 However, the newspaper article does reflect the importance of the Crescent Moon School in China's intellectual life of that time. 但是，報紙文章 的重要性 ， 也反映 了新月派在中國的知識分子生活的時間。 The Crescent Moon School was essentially a stream of literary trend. 新月學校基本上是一個流的文學趨勢。 More 更多 precisely, it was a forum of a group of poets who had imbibed a measure of influence of Tagore, hence their not objecting to be branded by the title of aTagore anthology.This School, however, had the association of Hu Shi, who was also a leader of the May Fourth Movement and an outstanding liberal intellectual who appeared to have kept aloof of the political contention between Kuomintang and CPC at that time. 確切地說，這是一個論壇 ， 一群詩人誰曾熏陶措施泰戈爾的影響，因此 ， 他們並不反對 ， 被命名的稱號aTagore anthology.This學校，然而，有協會胡適，誰也領導五四運動和傑出的自由主義知識分子誰似乎退避三舍政治爭論國共兩黨當時。 This might be the source of the above-cited exaggerated account of the standing of The crescent moon school . 這可能是源以上援引誇大考慮常務委員會新月學校 。 Tagore's admirers among Chinese intellectuals cannot be slighted. 泰戈爾的崇拜者在中國的知識分子不能輕視。

The real force behind The Crescent Moon School , of course, was not Hu Shi, But Xu Zhimo (Elmhirsf's “Shu Tsemou”) (1886. 1931) who acted as a host and interpreter toTagore during the latter's China visit in 1924. 背後的真正力量的新月派 ，當然，不是胡適，但許之沒（Elmhirsf的“書Tsemou”）（1886。1931）誰擔任主持人和翻譯toTagore在後者的1924年訪問中國。 Xu wore an Indian cap in the Tagore functions. 徐印度帽戴在泰戈爾的職能。 He also converted a room in his Shanghai residence into Indian style where there were no tables nor chairs, but only carpets and cushions. His friends were quite shocked to see Xu Zhimo “rolling on the floor”. [2] Xu died young by a tragic accident which cut short a career of great poetic talent. 他還轉換成一個房間 ， 他在上海居住的印度風格到那裡 ， 也沒有桌子椅子，但只有地毯和墊子。他的朋友們很吃驚地看到許之抹“笑倒在地。”[2]徐早夭的一悲慘的意外縮短了職業生涯的偉大詩歌天賦。 If he had lived as long as many of his contemporaries had lived, his role in the history of modern Chinese literature would have been greater than what is known. 如果他還活著 ， 只要他的許多同時代人生活，他的作用在歷史上的現代文學本來比什麼是已知的。 So also: Tagore's influence on China's new poetry would have been more pronounced than what is known. 因此 ， 還：泰戈爾的影響對中國的新詩歌會更加明顯比是眾所周知的。

In Xu Zhimo, there was a mini-version of Tagore. 在徐志摩有一個小型版本的泰戈爾。 Rich, talented, romantic, exposed to progressive ideas but not plunging into the political activities. Not unlike Tagore in his young days, Xu Zhimo had tender feelings for fellow-beings, was inclined towards the charm of Nature, but knew how to make the best in material life. 豐富的，有才華，浪漫的，接觸到進步的構想 ， 但沒有投身政治活動。泰戈爾沒有什麼不同 ， 在他的青年時期，徐志摩溫情的同胞，人類，是傾向自然的魅力，但他知道如何使最好的物質生活。 He was a potential Chinese Tagore being wiped out in his formative stage by ill fortune. 他是一個潛在的中國被消滅泰戈爾在他的形成階段的厄運。

Among all authors in China's new poetry, Xu Zhimo and Xie Bingxin have held out as poets cast in the typical Tagorean mould. 在所有的作家在中國的新詩歌，徐志摩 ， 謝冰心已舉行了作為詩人投了典型Tagorean模具。 One of Xu's last poems composed in the end of 1930 wes a poem dedicated to Hu Shi (his friend. philosopher and guide) entitled “Aide linggan ”(Inspiration of love), which is at once a replica of Gitanjali . This is a long prose poem in communion with the invisible spirit, It ends with a typical Tagorean touch: 其中徐詩組成 ， 最後在1930年年底 ， 飲水和環境衛生一首詩 ， 致力於胡適（他的朋友。哲學家和指導），題為“備忘錄linggan”（愛的啟示），這是一次副本的林姬 。這是一項長期散文詩的共融與無形的精神，報告的最後一個典型的Tagorean聯繫：

“Now I really, really can die. “現在我真的，真的死。 I want you 我要你
to embrace me this way until I go away, until 擁抱了我 ， 這樣 ， 直到我走開，直到
my eyes open no more, until I fly, fly, fly 我的眼睛不再開放，直到我飛，飛行，飛行
to the outer space, scatter into sands, scatter 到太空，散成沙，散
into light, scatter into wind. 成光，散入風。 Oh, sorrow, 噢，悲傷，
but sorrow be short, sorrow be transient; 但悲傷短，痛苦是短暫的;
happiness be long, love is immortal!” [3] 幸福很長，愛是不朽的！“[3]

This flight of Xu Zhimo's'inspiration of love” is going the same direction of Tagore's Gitanjali . 這次飛行徐Zhimo's'inspiration“愛的是同一個方向走泰戈爾的林姬 。 In the end of Gitanjai: Tagore takes 在結束Gitanjai：泰戈爾需要

"Like a flock of homesick cranes flying “就像一群想家起重機的飛行
night and day back to their mountain 日夜回到他們的山
nests let all my life take its voyage to 巢讓我的一生採取的航程
its eternal home in one salutation to thee.” [4] 它永恆的家中一稱呼為你。“[4]

A search for idealism is an eternal theme in Tagore's poems. 用於搜索理想主義是一個永恆的主題 ， 在泰戈爾的詩。 “In desperate hope I go and search for her in all corners of my room: I find her not.” ( Gitanjali, poem 87) Xu Zhimo's poetry joins such a search: “在絕望希望我去尋找她的各個角落 ， 在我的房間：我覺得她不會。”（ 林姬，詩87）徐志摩的詩歌加入這樣的搜索：

“She isn't here. “她不在這裡。
Where is she? 她在哪兒？
She stays in the shine bright 她住在明亮的光芒
of clouds white. 雲白。
Stays in the moon crescent, 停留在月牙，
distant and quiescent. 遙遠而平靜。
She stays in the lotus of the valley 她住在蓮花的河谷
ever open timidly. 怯生生地越來越開放。
Stays in the flower that reveals 停留在花 ， 揭示
from inside the lotus seed. 從內部蓮子。
She stays in the adolescent heart 她住在少年心事
where prayers are sent forth. 在祈禱發送等等。
Stays in its naive artlessness. 停留在幼稚笨拙。
She isn't here. 她不在這裡。
She is in the quintessence of Nature.” [5] 她是在大自然的精髓。“[5]

In this poem entitled Where is she? Xu Zhimo gives enough indications that his search for her is exactly Tagore's search. 在這首詩題為她在哪兒？許之模我們有足夠的跡象表明 ， 他的尋找她的正是泰戈爾的搜索。 There are the “crescent moon”, the “lotus”, the “adolescent heart”, the “naive artlessness”, and the “quintessence of Nature”- all Tagorean symbols of idealism. 還有一些“新月”，“荷花”，在“少年心事”的“天真笨拙”和“精髓”自然-所有Tagorean符號的唯心主義。

Tagore was fond of roses. 泰戈爾很喜歡玫瑰。 Whether Xu Zhimo had the same love for roses we do not know. 無論是徐志摩一樣愛玫瑰 ， 我們不知道。 But, in interliterariness there is the phenomenon which I call the “telepathic transference of imagery”. 但是，在interliterariness存在的現象 ， 我稱之為“心靈感應轉移的圖像”。 For instance, the use of the garland is a part of daily life in India, while the practice was totally absent in China. 例如，使用花環是日常生活的一部分 ， 在印度，而這種做法在中國完全不存在。 Yet, we notice that in modern Chinese poetry (as well as in prose) the symbolism of garland is not infrequently resorted to by writers. We have no doubt that this is an Indian import - an import of the imagery without its material entity. 然而，我們注意到 ， 在現代漢語詩歌（以及散文）的象徵意義的花環不是經常採取的作家。我們毫不懷疑 ， 這是印度進口-進口的圖像沒有它的物質實體。 In poetic inspiration there is always the tendency of going for the unreal and abstract. 在詩興總是有傾向前往不真實的和抽象的。 The ancient Chinese poets had a favourable symbolism in the “celestial gate” although no one had ever been there. 中國古代詩人曾在一個有利的象徵“天門”，雖然從來沒有人去過那裡。 The “Cupid's arrow” is another foreign import into Chinese literary vocabulary but very few Chinese writers who use this symbolism have ever seen any drawing of the winged angels as depicted in the Roman legends, let alone ever experiencing such a weapon. 在“丘比特的箭頭”，是外國進口到中國文學詞彙 ， 但極少數的華文作家誰使用這種象徵所見過的任何繪圖翅天使論 ， 在羅馬的傳說，更遑論經歷過這種武器。 In this way, we find Xu Zhimo experiencing the Telepathic Transference of Imagery from Tagore by indulging in the symbolism of the roses in his poem “Qing si” (Death of love) which is another unmistaken echo of Tagore: 這樣，我們發現許之無經歷心電感應的轉移意象從泰戈爾的沉迷於象徵的玫瑰在他的詩“青州市”（死亡的愛），這是另一種無誤迴聲泰戈爾：

“Oh, roses, red roses that conquer all “哦，玫瑰，紅玫瑰是壓倒一切
other beauties. 其他美麗的風景。
The thunder storm of last night, 在雷雨昨晚，
that is the signal of your birth. 這是你出生的信號。
The smile of your cheeks, that is 你的微笑的臉頰，這是
brought, from Heaven. 帶來的天堂。 Alas, the world 唉，世界
is too mundane to give them eternal residence. 太世俗給他們永恆的居所。
Your beauty is your destiny! 您的美麗是你的命運！
You approach near me. 你靠近我的做法。
Your enchanting 你的迷人
colour and fragrance have conquered another 顏色和香味征服另一
soul - I am your captive! 靈魂-我是你的俘虜！
You smile over there. 你的微笑在那邊。
I tremble over here. 本人在這裡發抖。
I have caught you in my palm -I 我抓住你在我的手掌，我
love you, roses! 愛你，玫瑰！
Colour, fragrance, flesh, soul, beauty, charm -all 色，香，肉體，靈魂，美麗，魅力，所有
grasped in my palm. 抓住了我的手掌。
I tremble over here, you-smile. 本人在這裡發抖，你的微笑。
Oh, roses! 噢，玫瑰！
I can't tolerate your destruction, I love you! 我不能忍受你的毀滅，我愛你！
Petal, corolla, stamen, thorn, you, me, - 花瓣，花冠，雄蕊，草木叢生，你，我， -
How delightful ! 如何愉快！ -all merge into one; a mess of ，所有合併為一;混亂的
redness, both hands soiled in fresh blood, 紅腫，分泌物 ， 雙手新鮮的血液，
Oh, roses, I love You!” [6] 噢，玫瑰，我愛你！“[6]

Of course, Tagore would not have been so abrasive, blunt and outspoken. 當然，泰戈爾也不會如此粗糙，生硬 ， 直言不諱。 Tagore seldom talked about “bleed” in his poems, particularly associating blood with beauty and love. 泰戈爾很少談及“流血”，在他的詩中，特別是與美聯繫在一起的血液和愛。 “I am your captive” is a Tagorean theme, but Tagore would say it differently: “Thou hast taken every moment of my life in thine own hands. “我是你的俘虜”是一個Tagorean的主題，但泰戈爾會說它不同看法：“你已經採取了一切時刻在我的生活你自己手中。 Hidden in the heart of things thou art nourishing seeds into sprouts, buds into blossoms, and ripening flowers into fruitfulness.” ( Gitanjali , verse 81) The flowers, the Creator, Nature, men, 'You'. 隱藏在心中的東西你把藝術滋養種子發芽，芽成花，果實和花卉為多產。“（ 林姬 ，詩81）的花朵，是造物主，自然，男人，'你'。 “me”, these are the eternal bonds between Tagore and Xu Zhimo. “我”，這是永恆的債券之間的泰戈爾與徐志摩。

Singing hymns was poet Tagore's obsession. 唱聖歌是詩人泰戈爾的痴迷。 So did Xu Zhimo take it as a poets duty. 因此 ， 沒有許之萬是否可以作為一個詩人的責任。 But, we see sometimes the Chinese disciple's sense of rebellion against this Tagorean sainthood in poetry. 但是，有時我們看到中國弟子的意識反抗這種Tagorean聖人的詩歌。 This comes out dearly in Xu's piece “words of groan” ( Shenyin vu ): 這出來高昂的代價 ， 許的一塊“字的呻吟”（ 申銀萬國似曾相識 ）：

“I would have wished “我希望會
To sing hymns about 唱聖歌有關
This marvellous cosmos. 這種奇妙的宇宙。
I would have wished 我希望會
To forget, the sorrow 忘記的悲傷
Which in mankind grows. 這在人類生長。
Like a red sparrow 就像一個紅色的小麻雀
who no worries knows. 誰知道沒有後顧之憂。
Singing in the morn, 歌聲在莫恩
Jumping at even twilight. 跳 ， 甚至在黃昏。
If SHE had been by my side, 如果她一直在我身邊，
Like wind gently flies, 風輕輕蒼蠅一樣，
I would have wished 我希望會
To sing my poem, 唱我的詩，

Like the flowing stream, 流淌的河水一樣，
Would have wished 本來希望
To place my heart at ease, 若要將我的心放心，
Like the fish in the lake. 像魚在湖。
But, today, my heart boils 但是，今天，我的心沸騰
As if burning oil. 至於如果燃油。
How can I have the leisure 我怎樣才能有閒情
To care for my muse? 為了照顧我的女神？
Oh, God! 哦，上帝！
Won't you return 你不回
HER life and freedom 她的生活和自由
For one day even?!” [7] 甚至一天！“[7]

Xu Zhimo's poetry, in a sense, provides a development of the Tagorean muse across the Himalayas, which is the phenomenon of horizontal continuity in interliterariness. 徐志摩的詩，在一定意義上，提供了一個發展的Tagorean繆斯越過喜馬拉雅山，這是現象橫向連續性interliterariness。 Like the transplantation of vegetation which develops new features in a new habitat, the Tagorean elements were bound to transform when they grew in China's new poetry. 移植一樣 ， 植被的開發新功能 ， 新的棲息地，Tagorean要素必然轉變增長時 ， 中國的新詩歌。 As the above poem of Xu Zhimo indicates, the young Chinese poet could not preserve the cool of his Indian mentor, even if he wished to emulate Tagore to perfection. 由於上述徐志摩詩表明，年輕的中國詩人未能保持冷靜 ， 他的導師 ， 印度，即使他想模仿泰戈爾完善。 But, Xu, never probably, had the pretension of doing so. 但是，徐，從來沒有可能，有預應力這樣做。 For, his was a turbulent universe. His country was in turmoil where no Santiniketan could have existed. 因為，他是一個動盪的世界。他的國家在動盪在沒有汀尼克坦不可能存在。 But, this could not spiritually separate Xu Zhimo from Tagore. 但是，這不能分開許之萬精神上的泰戈爾。 Even in the boiling pot of his life, Xu had his longing for Tagore and his Santiniketan. This is what we can make out from his piece entitled “ Tianguode xiaoxi ” (News from the Celestial Kingdom), which reads : 即使在一鍋沸騰的生活，徐有他嚮往的泰戈爾和他的汀尼克坦。這是我們可以從他的一篇題為“Tianguode小溪 ”（新聞從天朝上國），內容如下：

“Lovely Autumn scene! “可愛的秋天現場！ Silent leaves fallen 沉默葉下降
gently, gently, dropping on this narrow path. 輕輕地，輕輕地，投擲這狹窄的道路。
Within the fence, a whisper of tiny kids' laughter. 圍欄內，耳語微小的孩子們的笑聲。
Clear sizzling sound the quietude of huts surround, 清除鐵板聲音寧靜的小屋環繞，
as if birds in the valley receiving the morning happily, 就像鳥在山谷中愉快地接受早晨，
driving away stale stagnation of the night, 趕走陳舊停滯的夜晚，
beginning, the unbounded brightness. 一開始，無界的亮度。
A momental ecstasy surges like the epiphyllum, 阿momental搖頭丸潮如曇花，
My momental open, I forget my love for Spring. 我momental開放，我忘記了我愛春天。
The fear, doubt and anguish of life, melancholy and hurry – 恐懼，懷疑和痛苦的生活，憂鬱 ， 急躁-
I have the vision of the Celestial Kingdom amidst 我的理想是天朝王國之中
the innocent kids' laughter!” [8] 無辜的孩子們的笑聲！“[8]

Xu Zhimo was in India, and did visit Santiniketan. 徐志摩在印度，曾造訪汀尼克坦。 In this poem we a visid depiction of Tagore's “Abode o/Peace”. 在這首詩 ， 我們一visid描寫泰戈爾的“居留權的O /和平”。 What had Xu in mind when he talked about the Celestial Kingdom” we do not know. 許了什麼考慮時 ， 他談到天朝王國“我們不知道。 In Chinese tradition the paradise often points to the direction of India - the Kingdom of the Buddha. 在中國傳統的天堂經常指出的方向 ， 印度-王國佛。 In any way, Xu Zhimo's depicting a quietude and a innocent kids' laughter bear the closest resemblance of Tagore's “Santiniketan”. 以任何方式，徐志摩的描繪了寧靜和一個無辜的孩子們的笑聲經得起相似泰戈爾的“汀尼克坦”。 The two poets are in communion with Nature and peace and ease of mind. 兩位詩人都在與自然的共融 ， 和平與心情舒暢。

The Crescent Moon School had its own publishing house - The Crescent Moon Bookshop in Shanghai -which was run by Xu Zhimo and some relatives and friends. 新月學校有自己的出版公司- 的新月書店在上海，這是運行徐志摩和一些親戚和朋友。 In 1931, the bwkshop published China's own Crescent Moon anthology entitled Xinyue shixuan 1931年，bwkshop公佈中國自己的月牙儿文選題為新月萱 (Selected poems of The Crescent Moon ) edited by Chen Mengjjia, who was himself a poet. The anthology formally launched the poets of The Crescent Moon School , and symbolized the sprouting of Tagore's seed in China's new poetry. （詩選的月牙儿 ）編輯陳Mengjjia，誰是自己是詩人。文選正式啟動的詩人的新月派 ，並象徵著泰戈爾發芽的種子在中國的新詩歌。 As this was one of the earliest anthologies of modem Chinese poems, it had a pioneer role in the development of modern poetry in China. 由於這是一本詩集的最早的現代漢語詩歌，它的先鋒作用 ， 在發展現代詩在中國。 The anthology is a selection of eighty poems from eighteen authors. 該文集是選擇80至18詩詞作者。 Apart from Xu Zhimo, a well-known poet, writer and scholar, Wen Yiduo (18991946) also contributed. 除了徐志摩著名詩人，作家和學者，聞一多（18991946）也作出了貢獻。 In the initial stage, Wen Yiduo was one of the three pillars of The Crescent Moon Society, along with Xu Zhimo and Hu Shi. 在最初階段，聞一多也加入了三大支柱的新月社，以及徐志摩和胡食。 But, later Wen grew tired of Tagore and moved closer to the radical left. 但是，後來聞增長厭倦泰戈爾和移近激進左派。 He was one of Tagore's critics on the eve of Tagore's visit to China. 他是一個泰戈爾的批評前夕泰戈爾訪問中國。 But, his Criticism of Tagore” penned in 1923 did not prevent him from contributing to the Chinese Crescent Moon anthology in 1931. 但是，他的批評泰戈爾“關在1923年並沒有阻止他從促進中國新月選集於1931年。 Further more, among the six pieces contributed by WenYtduo, half are the Gifanjali type of prose poems. 還有，其中六條WenYtduo作出了貢獻，有一半是Gifanjali類型的散文詩。 ' vige guannian ” (An idea) begins thus: 'vige guannian“（一個想法）開始是這樣的：

“Your profound mystery, your beautiful lie, “你的奧秘，你的美麗的謊言，
your stubborn interrogation, your golden ray, 你的頑固審訊，你的金線，
a little endeared meaning, a flame, 有點意思的愛戴，火焰，
a wisp of illusory call, who are you?” [9] 一縷的虛幻電話，你是誰？“[9]

The poem also contains a few lines which look like Wen Yiduo's conversation with Tagore. 這首詩還包含了一些線 ， 看起來像聞一多與泰戈爾的談話。 First, there was Tagore: 第一，有泰戈爾：

“When I sit on my throne and rule you with “當我坐在我的寶座而治你
my tyranny of love, when like a goddess 我愛的暴政時，就像一個女神
I grant you my favour, bear with my pride, 我承認我贊成，忍受我的驕傲，
beloved, and forgive me my joy” 親愛的，原諒我吧 ， 我快樂“

(The Gardener, verse 33) （園丁，詩歌33）

Then Wen Yiduo replied: 然後聞醫舵回答說：

“Oh, tyrannical spirit, you have conquered me. “哦，霸道的精神，你征服了我。
Have you conquered me? 你征服了我？ You magnificent rainbow 你一道壯麗的彩虹
-the memory of five thousand odd years.You -記憶的5000多years.You
move not. 晉升。 Now I want to try how to hug you tight. 現在我想嘗試擁抱你如何緊張。
-You are so tyrannical, so pretty!” [10] ，你是如此霸道，這麼漂亮！“[10]

The Chinese Crescent Moon anthology does not carry Wen Yiduo's piece of “Mod” (The end) which is at once the echo of Tagore's piece of the same title in The CrescentMoon. Here isWren's voice:“1 set up a fire in my heart, waiting quietly for a distant guest”. 中方月牙儿選集不履行聞一多的一塊“國防部”（完）這是一次迴聲泰戈爾的作品標題相同的CrescentMoon。這裡isWren的聲音：“1設立一個消防在我心中，靜靜地等待一個遙遠的客人“。 “The guest is already before me, I close my eyelids and follow the guests steps.” [11] Again there is Sino-Indian communion between Wen Yiduo and Tagore with the former wishing to low” the latter like a disciple. “住客已經在我之前，關閉我的眼皮 ， 並按照客人的步驟。”[11]同樣地 ， 中印之間的交流泰戈爾聞一多 ， 與前有意低“，後者如弟子。

All poets deal with the theme of life's voidness. 處理所有的詩人的生活為主題的voidness。 There is the yawning gap between illusion and reality. 存在的巨大差距幻想與現實之間。 All poets share the sense of regret of not having the right choice of the timing of their life and death. 所有詩人分享感遺憾的是沒有正確的選擇的時機 ， 他們的生活和死亡。 Thus they hang in the balance in men's awkward existence. 因此 ， 他們掛在平衡男子尷尬的存在。 In this respect, Tagore's mood is usually more gracious, while WenYiduo cannot bear the human dilemma without scorn. 在這方面，泰戈爾的情緒通常是更優雅，而WenYiduo不能忍受沒有蔑視人類的困境。 Here, there is scope to compare the two ways of life. 這裡，範圍比較兩種方式生活。 Tagore, in his desperate moment cries out: “Oh, dip my emptied life into that ocean, plunge it into the deepest fullness. 泰戈爾在他絕望的時刻大聲疾呼：“噢，我倒浸生活轉化 ， 海洋，投身到最深的是豐滿。 Let me for once feel that lost sweet touch in the allness of the universe.” ( Gitanjali , verse 97) To this Wen Yiduo echoes: 這一次讓我覺得失去了甜觸動allness宇宙。“（ 林姬 ，詩97）為此聞醫朵迴聲：

“Let me be drowned in the waves of your eyes! “讓我被淹沒在海浪你的眼睛！
Let me be burnt dead in the furnace of your heart! 讓我死在焚燒爐內你的心！
Let me drink to death in the wine of your music! 讓我喝死在酒你的音樂！
Let me be stifled to death in the fragrance of your breath!” [12] 讓我窒息而死亡的香水你呼吸！“[12]

Here Wen Yiduo approaches death with a Tagorean romanticism which even outshines that of the Indian master. 在這裡聞醫舵辦法死刑Tagorean浪漫主義連一枝獨秀說 ， 印度的主人。

We can have another round of comparison. 我們可以有另一輪的比較。 Like the above verse of Wen titled “si” (Death), the 86th verse of Gitanjati is exclusively devoted to the theme of “death”. 像上面詩句溫家寶名為“市”（死亡），第86詩歌的Gitanjati是專門討論的主題是“死亡”。 In the verse, Tagore describes the call of the messenger of Death: “The night is dark and my heart is fearful -yet I will take up the lamp, open my gates and bow to him my welcome”.“1 will worship him with folded hands, and with tears. 在詩，描述了泰戈爾的信使調用死亡：“夜是黑暗的 ， 我的心是害怕，但我會採取了燈，打開我的門和我向他鞠躬表示歡迎”。“一會崇拜他的折疊的手，淚水。 I will worship him placing at his feet the treasure of my heart. 我崇拜他將在他的腳下的珍寶 ， 我的心。 He will go back with his errand done, leaving a dark shadow on my morning: and in my desolate home only my forlorn self will remain as my last offering to thee.” Forever at peace with life and death. 他將回到他的跑腿工作，留下了濃重的陰影在我早上：在我荒涼的家裡只有我孤獨的自我仍將是我最後一次向你提供。“永遠的和平與生命和死亡。 Tagore conducts his feelings with controlled emotions. 泰戈爾進行控制自己的感情和情緒。 Wen Yiduo, on the other hand, feels annoyed at the idea of death in another poem (in contrast to the above romantic feelings enshrined in his poem “Death”). 聞一多，另一方面，覺得惱火死亡的想法在另一首詩（相對於上述浪漫情懷體現在他的詩“死亡”）。 He cries: 他呼喊：

“Death, if you want to come, come quickly, “死亡，如果你要來，迅速到來，
come quickly to cut short the boundless pain! 迅速到來縮短了無限的痛苦！
Haha! death, there your cruelty lies, 哈哈！死亡，還有你的殘酷在於，
when I want you you come rot, 我要你的時候你來腐爛，
like life, when I need him not, he exists!” [13] 如人生，當我需要他的時候，他存在！“[13]

However, like Tagore, Wen Yiduo is prepared to obey me dictates of destiny. 然而，像泰戈爾，聞一多準備聽從我的支配的命運。 He sings in his piece 'Death”: 他在他的作品唱的死神“：

“If you award me with joy, “如果你獎勵我的喜悅，
I shall die with joy. 我會死的喜悅。
If you award me with pain, 如果你獎勵我的痛苦，
I shall die with pain, 我會死的痛苦，
Death is my only demand on you, 死亡是我唯一的要求你，
Death is my utmost offering to you.” [14] 死亡是我最大的提供給你。“[14]

In the same piece “Death”, Wen Yiduo has paraphrased Tagore : Oh, soul of my soul, life of my life”. [15] This reminds us Gitanjali, verse 4 : “Life of my life, I shall ever try to keep my body pure”. 在同一塊“死亡”，聞一多的意譯泰戈爾：哦，我的靈魂的靈魂，是我一生的生活“。[15]這提醒我們 ， 林姬，詩歌4：”生活是我生命，我會不斷嘗試把我的身體純粹的“。 There are many other skilful adaptations of Tagore by Wen Yiduo. 還有許多其他幹練泰戈爾適應聞一多。 For instance, Tagore sings : “I know not how thou singest, my master! 例如，泰戈爾唱道：“我不知道你singest如何，我的主人！ I ever listen in silent amazement.” (Gitanjali, verse 3)Then, Wen Yiduo emulates in his poem “Mei yu ai” (Beauty and love): 我曾經在沉默驚異地聽。“（林姬，詩3）然後，聞一多在他的詩模擬”美喻愛“（美與愛）：

“Oh, that giant star, the companion of the moon! “哦，巨星，其同伴的月亮！
You have tied my eye-sigh1 for no reason. 你綁我的眼睛，sigh1毫無理由。
The bird in my heart slops its songs immediately, 這種鳥在我心中滑腳的歌曲立即
because it, has heard your silent celestial music.” [16] 因為它，已聽到你的沉默天體的音樂。“[16]

Tagore sings in Gitanjali (verse 68):'The sunbeam comes upon this earth of mine with arms outstretched and stands at my door the live long day to carry back to thy feet clouds made of my tears and sighs and songs.” Wen Yiduo imitates in his piece 'Shijiande Jiaoxun ”( Lessons of time): “The sun comes upon my bed, frightens away the spirit of dream. 泰戈爾唱林姬 （詩68）：'新光來自這個地球後的礦井伸出 ， 並隨時在我家門口的活整天攜帶回到了你的腳雲我的眼淚和嘆息和歌曲。“聞一哚模仿在他的作品'Shijiande Jiaoxun“（ 課的 時間）說：”太陽出來後 ， 我的床，震懾以外的精神夢想。 My worries of yesterday vanish, those of today haven't come yet.” [17] In the same poem Wen Yiduo resorts to the Telepathic Transference of Imagery by singing: “At the moment time is all smile to me. 昨天我的擔心消失，這些今天都還沒來。“[17]在同一首詩聞一垛訴諸心電感應的轉移意象唱：”現在時間對我所有的微笑。 I pray to him with folded hands: 'Grant me endless period!” [18] Here again is an echo of Tagore: “I will worship him with folded hands, and with tears,” ( Gitanjali , verse 86). 我祈禱他雙手合十：'我無窮期格蘭特！“[18]這裡同樣是一個迴聲泰戈爾：”我崇拜他雙手合十，並與淚水，“（ 林姬 ，詩86）。 It remains doubtful whether Wen Yiduo had ever prayed with folded hands. 它仍然值得懷疑聞一多都雙手合十祈禱。 There is another puzzle in Wen's poems when at two places he mentions burning the sandal-wood in offering [19] which is a common Indian practice but, was hardly in vogue in Wen Yiduo's time at least, if Chinese had ever indulged in such extravagant ritual even during the heyday of Buddhist conversion, simply because sandal-wood has always been a luxurious rarity in China. 還有另外一個難題 ， 在溫家寶的詩作時 ， 他在兩個地方提到了涼鞋燃燒木材在提供[19]這是一個共同的印度的做法，但幾乎沒有流行聞一多的時間 ， 至少，如果中國曾經沉迷於這種奢侈儀式即使在全盛時期的佛教轉換，僅僅是因為涼鞋，木材一直是在中國豪華罕見。 The truth is that Wen Yiduo has just acquired such Indian life details as poetic symbols. 事實是 ， 聞醫掇剛剛獲得的印度生活細節詩意的象徵。 Why has he chosen to do it should be attributed to Indian cultural influence either through Tagore or through his profound knowledge of China's Buddhist past. 為什麼他選擇這樣做應歸功於印度文化的影響要么通過泰戈爾或通過其深刻的了解中國佛教的過去。

To Tagore poetry is the very devotion to God/Truth. 為了泰戈爾詩是非常奉獻給上帝/真理。 Offering songs to God is the essence ofTagore's poetic life. 提供歌曲上帝是最重要的ofTagore的詩意生活。 “I am here to sing thee songs. “我來這裡是你唱的歌曲。 In this hall of thine I have a corner seat.” 'When the hour strikes for thy silent worship at the dark temple of midnight, command me, my master, to stand before thee to sing.” ( Gitanjali, verse 15). 在這個大廳thine我有一個角落坐下。“'當一個小時的罷工對你的沉默在黑暗崇拜寺院午夜，命令我，我的主人，站在你面前唱。”（ 林姬，詩15）。 In his master-piece, “ Hongdou pian ”( The red bean), Wen Yiduo is seized by this Tagorean passion: 在他的主人件，“ 紅豆片 ”（ 紅豆），聞一多是抓住這個Tagorean熱情：

“I have sung various songs, “我唱不同的歌曲，
Only forgetting to sing you. 只有忘記你唱。
But my songs should become newer, prettier. 但我的歌曲 ， 應該成為新的，更漂亮。
These last sung prettiest ballads. 這些年成最美的歌謠。
every word a bright pearl, 每一個字一顆璀璨的明珠，
every word a warm tear. 每一個字一個溫暖眼淚。
Oh, my queen! 噢，我的女王！
These are my humble presents to atone my sins, 這是我謙遜的禮物 ， 彌補我的罪，
These I kneel down and offer at your feet.” [20] 這些我下跪 ， 並提供在你的腳下。“[20]

Tagore's poetry is the reincarnation of happiness. 泰戈爾的詩 ， 是輪迴的幸福。 When he wrote to Andrews in 1915, Tagore said: “I knew I am Eternal, that I am ananda-rupam , my true form is not of flesh or blood, but of joy,” [21] One of the highest embodiments of joy is Tagore's verse 58 of Gitanjali : 當他寫信給安德魯斯在1915年，泰戈爾說：“我知道我永遠的，我阿難- rupam，我真正的形成不是肉或血液，而是喜悅，”[21]一個最高體現的喜悅是泰戈爾的詩句58 林姬 ：

“Let all the strains of jq mingle in my last song “讓所有的菌株jq混雜在我的最後一首歌
- the joy that makes the earth flow over in -帶來的歡樂 ， 使地球在繞流
the riotous excess of the grass, the joy 暴亂超出了基層的喜悅
that sweeps in with the tempest, shaking and 該掃與暴風雨，搖晃
waking all life with laughter, the joy that sits 醒來一切生命的笑聲，帶來的歡樂 ， 位於
still with its tears on the open red lotus of 它的淚水仍然在公開的紅蓮花
pain, and the joy that throws everything it has upon the dust, 痛苦，帶來的歡樂 ， 它引發的一切後 ， 灰塵，
and knows not a word.” 也不知一個字。“

Wen Yiduo in his piece “Lessons of time” conceives “happiness” as “the only truth of life”. [22] 聞醫柁在他的作品“時間的教訓”心目中的“幸福”為“生命的唯一真理”。[22] He has another short poem exclusively on “Happiness” ( Kuaile) which sings: 他還有一個專門的一首小詩“快樂”（Kuaile）的唱道：

“Happiness kisses my soul, “幸福親吻我的靈魂，
My world suddenly turns into paradise, 我的世界突然變成天堂，
fully occupied by soft and charming angels”. [23] 完全被軟和迷人的天使“。[23]

Rabindranath being named after the “sun” and the “thunder”, his poetry carries a strong impact of the brilliance of the celestial fire-ball. 拉賓德拉納特被命名的“太陽”和“雷”，他的詩帶有強烈的影響了輝煌的天火球。 In Gitanjali alone the powerful symbolism of the sun shines upon all the lines. 僅在林姬強大的象徵太陽的照射後 ， 所有線路。 “O thou holy one, thou wakeful, come with thy light and thy thunder.” (verse 39) “O my sun ever-glorious!” (verse 80) “I came out on the chariot of the first gleam of light”. “啊，你神聖的一，你清醒，拿出你的光 ， 你的雷聲。”（詩39）“我的太陽不斷的光榮！”（詩80）“我出來的戰車第一一線光明”。 (verse 12) Thy voice pour dawn in golden streams breaking through the sky”. （詩12）你的聲音倒在金色的黎明溪流突破天空“。 (verse 19) “All the lights ablaze, golden pennons flying over thy car. （19節）“所有的燈點燃，黃金細長飛越你的車。 (verse 41) “Under the golden canopy of thine evening sky”. （詩41）“在黃金冠的thine夜空”。 (verse 87) Verse 57 is specially devoted to the sun: （詩87）詩57是專門致力於太陽：

“Light, my light, the world-filling light, the eye-kissing “光，我的燈，世界填充情況，眼睛接吻
light, heart-sweetening light! 輕，心甜光！
Ah, the light dances, my darling, at the centre 啊，光舞蹈，我親愛的，在該中心
of my life; the light strikes, my darting, the chords 我的生命，光罷工，我猛衝和弦
of my love, the sky opens, 我的愛，天空打開，
the wind runs wild, 風肆虐
laughter passes over the earth. 笑聲越過地球。
The butterflies spread their sails on the seat, 蝴蝶帆上傳播他們的座位，
of light lilies and jasmines surge up on the crest of 光百合和茉莉花驟增的壩頂
the waves of light. 光的波。
The light is shattered into gold on every 光線已經變成黃金每
cloud, my darling, and it scatters gems in profusion. 雲，我親愛的，它散射寶石在叢生。
Mirth spreads from leaf to leaf, my darting, and 歡樂傳播到葉 ， 從葉，我穿梭，和
gladness without measure. 歡樂無措施。 The heaven's river has 天上的河道
drowned its banks and the Mood of joy is abroad.” 溺死的銀行和歡樂的情緒在國外。“

Wen Yiduo was one the Chinese modern poets who had been infected by Tagore's powerful sun imagery. 聞醫柁是一個現代詩人中誰被感染了泰戈爾的強大的太陽圖像。 Like Tagore, Wen conceived the sun as the symbol of treasure and brightness. 泰戈爾一樣，溫家寶設想太陽作為財富的象徵和亮度。 In his poem “ Chun'guang”(Spring/light ) Wen sings: 在他的詩“Chun'guang”（春/光 ）溫家寶唱道：

“Suddenly a sheet of sun-light flashes before my eyes, “突然一表的太陽光線閃爍在我眼前，
from my eyes fly out thousands of golden arrows, 從我的眼睛飛出成千上萬的金色箭頭，
my ears bear witness to the flapping sounds of wings, 我的耳朵見證拍打翅膀的聲音，
as if a group of angels hovering in the sky...” [24] 猶如一群天使在天空中盤旋...“[24]

Wen's poetry further personifies the sun. 溫家寶的詩歌進一步化身太陽。 In his poem “Qiuse”(Aufumn co/ours), Wen sings: 在他的詩“Qiuse”（Aufumn公司/我們的），文唱道：

“Morning sun-light beams at the world. “早晨太陽光束的世界。
its smile produces gold....” [25] 它的微笑生產黃金...." [25]

Wen Yiduo depicts: “the sun set in the evening with interesting scenarios. 聞醫柁描繪：“太陽 ， 傍晚時分有趣的場景。 In his poem “Huanghun”(Dusk), Wen sings: 在他的詩“Huanghun”（黃昏），文唱道：

“The sun tries out for the day, “太陽嘗試了這一天，
earning a safe and sound dusk. 入一個妥善的黃昏。
its face reddens with joy, 其表面reddens的喜悅，
running straight towards the valley like mad:” [26] 對連續運行山谷瘋狂：“[26]

In another poem, Wen depicts: “The sun sets, responsibility closes its eyes.” In yet another poem, he complains, “The evening sun hands the poet over to the annoying night.” [27] 在另一首詩中，描寫文：“太陽下山，負責關閉它的眼睛。”還有一種詩，他抱怨說：“夕陽手中的詩人交給惱人的夜晚。”[27]

Wen Yiduo has two poems with the sun in their captions, One poem is “You swear by the sun” which is a mockery of the fidelity of love which is also one of The Crescent Moon poems . 聞醫柁有兩首詩與太陽在他們的標題，一首詩：“你發誓被太陽”，這是一種諷刺的忠誠的愛 ， 亦是詩的月牙儿 。 Another is “Tayang yin”(Song of the sun ). 另一個是“塔洋陰”（太陽之歌 ）。 This was composed when Wen was a student in the USA It is a Tagorean poem but quite different from the piece written by Tagore already quoted. 這是由溫家寶時 ， 一名學生在美國這是一個Tagorean詩 ， 但完全不同的作品寫的泰戈爾已引用。 There are twelve stanzas of the poem. 有12個段落中的詩。 The first stanza complains about the ruthless revolution of the sun which painfully pierces the heart of the poet. 第一節抱怨革命的無情的太陽穿過心臟痛苦的詩人。 The second stanza depicts the sun's scorching power. 第二節描述了太陽灼人的權力。 The third stanza wishes the sun running faster to free the poet from suffering the slow torture of life. 第三節希望太陽運行的速度釋放詩人的痛苦折磨緩慢的生活。 The fourth stanza likens the sun to the golden bird, and wishes to tide on it so that the poet can see his home place once a day. 第四節比作太陽的金鳥，並希望紅潮於它 ， 詩人可以看到他的家裡進行一次。 The fifth stanza expresses the poet's nostalgia as the sun comes to him from the East. 第五節表達了詩人的鄉愁 ， 太陽來到他來自東方。 The seventh stanza expresses the poet's fellow-feeling that the sun is a vagabond like the poet himself. 第七節表達了詩人的同胞感情 ， 太陽像一個流浪詩人自己。 The eighth stanza describes the sun as a restless self-strengthening body. 第八次節描述太陽作為不安自強機構。 The tenth stanza defines the sun as the fire of life which gives the Eastern Hemisphere its enthusiasm and the Western Hemisphere its wisdom. 第十屆節定義為太陽火的生活中賦予的熱情東半球和西半球的智慧。 In the twelfth and final stanza the poet wishes his home not situated on the earth, but stays in the heaven.” [28] 在第十二次和最後節詩人不希望他的家坐落在地球上，而是停留在天堂。“[28]

Another interesting poem of Wen Yiduo is entitled “Huangniao” ( Yellow bird) which is also a depiction of the sun implicitly. 另一個有趣的聞一多詩的題目是“Huangniao”（ 黃鳥），這也是描述太陽的含蓄。 The sun that is the yellow bird is seen by the poet as a brilliant fire bow shooting its arrows like mad. 太陽是黃色的鳥看到詩人作為一個輝煌的火弓的箭射擊像瘋了一樣。 He also likens the sun to an ambitious bird. 他還說它是一個雄心勃勃的太陽鳥。 The poem ends with the hope that the sun builds up a palace of art to let the poet-a soul losing his bearings-to have an early chance to settle down. [29] 詩的結尾 ， 希望太陽建立起一個宮殿藝術 ， 讓詩人的靈魂失去了軸承 ， 儘早安定下來的機會。[29]

A similar poem included in the Chinese Crescent Moon is “ Luori song ” (Hymn to the setting-sun ) written by a lesser known poet, Zhu Da'nan. 類似的詩包括在中國新月是“Luori歌”（ 讚美詩的設置 ，太陽 ）寫的一鮮為人知的詩人，朱Da'nan。 The poem depicts the sun as a golden bird which emits vicious flames, but is forced to retreat, behind the western mountains. 這首詩描述了一個金色的太陽鳥發出惡毒的火焰，但被迫撤退，留下西部山區。 The frogs are celebrating the victory in forcing the sun to exit. [30] If Wen Yiduo has already reduced Tagore's powerful symbolism of the sun to a half pitiable figure, Zhu Da'nan has brought it further down to the symbol of defeat. 青蛙正在慶祝勝利迫使太陽退出。[30]如果聞一墮已經減少了泰戈爾的強大的象徵太陽的一半可憐的數字，朱Da'nan帶來進一步下降到了失敗的象徵。 It is not difficult to understand the Chinese poets' resentment of the sun's vicious heat, particularly its harm during drought. 這是不難理解的中國詩人'不滿的太陽熱量惡性，特別是在乾旱的危害。 Paradoxically, in India and in Tagore's Santiniketan as well, the sun is a much more vicious fire-arrow-shooting-monster than in any part of China. 自相矛盾的是，在印度和泰戈爾的汀尼克坦以及，太陽是一個更惡性火災箭的射擊怪物比任何部分中國。 Yet, Tagore should have never complained against the sun besides eulogizing its light and life-giving power. 然而，泰戈爾應不抱怨 ， 除了對太陽的讚美它的光賦予生命的力量。 This speaks out the contrast of Indian idealism with religious devotion against the Chinese pragmatism with down-to-earth lifestyle. 這正好體現了對比印度的宗教虔誠的理想主義對中國的實用主義與腳踏實地，紮紮實實的生活方式。 This explains the impact of transposition of symbolism to a different cultural milieu. 這說明了影響轉象徵到一個不同的文化環境。

Another Crescent Moon poet worth mentioning was Shao Xunmei who also cast his poetry in the Tagorean mould. 新月詩人的另一個值得一提的是邵洵美也投了誰的詩Tagorean模具。 His “Nuren” (Woman) in The Crescent Moon anthology is also a Gifanjali type: 他的“Nuren”（女）在月牙儿文選也是Gifanjali類型：

"I adore you, woman, I adore you like “我崇拜你，女人，我崇拜你喜歡
I adore a small poem of a Tang master 我崇拜一個小的一首詩唐主
-you tie my words with your warm and smooth ，你配合我的話你的溫暖和平穩
even-tones and crispy uneven-tones. 甚至鈴聲和脆不平衡，鈴聲。
I disbelieve you, woman, I disbelieve you like 俺就不相信你，女人，我不信你喜歡
I disbelieve a ring of magnificent rainbow 俺就不相信一環一道壯麗的彩虹
- I don't know whether it's for me that you -我不知道是否對我說 ， 你
blush, or for another hot dream?” [31] 臉紅，或另一個熱門的夢嗎？“[31]

There is one little lovely poem of Shao Xunmei which is notjncluded in the Chinese Crescent Moon anthology . 有一個小可愛的邵洵美詩是notjncluded在中文新月選集 。 The poem begins, thus, with the first line repeating its title: 這首詩開始，因此，與第一行重複的標題：

“I am a lamb. “我是羔羊。
You are a pasture. 你是一個牧場。
I eat you, I sleep in you, 我吃掉你，我睡在你，
I eat you, I sleep in you. 我吃掉你，我睡在你。
I also offer myself to you.” [32] 我也向你提供我自己。“[32]

The chemicals of this little poetic crystal must have come from the following lines of Tagore's Stray Birds. 這些化學品的這個小詩意晶體必須來自以下行泰戈爾的飛鳥 。 “The artist is the lover of Nature, therefore he is her slave and her master.'(verse 86) “The great earth makes herself hospitable with the help of the grass.” “藝術家是自然的情人，所以他是她的奴隸和她的主人。'（詩86）”大地給自己做好客的幫助草。“

(verse 91) The woodcutters axe begged for its handle from the tree. （詩91）樵夫斧懇求其處理的樹。 The tree gave it.” (verse 71) Thus, the Tagore-Shao affinity is established. 給它的樹。“（詩71）因此，泰戈爾，邵親和力成立。

All the above illustrations prove the strong input of Tagorean inspiration in the Chinese Crescent Moon School. 所有上述例證證明強烈輸入Tagorean靈感在中國新月派。 In the first place, we cannot imagine the emergence of a school named after Tagore's work without the poets' having really inspired by The Crescent Moon and other works of Tagore. 首先，我們不能想像的出現一所學校命名 ， 泰戈爾的工作沒有詩人'有真正鼓舞人心的月牙儿和其他作品的泰戈爾。 Secondly, Tagore's popularity in China way back in the 1920s was testified to by Xu Zhimo and Wen Yiduo. 其次，泰戈爾的受歡迎程度在中國早在20世紀20年代被證明徐志摩 ， 聞一多。 Xu Zhimo wrote in i924 that out every ten new-wave poems in China eight or nine bear the imprint of Tagore's influence, and that the teenage school pupils were fond of reading Tagore's works in Chinese translations. [33] Wen Yiduo supplemented Xu Zhimo's testimony by saying in 1923 that “almost every word of Tagore has been transported to Chinese language”. (Italic added) [34] Of course, what Wen Yiduo meant was that Tagore's works available in English had a good many takers by Chinese translators because the language of Tagore was simple and his meaning deep. 許之無寫道i924是每隔10個新波在中國詩八 ， 九年承擔印記泰戈爾的影響，而十幾歲的小學生都喜歡讀泰戈爾的作品在中國翻譯。[33]聞一哚補充徐志摩的證詞在1923年說，“幾乎每一個字泰戈爾已運往中文”。（斜體加）[34]當然，聞醫掇的意思是 ， 泰戈爾的作品提供了一個很好的英語許多考生的中文翻譯，因為泰戈爾的語言簡單 ， 他的意思深。 Even in his critical article of Tagore, Wen Yiduo respected Tagore as a great philosopher, but did not think much of Tagore's artistic achievement. 即使在他的批判文章泰戈爾，聞一多尊敬泰戈爾作為一個偉大的哲學家，但沒有想到多少泰戈爾的藝術成就。 Here again, Wen Yiduo was not aware of and could not read Tagore's works in Bengali. 在這裡再次，聞一多也沒有察覺到 ， 不能讀泰戈爾的作品在孟加拉語。 Even then, the Chinese new-wave poets had already found a lot of food for thought in the available English translations of Tagore. 即使這樣，中新波詩人已經發現了很多耐人尋味的可用英語翻譯的泰戈爾。 Hence, there is little surprise that the new Chinese poets in the 1920s and 1930s had echoed so much of Tagore's ideas and imagery. 因此，沒有什麼意外 ， 新的中國詩人在20世紀20年代和30年代附和了這麼多的泰戈爾的思想和形象。

One revolutionary change which the avant garde poets of China have introduced in the new poetry (apart from the use of colloquial language) is the adoption of Tagore's style of prose-poem which is the style of The Crescent Moon anthology. 一個革命性的變化而前衛的中國詩人中引進了一些新的詩（除了使用通俗的語言）是通過對泰戈爾的散文風格，這是詩風格的月牙儿選集。 There is yet another significant revolution courtesy of Tagore's influence. 還有另一個重要的革命提供了泰戈爾的影響。 In early Chinese poetry the focal point is “l” and “me” which is supplemented by “she/he” and “her/him”, but seldom 7/ou'. 在早期中國詩歌的焦點是“升”和“我”，這是補充“她/他”和“她/他”，但很少7/ou'。 In the few Tagore anthologies which had wide circulation in China, like Gitanjali, The Crescent Moon. 在少數泰戈爾詩集曾廣泛流通 ， 在中國，像林姬，弦月。 Stray Birds , the poet has highlighted “you” which at once strengthens the purposiveness of the muse. 飛鳥 ，詩人突出了“你”的一次加強的針對性的繆斯。 The Chinese Crescent Moon poets were quick in adopting this Tagorean style. 月牙儿的中國詩人很快採用這種Tagorean風格。 That is why many pieces written by them both inside The Crescent Moon anthology and outside it look like taking a leaf out of Tagore's Gifanjaliand other works. 這就是為什麼許多件書面他們內外的月牙儿文選內外看起來像葉子採取了泰戈爾的Gifanjaliand其他作品。 We have already had examples of Wen Yiduo in this respect as an illustration of this point. 我們已經有例子 ， 聞一多在這方面的一個例子 ， 這一點。 We can have more examples of this kind. 我們可以有更多這樣的例子。 A typical Gitanjali type of poem in The Chinese Crescent Moon anthology is 'Zou” (Go) composed by Rao Mengkan .The verse has four lines of prose form with the second and fourth lines rhymed, and same number of words both in the first and third lines, and in the second and fourth lines. 一個典型的林姬類型的詩在中國月牙儿選集是'鄒“（圍棋）組成 ， 由饒蒙侃。的詩句有4行散文的形式 ， 第二和第四行押韻，和同樣數目的字都在第一和第三行，在第二和第四線。 This shows that the poet wished to give it a distinct verse form while adopting the technology of the prose-poem liberalization. 這表明 ， 詩人希望給它一個獨特的詩歌形式 ， 而採用這種技術的散文，詩的自由化。 The poem reads: 這首詩如下：

“I have spent efforts to make a boat for you, “我花了努力使船你，
I have been praying for wind day and night, 我一直在祈禱風日夜，
Only after you utter that soft word 'go', 只有在你說出 ， 軟字'走'，
You will find the boat in full sail alright.” [35] 你會發現船揚帆沒有問題。“[35]

Shao Xunmei's piece “Jihou” (Seasons) in The Crescent Moon anthology provides another example of the Tagorean You-poem: 邵洵美的作品“Jihou”（四季） 在月牙儿選集提供了另一個例子，Tagorean友詩：

“When I first met you you gave me your heart “當我第一次遇見你你給我你的心
with a Spring morning in its inner part. 一個春天的早晨在其內部。
When I met you next you gave me your words, 當我遇見你下次你給我你的話，
words in which the fiery Summer do nurse. 詞在火熱的夏天做護士。
We met again and you gave me your hand, 我們再次會晤時 ， 你給我你的手，
hand that has Autumn's falling leaves inland. 手有秋天的落葉內陸。
Our last meeting takes place in my short dream, 我們上次會議發生在我簡短的夢想，
there's you and the Wintry wind to redeem”. [36] 有你和冬天的風贖回“。[36]

Once again, the poem shows the authors care for rhyme and metric uniformity. 再次，這首詩顯示了作者關心韻和度量的一致性。 But, it is the Tagorean framework with a little finishing. 但是，它是Tagorean框架有點整理。 Yet, the top-most Tagorean poem in the anthology is the opening piece 'Wo denghou ni” (I wait for you ) composed by XU Zhimo. 然而，最頂端的Tagorean詩文集是在開幕片'窩denghou妮“（我等著你）組成的徐志摩。 If translated with skill this poem can merge intoTagore's works without any trace of its foreign origin. 如果翻譯與技能這首詩可以合併intoTagore的作品 ， 沒有任何痕跡的外國血統。 It is too long to quote in full. 這是太長引述充分。 But, glimpses of it can be provided below: 但是，瞥見它可以提供如下：

“I gaze at the evening outside my window, “我盯著窗外晚上，
like a longing for my future. 渴望像對我的未來。
The quake in my heart blinds my hearing. 這次地震在我心中百葉窗我的聽證會。
……. ... ...。
I wait for your steps, your smiling words, 我等待你的步驟，你微笑的話，
your face, the soft silk of your hair, waiting for all what is you. 你的臉，柔軟的絲綢你的頭髮，等待你的是什麼。
……. ... ...。
I demand you so forceful that pains my heart. 我要求你 ， 有力的痛苦我的心。
I demand your flame-like smile, your pliant waist, the 我要求你的火焰般的笑容，你的柔韌腰部
flying stars in your hair and at the corners of your 飛行星在你的頭髮和你的角落
eyes. I fall into the air of intoxication. 眼睛。我陷入空氣中毒。
Like an island, floating helplessly among the green 像一個島嶼，無助地漂浮在綠色
pythons of sea waves... 蟒蛇的海浪...

……. ... ...。

No frozen expectancy and prayer can shorten 無凍結的預期壽命和祈禱能縮短
a tiny inch the distance which 一個小小的英寸的距離 ，
separates you and me! 分開你和我！
The yellow dusk outside 黃色的黃昏外
my window has stiffened into nights blackness. 我的窗口已經僵硬到夜晚黑暗。
Icicles hang on the boughs. 冰柱掛在樹枝。
Birds pawns away 鳥類遠離走卒
their chirping. 它們的鳴叫。
Silence is this cosmos 沉默是這個宇宙
in uniform mourning atire.” [37] 在統一的哀悼atire。“[37]
Can these lines not comparable to those penned by Rabindranath? 難道這行不能相提並論的執筆的拉賓德拉納特？

Affinity with Tagore could not be surpassed by the poetry of Xie Bingxin. 親和與泰戈爾無法超越的詩歌 ， 謝冰心。 a poetess of modem China, who was as famous 一女詩人現代中國，誰的名聲 as other leading writers. 其他的作家。 Xie Bingxin, or Bingxin, was particularly impressed by the StrayBirds, which made her compose Fanxing (Crowded stars) in 1921 and Chunshui (Spring water) in 1922 -Win Chinese replicas of Stray Birds. Let us see some specimens of the poetess' masterpieces: 謝冰心，或冰心，印象特別深刻的是StrayBirds，使她撰寫繁星 （擁擠星）於1921年 ， 春水 （泉水）於1922年，溫中複製的飛鳥。讓我們看到一些標本的女詩人'傑作：

“Crowded stars twinkling -The “擁擠的明星閃爍，在
deep blue outer space, 深藍色的太空，
can you hear their conversations? 你能聽到他們的談話？
In silent tranquillity, 在平靜的生活，
in dim glimmer, 在昏暗的一線希望，
they sink deep into singing eulogies to each other.” 他們深入到沉唱輓歌對方。“

(fanxing, verse 1.) （繁星，詩歌1。）

“Out of my window the strings of the harp are struck, “走出我的窗口字符串的豎琴的襲擊，
Oh, my heart! 噢，我的心！
How is it so deeply entangled in the echoes! 它是怎樣深深地糾纏於迴聲！
There is the limitless sound of the trees, 有無限的樹聲，
there is the limitless brightness of the moon.” 有無限的月亮亮度。“

(ibid., verse 21.) （同上，詩21。）

“Flowers and stones lying beside the rails! “花卉和石頭躺在旁邊的欄杆！
Only in the flicker of this second, 只有在這第二閃爍，
I and you 我和你
a chance meeting in the limitless life, 一個偶然的場合 ， 在無限的生活，
and also an eternal parting in the limitless life. ， 也是一個永恆的離別的無限生活。
When I come again, 當我再來，
among the millions in our species, 中數以百萬計的物種，
where to find you? 在哪裡可以找到嗎？

(ibid., verse 52.) （同上，詩52。）

“Oh, father! “哦，父親！
Please come out and sit under the bright moon, 請出來 ， 坐在明月下，
I want to listen to your talk about your sea.” 我要聽你談談你的海。“

(ibid., verse 75) （同上，詩歌75）

“Oh, sea, “哦，海，
Which star has no light? 哪個明星沒有光？
Which flower has no fragrance? 這花朵沒有香味？
Which tide in my mind 這在我的腦海潮
has no clear sound of your waves?” 沒有清晰的聲音你的波？“

(ibid., verse 131.) （同上，詩歌131。）

“The flower at the corner of the wail! “花卉在角落的哀鳴！
When you are proud of yourself, 當你自己自豪，
heaven and earth will shrink.” 天地會萎縮。“

( Chunshui , verse 33.) （ 春水 ，詩33。）

“Little pine tree, “小松樹，
let me keep you company, 讓我陪你，
the white clouds above the mountains have thickened! 白雲山上面有增厚！

(ibid ., verse 41.) （同上 。，詩歌41。）

“Infant, “嬰兒，
in the trembling of his cries 在顫抖 ， 他哭
there is infinite mystic language, 有無限神秘的語言，
brought from the earliest soul 從最早提出的靈魂
wish to the world tell.” 想告訴全世界。“

(ibid., verse 64.) （同上，詩64。）

“Spring arrives with hesitation “春天來臨的猶豫
on this solemn altar -amidst 在這個莊嚴的祭壇之中
the unbounded indifference, 無界漠不關心，
I can only hand a silk of Spring mood 我只能手絲綢春心情
to the insignificant weed 到微不足道的雜草
hidden in the cleft of the stairs. 隱藏在裂的樓梯。

( ibid., verse 88.) （ 同上，詩88。）

“Creator -if “造物主，如果
in the eternal life 在永生
there is only one promise of extreme happiness, 只有一個承諾極端的幸福，
I will demand this with utmost sincerity: 我會要求這個最大的誠意：
'I lie in the bosom of mother, '我躺在母親的懷抱，
mother lies in the boat, 母親是在船上，
boat lies in the ocean of lunar brightness.” 船在海洋中是月球的亮度。“

(ibid., verse 105.) （同上，詩歌105。）

“Under the green bower “在綠色園丁
I sit in deep thinking – 我坐在深入的思考-
Oh, poetic mood like floating silks! 哦，詩一樣的心情浮動絲綢！
Just as faint Spring light 正如微弱光春
draws you out, 吸引你的，
The sound of the gardeners scissors 聲音的園丁剪刀
cuts you asunder.” 削減你四分五裂。“

(ibid., verse （同上，詩歌 147.) 147。）

“Farewell, Spring water! “再見，泉水！
Thanks for your gentle Spring flow 感謝您溫和春流
carrying away lots of my thoughts.” 帶走我的很多想法。“

(ibid., verse 182.) [38] （同上，詩歌182。）[38]

There is, indeed, the Tagorean touch in these lines, soft-spoken, tender feelings, the poetess' finding complete harmony with Nature, trying to keep away the discordant notes of life from the symphony, In this sense, Xie Bingxin's inheritance from Tagore was 目前，的確，在這些接觸Tagorean線，輕聲細語，溫情的女詩人'找到完全的和諧與自然，試圖避開了不和諧注意到生活的交響樂，在這個意義上說，謝冰心的繼承由泰戈爾是

greater than all The Crescent Moon poets putting together. 大於所有的新月詩人匯總。 While The Crescent Moon poets have learnt from Tagore's technique, Xie Bingxin alone imbibed Tagore's poetic soul. 雖然新月詩人泰戈爾汲取的技術，謝冰心單獨熏陶泰戈爾的詩魂。 In Xie Bingxin's poems, Tagore's voice is transformed into Chinese language and female softness, Her anthologies of Crowded Stars and Spring Water were exceedingly popular in the 1930s and 1940s particularly among younger readers. 在謝冰心的詩，泰戈爾的聲音轉化成中文和女性柔軟，她文選擁擠星和泉水是極為流行，20世紀30年代和40年代 ， 特別是年輕讀者。 This indirectly spread the Tagorean message of harmony and peace among Chinese intellectuals. 這間接傳播Tagorean留言的和諧與和平之間的中國知識分子。

Yet, we have not introduced the Chinese writer who had received the maximum influence from Tagore. 然而，我們沒有引入中國作家誰收到的最大影響來自泰戈爾。 His name was Guo Memo (1692-1976) whose stature in the cultural scene of modern China can match with that of Tagore in modem India. 他的名字叫郭麼沒（1692年至1976年），其地位在文化領域現代中國可以配合的泰戈爾在現代印度。 Guo Moruo had a fruitful career of creative writing. 郭沫若是富有成果的創作生涯。 He was almost as versatile as Tagore, was a poet, play wright, historian, archaeologist, educationist, and political activist. 他幾乎是泰戈爾的多才多藝，是一位詩人，發揮賴特，歷史學家，考古學家，教育家和政治活動家。 His position in the early decades of the People's Republic of China was like that of Gorky in the Soviet Union. He held the Presidency of the Chinese Academy of Sciences for life, a rare distinction to match with the eminence of Zhou Enlai who was the first Premier of the People's Republic till his death. 他的立場 ， 在最初幾十年的中華人民共和國中國是這樣 ， 高爾基在蘇聯。他認為院長的中科院生命，一種罕見的區別 ， 以配合隆起周恩來誰是第一總理中華人民共和國直到他去世。 During the Cultural Revolution, Guo Moruo, again like Zhou Enlai, was almost the lone eminent intellectual who could save his skin. 文革期間，郭沫若，周恩來等又幾乎是唯一的著名知識分子誰可以挽救他的皮膚。 The reason was that Chairman Mao Zedong had a binding love and respect for him. 其原因是 ， 毛澤東主席曾對一項具有約束力的熱愛和尊敬他。 The two often composed classical poems together which figured as great cultural events in Communist China. 這兩個通常由古典詩詞在一起的想出那麼大的文化活動在共產主義中國。 No one could imagine that such an eminent career would not have been there at all if Tagore had not written The Crescent Moon. 沒有人能想像這樣一個傑出的職業生涯也不會在所有去過那裡 ， 如果不寫泰戈爾的月牙儿。

It was more than a coincidence that when Guo Moruo arrived in the modern world in search of a career, Tagore had just arrived as a Nobel laureate. 這是一個多巧合 ， 當過摩弱來到了現代世界中尋找職業生涯，剛剛抵達泰戈爾作為諾貝爾和平獎得主。 Japan played an important role in connecting these two. 日本發揮了重要作用 ， 連接這兩個。 How Tagore's writings had entered the life of Guo Moruo 如何泰戈爾的著作 ， 已經進入了生命的郭沫若

has already been illustrated in the preceding essay by Sisir Das. 已經在前面的說明文章的Sisir達斯。 Guo Moruo and Tan Yun-shan (founder-director of Visva-Bharati Cheena-Bhavana), were the two unique Chinese intellectuals who had Tagore entering into their life at a crucial juncture. 郭沫若和譚蘊珊（創始人主任印度國際心軒- Bhavana），是兩個獨特的中國知識分子泰戈爾誰進入了他們的生活在一個關鍵時刻。 Tan Yun-shan would have followed his radical Hunan school-mates to France (and, then, to Marxism most likely) had he not met Tagore in Singapore in 1927,That eventful meeting with the Indian poet transformed his life and career into that of a “modern Xuanzang”. 譚雲山會追隨他的激進湖南學校隊友為 ： 法國（和，那麼，馬克思主義最有可能）已不能滿足他泰戈爾於1927年在新加坡，這多變的會見印度詩人改變了他的生活和事業 ， 強“現代玄奘”。 Guo Moruo never met Tagore. 郭沫若從未見過泰戈爾。 And unlike Tan Yun-shan, Guo was destined to embrace Marxism in any way - Tagore or no Tagore. 不像譚雲山，郭注定要接受馬克思主義以任何方式-泰戈爾或沒有泰戈爾。 Yet, if there had not been Tagore we might not have heard of Guo Moruo at all, thus, I think the Tagore-Guo affinity is an equally historic example as the Tagore-Tan affinity both of which deserve to be highlighted in any discourse of Sine-Indian cultural relationship. 然而，如果沒有泰戈爾 ， 我們可能沒有聽郭沫若所有，因此，我認為泰戈爾國親和力同樣是一個歷史性的例子 ， 在泰戈爾，譚親兩者都值得強調的任何話語正弦和印度文化關係。

As has already been pointed out, Tagore entered Guo Moruo's heart when Guo stood at the cross-road of life. 正如已經指出的那樣，泰戈爾進入郭沫若的心當過站在十字路口的生活。 Between 1916 17, Guo was alternately seized by the desire of committing suicide or becoming a monk. 從1916年17，郭抓住交替的願望自殺或成為一名僧人。 The wreckage of his mind is described by a poem of classical style composed by him in 1916 entitled “Ye ku”(Weeping at night). 飛機殘骸是在他心中一首詩描述的古典風格組成 ， 於1916年由他的題為“葉區”（哭泣的夜晚）。 The poem also outlines the reasons which drove him to the brink of suicide. 這首詩還概述了原因促使他自殺的邊緣。 We can take a look of them: 我們可以看看他們：

“My soul has left my empty body to remain. “我的靈魂離開了我的身體保持空白。
I suffer the torment of not reaching my end. 本人遭受的痛苦 ， 沒有達到我的目的。
I have a country which exists only in name, 我有一個國家 ， 已經名存實亡，
devastated by increasing wars in vain. 增加戰爭的破壞是徒勞的。
I have a home to which I cannot return. 我有一個家 ， 我不能回去。
Old and decaying health are my people's condition. 老的和腐爛的健康是我國人民的身體狀況。
I have my love which is as good as broken. 我有我的愛情一樣好打破。
A bird without a nest is what now I am.” [39] 沒有一隻鳥的巢是什麼 ， 現在我。“[39]

An interesting episode was Guo Moruo's composing two poems on the theme of suicide at about the same time. 一個有趣的插曲是郭沫若創作了兩首詩的主題自殺大約在同一時間。 One poem written in the classical style, entitled “Xunsi”(Seekiing death) was definitely composed in Okayama in 1916.The other poem written in new style entitled “Side youhuo” (Enticement of death). 一首詩寫的古典風格，題為“Xunsi”（Seekiing死亡）組成的肯定是在1916.The岡山其他所寫的詩新的風格 ， 題為“側youhuo”（誘惑 ， 死亡）。 Guo gave the years of 1916 and 1916 as the possible lime of the latter's composition. [40] A comparison of the two poems can help us reconstruct the turning point in Guo Moruo's life, as well as the moral influence exercised by Tagore on Guo Moruo. 過了1916年和1916年的可能石灰後者的組成。[40]的比較了兩首詩可以幫助我們重建的轉折點 ， 在郭沫若的生命，以及道德影響泰戈爾行使對郭沫若。 First, the poem of the classical style which surely was an earlier composition than the other, is a narrative of his going out of the house to end his life. 首先，這首詩的古典風格 ， 肯定是的成員組成 ， 比其他，是敘述他出去的房子 ， 結束他的生命。 But, he won't know where he should go, and he sighed repeatedly as he proceeded. 但是，他不知道他應該去，他嘆了口氣 ， 他反复進行。 As life was hard to live, death became relatively easy for him, he thought. 由於生活十分艱苦的生活，死亡變得相對容易他，他想。 He had ambitions to become a tiger, but ended in surviving like a dog, However, he still had his country and family in mind, and decided to endure longer in mankind. 他的野心成為老虎，但最終在像狗一樣生存，不過，他仍然有他的國家和家庭考慮，並決定不再忍受人類。 When he returned to the house, he saw his Japanese wife all in tears. [41] 當他回到屋裡，他看到他的日本妻子都流淚了。[41]

The other poem on suicide written in the modern style is a product of entirely different 另一首詩寫的自殺在現代風格的產物 ， 是完全不同的 psyche. 心靈。 The poem reads: 這首詩如下：

“I have a small knife “我有一把小刀
standing by the window beaming at me. 站在窗口喜氣洋洋我。
She says to me with a smile: 她說 ， 向我微笑著說：
Moruo, don't burn your heart! 郭沫若，不燒你的心！
Come quickly and kiss my lips, 來得很快 ， 親吻我的嘴唇，
I can get rid of your worries. 我可以擺脫您的後顧之憂。
Blue, blue sea waves outside my window 藍色，藍色海浪窗外
yelling at me with unceasing roar. 喊話 ， 我與不斷的轟鳴聲。
She calls me and says: 她打電話給我 ， 說：
Moruo, don't burn your heart! 郭沫若，不燒你的心！
Throw yourself quickly into my bosom, 你很快投入到我的懷裡，
I can get rid of your worries.” 我可以擺脫您的後顧之憂。“

While in the first poem Guo Moruo was still under the impact of the threat of suicide, in the second poem the situation changed. 而在第一首詩過摩弱仍在影響威脅自殺，在第二個詩的形勢發生了變化。 The threat of death remained, but the poets mentality had undergone a transformation. 死亡的威脅仍然存在，但詩人的心態發生了轉變。 He had become a Tagorean poet, a poet-philosopher. 他已成為Tagorean詩人，詩人，哲學家。 In the poem he looked at the threat of death in a romantic spirit. 在這首詩 ， 他看著的死亡威脅在一個浪漫的精神。 His understanding of the meaning of living was tinged with a philosophical attitude. 他理解生活的意義是色彩的哲學態度。 Yes, there is the enticement of death, but a philosopher who sees clearly the empty promise in that will not fail into the trap. 是的，死亡的誘惑，而是一個哲學家誰清楚地看到 ， 在空洞的承諾 ， 將不會失敗的陷阱。 The composition of this poem “ Side youhua” thus became the turning point of Guo's life. 組成這首詩的“ 側有華”，從而成為轉折點過的生活。 He had acquired strength to endure the torture of life, for he realized now that death was no solution to the problems which he had, been facing. 他已經獲得的力量 ， 忍受生活的煎熬，因為他現在認識到死亡是沒有解決的問題是他，一直面對。 After composing the poem, both the knife and the sea became harmless to his life as he had decided not to be enticed, hence they would not pose as threats to him any more. 撰寫這首詩後，無論是刀和海無害成為他的生活 ， 因為他已經決定不受到吸引，因此他們將不會構成威脅他了。

Guo Moruo himself wrote in his 1923 reminiscence that in the darkest years of his life, he had tried solutions by reading the writings of Chinese philosophers like Zhuangzi and Wang Yangming, by daily chanting the Old and New Testaments, by practising meditation with every little effect. 郭沫若寫了一篇文章中回憶說 ， 他1923年在最黑暗的年代 ， 他的生活，他曾試圖通過閱讀解決方案的中國哲學家的著作如莊子與王陽明，每天誦經由舊約和新約，通過練習冥想每收效甚微。 It was only after reading Tagore's Gitanjali, The Gardener, Raja (The king of the Dark Chamber), and the Hundred Poems of Tagore from the Ukayama Library in 1916 that he had suddenly discovered “the life of life”, and the fountain of life”. 只是在讀泰戈爾的林姬， 園丁，拉賈（國王的黑暗商會）和詩百篇泰戈爾從Ukayama圖書館在1916年 ， 他突然發現了“生命生命”，而噴泉生活“。 When he was reading Tagore, a “tranquil sadness” emerged within and outside his body. 當他讀泰戈爾“寧靜悲傷”出現了內部和外部他的身體。 “I was enjoying the joy of nirvana”, said Guo. [43] So, it was Tagore who had removed the threat to Guo Moruo's life and enabled such a great career to blossom to its natural end. “我享受快樂的極樂世界”，郭說。[43]所以，誰是泰戈爾曾威脅取消了郭沫若的生命 ， 使這樣一個偉大的事業開花到其自然終結。

Interestingly, Guo Moruo himself put a foot-note to the poem 'Side youhuo” in these words: 'This was my earliest poem, probably written in the Summer of 1916,” [44] I have mentioned a little while ago that Guo had in another place noted that he had written this poem in 1916 along with some other poems. 有趣的是，郭沫若自己所一英尺照會詩'側youhuo“的這些話：'這是我最早的一首詩，大概寫於1916年夏季，”[44]我剛才提到了一會兒前 ， 郭曾在另一處指出 ， 他寫了這首詩在1916年以及其他一些詩詞。 We know that Guo had started composing poems in the classical style many years earlier than his sojourn in Japan (his earliest poems published dated 1913 written in his home province).There is a mistaken statement about this poem of the Enticement of Death. But. 我們知道 ， 過已開始吟詩在古典風格的許多年以前比他旅居日本（他最早日期為1913年出版的詩集寫在他的家鄉）。有一個錯誤的聲明 ， 這首詩的誘惑死亡。但是。 if we try to understand Guo's psychology, we can take him as saying that this was the first (or one of the first) new poem he had composed. 如果我們試圖了解過的心理，我們可以帶他的話說 ， 這是第一次（或首批）新的詩 ， 他組成。 The mistaken note also helps us to see that considerable importance had Guo Moruo attached to this piece. 該錯誤說明還幫助我們看到了相當大的重要性過摸偌附於本件。 In an autobiographical work entitled Geming chunqiu (Revolutionary annals ), Guo Moruo divided his creative literary career into three phases. 在自傳的工作題為葛明春秋（革命史 ），郭沫若創作的文學分為職業生涯分為三個階段。 The first phase was conceived by him as the period of the influence of Tagore up till 1919, followed by two later phases when he was influenced by Whitman and Goethe respectively. [45] 第一階段的構思是由他作為期間泰戈爾的影響 ， 直至1919年，其次是兩個後期階段時 ， 他受惠特曼和歌德分別。