中国现代作家的浪漫一代（英文版）.doc

Leo Ou-fan Lee The Romantic Generationof Modern Chinese Writers HARVARD UNIVERSITY PRESS, CAMBRIDGE, MASSACHUSETTS, 197 3 ? Copyright 1973 by the President and Fellows of Harvard CollegeAll rights reservedPreparation of this volume has been aided by a grant from the Ford Foundation.Library of Congress Catalog Card Number 73-75058SBN 674-77930-4Printed in the United States of America To my parents and their generation Preface More than fifty years have elapsed since the Chinese students in Peking unleashed what has come to be called the May Fourth movement. Another shore and a time span of fifty years lend a different perspective to May Fourth. The distance reveals much about at least two generations of modern Chinese intellectuals, the May Fourth generation, now fathers, and a younger generation brought up by them in changed circumstances. For a member of this post-May Fourth generation, a study of the May Fourth movement is necessarily burdened not only with the issue of historical objectivity but also with that perennial phenomenon, the generation gap. The original stimulus for this study in fact first came from my parents. As emancipated intellectuals fresh from college in the early thirties, my parents adopted a modern method in raising their first son, steeping him in Greek mythology and the music of Chopin. Western literature—Dumas, Lamartine, Byron, and Romain Rolland in Chinese translation—became the regular educational fare in my adolescent years in Taiwan. I can still recall with vivid immediacy how my father gave me special permission one night to read through La Dame aux Camelias until early dawn. And it did not take me vu PREFACE much time to find out that the initial letter in my fathers European name stood for Annand. There must have been countless Armands and Werthers in the more modern sectors of China in the twenties and thirties. And my parents, who went to college in Nanking in the thirties, must have been typical of young intellectuals i