{"id":148998,"date":"2014-09-18T10:53:02","date_gmt":"2014-09-18T09:53:02","guid":{"rendered":"https:\/\/www.um.edu.mo\/sem-categoria\/2014\/09\/29622-pt_pt\/"},"modified":"2020-11-26T21:04:27","modified_gmt":"2020-11-26T13:04:27","slug":"29622","status":"publish","type":"post","link":"https:\/\/www.um.edu.mo\/pt-pt\/news-and-press-releases\/campus-news\/detail\/29622\/","title":{"rendered":"Inspiration and Literature\u2013Interview with Poet Yu Kwang Chung"},"content":{"rendered":"

Source: umagazine<\/i><\/a><\/p>\n\n

When I was a child, my homesickness was a tiny stamp,\nlinking my mother at the other end and me this. When I grew up, my homesickness\nbecame a ticket, by which I sailed to and from my bride\u2026<\/p>\n\n

This is an excerpt from \u201cHomesick\u201d, the most\nwidely-circulated poem by the Chinese-speaking world\u2019s best-known poet and\nprose writer Yu Kwang Chung.<\/p>\n\n

Yu has published more than 50 titles in what he describes as\nthe \u201cfour dimensions\u201d his works cover\u2014poetry, prose, criticism, and\ntranslation. In writing he loves to travel across these different dimensions,\nand in life he also loves to travel. His love of travel has taken him around\nthe world and has served as a constant wellspring of inspiration for his\npoetry. In December 2013, he visited the University of Macau (UM) to receive an\nhonorary doctorate. Later he gave a talk entitled \u201cA Major Source of\nInspiration\u2014On the Transformation of Artistic Experience\u201d in a jam-packed\nauditorium\u2014so packed, in fact, that even the aisles were overflowing. Those\nlatecomers who tried unsuccessfully to squeeze into the hall were left sighing\noutside as the door closed unsympathetically on a cultural feast that was too\ngood to be missed by any literature lover.<\/p>\n\n

As if to make it up to those who had missed his earlier\ntalk, Yu came back this March, this time as a writer in residence at UM. The\nnews that Yu was going to stay in Macao for an entire month was like a welcome\nwarm spring breeze, announcing the start of a \u201choneymoon\u201d for those in love\nwith his works. The \u201choneymoon\u201d opened with a talk on \u201cTravel and Culture\u201d, in\nwhich he shared his life experience, and a poetry reading, where he read poetry\nwith the students. These face-to-face interactions gave the students a chance\nto see a more intimate and humorous side of Yu, and for those who have never\nmet Yu in person, we hope our exclusive interview for this issue of umagazine might\ngive them a deeper understanding of this literary master as well.<\/p>\n\n

Y: Yu Kwang Chung. | U: umagazine<\/p>\n\n

U: What do you think of the honorary degree from UM compared\nto the other honours you have received? And what do you feel about what was\nsaid about you in the citation? <\/p>\n\n

Y: It is also an honour. It is the fourth honorary doctorate\nI have received. I received my first honorary doctorate from the Chinese\nUniversity of Hong Kong in 2003, which was about ten years ago. Receiving\nanother degree from UM shows academia\u2019s recognition of me, which is an honour\nand encouragement. I\u2019m still writing\u2014the well of inspiration for writing hasn\u2019t\ndried up. Actually my relationship with UM goes back a little further\u2014I gave a\ntalk at UM when Prof. Iu Vai Pan was the rector, and I remember the title of\nthe talk was \u201cPoetry and Music\u201d.<\/p>\n\n

The citation delivered at the degree conferment ceremony\nmostly consisted of kind words of praise which I don\u2019t think I fully deserve;\nand perhaps due to time constraints, some aspects of my work were not\nelaborated in the citation. Actually, apart from poetry, I\u2019m also a prose\nwriter. I have published more than ten prose collections. I once said that\npoetry and prose are like two eyes, which, only when working together, can\npresent the world in all its dimensions and richness. I often quote this line\nfrom Robert Frost, \u201cAs my two eyes make one in sight,\u201d which about sums it up.\nI started out on the journey of writing as a poet, but now I\u2019m involved in all\nthe \u201cfour dimensions\u201d\u2014translation, poetry, prose, and criticism, without\nnegligence to any of them. <\/p>\n\n

U: You have the reputation as a \u201chomesick poet\u201d. How do you\nfeel about that? Are you entirely happy or are there mixed emotions? <\/p>\n\n

Y: Part of me feels happy, and part of me feels it\u2019s perhaps\na bit too narrow. \u201cHomesick\u201d is short, and has a straightforward metrical\npattern, which makes it easy to memorise and recite. It started to circulate\nwidely after it was included in the textbook. CCTV [editor\u2019s note: a TV channel\nin mainland China] made a song out of the poem. Later a dozen singers and\nsongwriters, including Wang Luobin, Guan Mucun and Lo Ta-yu, also produced\ndifferent versions of songs. If \u201cHomesick\u201d is a business card, then its\ninclusion in the textbook and its adaptation into so many different versions of\nsongs has attracted more and more attention and increased its visibility to the\npoint that the card has covered up the face. I wouldn\u2019t say \u201chomesick poet\u201d is\ninaccurate, but I feel it is perhaps a bit too narrow. For example, later I\nwrote many poems about environmental protection, which apparently don\u2019t fall\ninto the \u201chomesick\u201d category.<\/p>\n\n

U: How can \u201cnew Hanyu poetry\u201d have a higher standing and a\nwider influence on the international literary scene? What\u2019s your take on the\nchances of \u201cnew Hanyu poetry\u201d winning the Nobel Prize? <\/p>\n\n

Y: The international standing of \u201cnew Hanyu poetry\u201d is yet\nto be improved, and it has yet to reach a wider audience. The international\nstanding of \u201cnew Hanyu poetry\u201d needs to be understood in context. Take\nclassical Chinese poetry. Some sinologists are studying classical Chinese\npoetry, and some of the classical poems have been included in the curriculum\nfor Chinese literature students. When we say \u201cnew Hanyu poetry\u201d, we mean poetry\nwritten in vernacular Chinese which emerged after the May Fourth Movement. So\nit\u2019s been barely 100 years, which is a very short period in the long literary\nhistory. Chinese is one of the three major languages in the world, and\ncurrently about 30 million people in the West are learning Chinese, which is\nactually not so many, and the fact remains that today\u2019s world is under the\nhegemony of the English language, and so we really can\u2019t say that Hanyu is\nbeing used extensively. I think maybe as more and more people start to learn\nthe language, \u201cnew Hanyu poetry” will reach a wider audience. <\/p>\n\n

About Nobel Prize\u2014I think the reason why it has received so\nmuch attention is because first, there have been a lot of promotions, and\nsecond, it is organised by the Royal Swedish Academy of Sciences, which makes\nit look more grand and prestigious, because unlike awards organised by\ngovernments, it doesn\u2019t seem to carry as much political undertone. But even so,\nI still think that Nobel Prize is just a \u201cWestern literary prize\u201d, not a \u201cworld\nliterary prize\u201d. We have to remember that unlike translation between different\nEuropean languages or Latin languages, which is relatively easy, it is very\ndifficult to translate Hanyu into English. A major reason Tagore won the Nobel\nPrize in Literature is because he wrote in English. So we needn\u2019t care too much\nabout Nobel Prize. We shouldn\u2019t put it on a pedestal and regard it as the sole\nstandard, because it\u2019s not.<\/p>\n\n

U: UM proposed the concepts of \u201cnew Hanyu literature\u201d and\n\u201cnew Hanyu poetry\u201d, hoping to eliminate the boundaries between \u201ccentre\u201d and\n\u201cperiphery\u201d and integrate modern and contemporary literature; Taiwan, Hong Kong\nand Macao literature; as well as overseas Huayu literature. What\u2019s your opinion\non this?<\/p>\n\n

Y: I agree\u2014but only up to a point. I think it could indeed\nhelp with integration in terms of teaching and research\u2014it could help to\neliminate the boundaries between \u201ccentre\u201d and \u201cperiphery\u201d and gives one a\ncomplete picture where research is concerned. But I don\u2019t think it\u2019s a very\ngood idea to use these concepts in our everyday life. We use the term \u201cHanyu\u201d\nto distinguish it from languages used by ethnic minority groups in China, such\nas Huiyu [editor\u2019s note: the language of the Hui ethnic minority group], and\nZangyu [editor\u2019s note: the language of the Tibetan ethnic minority group]. The\nlanguage spoken outside of China is referred to as \u201cHuayu\u201d, while the one\npeople in China use in their everyday life is called \u201cPutonghua\u201d. \u201cHuayu\u201d\ndoesn\u2019t have any political undertone, and it can be used throughout the world.\nSo if these concepts are only to be used in academic research, that\u2019s\nfine\u2014actually it makes a lot of sense; but I don\u2019t think we should use them in\nour everyday life. Even Hu Shih, when advocating the creation of new forms of\nliterature, merely proposed \u201ca literature of the national language, a national\nlanguage of the literature.\u201d<\/p>\n\n

U: What\u2019s your impression of UM\u2019s new campus?<\/p>\n\n

Y: I\u2019ve seen the new campus. It has very good teaching and\nresidential facilities, with beautiful surroundings, which will make teaching\nand event organisation very convenient. I hope UM teachers and students seize\nthe opportunity and treasure the new campus and work together to help the\nuniversity scale new heights.<\/p>\n\n

 <\/p>\n\n

Master\u2019s Talk\u2013Yu Kwang Chung on the Source of Inspiration<\/p>\n\n

During his visit to UM in 2013, Yu gave a talk entitled \u201cA\nMajor Source of Inspiration\u2014On the Transformation of Artistic Experience\u201d. He\nalso led a workshop where he shared his experience with beginning writers and\nanswered their questions. <\/p>\n\n

Transformation of Artistic\nExperience<\/p>\n\n

Yu believes that there are three\nprerequisites for artistic creation, namely knowledge, experience, and\nimagination. Only when all three are present can \u201cart prevail where nature\nfails\u201d, he quoted a line from one of the poems by the Tang dynasty poet Li He.\nHe thinks that art is, as Malcolm de Chazal put it, \u201cnature speeded up and God\nslowed down,\u201d and contrary to popular belief that art imitates life, Yu agrees\nwith Oscar Wilde who once observed that, \u201cLife imitates art far more than art\nimitates life.\u201d<\/p>\n\n

He used mountain climbing, along\nwith his own poems and poems by Tang dynasty writer Liu Zongyuan and Song\ndynasty writer Wang Zhi, to illustrate that mastery of metaphor is the mark of\na genius, and that truly ingenious metaphors are created by finding\nsimilarities where none seem to exist.<\/p>\n\n

Realism: Direct Experience VS\nIndirect Experienc<\/p>\n\n

The famous Song dynasty poet Su\nShi once wrote a poem which goes like this, \u201cBeyond the bamboo grove, several\npeach trees are in bloom\/The river is warming, which the ducks are first to\nknow\/Beach wormwood is teeming, the asparagus just sprouting\/Ah, the season\nwhen globefish are coming upstream!\u201d1 Legend has it that some of the poet\u2019s\ncontemporaries took issue with the word \u201cducks\u201d; why ducks had to be the first\nto know, they asked the poet, why not geese? Actually, explained Yu, as the\ntitle of the poem, \u201cInscription on Huichong\u2019s Painting of a Spring River\u201d,\nimplies, this knowledge did not come from the poet\u2019s direct experience, but\nfrom his indirect experience, which was his observation of a painting. Yu used\nthis example to stress the importance of using both direct and indirect\nexperience to find more sources of inspiration for poetry. <\/p>\n\n

But Yu also pointed out that some\nsubjects do not lend themselves very well to realistic reproduction, citing the\ndifferent versions of the painting The Last Supper by different artists\nincluding Leonardo da Vinci, Dieric Bouts, Philippe de Champaigne, etc, all of\nwhich were based on the same story of Jesus\u2019s last supper with his disciples\nrecorded in the Gospel of Mark.<\/p>\n\n

Yu shared his experience with the\naudience from the perspectives of colour, composition, and modelling in\npainting. He used one of his poems, which was inspired by Liu Guosong\u2019s\npainting Walking on the Moon, as an example to explain how a new work can be\ncreated by transforming artistic experience. When he was creating the poem, he\nsaid, he was imagining himself as Neil Alden Armstrong taking a leisurely\nstroll on the moon, when it suddenly occurred to him that the two lines from\nthe famous poem by the Tang dynasty poet Li Bai, \u201cLooking up, I see the bright\nmoon; looking down, I think of my hometown,\u201d perhaps should be re-written into\n\u201cLooking up, I see my hometown; looking down, I\u2019m walking on the bright moon.\u201d\nThis transposition came naturally from his active imagination, giving birth to\na new poem with a fresh aesthetic appeal and dimension the original poem didn\u2019t\nhave.<\/p>\n\n

Reading and Imagery<\/p>\n\n

At the workshop, Yu encouraged\nthe students to read more, as one could always benefit from reading, but he\nalso stressed that if one believes everything one reads, one might as well not\nread at all. He loves classical Chinese literature, which was written in a\nlanguage in between vernacular Chinese and classical Chinese, for their beauty\nof words. He advised the students to put the beauty of words before\nstory-telling in their own writing. <\/p>\n\n

He advised beginning poets to\nwrite about personal experiences and emotions instead of life and philosophy.\nHe believes that the abstract theme or emotion of a poem needs to be expressed\nthrough concrete imagery. He cited \u201cThe Quatrain of Seven Steps\u201d, a poem by Cao\nZhi from the Three Kingdoms period, which he thinks is one of the best examples\nof expressing an abstract emotion with concrete imagery. In addition to\nimagery, he told the students, rhythm is also very important for poetry.\nIndeed, he explained, imagery and rhythm are the two key tools by which poetry\nexpress beauty, and he advised the students to start with practicing how to\nbecome better at using imagery. <\/p>\n\n

He suggested that beginning poets\nshould start with reading and imitating works by established poets and\npracticing writing every day, even when it feels hard to come up with anything\nand even if there are no other readers except themselves; and if they keep\ndoing this, it is possible to surpass their role models within three to five years.\nWhen he first started writing poetry, he told the students, he used to imitate\nthe Crescent Moon School and wrote some awkward modern metrical poetry and\nlater, under the influence of classical Chinese poetry, started to write poems\nwith no stanza breaks. As his understanding deepens, his poems began to acquire\na much greater breadth both in style and in subject.<\/p>\n\n

Travel and Culture<\/p>\n\n

\u201cThe universe is a temporary inn\nfor all living things. Time is the transit visitors over the span of one\nhundred generations\u201d ( \u201cPreface to the Feast in Peach and Plum Garden on a\nSpring Night\u201d by Li Bai2).<\/p>\n\n

Travel is the translation of\nlanguages, and translation is the travel of languages. There is a metaphysical\nconnection between the two. Literary masters across the world, from ancient\ntimes to the modern day, have all understood the value of travel\u2014only through\ntravel can one gain a deep understanding of the histories, cultures and customs\nof different places, thereby broadening one\u2019s horizons and enriching one\u2019s\nknowledge. <\/p>\n\n

At the workshop, Yu introduced\nstudents to famous literary works with travel as the main theme, from Western\nworks like Odyssey, Exodus, and Don Quijote de la Mancha, to Eastern ones such\nas Journey to the West, Journey to the West in the Great Tang Dynasty, and Xu\nXiake\u2019s Travel Diary. He explained how travel, in its temporal and spatial\nchanges, is similar to life\u2019s journey. While helping students to see the value\nof the travel diaries in these works, he also explained how these travel\ndiaries later became symbols, or rather, ways of expressing human existence.<\/p>\n\n

Yu talked about his travels in\nEurope when he was young, noting that everyone travels, and each travel allows\none to experience a culture unique to that journey. He encouraged the students\nto take in each moment while travelling and stay open to what these little\nmoments have to teach.<\/p>\n\n

About Yu Kwang Chung\nYu Kwang Chung is a renowned poet, prose writer, critic, translator, and\neditor. He first studied at the Private University of Nanking and then\ntransferred to the University of Amoy (now known as Xiamen University). He went\nto Taiwan in 1950. After graduating from Taiwan University\u2019s Department of\nForeign Languages and Literatures, he went to the United States where he later\nreceived a master\u2019s degree in fine arts from Iowa State University. He was\nprofessor at Taiwan Normal University, Chengchi University, and the Chinese\nUniversity of Hong Kong. He was the dean of the College of Liberal Arts at Sun\nYat-sen University, Taiwan, and is currently its Kung Hua Chair Professor. He\nhas given lectures and served as visiting professor at numerous Asian, European\nand American universities. He has received honorary doctorates from the Chinese\nUniversity of Hong Kong, Sun Yat-sen University (Taiwan), and UM. He is a poet\nin residence at Peking University. This year he became a writer in residence at\nUM under the Writers-and-Artists-in-Residence Programme. He has published more\nthan 50 titles, including a poetry collection White Jade Bitter Guard, a prose\ncollection Untrammeled Traveler, and a translated work, Lust for Life, which is\na fictional biography of artist Vincent Van Gogh.<\/p>\n\n

Notes: 1, English translation of this poem is by Wen Shu,\nWang Jinxi, and Deng Yanchang. 2, English translation of this poem is by E. C.\nChang.<\/p>","protected":false},"excerpt":{"rendered":"

Source: umagazine When I was a child, my homesickness was a tiny stamp, linking my mother at the other end and me this. When I grew up, my homesickness became…<\/p>\n","protected":false},"author":1,"featured_media":117630,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[61],"tags":[],"class_list":["post-148998","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-campus-news"],"acf":[],"yoast_head":"\nInspiration and Literature\u2013Interview with Poet Yu Kwang Chung | Universidade de Macau<\/title>\n<meta name=\"description\" content=\"Universidade de Macau: Uma universidade abrangente p\u00fablica de n\u00edvel internacional fundada em 1981\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.um.edu.mo\/pt-pt\/news-and-press-releases\/campus-news\/detail\/29622\/\" \/>\n<meta property=\"og:locale\" content=\"pt_PT\" \/>\n<meta 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