By Chung-yuan Chang
Publish yr note: First released The Julian Press, Inc. in 1965
Simultaneously available and scholarly, this vintage publication considers the underlying philosophy and the aesthetics of chinese language artwork and poetry, the expression of the Taoist method of lifestyles. Chapters conceal every thing from the potential for creativity to the best way tranquility is mirrored in chinese language poems and portray. Chung-yuan Chang's deceptively easy and continually lucid narrative explores the connection among the Tao and the inventive arts, introducing vintage work and poems to convey Taoism to lifestyles.
In Creativity and Taoism, Chang Chung-yuan makes the elusive precept of Tao on hand to the western brain with objectivity, heat, and intensity of perception. it's a huge contribution to the duty of creating the Taoist knowledge obtainable to the western intellect' - Ira Progoff'
No you possibly can learn Chang's booklet with out experiencing a broadening of his psychological horizons' - John C. H. Wu, Philosophy East and West'
His interpretation of the Taoist roots of Ch'an has been provided with flavor and studying that aid to resolve many questions that should have happened to someone conversant in his topic. "The Spirit of the Valley" dwells during this quiet and delicate guy who, as so not often occurs, really embodies the various philosophic qualities of which he writes' - Gerald Sykes
If the top of analyzing is the enhancement of lifestyles, the growth of expertise and knowing, then this booklet turns into an enormous step in that path. Dr. Chang writes in a mode either lucid and felicitous. He monitors with changing into modesty a mastery of the sphere, its improvement and its ideas... there's not often a web page which doesn't provide pleasure' - Robert R. Kirsh, l. a. Times
Professor Chang's examine, a super exposition and research, is anxious with the relevance and applicability of the Taoist view in chinese language inventive and highbrow creativity. Few different works facilitate so delicate an realizing of artistic impulse and expression in chinese language culture' - Hyman Kublin, Library Journal
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Additional info for Creativity and Taoism: A Study of Chinese Philosophy, Art and Poetry
It is the domain of reason, thought, and truth, as distinguished from and even opposed to that of imagination, illusion, and fable or myth, that Leopardi considers to be utterly unwholesome for the growth of true poetry. Though his own poetry is seldom free from thought, and sometimes thought at the deepest level, in theory Leopardi is as much in favor of the "life of sensations rather than that of thought" as Keats himself. Even if "logical intuition" and "fabulous prestige," as Lodovico Di Breme put it, are incompatible today, and even though our imagination is weaker than that of the ancients, it does not mean that the essential nature and material of poetry has changed.
Both, besides being models of creative polemics, are also illuminating accounts of what their authors considered to be the essential nature and function of poetry itself, not merely the difference between classical and romantic poetry. In many respects, therefore, this essay adumbrates Leopardi's theory of poetry as such and is an indication of the remarkably parallel or [ 21] Leopardi and the Theory of Poetry allied developments in him both as a poet and as a theorist and critic of poetry. One thing that must be made clear at the very outset is that what Leopardi condemned as romantic has very little to do, in spite of his reference to English and German poetry, with those attitudes, assumptions, and features which characterized English poetry at the beginning of the nineteenth century.
38 Whatever, therefore, be the intrinsic or historical value of Leopardi's juvenile writings of philological character as such, they constitute an indisputable proof of the level of critical awareness that his mind had reached at such an early age, and that governed his whole attitude to all he read or wrote. "39 With such an arduous training and background behind him, whatever Leopardi was going to say henceforward about poetry and literary criticism must at least have one infallible quality about it, that, whether it was basically right or wrong, it was the voice of a man who knew what he was talking about, and whose most casual observation was directly or indirectly the fruit of close study and earnest thought.