Sinologists

"The same binome is printed in as many as half-a-dozen or more different combinations of characters that have been used throughout history lo write it out. This indicates powerfully the primacy of sound over written form as the ultimate determinant of Chinese language."

"As a working Sinologist, each time I look up a word in my Webster's or Kenkyusha's I experience a sharp pang of deprivation. Having slaved over Chinese dictionaries arranged in every imaginable order(by K'ang-hsi radical, left-top radical, bottom-right radical, left-right split, total stroke count, shape of successive stroke, four-corner, three corner, two-corner, Kuei-hsieh, ts'ang-chieh, telegraphic code, rhyme tables, phonetic keys, and so on ad nauseam), I have become deeply envious of specialists in those languages, such as Japanese, Indonesian, Hindi, Persian, Russian, Turkish, Korean, Vietnamese, and so forth, which possess alphabetically arranged dictionaries."

"On July 4 1983, I met with officials of the Committee for the Reform of the Written Language in Peking. They informed me that they were working on another revision of their word list and that they would consider making an alphabetized dictionary based on it. Their eyes lit up when I told them I would gladly pay a small fortune for such a reference tool. An alphabetically ordered dictionary would certainly be worth such a sum because of the huge amount of time it would save in my research. Naturally, I hope that the Chinese will be able to produce this type of dictionary at a cost that will make it widely available."

"If only there were a lexicographer of Liang Shih-ch'iu's ability who also had the perspicuity to arrange his dictionary by sound rather than radical! … No wonder most of us are so sour and gray by the time we reach fifty! The amount of time consumed and the spirit expended in this sort of meaningless, not to mention destructive, type of activity is beyond calculation."

"There is a widespread public misperception, particularly among the New Age sector, that the Chinese word for “crisis” is composed of elements that signify “danger” and “opportunity.” I first encountered this curious specimen of alleged oriental wisdom about ten years ago at an altitude of 35,000 feet sitting next to an American executive. … While it is true that wēijī does indeed mean “crisis” and that the wēi syllable of wēijī does convey the notion of “danger,” the jī syllable of wēijī most definitely does not signify “opportunity.” … The jī of wēijī, in fact, means something like “incipient moment; crucial point (when something begins or changes).” Thus, a wēijī is indeed a genuine crisis, a dangerous moment, a time when things start to go awry. A wēijī indicates a perilous situation when one should be especially wary."

"There may be instances in world history where a dominant or highly influential elite who were few in number were nonetheless able to impose their language on a subject population. (I suspect that could have happened where the conquered population was also small in number and ravaged by war, disease, and the like. But then, would they have survived at all?). North India, Pakistan and Afghanistan 3500 years ago have been suggested as examples of such a scenario, with a relatively small number of Aryan warriors supposedly being able to impose Indic languages upon the native population. In light of the above discussion, I find this to be an unconvincing explanation of how IE languages entered the subcontinent. The fact that a significant portion of the population in these countries possesses blue eyes, fair skin, and brown or even blond hair (where the environment makes these traits which are more suited to northern latitudes disadvantageous from the standpoint of survival) would seem to indicate that sizeable numbers if IE speakers actually did intrude upon the subcontinent and have left not only their linguistic but their genetic imprint upon it as well."

"Victor has always cast his nets widely, and he could routinely amaze us with observations far afield from the Chinese text we were reading in class. Today people often attempt to simulate this cosmopolitanism under the rubric of interdisciplinary study, but for Victor, it was quite untrendy: he simply had an insatiable appetite for knowledge and pushing boundaries. Indeed, border-crossing has been our mentor's dominant mode of scholarship, a mode that has constantly interrogated where those very borders are both geographically and categorically. Though never sporting fashionable jargon, Victor has always taken on phenomena and issues that engage aspects of multiculturalism, hybridity, alterity, and the subaltern, while remarkably grounding his work in painstaking philological analysis. Victor demonstrates the success of philology, often dismissed as a nineteenth-century holdover, for investigating twenty-first-century concerns."

"Mair claims to be interested, for a variety of noble reasons, in “the search for the Indo-Europeans and their homeland”; but it is clear that a “search” of any kind is as far from his intentions as possible, since his answer (South Russia) is already determined (although he does let out that his greater personal preference would have been to locate the core of the homeland “in Southern Germany, northern Austria, and the western part of what is now the Czech Republic”, ie. in Hitler’s home-grounds), and all those who advocate any other solution automatically fall, in his opinion, in the same category as “kooks and crazies who attribute the rise of Indo-Europeans to extra-territorial visitations”!"

"The concept of ideographic writing is a most seductive notion. There is great appeal in the concept of written symbols conveying their message directly to our minds, thus bypassing the restrictive intermediary of speech. And it seems so plausible. Surely ideas immediately pop into our minds when we see a road sign, a death's head label on a bottle of medicine, a number on a clock. Aren't Chinese characters a sophisticated system of symbols that similarly convey meaning without regard to sound? Aren't they an ideographic system of writing? The answer to these questions is no. Chinese characters are a phonetic, not an ideographic, system of writing… Here I would go further: There never has been, and never can be, such a thing as an ideographic system of writing."

"In human history it seems that the idea of using a pictograph in the new function of representing sound may have occurred only three times: once in Mesopotamia, perhaps by the Sumerians, once in China, apparently by the Chinese themselves, and once in Central America, by the Mayas. (Conceivably it was invented only once, but there is no evidence that the Chinese or the Mayas acquired the idea from elsewhere.) The idea that was independently conceived by these three peoples was taken over, as were at times even the symbols themselves, though often in a highly modified form, by others who made adaptations to fit a host of totally different languages. One of the major adaptations, generally attributed to the Greeks, was the narrowing of sound representation from syllabic representation to phonemic representation (Gelb 1963; Trager 1974), after an earlier stage of mixed pictographic and syllabic writing (Chadwick 1967)."

"With regard to the principle [of using symbols to represent sounds], it matters little whether the symbol is an elaborately detailed picture, a slightly stylized drawing, or a drastically abbreviated symbol of essentially abstract form. What is crucial is to recognize that the diverse forms perform the same function in representing sound. To see that writing has the form of pictures and to conclude that it is pictographic is correct in only one sense -- that of the form, but not the function, of the symbols. We can put it this way:"

"The term "ideographic" has been used not only by those who espouse its basic meaning but also by others who do not necessarily accept the concept but use the term out of mere force of habit as an established popular designation for Chinese characters. I find, to my chagrin, that in my previous publications I have been guilty of precisely this concession to popular usage without being aware of the damage it can cause. As a repentant sinner I pledge to swear off this hallucinogen. I hope others will join in consigning the term to the Museum of Mythological Memorabilia along with unicorn horns and phoenix feathers."

"The Chinese system must be classified as a syllabic system of writing. More specifically, it belongs to the subcategory that I have labeled meaning-plus-sound syllabic systems or morphosyllabic systems. I use the term morphosyllabic in two senses. The first applies to the Chinese characters taken as individual units. Individual characters are morphosyllabic in the sense that they represent at once a single syllable and a single morpheme (except for the 11 percent or so of meaningless characters that represent sound only). In this usage the term is intended to replace the more widely used expressions logographic, word-syllabic, and morphemic, all of which are applied to individual characters taken as a unit. The second sense of the term refers to the structure of Chinese characters and is intended to draw attention to the fact that, in most cases, a character is composed of two elements, a phonetic grapheme which suggests the syllabic pronunciation of the full character, and a semantic element which hints at its meaning."

"[R]eformers seeking to speed China's modernization by modernizing the writing system through a policy of digraphia have to contend not only with the natural attachment of Chinese to their familiar script but also with chauvinistic and mindless claims for its superiority."

"I think there are three possible scenarios for the future of Chinese writing, in all of which the government plays a major role. In the first, and at present apparently the least likely scenario, the government abandons its hostility to an expanded role for Pinyin and instead fosters a climate of digraphia and biliteracy in which those who can do so become literate in both characters and Pinyin, and those who cannot are at least literate in Pinyin. This is essentially a reversion to the Latinization movement of the 1930s and 1940s, when Mao Zedong and other high Communist Party officials like Xu Teli, the commissioner of education in Yan'an, lent their prestigious support to the New Writing. Such a change within the governing bureaucracy would in all likelihood result in an explosion of activity that might end in Pinyin ascendancy in use over characters in less than a generation."

"[I]nfatuation with characters still pervades American classrooms and holds back essential improvement in instruction."

"Chinesisch ist die leichteste Sprache, wenn sie unbefangen gelernt wird, vom Sinn her eher als vom Einzelausdruck. Aber für neugierige Frager bietet die Sprache eitel Tücken."

"As a young man Wilhelm had gone to China in the service of a Christian mission, and there the mental world of the Orient had opened its doors wide to him. Wilhelm was a truly religious spirit, with an unclouded and farsighted view of things. He had the gift of being able to listen without bias to the revelations of a foreign mentality, and to accomplish that miracle of empathy which enabled him to make the intellectual treasures of China accessible to Europe. He was deeply influenced by Chinese culture, and once said to me, "It is a great satisfaction to me that I never baptized a single Chinese!" In spite of his Christian background, he could not help recognizing the logic and clarity of Chinese thought. [...] Clear and unmistakably Western as his mentality was, in his I Ching commentary he manifested a degree of adaptation to Chinese psychology which is altogether unmatched."

"More than 200 years later, the Sinologist Richard Wilhelm explained to a friend the hardships involved in trying to interest Weimar Germans in Chinese cultural history. In the past couple of years, Wilhelm wrote, he had been living “the life of a vagabond,” dragging slides and lectures everywhere, attending many gemiitlich get-togethers “in which one has always to inform people that the Chinese do not eat earthworms and rotten eggs and only rarely kill their little girls ..."

"Carl Jung on Richard Wilhelm"

"Subdivision of labour requires that international agents should devote themselves first to languages,—their means of operation,—and next to the study of man, as an individual and in communities."

"I commenced the study of the Chinese language at the University of Munich. I had then about 3 years in Germany, engaged in various studies. Happening to notice the announcement of a course of lectures on the language of the Chinese by Professor Neumman, the interest I have always taken in the people, induced me to employ an otherwise vacant hour in learning something of their tongue."

"To the European poet the relation between man and woman is a thing of supreme importance and mystery. To the Chinese, it is something commonplace, obvious—a need of the body, not a satisfaction of the emotions."

"Since the classical language has an easy grammar and limited vocabulary, a few months should suffice for the mastering of it."

"I have not used rhyme, because what is really, in the long run, of most interest to American readers is what the poems say; and if one uses rhyme, it is impossible not to sacrifice sense to sound."

"When translating prose dialogue one ought to make the characters say things that people talking English could conceivably say. One ought to hear them talking, just as a novelist hears his characters talk."

"Anyone with a good classical education could learn Chinese by himself without difficulty."

"I would rather be dead."

"Real things in the darkness seem no realer than dreams."

"Ceaseless as the interminable voices of the bell-cricket, all night till dawn my tears flow."

"It is in general the unexplored that attracts us."

"Though the snow-drifts of Yoshino were heaped across his path, doubt not that whither his heart is set, his footsteps shall tread out their way."

"I have a theory of my own about what this art of the novel is, and how it came into being. To begin with, it does not simply consist in the author's telling a story about the adventures of some other person. On the contrary, it happens because the storyteller's own experience of men and things, whether for good or ill—not only what he has passed through himself, but even events which he has only witnessed or been told of—has moved him to an emotion so passionate that he can no longer keep it shut up in his heart."

"Anything whatsoever may become the subject of a novel, provided only that it happens in this mundane life and not in some fairyland beyond our human ken."

"You that in far-off countries of the sky can dwell secure, look back upon me here; for I am weary of this frail world's decay."

"Think not that I have come in quest of common flowers; but rather to bemoan the loss of one whose scent has vanished from the air."

"There was a rock that since the creation of the world had been worked upon by the pure essences of Heaven and the fine savours of Earth, the vigour of sunshine and the grace of moonlight, till at last it became magically pregnant and one day split open, giving birth to a stone egg, about as big as a playing ball. Fructified by the wind it developed into a stone monkey, complete with every organ and limb."

"'To hope for [immortality],' said the Patriarch, 'would be like trying to fish the moon out of the water.' 'There you go again!' said Monkey. 'What pray do you mean by fishing the moon out of the water?' 'When the moon is in the sky,' said the Patriarch, 'it is reflected in the water. It looks just like a real thing, but if you try to catch hold of it, you find it is only an illusion.'"

"'Nothing in the world is difficult,' said the Patriarch, 'it is only our own thoughts that make things seem so.'"

"'Insensate groom! What crime is there that you have not committed? You have stolen peaches and stolen wine, upset the high feast, purloined Lao Tzu's elixir, and then taken more wine for your banquet here. You have piled up sin upon sin; do you not realize what you have done?' 'Quite true,' said Monkey, 'all quite true. What are you going to do about it?'"

"'If the Government gets hold of you they'll flog you to death; if the Buddhists get hold of you they'll starve you to death.'"

"A handful of one's country's soil is worth more than ten thousand pounds of foreign gold."

"'Master, we can start now; I have killed them all.' 'I am very sorry to hear it,' said Tripitaka. 'One has no right to kill robbers, however violent and wicked they may be. The most one may do is to bring them before a magistrate. It would have been quite enough in this case if you had driven them away. Why kill them? You have behaved with a cruelty that ill becomes one of your sacred calling.' 'If I had not killed them,' said Monkey, 'they would have killed you.' 'A priest,' said Tripitaka, 'should be ready to die rather than commit acts of violence.'"

"A team of horses cannot overtake a word that has left the mouth."

"Suddenly they saw a body in the water, drifting rapidly down stream. Tripitaka stared at it in consternation. Monkey laughed. 'Don't be frightened, Master,' he said. 'That's you.' And Pigsy said, 'It's you, it's you.' Sandy clapped his hands. 'It's you, it's you,' he cried. The ferryman too joined in the chorus. 'There you go!' he cried. 'My best congratulations.'"

"Tripitaka stepped lightly ashore. He had discarded his earthly body; he was cleansed from the corruption of the senses, from the fleshly inheritance of those bygone years. His was now the transcendent wisdom that leads to the Further Shore, the mastery that knows no bounds."

"A large capacity to accept the assumptions of any world-view, without assuming any merit for our own, is the basic virtue of Waley's mind."

"He belonged not only to the world of oriental studies, but to the world of literature."

"Whatever Waley's achievement as a poet may ultimately appear to be, there can be little doubt that his most widely-known works, the novels Genji and Monkey, are likely to survive longest in popular regard. Indeed, both are likely to retain a permanent place in English literature [...]. It is unthinkable that other translations of these novels could ever supersede them in popularity, and improbable that the astringent charm and ascetic delicacy of their style could displease the taste of any age, however much literary fashions may fluctuate and change. Of course he made mistakes—so did the translators of the Authorized Version; but not enough ever to make his translations obsolete."

"Greatness in men is a rare but unmistakable quality. In our small profession it is unlikely we shall see a man of such magnitude again."

"Waley is a special case. He is a fine poet who has deliberately limited himself, as a kind of rigorous aesthetic discipline—a little like the self-imposed rigors of Paul Valéry—to translation from the Chinese and Japanese."

"The translator who can be accurate and yet idiomatic is both craftsman and artist. [...] Such a one is Arthur Waley, translator of exquisite Chinese poetry and of the monumental Japanese novel by Lady Murasaki. Translator Waley learned both Japanese and the still more difficult Chinese from native teachers in London. He has never been east of Suez, and yet he is a recognized authority on literature and art of the Far East. By profession Assistant in the Oriental Section of the British Museum Print Room, his favorite diversion is the poetry of Chinese Po Chu-i."

"The Master said, [...] "Hold faithfulness and sincerity as first principles." [...] "Have no friends not equal to yourself." [...] "When you have faults, do not fear to abandon them.""

"To see what is right and not to do it is want of courage."

"When we see men of worth, we should think of equaling them; when we see men of a contrary character, we should turn inwards and examine ourselves."

"When I walk along with two others, they may serve me as my teachers. I will select their good qualities and follow them, their bad qualities and avoid them."

"The Master standing by a stream, said, "It passes on just like this, not ceasing day or night!""

"The scholar who cherishes the love of comfort is not fit to be deemed a scholar."

"The superior man is modest in his speech, but exceeds in his actions."

"I cannot help dancing with joy to hear that the doctrines of our sages have now become available to [people of] the Western Sea. [...] James Legge has proven himself a man of culture and courage [...] by studying the way of our sages through the commentaries [...] so as to transform the [Western] barbarians."

"James Legge had a rare largeness and simplicity of nature, and was distinguished by the dignity which never fails to adorn the single-minded man. He was, though so upright, as gentle as a child, and while severely conscientious he was saved by his delightful humour from being either fierce or fanatical. [...] He was a man of fine presence, pure purpose, and courageous speech [...]. He was sent Eastwards, to the oldest of living civilisations, and he studied it with an eye made luminous by love. [...] He gained the affection and confidence of the Chinese as but few foreigners have ever done, for he loved them truly, and they knew the simple integrity of his love. [...] Did he not judge with charity as well as knowledge? He had the insight which comes of the heart even more than of the head into their literature and religion; and he saw that the primary condition of making the “'est influential in the East was to make the East intelligible to the West. [...] Out of this understanding came his magnificent edition of the Chinese Classics. Of its learning it does not become me to speak; the invincible patience, the heroic industry that went to its production, we can all admire. But only those who knew the man can appreciate the idea, the splendid dream of humanity and religion that gave it birth."

"Dr. Legge, from his raw literary training when he began his work, and the utter want of critical insight and literary perception he showed to the end, was really nothing more than a great sinologue, that is to say, a pundit with a very learned but dead knowledge of Chinese books."

"One habit he maintained almost to his death, a habit which was the cause of no little astonishment among his friends. He habitually rose about 3 A.M., and worked at his desk for five hours, while the rest of the household slept. Soon after his arrival, the lighted study attracted the night-policeman to the house, 'fearful lest, at so suspicious an hour, mischief in some dishonest form or other was afoot.'"

"Legge made a fetish of literalness, as if a certain air of foreign remoteness, rather than clarity, were the mark of fidelity. What Mencius said was this, in exactly twelve words in Chinese, that when armies were lined up with spears and shields to attack a city, "the weather is less important than the terrain, and the terrain less important than the army morale." Or, more literally, if one preferred: "Sky-times not so good as ground-situation; ground-situation not so good as human harmony." To any Chinese child "sky-times" simply means the weather and can mean nothing else; "ground-situation" means the terrain, and "human harmony" means the army morale. But, according to Legge, Mencius said, "Opportunities of time (vouchsafed by) Heaven are not equal to advantages of situation (afforded by) the Earth, and advantages of situation (afforded by) the Earth are not equal to (the union arising from) the accord of Men.""

"A translator has divided loyalties. He has a duty to his author, a duty to his reader and a duty to the text. The three are by no means identical and are often hard to reconcile."

"We must make [the Honour School of Chinese] sufficiently broad and humane to satisfy those whose interests are not narrowly philological [...] by presenting Chinese literature as a part of our total human heritage; [and] we must always insist that the Honour School should be based on the study of literature."

"Our task is not the training of interpreters, nor the indulgence of exotic tastes, nor the revelation of some arcane Truth which the Orient possesses but we do not, nor the mastery of a sterile Asiatic scholasticism, but literature. If universities are not to teach language by means of literature—by means of books which are intrinsically worth-while reading, I for one do not want to be a university teacher."

"The idea that the worldling's 'reality' is illusion and that life itself is a dream from which we shall eventually awake is of course a Buddhist one; but in Xueqin's hands it becomes a poetical means of demonstrating that his characters are both creatures of his imagination and at the same time the real companions of his golden youth. To that extent it can be thought of as a literary device rather than as a deeply held philosophy, though it is really both."

"Many of the symbols, word-plays and secret patterns with which the novel abounds seem to be used out of sheer ebullience, as though the author was playing some sort of game with himself and did not much care whether he was observed or not. Chinese devotees of the novel often continue to read and reread it throughout their lives and to discover more of these little private jokes each time they read it."

"My one abiding principle has been to translate everything – even puns. For although this is...an 'unfinished' novel, it was written (and rewritten) by a great artist with his very lifeblood. I have therefore assumed that whatever I find in it is there for a purpose and must be dealt with somehow or other. I cannot pretend always to have done so successfully, but if I can convey to the reader even a fraction of the pleasure this Chinese novel has given me, I shall not have lived in vain."

"It seems to me ridiculous to try to believe that Gao E sat down and wrote the last 40 chapters [of Dream of the Red Chamber]. I'm sure that's not true. Because you can see the way Gao E works. Gao E is trying I think just to reconcile – he's not altering, I think he doesn't feel he can alter what's been found. I think he tried to alter things occasionally to square one thing with another. If you're just making something up, forging something, you wouldn't be bothered about trying to reconcile inconsistencies. You'd make jolly well sure that they didn't occur."

"I'd thought that what I'd like to do is to a translation where I don't have to think about academic considerations. Scholarly considerations. I'll just think about how to present – this is Penguins, after all – how to present this book in such a way that I do the whole of it but at the same time it's enjoyable for the English reader, if possible, and they can get some of the pleasure out of it that I got myself."

"Hawkes brought to bear such a wide range of rhetorical skills, such penetrating insight into character, such finely honed dialogue, such superbly crafted versification; but more than anything, such a profound sense of humanity, such fun and exhilaration, such melancholy and wisdom. In it he succeeds in grasping to the full, and yet at the same time transcending, the sheer Chineseness of the work, making it into a real novel for reading, revealing it as a true masterpiece of world literature."

"You take well-warranted and judicious liberties to make things clear to your readers, & this is excellent, but not something we are allowed to do. And your dialogue is alive and in character, your verse easy and elegant. Some of those bloody poems studded with classical allusions and double meanings are untranslatable in full, but at least you convey the flavour & give readers an idea of what the poetizing game was like."

"Hawkes's English version [of the Hong lou meng] is not a perfect translation, to be sure, but in terms of accuracy, of style, of suppleness of language, of felicity of expression, and, above all, of imaginativeness and creativity, it is unrivalled by any other version, whether English, French, German, Italian, or Spanish. If, as many translation theorists believe, every age has to translate anew the classics for itself, of all the versions of the Hong lou meng in the five major European languages mentioned, Hawkes's is the best qualified to be considered the version for our age. In a word, it is a version which Cao Xueqin would have been proud and delighted to acknowledge as the truly worthy companion to his masterpiece."

"China's greatest work of literature, the 18th-century novel Dream of the Red Chamber, ... is still virtually unknown in the English-speaking world. In its native land, The Story of the Stone, as the book is also known – Stone for short – enjoys a unique status, comparable to the plays of Shakespeare. Apart from its literary merits, Chinese readers recommend it as the best starting point for any understanding of Chinese psychology, culture and society."

"The Art of War is about how to take advantage of your neighbours, how to destroy people, how to succeed at the expense of other people."

"[The Stone]'s an absolutely magical work. ... It's about everything, so much detail, and yet the bigger picture is so inspiring. It's about that extraordinary cross connection between human feelings and the ability to see through human feelings – kan po hong chen（看破紅塵). But even though you kan po hong chen, you still have strong feelings. That's what so special about The Stone. It captures that. For me that's what I read about. Every time you read, you find more depth, more detail. ... The author communicates – for lack of a better word, what I would just call – love. It's a love for humanity."

"Love is one of the great mysteries of life. There is nothing more sacred, nothing more mysterious, nothing more powerful. I come back to that – great literature is nearly always full of love, in a very broad sense. ... You come out of the book with a warm feeling."

"When reading, writing and translating, it is important to have a way of keeping track of what you have absorbed and learned, so that you can build on it and acquire richer resources for the future. When reading, read actively and critically. Jot down interesting expressions, forceful adjectives, little turns of phrase, that strike you as effective, as things you might one day be able to use yourself—in both languages."

"We must never lose sight of the deep and indestructible connections between translation/literature and life. If what we write is to have a chance of living on the page, then we must also live, we must observe life, we must experience and learn to transmute that experience. Translators no less than creative writers."

"As translators, we must be courageous, free and passionate about what we are doing. We must constantly strive to enrich our own cultural and linguistic repertoire. We must read, we must write. We must be prepared to rethink, to revise, to rewrite, constantly. We must have endless time and patience. Deadlines are there to be ignored, to be kept alive. Above all we must play with words, ideas and feelings. Delight in them. We must never lose sight of the playfulness and creative licence that are the lifeblood of art and literature, and hence of translation."

"There, up on deck, standing in the very entrance to his cabin and silhouetted dimly against the snow, was the figure of a man with shaven head and bare feet, wrapped in a large cape made of crimson felt. The figure knelt down and bowed to Jia Zheng, who did not recognize the features and hurried out on deck, intending to raise him up and ask him his name. The man bowed four times, and now stood upright, pressing his palms together in monkish greeting. Jia Zheng was about to reciprocate with a respectful bow of the head when he looked into the man's eyes and with a sudden shock recognized him as Bao-yu. 'Are you not my son?' he asked. The man was silent and an expression that seemed to contain both joy and sorrow played on his face. Jia Zheng asked again: 'If you are Bao-yu, why are you dressed like this? And what brings you to this place?' Before Bao-yu could reply two other men appeared on the deck, a Buddhist monk and a Taoist, and holding him between them they said: 'Come, your earthly karma is complete. Tarry no longer.' The three of them mounted the bank and strode off into the snow. Jia Zheng went chasing after them along the slippery track, but although he could spy them ahead of him, somehow they always remained just out of reach."

"One of the foremost cultural intermediaries of our day."

"In the Daily Telegraph, 28 July 2012, John Minford, a professor of Chinese literature, published an article under the provocative headline '[China's Story of the Stone:] the Best Book You've Never Heard Of'. ... It was significant that a few weeks after Minford's article, the Nobel Committee awarded the 2012 Prize for Literature to Mo Yan."

"It must however always be borne in mind that translators are but traitors at the best, and that translations may be moonlight and water while the originals are sunlight and wine."

"Dear Land of Flowers, forgive me!—that I took These snatches from thy glittering wealth of song, And twisted to the uses of a book Strains that to alien harps can ne'er belong.Thy gems shine purer in their native bed Concealed, beyond the pry of vulgar eyes; And there, through labyrinths of language led, The patient student grasps the glowing prize.Yet many, in their race toward other goals, May joy to feel, albeit at second-hand, Some far faint heart-throb of poetic souls Whose breath makes incense in the Flowery Land."

"During the four hundred years of Han supremacy the march of civilization went steadily forward. Paper and ink were invented, and also the camel's-hair brush, both of which gave a great impetus to the arts of writing and painting."

"[The Tao-Tê-Ching] is interesting as a collection of many genuine utterances of Lao Tzŭ, sandwiched however between thick wads of padding from which little meaning can be extracted except by enthusiasts who curiously enough disagree absolutely among themselves."

"A Chinese poem is at best a hard nut to crack."

"Flowers fade and fly, and flying fill the sky; Their bloom departs, their perfume gone, yet who stands pitying by? ... Oh, let me sadly bury them beside these steps to-night! ... Farewell, dear flowers, for ever now, thus buried as 'twas best, I have not yet divined when I with you shall sink to rest. I who can bury flowers like this a laughing-stock shall be; I cannot say in days to come what hands shall bury me. See how when spring begins to fail each opening floweret fades; So too there is a time of age and death for beauteous maids; And when the fleeting spring is gone, and days of beauty o'er, Flowers fall, and lovely maidens die, and both are known no more."

"It was on his return journey that Pao-yü's father heard of the success and disappearance of his son. Torn by conflicting emotions he hurried on, in his haste to reach home and aid in unravelling the secret of Pao-yü's hiding-place. One moonlight night, his boat lay anchored alongside the shore, which a storm of the previous day had wrapped in a mantle of snow. He was sitting writing at a table, when suddenly, through the half-open door, advancing towards him over the bow of the boat, his silhouette sharply defined against the surrounding snow, he saw the figure of a shaven-headed Buddhist priest. The priest knelt down, and struck his head four times upon the ground, and then, without a word, turned back to join two other priests who were awaiting him. The three vanished as imperceptibly as they had come; before, indeed, the astonished father was able to realise that he had been, for the last time, face to face with Pao-yü!"

"It would be obviously unfair to describe the Chinese people as wanting in humour simply because they are tickled by jests which leave us comparatively unmoved. Few of our own most amusing stories will stand conversion into Chinese terms."

"Like every old civilisation still represented on this globe, India has been, and is, increasingly, in spite of appearances, returning to its original sources... It is from the depths of that old civilisation that India is most likely to draw the strength needed to adapt itself to the modern world."

"The enthusiasm for Indian culture was widespread. Amaury de Riencourt in his The Soul of India tells us that philosophers like Schelling, Fichte, Hegel, Schopenhauer and Schleiermacher, poets such as Goethe, Schillar, Novalis, Tieck and Brentano, historians like Herder and Schlegel, all acclaimed the discovery of Indian culture with cries of ecstasy: "India, the home of universal religion, the cradle of the noblest human race, of all literature, of all philosophies and metaphysics." And he adds that "this enthusiasm was not confined to Germany. The entire Romantic movement in the West put Indian culture on a lofty pedestal which the preceding Classical Movement had reserved for Greece and Rome.""

"The boundless riches of the Hindu faith, its universal appeal, its tolerance, the profundity of Hindu philosophy and its enduring roots among the Indian people all this made India a poor soil for West-Christian sowing."

"Edwin Pulleyblank claims to have reconstructed a number of rather abstract similarities in the phonetics and morphology of PIE and Sino-Tibetan. Though he fails to back this structural similarity up with any (even a single) lexical similarity, he confidently dismisses as a “prejudice” the phenomenon that “for a variety of reasons, the possibility, of a genetic relationship between these two language families strikes most people as inherently most improbable.” He believes that “there is no compelling reason from the point of view of either linguistics or archaeology to rule out the possibility of a genetic connection between Sino-Tibetan and Indo-European. Such a connection is certainly inconsistent with a European or Anatolian homeland for the Indo-Europeans but it is much less so with the Kurgan theory”, esp. considering that the Kurgan culture “was not the result of local evolution in that region but had its source in an intrusion from an earlier culture farther east”. This is of course very interesting, (and it deserves being repeated that the Kurgan culture came from farther east), but: “It will be necessary to demonstrate the existence of a considerable number of cognates linked by regular sound correspondences. To do so in a way that will convince the doubters on both sides of the equation will be a formidable task.”"

"A handful of scholars try for the more ambitious option, viz. identifying a common origin of Chinese and IE, a kind of “Sino-European” stage in linguistic development from which Chinese and IE went their separate ways. Pulleyblank (1993:106-107) upholds “the possibility of a genetic connection between Sino-Tibetan and Indo-European” all while admitting that it is “inconsistent with a European or Anatolian homeland for the Indo-Europeans but it is much less so with the Kurgan theory”, esp. considering that the Kurgan (“grave-hill”) culture of the steppe “was not the result of local evolution in that region but had its source in an intrusion from an earlier culture farther east”. But his and other tentative hypotheses of a deep kinship of Chinese with Indo-European, as also with North-Caucasian and Austronesian, have been refuted in sufficient measure by Vovin (1997) and will not detain us here. Of course at a time depth of Nostratic or whichever prehistoric kinship, many connections can be thought up, but to the same extent, geographical movements of populations may have taken place over the same millennia. Therefore, even plausible or proven linguistic connections at such time-depth cannot decide the geographical land of origin that interests us here."

"What is truly shocking is the lack of historical knowledge of many major American strategic thinkers. They don’t seem to understand that the unipolar moment the US enjoyed for the last 30 years was an aberration. We are now returning to a multipolar world, which will be a much richer world. However, it does mean that the United States will have to learn to play a much more intelligent game globally."

"I think that it is good for the world that China is being more of a Wolf Warrior. There is a greater danger of China remaining quiet, which would lead to its people and its leaders becoming angrier and angrier. My big message for the West is that when China emerges as the number one economy, we want to avoid it becoming an angry dragon. On the other hand, the West is shooting itself in the foot by insulting China, for example when Trump and Pompeo lectured them and launched sanctions. Beijing doesn’t believe that the West is doing all this grandstanding about China from a moral position. Instead, what they think is that when China was weak it was kicked around by the West, but now the country is strong the Western governments have decided to care about human rights there. Thus, many in China think it is a cynical ploy by the West. We must get used to the fact that China is different now, and is actually bigger than the US in terms of its GDP PPP [purchasing power parity]. As such, China cannot be expected to behave as it did in the past."

"I think when future historians look back, they’ll be puzzled by the Western expectation that a country like China, with 4,000 years of political history, could be changed by a country like the US, with a history of fewer than 250 years. The assumption that the rest of the world will, over time, become just like the West is arrogant."

"I consider myself a friend of America and a friend of China. And I see these two countries rushing towards a complete head-on collision from which both will suffer. I believe that if the United States could put the well-being of 330 million people in America as the number one priority; and if China puts the well-being of 1.4 billion people in China as the number one priority; then both America and China can achieve the goal of improving the well-being of their people by working together, rather than working against each other."

"As you know, the 18th and 19th century competition between the great powers was always seen as a zero sum game — either you are number one, or I’m number one. We should be beyond that. We now live in a small, interdependent world where, apar from taking care of our own people, our number one priority should be protecting our planet, which is in peril."

"I don’t want the West to fail, I want it to succeed. A weak and divided West is bad for the world. I am not anti-Western or anti-American. I just find that there are better ways to deal with Asia and China. The West has to realize that if history makes a turn, you cannot continue to go straight."

"Submarines are stealthy, but trade is stealthier. Both generate security—the former by deterrence, the latter by interdependence. But the kind of security created by trade lasts longer."

"This temptation to be a free rider on American geopolitical pressure on China is understandable. It looks like an easy option, with no visible costs. However, any objective audit of the pros and cons of becoming an ally, implicitly or explicitly, of the US will show that in doing so, India would have forsaken an even bigger geopolitical opportunity to become a truly independent third pole in the global order. And the world is crying out for an independent third pole to turn to."

"Yes, geopolitics is a cruel business. It has been cruel for over 2,000 years. The African states know well—as do other developing countries—that as the US-China geopolitical contest gains momentum in the coming de- cade, they will have to make painful choices. Since they don’t want to take sides and be forced to give up some options, they will be looking for an independent pole to light a third way for them. It will be much easier for them to resist pressure from the US and China and take the middle road if a credible independent pole has set a precedent that they can point to."

"In short, the three chair countries, India, Indonesia and the US, face very different challenges in 2023. But if they all succeed, the world will be a far better place next year. Let’s hope that they all succeed in scoring some goals. The World Cup of diplomacy at the end will leave little doubt that it was far more significant than the World Cup of soccer."

"This is why we should develop a new norm in international relations: leaders of major countries should automatically and unhesitatingly meet each other face-to-face when they are in the same city. Such face-to-face meetings are not that critical when relations are good. But they are critical, if not essential, when relations are bad."

"Yet, in geopolitics we must always do two things simultaneously. We must moralise. And we must analyse. Since geopolitics is a cruel game and follows the cold and ruthless logic of power, we must be cold, dispassionate and hard-headed in our analysis. The only iron law of geopolitics is that it punishes those who are naive and ignore its cold logic."

"Over time, China’s emergence as the world’s leading economy and power will become an undeniable reality. The big question is whether the rest of the world will prove as pragmatic as China. Most of China’s neighbors have already adapted to its pragmatism. As a result, East Asia is likely to remain calm, even as several bilateral issues and tensions simmer away under the surface."

"Imposing sanctions may feel good. But if they are actually to do good, we must refine how they are used."

"One cardinal mistake no small state should make is to put all its eggs into one basket, even a basket as strong as the US. Despite its huge influence, Israel cannot change the shifting geopolitical tides. America’s power has peaked: its economy will not shrink in absolute terms but it will shrink irresistibly in relative terms. This would have happened naturally but gradually. But the continuing economic crises in the US will hasten the decline in America’s influence. Shrinking budgets will cut defence and aid expenditures. A crippled economic giant with no rockets to launch its astronauts into outer space will lose its “mystique”. Countries will no longer hesitate to vote against American preferences."

"The teaching of the great Indian thinkers could spiritually enrich the European soul. In the course of its history, the European civilization has lost most of its spiritual values. It can no longer recover them though it still realizes their necessity. For the best of men cannot exist simply on the ideal of "efficiency of work" in the American way. In the condition III which the West finds itself, it is easier for us to go and search for truths in the India, than to come back to the few values we have left in the course of the development of our civilization."

"In the high plateau of eastern Iran, in the oases of Serindia, in the arid wastes of Tibet, Mongolia, and Manchuria, in the ancient civilized lands of China and Japan, in the lands of the primitive Mons and Khmers and other tribes of India-China, in the countries of the Malaya-Polynesians, in Indonesia and Malay, India left the indelible impress of her high culture, not only upon religion, but also upon art, and literature, in a word, all the higher things of spirit..."

"There is an obstinate prejudice thanks to which India is constantly represented as having lived, as it were, hermetically sealed up in its age-old civilization, apart from the rest of Asia. Nothing could be more exaggerated. During the first eight centuries of our era, so far as religion and art are concerned, central Asia was a sort of Indian colony. It is often forgotten that in the early Middle Ages there existed a ‘Greater India,’ a vast Indian empire. A man coming from the Ganges or the Deccan to Southeast Asia felt as much at home there as in his own native land. In those days the Indian Ocean really deserved its name."

"Universal art has succeeded in few materialization of the Divine as powerful and also as balanced. ... the greatest representation of the pantheistic god created by the hands of man.... Never have the overflowing sap of life, the pride of force superior to everything, the secret intoxication of the inner god of things been so serenely expressed.""The three countenances of the one being are here harmonized without a trace of effort. There are few material representations of the divine principle at once as powerful and as well balanced as this in the art of the whole world. Nay, more, here we have undoubtedly the grandest representation of the pantheistic God ever made by the hand of man .. .Indeed, never have the exuberant vigor of life, the tumult of universal joy expressing itself in ordered harmony, the pride of a power superior to any other, and the secret exaltation of the divinity immanent in all things found such serenely expressed.""

"Whether he be surrounded or not by the flamming aureole of the Tiruvasi (Pabhamandala) - the circle of the world which he both fills and oversteps - the King of the Dance is all rhythm and exaltation. The tambourine, which he sounds with one of his right hands, draws all creatures into this rhytmic motion and they dance in his company. The conventionalized locks of flying hair and the blown scarfs tell of the speed of this universal movement, which crystallizes matter and reduces it to powder in turn. One of his left hands holds the fire, which animates and devours the worlds in this cosmic whirl. One of the God's feet is crushing a Titan, for "this dance is danced upon the bodies of the dead", yet one of the right hands is making a gesture of reassurance (abhayamudra), so true it is that, seen from the cosmic point of view ... the very cruelty of this universal determinism is kindly, as the generative principle of the future. And, indeed, on more than one of our bronzes the King of the Dance wears a broad smile. He smiles at death and at life, at pain and at joy, alike, or rather, his smile is death and life, both joy and pain ... From this lofty point of view, in fact, all things fall mto their place, finding their explanation and logical compulsion. Here art is the faithful interpreter of a philosophical concept. The plastic beauty of the rhythm is no more than the expression of an ideal rhythm. The very multiplicity of arms, puzzling as it may seem at first sight, is subject in tum to an inward law, each pair remaining a model of elegance in itself, so that the whole being of the Nataraja thrills with a magnificent harmony in his terrible joy. And as though to stress the point that the dance of the divine actor is indeed a sport, (lila) - the sport of life and death, the sport of creation and destruction, at once infinite and purposeless - the first of the left hands hangs limply from the arm in the careless gesture of the gajahasta (hand as the elephant's trunk). And lastly, as we look at the back view of the statue, are not the steadiness of these shoulders which uphold world, and the majesty of this Jove-like torso, as it were a symbol of the stability and immutability of substance, while the gyration of the legs in its dizzy speed would seem to symbolize the vortex of phenomena."

"...the anachronistic conception that Greece and Rome alone should be considered sources of culture for us, and that therefore they must remain for all time the focal point of historical-philological research. [Classicists] still practice that orthodox philology, which claims and possesses an influence, which it has not for a long time deserved, [and] that intolerant onesidedness which only accords the oriental sciences a hearing in so far as they are related to the history and culture of Greece, but otherwise are blind and want to be blind to the enormous field of Asian knowledge, which has brought us into contact with the modern world. [They are still beholden to] that real “unworldliness” in the scholarly sense, which takes no part in the widened historical conceptions of our day. Those are the forces with which Orientalistik has always had to struggle, and which today too block Sinology’s path, ... And added to this is another fact, that one ought to think, should offer [Sinology] a leg up, but actually because of the weirdness of our academic [canons of] scientificness hinders it; and that is its vital connection with the present. If Sinology only had to do exclusively with a long finished, ruined and then re-excavated culture, then perhaps there would be a possibility of finding grace in the eyes of the philological right-thinkers. .."

"What will this Europe be for the Orient in the future? A band of swindlers and oppressors, without honor, without shame!"

"Jao’s work assumes a deep understanding of Chinese history, literature, and archaeology that few have. But the reward is great. His essays explore the beliefs, practices, and artifacts of Chinese spiritual traditions from prehistory to the emergence of Daoism and Buddhism, always looking for unexpected connections or overlooked details."

"In 2012, the Chinese sociologist Sūn Lìpíng (b. 1955) suggested the PRC [People's Republic of China] faced four possible paths. One was return to Mao-style egalitarian populism, reducing inequality and corruption but risking the violence and irrationality of the Mao era. Another was to deepen the reforms – further privatizing the economy regardless of increased inequality. The third was to maintain the status quo. The fourth was to pursue reform while applying notions of fairness, justice, and universal values."