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This is a miscellaneous collection of books on literary and artistic theories that have been translated in the past three or four years, some of which are urged by acquaintances and translated to blame, and some of which are idle and have nothing to do and translated for their own pastime. The contents of this remittance were not selected, and if there was a newspaper publication that was not here, it was because he had lost the manuscript or the printed copy.

The essays in the book are not masterpieces of all eras. If you want to translate a foreign work, there are many restrictions. First of all, books, living in a place where new books are extremely rare even though they are in a big city, you must not see and hear widely. The second is time, because of many chores, only a small amount of time can be divided into reading every day; In addition, I often have the desire to take refuge, and when the work is heavy, the translation time is laborious, or the reader is about to find it difficult and annoying, I will put it down.

This time, when I finished compiling it, there were only 25 articles, and two-thirds of them had been published in various journals. Ten authors, with the exception of Kebel in Russia, are all Japanese.

I don't want to list their deeds here, but I just want to state one sentence: among them, only Shimazaki Fujimura, Takero Shima, and Samurai Koji Minoru are three who are also engaged in creation.

As far as the arrangement is concerned, the above two-thirds – not including the texts on Western literary and artistic trends – all the articles advocated are based on older arguments, and even the new title of "New Era and Literature and Art" still belongs to this stream. In the past year, many of the papers that have been written in response to the call of "revolutionary literature" in China have not been able to peck through this old shell, and they have even stepped on the ladder of "literature is propaganda" and climbed into the castle of idealism. Reading these articles, it is very good to learn from them.

The last third is finally related to emerging literature and art. Although Professor Katagami was a person who was criticized after his death, I always loved that his ideas were solid and passionate. A little bit of the controversy with Takero Arishima is also included here, and we can see where the ideas of the two factions are sticking to their own class and opposing factions. The last one was nothing more than a sau, and three or four translations were published at that time, so it was put on hold, and it is still attached to the end of the volume.

Because it was not translated at one time, by now, most of the original books are no longer in hand, and when they are compiled and printed, there is no way to review them one by one; However, if there is a mistake, it is naturally the responsibility of the translator, who is willing to be corrected and has no objections. In addition, last year, when the "revolutionary writers" gathered in an effort to "propagate" my personal trivialities, they said that I would translate a thesis. That's true, it's this one, but not all of the new translations, it's still the majority of the books that have been "published horizontally and straightforwardly", and I can't even tell what kind of brilliant book it is. But I have never wanted to translate masterpieces that have been judged in the world, and if the reader can get a little reference from this miscellaneous book, and a little understanding of the words of the proposition, he will be very satisfied.

The written drawings, like the articles in the book, were sold from the Japanese book "Pioneer Art Series", and they were also written and unsigned.

On April 20, 1929, Lu Xun completed his school in Shanghai.

Translator's Note of "The Stars of Spanish Theatre".

Because I remember that the fourteenth volume of the "Novel Monthly" contains "The Flower of Passion" by Penawende, I translated this one from "To the Cross Street" for the reader's reference. October 31, 1924, translator.

Translator's Note on the Browsing and Selection of Novels

Dr. Keebel (D)

． Raphael Koebe

He was a Germanic of Russian origin, but in his writings he still claimed to be German. He was a lecturer at Tokyo Imperial University in Japan for many years, and when he retired, students printed a book for him as a commemorative book, called Klei

e Sch

ifte

）。 One of them, "Questions and Answers," answers to various questions from a number of people. This is another section of the section, and the sub-title is "On the Browsing of Novels", "I Think the Best Novels". Although the roots of his opinion are classical and secluded, they are also very accurate and pertinent, much newer than the self-righteous scholars in China. Now it is translated from Fukada, Kubo Niji's translation, for the reference cloud of youth.

October 12, 1925, translator's note.

Translator's Note on The Later Generations of Lubock and Irina

It was published in the "World of Articles" in January 1920 and later included in "Little Lamp". In 1927, 100 years after his birth and 22 years after his death, it was translated in Shanghai.

Translator's Note on Principles of Norse Literature

This is a lecture given at Peking University six years ago when Mr. Katagami went to Russia for a study tour, passed through Beijing, and gave a lecture at Peking University. At that time, the translator also listened to it, but later there were notes in the publication, but I couldn't remember it clearly. In March of this year, the author passed away, and a paper was published as a posthumous work.

The speech is sometimes quite tortuous and obscure, and several places are not coherent, because it had to be so at that time, and if you look closely, the meaning is self-evident. In addition to the one entitled "We", there are translations of several of the works listed in China, which are easy to refer to. Today it is written as follows-

"Puppet Family", translated by Pan Jiaxun. In the first volume of the Ibsen. One of the World Book Series. Published by the Shanghai Commercial Press.

"Lady of the Sea" (renamed "The Woman of the Sea" in the text), translated by Yang Xichu. One of the "Gongxue Society Book Series". Same as above.

"The Story of Ivan", translated by Geng Jizhi et al. In Tolstoy's Short Stories.

Same as above.

"Twelve", translated by Hu Xue. One of the "Unnamed Series". Published by Beijing Beixin Book Company.

Translator's note, October 9, 1928

Translator's Note 2 on the Principles of Nordic Literature

I was also in attendance when Professor Katajou passed through Beijing and gave a public lecture at Peking University, but I can't remember whether the translation of the lecture was published in the newspaper at that time. After his death this year, a copy of the "Studies in Lucia Literature" was published, which included this one, which was easily translated and compiled into the "Translation Series under the Wall". Now that the "Translation Series" has not been printed for a while, and in the first issue of "Dajiang Monthly", Mr. Chen Wangdao just mentioned this speech, so he took it down and published it first.

Although this speech was not very profound and difficult to understand, at the time, it did not seem to have much effect. Because at that time, even Cheng Fangwu, the commander of "revolutionary literature", was still guarding the "palace of art", and Guo Moruo had never turned over "a fight", let alone those "idle classes".

In addition to "We", there are now translations of several books mentioned in China:——

"The Puppet Family" translated by Pan Jiaxun, in the first volume of the Ibsen Collection. Published by the Shanghai Commercial Press.

"Lady of the Sea" (renamed "The Woman of the Sea" in the text) translated by Yang Xichu. Same as above.

"The Tale of Ivan" translated by Geng Jizhi and others, in "Tolstoy's Short Stories".

Same as above.

"Twelve" translated by Hu Xue. One of the "Unnamed Series". Published by Beixin Book Company.

It is easy for those who know carefully to get it. However, this year, it seems that "contradictions" are taboo, and it is not fashionable not to scold Tolstoy for "contradictions", and it is necessary to talk about "Proletaria deliberately Dvoroki" on the one hand, and sell "The Troubles of Young Werther" and "Rubai" on the other hand, and pour into those things that "reflect the consciousness of the ruling class and do the work of his rule for the ruling class" into those who are so frightened that they are busy coming to the revolution that they are "left behind", so that they are "sent away", and this is not a contradiction in the revolution.

"Lu Xun did not understand historical materialism", but when he "watched" from the sidelines, it was as if giving poison to "comrades" was also a kind of "strategy" of a "new literary artist".

I just said last month that I would not complain in the "Dajiang Monthly", but when I wrote a little tail, the old disease recurred, and "those who come can still be chased", so it is over.

On the night of November 1928, the translator learned that Shanghai was more than 100 steps away from the concession.

Problems of Modern and Emerging Literature

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The author is a well-known scholar in Japan, and among this group of scholars, he is the most enthusiastic. This essay, written in January 1926 and later included in the Literary Review, is which, as stated at the conclusion, is of little help to the reader in explaining the "nature and direction of the problems of the emerging literature of the present day, and in its dealings with the times." ”

However, the author's style is very complicated and tortuous, and there are occasional reductions in translation, such as the three songs are two songs, and the two songs are changed to one song, etc., but because the translator is clumsy and unwilling to change the original tone, it is still mostly dull and tired. I only hope that readers can learn from this end, if there is a little annoyance, that is, only read one section a day, because of the content of this article, I believe that the reader will not feel that after reading it, he will feel that he has nothing to gain.

In addition, there are no changes in this document; There are a few empty words, which are as they were, and they are not filled in, so as to leave traces of neurasthenia in the official hall of the other country. But the title has changed a few words, that is, to leave traces of neurasthenia of me or others in this country.

As for the meaning of this translation, it is very simple. When the new tide enters China, there are often only a few nouns, and the proponents think that they can curse the enemy to death, and the hostile people also think that they will be cursed to death, and the noise is finally extinguished after a year and a half. Such as Romanism, Naturalism, Expressionism, Futurism...... It seems that it has passed, but in fact, it has not appeared. Now, I take this article, look at the theory and the facts, and know that it is inevitable, ordinary, empty and forbidden, both of which are useless, and we must first free the emerging foreign literature from the smell of "charms" in China, and the Chinese literature that follows it will have the hope of emerging - that's it.

February 14, 1929, translator.