Author: Yun Wang

—— Figures of the National Language Movement

image

(Liu Bannong doing experiments at phonetics lab)

In 1934, the 29th executive meeting of the National Language Unification Preparatory Committee passed several proposals, and the sixth work report from the Great Dictionary of China Compilation Office revealed that the nearly five-year-long “collection” work had been completed, with 2.5 million index cards collected, marking the official start of the “compilation” work. The National Language Movement was in full swing. However, Liu Bannong, one of the advocates of the movement, passed away in the summer of that year at the young age of 44. That year, the busy Liu Bannong took advantage of the summer vacation to lead Bai Dizhou and others to the northwest to investigate dialects, intending to measure the tones along the Ping-Sui line and write a paper in celebration of Sven Hedin’s seventieth birthday. During the trip, he once stayed overnight in a rural thatched cottage, where everyone else slept on clay beds, but Liu Bannong lay on his own camp bed pretending to be stiff, then joked, “This is like lying in a coffin in the hall!” Unfortunately, his words turned prophetic. During the survey, Liu Bannong developed a high fever. Upon returning to Beijing and distrusting the Peking Union Medical College for a timely diagnosis, it was only after Hu Shi insisted that he was admitted to the hospital where he was diagnosed with “relapsing fever.” Due to delayed treatment, he tragically passed away.

Liu Bannong’s experiences were indeed legendary. Born Shoupeng in 1891 in an ordinary family in Jiangyin, Jiangsu, his father was adopted, and his mother was picked up and raised by his grandmother. Due to his father’s profession as a teacher, Liu Bannong was also diligent in his studies from a young age. However, due to the Wuchang Uprising, the Changzhou Middle School where he studied was closed, and his formal education was abruptly halted. Therefore, he later taught at Peking University with only a middle school education, which was a point of ridicule for a long time. At the time, Hu Shi, while acting as the rotating editor for “New Youth,” somewhat despised Liu Bannong, a middle school student from the countryside, and rejected his submissions. Conversely, Liu Bannong was also unwilling to accept contributions from Hu Shi. In fact, Hu Shi was far from the only one who looked down on him. Zhou Zuoren once said, “Stung by this, Bannong strove to earn a doctoral title to vent his frustration.” After his middle school studies were cut short, he could only return to his hometown to teach. His fellow townsman Wu Yan, who had started a publication called “Jiangyin Magazine” introducing new ideas, theories, and knowledge, invited him to contribute, and in just one month, he wrote over ten articles, translations, and light verses. Inspired by an article by Wu Yan proposing that elementary school texts should use vernacular language instead of the old clichés that wasted children’s mental energy, Liu Bannong was greatly enlightened. At the time, Wu Yan used the pen name “Duo Nong,” so Liu Bannong initially adopted “Ban Nong,” feeling his own scholarly abilities were only half of Wu’s, until he began publishing articles in “New Youth” under the name “Bannong.” He then joined the military and changed his name to “Liu Fu,” meaning “restoration.” However, he and his brother Liu Tianhua soon joined the Shanghai Kaoming Dramatic Society as playwrights. In Shanghai, he met the journalist Xu Banmei and began his career climbing the social ladder. He translated and wrote novels and collaborated on translating the complete collection of Sherlock Holmes detective stories, using his writing as a means of livelihood and, with his talent, became an important figure in the Mandarin Duck and Butterfly School. Liu Bannong’s turning point came when he published works in “New Youth” and interacted with the then-editor Chen Duxiu. In May and July 1917, he published “My View on Literary Reform” and “Innovations in the Spirit of Poetry and Fiction,” respectively, becoming another clarion call following Hu Shi’s “Preliminary Discussion on Literary Reform” and Chen Duxiu’s “On Literary Revolution,” heralding the onset of the New Culture Movement. Because of these articles, he was recommended by Chen Duxiu to Cai Yuanpei, who appreciated his thoughtful and well-founded writing, and exceptionally appointed him as a preparatory instructor at Peking University.

At Peking University, where literati gathered, Liu Bannong not only faced ostracism due to his educational background but also felt a sense of inferiority. Consequently, he spent five years studying in Europe, choosing the challenging field of phonology, and earned a doctorate in France, becoming a member of the French Linguistics Society. Later, he continuously taught at Peking University and other institutions, gradually gaining a high reputation. However, Liu Bannong’s career as a linguist was somewhat accidental.

As early as 1919, Liu Bannong and five others were nominated by Peking University as members of the newly established National Language Unification Preparatory Committee. At their first meeting, they proposed a plan for the “Methodology of National Language Unification.” From then on, Liu Bannong was a lifelong member of the committee. In 1920, he was elected as a member of the National Language Dictionary Committee. In 1928, he proposed a plan to compile the “Great Dictionary of China” to the University Committee of the Republic of China, which was not realized due to funding issues. In 1931, he was appointed as the head of the “University Dictionary” section at the Great Dictionary of China Compilation Office. In 1925, shortly after returning from France, the phonology doctor Liu Bannong initiated the formation of the “Numerals Society” during a dinner at Zhao Yuanren’s home. This was originally a social gathering of several phonologists, doubling as an academic discussion group, the name “Numerals” inspired by Lu Fayan’s preface to the “Qieyun,” which mentioned, “Among us, several people, once determined, it is settled.” They were also members of the newly established “National Language Romanization Phonetic Study Committee,” which provided an opportunity to discuss the National Language Romanization. After 22 meetings and nine revisions over one year, this small group completed the “National Language Romanization Phonetic System,” which was submitted to and approved by the Ministry of Education.

Compared to his work in philology, Liu Bannong made even greater contributions to the literary revolution of the National Language Movement. In his groundbreaking article “My View on Literary Reform,” he argued that writing should address grammar and ethics, while literature, in addition to grammar and ethics, should also consider rhetoric; text inherently lacks spirit, which resides in what it describes, whereas literature must embody spirit; writing should break away from superstitions, speak from the heart, and express thoughts clearly; classical and vernacular Chinese should temporarily coexist equally, but ultimately either unify spoken and written language or abandon classical for vernacular; avoid obscure characters and unnecessary alliteration, and refrain from excessive use of allusions; and replace old rhymes with new ones. Regarding the issue of unifying pronunciation, he proposed three solutions: adhere to local pronunciations, standardize based on Beijing pronunciation, or develop a standard based on surveys by the “National Language Research Society.” Concerning the development of poetry, he believed in increasing the types of poetic forms and abolishing rigid poetic rules; regarding drama, he thought its literary status should be elevated; and in writing, he advocated for the use of paragraphs, punctuation, and annotations. These ideas, whether right or wrong, opened up new ways of thinking and had practical significance.

Liu Bannong’s entry into Peking University was itself a part of the New Culture Movement, facilitated by Cai Yuanpei’s principle of “inclusivity and freedom of thought,” which played a significant role in Liu’s success. Compared to other contemporary literati, Liu Bannong’s simplicity was particularly striking; he valued folk culture and was an expert in folklore. Shortly after arriving at Peking University, he collaborated with Shen Yinmo to initiate a collection of folk songs, supported by Cai Yuanpei. Wherever he went, Liu would carry a small notebook to jot down interesting ballads and topics, which became material for his research and writing. Early on, while returning to Jiangyin from Shanghai by boat, he leaned against the cabin wall, listening intently to the conversations of fellow passengers and recorded them, which later inspired his short story “The Dagger.” On another occasion, he planned to compile an “Anthology of Insults” and advertised in the “Beijing Morning Post” for contributions of curses. Upon seeing the advertisement, Zhao Yuanren rushed to Liu Bannong’s dormitory and “cursed” him at length using dialects from Hunan, Sichuan, and Anhui. Later, Zhou Zuoren also came and “cursed” Liu in the Shaoxing dialect. During his university lectures, Liu Bannong collected “curses” from students, and students from Ningbo and Guangdong successively “cursed” him in their dialects. Following this, Liu visited Zhang Taiyan, who had heard about his collection of insults and “cursed” him using Han dynasty invectives, explaining their origins and then doing the same with insults from the Tang dynasty, talking from morning until noon. Eventually, those accompanying Liu had to bow to Zhang and say, “We have troubled the teacher for a long time; now we must take our leave.”

Liu Bannong was diligent and capable of enduring hardship. During his years studying in Europe, he spent his days gathering data and conducting experiments, and his nights writing articles, working tirelessly which prematurely aged him; by 34, he was already stooped and hunched. When he observed many Chinese students abroad voicing various complaints and dissatisfaction, he always reminded them, “While criticizing society, we must not forget our own responsibilities. If we want to save China, we must first strive to make ourselves upright and honorable individuals! To pursue our careers, we must constantly ask ourselves if our work matches the quality of that in advanced countries!” Liu Bannong was forthright, and although he had some disputes and minor grievances with figures like Lu Xun and Yang Shuda, these are the subtle dynamics typical among intellectuals.

Translated into contemporary language, Liu Bannong could be described as a multi-talented individual. He worked as a translator, co-translating the “Complete Sherlock Holmes Detective Cases” and translating a collection of “French Short Stories.” His translation of the play “La Dame aux Camélias” was performed at the Beiping Little Theater. As an editor, he started with the “Jiangyin Magazine” in his hometown, and later worked with the Commercial Press, “New Youth” magazine, and “The World Daily.” As a writer, he produced works ranging from romance novels and stage scripts to the first collection of new poems in dialect, “Tile Pot Collection,” and the enduringly popular song “How Can I Not Think of Her?” He taught at various levels, from elementary schools in his hometown to prestigious institutions such as Peking University, Sino-French University, and Beijing Normal University. In educational administration, he served roles from the dean of academics at Fu Jen Catholic University to the dean of the Women’s College at National Peking University, and was a board member at the Beiping School of Fine Arts.

In academia, he held positions in organizations such as the National Language Unification Preparatory Committee, and completed phonology studies such as “Experimental Records of the Four Tones” and “Experimental Records of Chinese Character Pronunciations,” as well as archaeological and grammatical studies like “Dunhuang Collectanea” and “Discourses on Chinese Grammar.” He had a passion for photography and exhibited many of his works at photography exhibitions organized by the Beiping Light Society. As an academic expert, he was appointed to committees under the National Government, such as the Antiquities Conservation Committee, the Beiping Library Construction Committee, and the Beiping Education Bureau’s Examination Review Committee. He was also an honorary member of the Society for the Improvement of National Music, supporting and participating in Liu Tianhua’s efforts to revive national music.

Of course, his influence as a writer should not be underestimated. In addition to his most famous “My View on Literary Reform,” in 1918, he and Qian Xuantong “performed a duet” in “New Youth” with “The Response to the Literary Revolution—Reply to Wang Jingxuan,” powerfully attacking the feudal and regressive ideologies of the time. His farewell speech to the students of Peking University before leaving for Europe, “Farewell Speech to the Students of Peking University,” was highly motivational and impactful.

Like many intellectuals of his time, Liu Bannong, as the eldest son, felt a strong sense of responsibility towards his family. When he returned home from the military during the New Year holidays, he found his family in poverty, with his father hiding from creditors in a bathhouse. Liu immediately used his military pay to settle the debts. In Shanghai, to support his family, he wrote extensively, sometimes producing less inspiring works that later became the subject of criticism. His younger brother, Tianhua, had a passion for the erhu, which their father opposed. However, Liu Bannong, worldly and supportive, encouraged Tianhua, who eventually also taught at Peking University. Like his brother, Tianhua lacked formal educational credentials but taught himself various musical instruments, becoming a renowned Chinese traditional musician and composer. He also modernized traditional Chinese music and promoted music education based on his understanding of Western instruments.

Liu Bannong’s youngest brother, Liu Beimao, was raised largely by his older brothers. With their guidance and support, he pursued his own interests in university and became a well-educated professor at Peking University. After the premature deaths of his two older brothers, Beimao continued their legacy in music and education. The success of the three brothers can largely be attributed to Liu Bannong’s efforts and support.

Although Liu Bannong was a proponent of the National Language Movement, aside from advocating vigorously, he did not engage in many specific activities, partly due to his early death. His decision to study phonology in Europe was aimed at addressing China’s backwardness in linguistic research, particularly in phonetics. As a doctor of phonology from France, he completed “Experimental Records of the Four Tones” before returning to China, a scholarly work that applied modern scientific experimental equipment and methodologies to study the four tones of Chinese. He also planned a phonetics laboratory, and in 1929, established China’s first laboratory for musical pitch at Peking University, initiating research and teaching in phonetics. He served as the head of the University Dictionary section at the Great Dictionary of China Compilation Office and personally compiled the entry for the character “一,” marking the beginning of the “Great Dictionary of China” project he had proposed to the Ministry of Education two years earlier. He also created the Chinese characters for “she” and “it,” which, although not universally accepted by scholars at the time, have become widely used. He continuously strove to fulfill his duties, as expressed in his speech at the 22nd anniversary of Peking University on December 17, 1919: “I hope that the Chinese nation will not fall below the standard of humanity; I hope that Chinese civilization will not be erased from the history of world culture. How can we achieve this? It still comes back to our responsibilities.”

April 24, 2024

References:

“Self-Narrative of Liu Bannong” by Liu Bannong, edited by Wenming Guo, published by Anhui Literature and Art Publishing House under Time Publishing and Media Co., Ltd.

“Flowing Style” by Hu Meifeng, published by China Youth Publishing Group

“History of the National Language Movement” by Li Jinxi, published by the Commercial Press