The Water Plantain Collection

Zhou ZuorenJul 2022

4.1

Word count: 8.5K words
Chapters: 28

Summary

It is only in recent years that I have learned to write, but with no great success. Born poor, I had no proper schooling as a child, and the profession I later trained in had nothing to do with literature. To attempt critical writing would not only be unsuited to my station but frankly a waste of effort. This realization came to me before long, and lately I have written only short personal essays; if they can express some part of myself, I am satisfied, with no ambition to convey moral teachings or transmit doctrine. A friend once asked which of these casually written pieces were the best, and I was ashamed to have no answer. But on reflection, though none deserve to be called good, there are three or five that I rather favor, that capture something of the mood and flavor of the time; I have now gathered them into one of the "Little Books of the Bitter Rain Studio."

Isaac Goldberg, in his criticism of Havelock Ellis, said that within him there is a rebel and a hermit—a most apt remark. It is not that I wish to borrow Ellis's prestige; I hope only that in my essays of taste the rebel is still alive. Without hesitation I commend this little collection to the modern Chinese rebels and hermits. As for the title Alisma, there is no deep meaning in it—it does not necessarily invoke the line from the Songs of Chu, "basket of alisma with leopard-skin trim"; I simply like this small plant and used it as a title. The alisma also appears in Japanese heraldry, and I have borrowed that design for the frontispiece.

Editor's review

Alisma is one of the "Little Books of the Bitter Rain Studio" that Zhou Zuoren selected himself. It is modest in length yet concentrates his self-definition as a writer of "essays of taste." The pieces are mostly short personal reflections that neither convey moral teachings nor transmit doctrine, seeking only to express a part of his own feeling and taste; they read warm and unassuming, with a constant sense of measure. Borrowing Goldberg's remark on Ellis—"a rebel and a hermit"—the author makes clear his hope that "the rebel is still alive" in his writing, adding an inner tension to prose that seems mild and detached, and prompting readers to notice the judgment and attitude behind its gentle tone. The title comes from the small alisma plant, and the Japanese heraldic design is borrowed for the frontispiece, revealing where his taste lies. Best read slowly in quiet hours, one or two pieces at a time, to savor the rhythm of the style and the underlying thought; for understanding Zhou Zuoren's early prose style and the writing trajectory of the "Bitter Rain Studio," it is a good introduction.

Who it's for

A good fit for

Readers who love modern vernacular prose and want to experience Zhou Zuoren's early style
Literature lovers interested in the writing trajectory of the "Bitter Rain Studio" series
Readers who prefer short essays and can read slowly in spare moments
Readers studying Zhou Zuoren's self-definition as a prose writer and his view of taste

Not a good fit for

Readers expecting systematic theory or a complete intellectual system
Readers who prefer strongly plotted, tightly narrated works
Readers who want only Zhou Zuoren's later or most representative long prose

Reading tips

Begin with the preface to learn the origin of the title and the author's stated attitude toward writing, then move into the main text.
Read one or two pieces a day without rushing, noting the tone in which "taste" and "the rebel" coexist.
Read alongside Zhou Zuoren's early essays such as Rainy Days to observe shifts in style.
Jot down lines that move you as you read, to help grasp the rhythm and measure of his style.

版权信息
序
两个扫雪的人
小河
背枪的人
画家
爱与憎
荆棘
所见
儿歌
慈姑的盆
秋风
梦想者的悲哀
过去的生命
中国人的悲哀
歧路
苍蝇
小孩
山居杂诗
对于小孩的祈祷
小孩
她们
高楼
饮酒
花
昼梦
寻路的人
西山小品

FAQ

Does the title "Alisma" have any special meaning?

The author explains in the preface that it has no deep meaning and does not necessarily invoke the Songs of Chu line "basket of alisma with leopard-skin trim"; he simply likes this small plant and used it as a title. He also borrowed the alisma design from Japanese heraldry for the frontispiece, reflecting his taste.

Is this book suitable for readers new to Zhou Zuoren?

It can serve as one of the introductions. It is short, consists mostly of brief personal essays in plain language, and the preface clearly sets out the author's attitude toward writing and his self-definition, making it easy for new readers to grasp the basic character of his "essays of taste."

How should the phrase "a rebel and a hermit" be understood?

The author borrows Goldberg's remark on Ellis to express his hope that "the rebel is still alive" in his essays of taste. This reminds readers that behind prose that seems mild and leisurely there remains judgment and attitude, not complete detachment. Watch for this tension as you read.

Comments

Find this book

This site is an index: you start “Search all sources” in your browser, and the entries it lists all point to third-party sites; please judge their availability yourself.

About the author

Zhou Zuoren Author · China · 1885–1967

Zhou Zuoren (1885–1967) was a native of Shaoxing, Zhejiang, and the younger brother of Lu Xun. A modern Chinese essayist, literary theorist and translator, he was a representative figure of the New Culture Movement. He taught at Peking University and took part in editing New Youth and Yusi. His essay collections include My Own Garden, Writings on a Rainy Day and Recollections of Zhitang, written in a plain, calm style that finds interest and insight in everyday matters. He long translated Japanese and Greek literature, notably The Pillow Book, the tragedies of Euripides and the comedies of Aristophanes. His essays, folk-literature studies and translations have had a lasting influence on modern Chinese writing and the reception of foreign literature.