Yang Jiang is the daughter of Yang Yinhang, whose ancestral home is Wuxi, Jiangsu Province. Yang Jiang was born in Beijing.
In 1932, he graduated from Soochow University in Suzhou and became a graduate student in foreign languages ??at the Graduate School of Tsinghua University. He met Qian Zhongshu and the two became a couple. From 1935 to 1938, he and his husband Qian Zhongshu went to Oxford University in England to study, and then transferred to France to study at the University of Paris. They had a daughter, Qian Yuan (1937-1997). In 1938, Yang Jiang returned to China with Qian Zhongshu and her one-year-old daughter. After returning to China, he successively served as professor in the Department of Foreign Languages ??at Shanghai Aurora Women's College of Arts and Sciences and professor in the Department of Spanish at Tsinghua University. In 1953, he served as a researcher at the Institute of Literature of Peking University, the Institute of Literature of the Chinese Academy of Sciences, and the Institute of Foreign Literature of the Chinese Academy of Social Sciences. The script includes "As You Like It". "Making Truth into Falsehood" and "Feng Xu"; novels include "Reflection Collection" and "Taking a Bath"; essay collections include "Spring Ni Collection" and "About Novels"; essay collections "Will Drink Tea" and "Six Notes on the Cadre School"; translations There are "Selected British Prose Since 1939", "The Little Leper", "Gil Blas", and "Don Quixote". Yang Jiang himself is fluent in English and French. In order to make "Don Quixote" ” translated more accurately, she learned Spanish again, and eventually protected the manuscript during the Cultural Revolution. Yang Jiang's translation of "Don Quixote" is recognized as an excellent translation work. Yang Jiang
has sold a total of 700,000 copies so far, making it the most widely circulated translation in the book. When the Chinese translation of "Don Quixote" was published in 1978, it happened to be the King of Spain's visit to China, and Deng Xiaoping gave it as a gift to the King of Spain. After the 1980s, Yang Jiang no longer focused on major works, but occasionally wrote prose, essays, and short memories. Although they are relatively short, the simple and sincere emotions revealed in the plain words and the wisdom revealed in the vernacular are still talked about by readers who love her. After the 1990s, Yang Jiang basically stopped all kinds of work because Mr. Qian Zhongshu and Qian Yuan fell ill and died one after another. After her father and daughter died one after another, she even retreated into seclusion. It was not until she was 92 years old that she took up writing again, opened up the memories that had been sealed for many years, and wrote her most famous book "The Three of Us". It not only tells the story of the last period of Qian Zhongshu and Qian Yuan's lifetime in the form of fantasy literature, but also recalls many of the couple's travels in Europe and various past events after the founding of the People's Republic of China. "Old King", written in 1984, was selected as a junior (high) middle school textbook. Simplicity and simplicity are the language characteristics of Yang Jiang's works. It looks plain, neither cloudy nor sunny. However, plainness does not mean poverty. The gloom and sunshine are hidden in it. In the simplicity that has been washed and painstakingly managed, there is the original splendor and magnificence. Clean and clear language becomes extremely expressive in Yang Jiang's writing.
Edit the translations of major works in this section
Prose categories: "Six Notes on the Cadre School", "About Drinking Tea" (including "Remembering My Father" and "Yang Jiang"
< p>Remembering Qian Zhongshu and "The Besieged City", "Reminiscences of My Aunt", etc.), "Miscellaneous Writings and Miscellaneous Memories" (including "In Memory of Chen Hengzhe", etc.), "Story of Bingwu and Dingwei", "We Three", " "I went to school in Qiming", "Coming to the edge of life", "Old Wang" (included in middle school Chinese textbooks) Novels: novel "Bathing"; short stories: "Lulu, don't worry!", "Little Indian Spring", " "Big Joke", "Beauty", "ROMANESQUE", "Ghost", "Career" Translated works: "Don Quixote", "Gil Blas", "Little Leper", "Phaedo", "One "British Prose Works since 1939" Script categories: "Making Truth Become False", "Satisfactory", "Feng Xu" Essay Categories: "Chunni Collection", "About Novels"Edited version Characteristics of paragraph language
Yang Jiang
The success of Yang Jiang’s literary language is obvious to all. His calm and concise language seems to be bland, without clouds or sunshine. However, plainness does not mean poverty. The gloom and sunshine are hidden in it. In the simplicity that has been washed and painstakingly managed, there is the original splendor and magnificence. The clean and clear language has great expressive power in Yang Jiang's writing. Sometimes changing the word order does not conform to the convention, but makes it more unique and readable. For example, there is a sentence in "The Story of Bing Wu and Ding Wei": "When you go on stage, you have to wear a high hat." Usually you might say "You have to wear a high hat when you go on stage," because this is obviously forced. But what Yang Jiang said was a bit jubilant, reminding people of something like "New Year greetings give you lucky money." This was completely out of tune with the environment at that time, so it had to be read as an irony: it not only showed the author's helpless mood of laughing and crying in the situation, but also implied her deconstructive attitude towards the environment at that time. The eight words "Ping Ping" contain protest in calmness, sadness in ridicule, and are very charming. Sometimes it is so clear that it is a little cold, but because of the humor, it adds a bit of agility. Therefore, the quiet and solemn language has its own vitality, quiet but not rigid, lively but not floating, there is movement in silence, and movement is still still. There is a calm, sophisticated, graceful and elegant style in the quiet and humorous style. The calmness after the sharp edge is restrained, there is a kind of quiet and transcendent beauty of balance. (Excerpt from "Man on the Edge - Yang Jiang's Creation Theory", "Literary Review" Issue 5, 1995)
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Yang Jiang: (then) Dr. Spence said I was going to deliver a "Coronation Day baby." Because he expected the doll's birthday to coincide with the coronation of George VI (May 12).
But our daughter has no interest in the coronation of the British King. Perhaps she does not want to come into this world. I entered the maternity hospital on the 18th, and on the 19th I tried my best to make her born. The doctor gave me medicine and allowed me to "die" peacefully. When I woke up, I found myself wrapped in a flannel bag like a newborn baby, with a hot water bottle behind my feet. My belly was empty, and my whole body was sore even to the bones and bones, and I couldn't move. I asked the nurse next to me: "What's going on?" The nurse said: "You have done hard work, very heavy hard work." Another nurse poked her head at the door. She asked me curiously: "Why don't you scream?" She saw that I was in terrible pain, but she kept silent. I didn't expect this trick, but I said: "It still hurts even after screaming." They became more and more strange, "Are all Chinese women knowledgeable about philosophy?" "Aren't Chinese women allowed to scream?" The nurse hugged the baby. She came to show me that the baby was born with bruises all over her body, and she was the one who took the photo. This was the birth of Qian Yuan. When she was pregnant, Yang Jiang thought she could ignore it, but later she learned that she had to devote herself to it. At the end of the year, Zhongshu described her in his diary: "Wan, Ji, I have studied so much this year, but I am sorry that it is not enough..." He laughed at me, "She is a talented woman who can be a good wife and mother, and she also wants to be a female doctor..." Zhongshu once said I don’t want a son, I want a daughter—just one, like Yang Jiang’s. Yang Jiang is not satisfied with "looking like me". She wants a daughter like Zhong Shu. The daughter is like Zhong Shu. I don’t know what she looks like. It takes a lot of imagination. Later daughter Qian Yuan really looked like Zhong Shu, but that's a story for another day. Yang Jiang: Although political movements emerged one after another, Zhongshu and I never stopped working. He can always find time to study after work; I "make up for my weakness with diligence" and try to read books within the scope of my work. I completed the translation of "Gil Blas" as planned and wrote an academic paper of 50,000 words. I can’t remember whether it was 1956 or 1957, but I accepted the task of re-translating “Don Quixote” from the editorial committee of the three series of books. Just in the spring of the year of the anti-rightist movement, my academic paper was published in a journal and did not attract any attention. "Selected Notes on Song Poems" completed by Zhong Shu at the end of 1956, was published in 1958. After the anti-rightist movement, another "double counter-revolution" came, and then the "pull out the white flag" movement was launched in our institute. Zhongshu's "Selected Notes on Song Poems" and my paper are both white flags. Mr. Zheng Zhenduo used to be a big white flag, but he stopped "pulling" it when he was killed in the line of duty. Zhongshu went to the city in 1958 to participate in the finalization of the translation of Mao's Selected Works. All criticisms of his "Selected Annotations of Song Poems" will be conveyed by me on my behalf. Later, Japanese sinologists such as Yoshikawa Kojiro and Ogawa Tamaki praised the book and stopped reading it. The only thing I suffered was that my shapeless little white flag was pulled out and torn to pieces. I secretly made up my mind to never write articles again, and from then on I retreated into translation. Zhongshu laughed at me for "borrowing a corpse to bring back a soul", but I just wanted to use this to "escape". From a female perspective, in fact, everyone in Mr. Yang Jiang’s family is independent. Needless to say, Mr. Qian Zhongshu; Yang Jiang is also very independent, and her dramas, translations, and novels are all excellent; daughter Qian Yuan is the founder of a discipline (English stylistics); each of them is an independent person. Scholars support and help each other in life. In addition to being a scholar, Ms. Yang Jiang is a wife and mother, and she plays an important role in life. During their most difficult period, Shanghai fell. Mr. Qian Zhongshu went to Shanghai and could not return to the United Nations General Assembly. At that time, Yang Jiang's "Making Truth Become False" was very famous in Shanghai. Once they were on their way back after watching Yang Jiang's play (Qian Zhongshu was writing the later influential "Talk about Art"). Qian said: I also want to write a novel! Yang Jiang immediately agreed: OK! good! Write it quickly! Their life was very tight at that time! If you have less money to teach a few classes and free time to write books, you will earn less money. Yang Jiang fired the nanny and took on the cooking, laundry and other housework alone, just to save some money and reduce expenses, so that Qian Zhongshu could teach less classes and write long novels to maintain family life; In a sense, this is Yang Jiang's sacrifice to herself. It is not difficult for us to understand what this means for a scholar who cherishes his time as much as his life. So Qian Zhongshu wrote a paragraph and told a paragraph; Qian Zhongshu laughed, Yang Jiang also laughed, and the artistic taste of the entire novel was formed. This was the birth of Qian Zhongshu's only novel "The Besieged City". "Fortress Besieged" was later changed to a TV series, which is well known to women and children, but few people know that the background of its writing is such a situation, which is inseparable from Yang Jiang's understanding and support. Each of the three members of the family has their own knowledge to work on, but in the most difficult time, Yang Jiang took on all the burdens and let her husband and daughter concentrate on doing things. This includes when Qian Zhongshu was seriously ill and her daughter Qian Yuan was hospitalized. She had to visit her every day. At that time, Qian Zhongshu could no longer eat. She always made various fruit purees and meat purees to improve Qian Zhongshu's nutrition. , even the fish meat has to be removed with needles one by one, but she can "make do with it" herself! Yang Jiang: There will be no pure happiness in the world. Happiness always comes with worries and worries. There is no forever in this world. We have had a rough life, and it is only in our old age that we have a place to settle down. But old age and illness have pushed us to the end, and we have reached the end of our road in life. In 1997, A Yuan passed away. At the end of 1998, Zhong Shu passed away. The three of us were separated. Lost so easily. "The good things in the world are not firm, and the colorful clouds are easy to scatter and the glass is brittle." Now I'm the only one left. I clearly saw that the apartment that I used to think of as "our home" was just an inn on the road. Where home is, I don’t know. I'm still looking for my way back.
After her husband and daughter passed away, the first thing she did was to sort out Qian Zhongshu's works and publish his dense reading notes. Later, she donated all their royalties and royalties to her alma mater, Tsinghua University, to establish "Good Reading" "Scholarships are awarded to students who are studious, motivated, have excellent academic performance, and whose families have financial difficulties, so that students can complete their studies without any worries. Mr. Qian and Mr. Yang have no other requirements for the awarded students. They only hope that after completing their studies, they can one day serve the motherland and society in various forms. Since the "Good Study" Scholarship was established in September 2001, the funds accumulated from the publishing income of Qian Zhongshu and Yang Jiang's works have now reached nearly 2 million yuan, and nine students have received awards. With the successive publication of the English and Chinese-English versions of "Collection of Qian Zhongshu's Manuscripts" (more than forty volumes), "Records of Song Poems" (twelve volumes) and "Besieged City", the total amount of the fund will be considerable. Yang Jiang
After completing these tasks in his later years, Yang Jiang began to write the unfinished "We Three" by his daughter Qian Yuan. At this moment, "We Three" is simple and elegant. It is placed in front of us cleanly, just like Mr.’s noble personality. Today, Ms. Yang Jiang has entered the 98th year of her life! She is really old, living the life of an ordinary old person. She has some hearing loss, her eyesight has also declined, and she has closed the door to welcome guests. There were always friends she knew or didn't know calling her, and she would always have a gentle chat, and then say that her arm was a little sore, making people embarrassed to bother her again. I think we really don’t need to bother anymore and just read her and Qian Zhongshu’s books quietly. Really, that’s enough. In "The Three of Us", we see such an admirable family, as well as the joys and sorrows of ordinary families. Ms. Yang's writing style is still fresh, elegant, cold and humorous. Qian Zhongshu, Yang Jiang, and Qian Yuan are "the three of us". They have different personalities and like-minded interests. They all regard studying and scholarship as their pursuit of life, and even life itself. Their kindness, wisdom and integrity, as well as their thorough and open-minded views on life, old age, illness and death, deeply inspire and benefit people a lot. Yang Jiang now began to sort out her works carelessly, but she said: After finishing their things, I feel at ease. The remaining things of my own don't matter anymore. Even if I leave now, I can rest assured! "The soul of the dream is long and long, and the body and bones are finally scrapped." (Qian Zhong's calligraphy), the love for your daughter, your love for your husband, and your noble personality are all there
Edit this paragraph Yang Jiang Talking about numerology
Yang Jiang probably believes in numerology. In her new book "Coming to the Edge of Life", she said: If fate "has no reason, how can we calculate it? Those who are proficient in numerology can calculate it very accurately." " She recalled that when she was a child, she met a blind fortune teller and gave him the "horoscope" of her recently deceased brother. The blind man counted it with his hands, shook his head and said, "It's not going to get better," and then he used her sister's fortune teller. He was asked to calculate the "horoscopes" of the child who had died young. The blind man pinched his hands and said angrily: "What's going on with your family? Do you want to take advantage of others? This child has a lot of destiny, and he has died long ago!" Although Mr. Yang He said that he had no intention of learning fortune telling, but he occasionally heard about some "familiar knowledge" and briefly introduced it in the book. After Yang Jiang married Mr. Qian, she went abroad. Mr. Qian's father took a copy of Mr. Qian's life book and gave it to her. It began with: "Father is a pig and she is a rat. My wife is one year younger. She is destined." Yang Jiang is indeed older than Mr. Qian. One year younger. But in the end he said: "Sixty and eight years, once the material is gone, it will never come back." Commentary: "The sunset has ended." During the Anti-Japanese War, Mr. Qian had a student who spent ten stones of good rice to learn "iron plate fortune telling" from a famous teacher. " Later, I also calculated it for Mr. Qian, and the calculated result was similar to that in the fortune book, except that my life was shorter. During the Cultural Revolution, Mr. Qian fell seriously ill. According to the fortune-telling student, Mr. Qian might die that year. But Mr. Qian finally died at the age of 88, which was twenty years longer than what was calculated in his fortune book. "I don't know how the 'iron plate fortune teller' explained it." "Iron plate fortune telling" was formerly known as "iron abacus" by Shanghainese people. Its original name was "Huangji number", also known as "Tai Chi number", "Xiantian number", etc. According to legend, It was invented by Shao Yong (Kang Jie) in the Song Dynasty. Yu Yue of the Qing Dynasty introduced it in "Chun Zaitang Essays": The fortune teller sat in a room, and two servants stood aside to serve him. There was an inkstone, a pen, and an abacus on the table, and a table beside him. Piles full of books. The guest told him his birth date, and the fortune teller calculated it on the abacus. The beads were flying and making a sound. He didn't know whether he was adding, subtracting, or multiplying or dividing. After calculating, he told the servant, "Thousands, hundreds, dozens, dozens, tens, tens, hundreds, dozens". He went to the table and pulled out a book for him. The fortune teller asks the customer a question, such as where the brothers are ranked. If it is wrong, he will recalculate. If one thing is consistent, everything else will be consistent. What happened in the past is vivid and vivid. But predicting the future is "as uncertain as chasing the wind."
Edit this paragraph Yang Jiang's collected works
Preface
I am not a professional writer; all the works in the collection are written casually. I'm just an amateur author. Several essays and novels in my early years were homework assignments in class when I was a student at Tsinghua University, or occasional readings when I was studying at Oxford. After returning to China, he lived in occupied Shanghai. Forced to make a living, he wrote several scripts to support his family. After the victory of the Anti-Japanese War, I first worked as a teacher in Shanghai; after the victory of the Liberation War, I worked as a teacher at Tsinghua University, writing short stories and essays in my spare time, and occasionally translating.
After the "bathing" (intellectual transformation) movement, I was transferred to a literary research institute to do research and write academic papers. I made many mistakes when writing papers, so I did translation work and wrote a small number of necessary papers. The translation work meant that I looked up dictionaries frequently, which hurt my eyesight. In order to protect my eyesight, I "worked with my eyes closed" and wrote short stories. In 1979, the Institute of Modern History of the Academy of Social Sciences asked me to write an article about some of my father's views because my father was "one of the figures" in the anti-Qing revolutionary movement. I wrote "A Material". After Comrade Hu Qiaomu was transferred to review it, he suggested that I change the title to "Remembering My Father"; I then wrote another memory. I once remembered Qian Zhongshu's past events, but it was not my memories but his own memories. While researching and writing academic papers, I also wrote novels and essays, and also wrote a novel. After retiring in 1987, I wrote articles randomly. After Qian Zhongshu's death, I sorted out his manuscripts, translated another work, improvised as the occasion dictated, and wrote about a dozen long and short essays of various kinds. After sorting out all the articles, some parts were removed and the remaining parts were roughly divided into categories. Half is translation, half is creation. His writings include plays, novels and essays. Prose can also include lyricism, freehand brushwork, chronicling events, remembering people, discussing studies, storytelling, etc. Since the article is "written as the occasion arises", it is more convenient to organize it by period. All works that fail to pass the test and that cannot be corrected well will be deleted. Articles that promote evil will also be deleted. Because of course, hateful behavior should be "attacked with the sound of drums," but once it is exposed, the person involved covers it up repeatedly, which proves that "everyone has a heart of shame and disgust"; I should also be loyal and forgiving when dealing with others. Articles written under compulsion will be deleted even if every sentence is truthful. There is "one thing" to be desired. Even though it is a small article, I will keep it. I initially chose liberal arts because I wanted to read good Chinese and foreign novels, understand the art of writing novels, and help me write good novels. But when I was nearly eighty, I wrote a novel that was not long enough. When I was over eighty, I destroyed the twenty-chapter novel I had written and decided not to write a novel. As for the art of writing novels, although I have read quite a few novels, I have not dared to write a formal article. I have only talked about some scattered experiences in academic papers. In the novels I wrote, except for the first Tsinghua assignment, two characters were ready-made, and in the last short story, there was also a character who was ready-made and could fit in. The characters and stories in the remaining articles are purely fictitious. Plagiarism from any real person. Zhongshu once recommended that I could make something out of nothing when writing novels. Indeed, in the novels I write, all the characters are conceived in my mind, and the stories are naturally formed by the characters. There are several short stories that I have rewritten over and over again. But all my novels are still in the learning stage of writing. Since this life is over, I can only feel ashamed that my ambitions have not been achieved. I just wrote a lot of essays in different styles. Thanks to the kindness of several senior editors from the People's Literature Publishing House, they are willing to edit the "Collected Works" for me. I sincerely thank you, and follow their instructions to write this preface and a detailed "History of Yang Jiang's Life and Creation" . July 27, 2003
Content Introduction
This collection of essays contains approximately 2.5 million words. Volumes one to four are the creative part. The first volume of the novel contains the novel "Taking a Bath" and 7 short stories; the second and third volumes of the "prose volume" include "Six Notes on the Cadre School", "About Drinking Tea", " "Miscellaneous Writings and Miscellaneous Memories" and all important prose written from the mid-to-late 1990s to the beginning of the new century. Among them, "We Three" was a super best-seller in 2003, and others such as "Qian Zhongshu Leaves Southwest Associated University" "The Real Truth", "Remembering Chen Hengzhe", "I went to school in Qiming" and other series are introduced to readers for the first time; the fourth volume "Drama Essay Volume" includes two long-lost comedies "A Wishful Heart" and "Fake it True", " The "Literary Theory" section compiles the author's theoretical works on analyzing foreign literary masterpieces, as well as 14 papers on her discussion of "A Dream of Red Mansions" and literary creation and translation. The translations in Volumes 5 to 8 include important translations of "Don Quixote", "Gil Blas", "The Little Leper", "Phaedo", etc. It is worth noting that the first volume of "Collected Works of Yang Jiang" is titled "Author's Preface", which briefly explains his creative situation and the rules for editing the "Collected Works"; the "History of Yang Jiang's Life and Creation" at the end of the volume is based on Mr. Yang Jiang's memories. Written and edited by He Jiji himself, it is equivalent to a miniature "Biography of Yang Jiang". The eight volumes of "Collected Works" also include 80 photos and illustrations selected by the author, most of which are published for the first time. It is a set of valuable research materials and personal collections.
Table of Contents
Collected Works of Yang Jiang. Volume 1: The Collected Works of Yang Jiang. Volume 1: The Collected Works of Yang Jiang. Volume 2: The Collected Works of Yang Jiang. Volume 2: The Collected Works of Yang Jiang. Volume 3: The Collected Works of Yang Jiang. The 4th Volume Volume Drama·Literary Theory Volume Collected Works of Yang Jiang. Volume 5: Collected Works of Yang Jiang on Don Quixote. Volume 6: Collected Works of Yang Jiang on Don Quixote. Volume 7: Collected Works of Gil Blas and Yang Jiang. Volume 8: Small Feiduo
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