Abstract:

Chen Shih-Hsiang's argument that Chinese literature is destined to be dominated by lyricism because lyrical spirit is a tradition in Chinese literature has a far-reaching scholarly influence. By tracing the development of the lyrical tradition of Chinese prose, this article summarizes three emotional patterns — "leaving and returning," "joy and worry," and "happiness and sorrow." In terms of lyrical standpoints and content, Western lyricism tend to focus on individual liberations and dreams of an ideal world, emphasizing subject value of individuals and the expression of self-feelings, while Chinese lyrical proses pay more attention to the unity of personal expression and sociality. In terms of lyrical techniques, Western lyricism are more explicit expressions of feelings, by projecting feelings on scenery. Such a strategy is also seen in Chinese lyrical prose, but more often than not, it implicitly combines the expressions of emotion with description of scenery. Chinese prose not only has its unique characteristics, grace and verve, but also contains the cultural spirit, cultural gene and emotional codes of the Chinese nation. It is a great literary heritage of China, and also a reliable source of cultural consciousness and cultural confidence.

Key words: Chinese prose, lyricism, literary tradition, national spirit