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Μου θυμίζει τη διαφορά ελληνικής και χριστιανικής θρησκείας:
The late Dr. Hu Shih, eminent historian of Chinese thought and culture, used to say with sly delight that centuries of Christian missionaries had been frustrated and chagrined by the apparent inability of Chinese to take sin seriously. Were we to work out fully all the consequences for Chinese society of the model offered by an organismic cosmos functioning through the dynamism of harmony, we might well be able to relate the absence of a sense of sin to it. For in such a cosmos there can be no parts wrongfully present; everything that exists belongs, even if no more appropriately than as the consequence of a temporary imbalance, a disharmony. Evil as a positive or active force cannot exist; much less can it be frighteningly personified. No devils can struggle with good forces for mastery of humans and the universe, and people’s errors, unlike sin in other worlds, can neither offend personal gods nor threaten a person’s individual existence.
Frederick Mote, Intellectual Foundations of China, the Problem of Evil and Consequences of A World without Sin
Η μεγάλη κατάφαση:
The Chinese [narrative] tradition has tended to place nearly equal emphasis on the overlapping of events, the interstitial spaces between events, in effect on non-events alongside of events in conceiving of human experience in time. In fact, the reader of the major Chinese narrative works soon becomes conscious of the fact that those clearly defined events which do stand out in the texts are nearly always set into a thick matrix of non-events: static description, set speeches, discursive digressions, and a host of other non-narrative elements. … The ubiquitous potential presence of a balanced, totalized dimension of meaning may partially explain why a fully realized sense of the tragic does not materialize in Chinese narrative. Such characters as Prince Shen-sheng, Hsiang Yu, Yueh Fei, and even Chia Pao-yu clearly possess the qualities of the tragic figure to one extent or another. But in each case the implicit understanding of the logical interrelation between their particular situation and the overall structure of existential intelligibility serves to blunt the pity and fear the reader experiences as he witnesses their individual destinies. In other words, Chinese narrative is replete with individuals in tragic situations, but the secure inviolability of the underlying affirmation of existence in its totality precludes the possibility of the individual’s tragic fate taking on the proportions of a cosmic tragedy. Instead, the bitterness of the particular case of mortality ultimately settles back into the ceaseless alternation of patterns of joy and sorrow, exhilaration and despair that go to make up an essentially affirmative view of the universe of experience.
Andrew Plaks, Chinese Narrative
The late Dr. Hu Shih, eminent historian of Chinese thought and culture, used to say with sly delight that centuries of Christian missionaries had been frustrated and chagrined by the apparent inability of Chinese to take sin seriously. Were we to work out fully all the consequences for Chinese society of the model offered by an organismic cosmos functioning through the dynamism of harmony, we might well be able to relate the absence of a sense of sin to it. For in such a cosmos there can be no parts wrongfully present; everything that exists belongs, even if no more appropriately than as the consequence of a temporary imbalance, a disharmony. Evil as a positive or active force cannot exist; much less can it be frighteningly personified. No devils can struggle with good forces for mastery of humans and the universe, and people’s errors, unlike sin in other worlds, can neither offend personal gods nor threaten a person’s individual existence.
Frederick Mote, Intellectual Foundations of China, the Problem of Evil and Consequences of A World without Sin
Η μεγάλη κατάφαση:
The Chinese [narrative] tradition has tended to place nearly equal emphasis on the overlapping of events, the interstitial spaces between events, in effect on non-events alongside of events in conceiving of human experience in time. In fact, the reader of the major Chinese narrative works soon becomes conscious of the fact that those clearly defined events which do stand out in the texts are nearly always set into a thick matrix of non-events: static description, set speeches, discursive digressions, and a host of other non-narrative elements. … The ubiquitous potential presence of a balanced, totalized dimension of meaning may partially explain why a fully realized sense of the tragic does not materialize in Chinese narrative. Such characters as Prince Shen-sheng, Hsiang Yu, Yueh Fei, and even Chia Pao-yu clearly possess the qualities of the tragic figure to one extent or another. But in each case the implicit understanding of the logical interrelation between their particular situation and the overall structure of existential intelligibility serves to blunt the pity and fear the reader experiences as he witnesses their individual destinies. In other words, Chinese narrative is replete with individuals in tragic situations, but the secure inviolability of the underlying affirmation of existence in its totality precludes the possibility of the individual’s tragic fate taking on the proportions of a cosmic tragedy. Instead, the bitterness of the particular case of mortality ultimately settles back into the ceaseless alternation of patterns of joy and sorrow, exhilaration and despair that go to make up an essentially affirmative view of the universe of experience.
Andrew Plaks, Chinese Narrative