FILE PHOTO Shakespeare is hailed as one of the towering figures of world literature, as his works "present the true state of universal human nature."

In the 21st century, China introduced the “going global” strategy to promote its culture abroad. One key discussion that followed was the international dissemination of Chinese literature. Whether Chinese literature can transcend national borders and rank among world literature depends on whether it possesses universal qualities.

Translation

The “global” nature of literature is first and foremost a matter of dissemination. The literature of a nation or country, regardless of its value, is not considered world literature unless it reaches other nations or cultures. Translation plays a crucial role in bringing a nation’s literary works to international audiences and securing their global recognition. By incorporating thought patterns, literary forms, and aesthetic sensibilities, literary translation allows different national literatures to overcome linguistic and cultural barriers, fostering aesthetic dialogue and, in some cases, even consensus.

As a logographic writing system, Chinese characters integrate form, sound, and meaning. Chinese literature, particularly ancient Chinese literature, leverages this characteristic to create unique and captivating poetic styles that have few direct counterparts in other languages. Hence, incorporating ancient Chinese poetry—renowned for its highly distinctive national characteristics—into world literature is particularly challenging. Even for works already recognized as world literature, such as those by renowned Tang Dynasty poets Li Bai and Du Fu, the phonetic and formal beauty of Chinese characters is somewhat lost in translation. In this regard, the international recognition of Chinese literature relies on the global reach of the Chinese language, as evidenced by the widespread dissemination of ancient Chinese literature within the East Asian Sinosphere.

Universal significance

While translation is an essential step for achieving international recognition, a literary work’s acceptance and influence worldwide ultimately hinges on its universal significance. Whether a nation’s literature resonates with foreign readers—either through its intellectual themes or aesthetic appeal—largely hinges on the extent to which its underlying values align with or intrigue audiences from other cultural backgrounds.

Whether Chinese literature qualifies as world literature depends on its ability to reflect shared human concerns, common values and universal aesthetics. War has been a major issue of universal concern for humanity and a prominent theme in world literature since ancient times, most powerfully captured in Tolstoy’s War and Peace. Through vivid characterizations and faithful depictions of events, it conveys the author’s humanitarian anti-war stance and deep sympathy for those who suffered the anguish and devastation caused by war.

War is also an important theme in ancient Chinese literature. Both Li Bai and Du Fu wrote many poems on the subject, some supporting the military campaigns of the Tang Dynasty, some expressing opposition to war. However, even in poems that affirm military action, there often lurks an underlying anti-war sentiment, rooted in the poets’ deep empathy for the suffering of the common people. The incorporation of these great Chinese and Russian writers into world literature is no accident, as their works resonate with shared human values.

The exploration of human nature is another common feature of world literature. Shakespeare is hailed not only as a great British playwright but also as one of the towering figures of world literature, as his works “present the true state of universal human nature” and “the regularities of life.” Dream of the Red Chamber, one of the Four Great Classical Novels of Chinese literature, profoundly reveals the complexity of human nature in traditional Chinese society through numerous characters such as Jia Baoyu, Lin Daiyu, and Wang Xifeng. Similarly, the poetry of Li Bai and Du Fu embodies the spirit of ancient Chinese scholars who prized individual freedom and benevolence, articulating universal aspects of human nature such as truth and goodness.

Whether Chinese literature is considered “global” also depends on its ability to offer a unique and invaluable contribution to world literature and human civilization—both through its content and its literary aesthetics. As the world continues to evolve, humanity seeks new horizons, exploring fresh phenomena, embracing innovative artistic styles, and cultivating new aesthetic tastes. Literature, often at the vanguard of social change, reflects and illuminates these transformations. Works that break new ground—whether in intellectual depth, emotional power, characterization, or artistic innovation—inevitably capture global attention.

In addition, the global nature of Chinese literature relies on the rigorous examination and refinement efforts of scholars and literary critics. This calls for a comparative perspective in Chinese literary studies, one that positions Chinese literature within the broader context of world literature. Only through such comparative analysis can we discern the similarities and differences between Chinese literature and that of other nations, with national characteristics becoming apparent only in the global framework.

In recent years, some researchers have sought to frame the construction of Chinese discourse in literary studies as a form of disconnection from the global literary landscape, retreating to pre-New Culture Movement literary concepts and methods. This insular approach not only contradicts the aspiration of constructing Chinese discourse but also deviates from the goal of Chinese literature engaging in the development of world literature and achieving international recognition.

Zhan Furui is a professor from the School of Chinese Language and Literature at Beijing Foreign Studies University.

Edited by WANG YOURAN