PREFACE

“The True Story of Ah Q” is written in what is known as Pai-hua, or the colloquial style, which is very nearly an exact representation of Mandarin, the language spoken in Peking and throughout much of China, especially in the northern parts, and considered the official language. Its easy flow and natural expression are in marked contrast to the old classic style, Wen-li, which, though more concise and usually more polished and beautiful, is, nevertheless, difficult to understand because it is filled with classical references, etc., which make reading a trial for those who have not studied after the classic manner for some years. Although this old style stands on merits of its own, still it is generally admitted that the colloquial Pai-hua is more easily learned by the masses; hence, it is more democratic in spirit than the old style, which demands so much time in the learning that it seems to be meant only for the chosen few.

The translator has followed the Chinese text as carefully as the differences of the two languages permit, realizing that many people would wish to compare the English with the original Chinese.

If the colloquial Pai-hua is meant to help to emancipate the illiterate millions, then this “True Story of Ah Q” is meant to give voice to one of them, indeed an example of the millions of plain folk who for more than four thousand years have been almost neglected in what is considered the best of recognized Chinese literature. What was written concerning common things and common people was considered outside the pale of refined literature. Ah Q is only one of the many types which occur in the collection of fifteen stories, from which the translator has chosen the present “True Story of Ah Q.”

The original Chinese runs along in a rippling, humorous, and distinctive style; but beneath each word one may hear from down the ages the cry of the poor oppressed rustic and the author’s protest against all sham and petty meanness.

There has been a notice in a Chinese pamphlet that the eminent sinologist, Mr. B. A. Vassiliev, requested permission to translate “The True Story of Ah Q” into Russian and there is little doubt that the work is already oflE the press.

The author, Lu-hsun, a brief account of whose life I have included in the Appendix, was most obliging in granting me the right of English translation and supplying me, from time to time, with printed matter, as well as two sets to the original pages of the story. For these and the gracious spirit in which he replied to my many inquiries； I am ever grateful.

To Professor A. Brede and Mrs. Brede, of the University of Nanking, I am greatly indebted for many invaluable suggestions.

A writer often draws heavily upon a sympathetic mind for inspiration, spiritual strength, and practical help; it is with this thought foremost in my mind that I acknowledge my gratitude to my friend, Henry K. C. Law, who has done so much for me in my investigations of Chinese drama and literature.

G. K. L.

SHANGHAI, AUGUST, 1925.