Please use this identifier to cite or link to this item:
Exemplum and Apadana
|Other Titles:||Buddhist Influences on the Chinese Writings of Late-ming Jesuits�|
The present study offers a close analysis of the Buddhist influences on the European exempla translated into Chinese by such late-Ming Jesuits as Matteo Ricci, Nicholas Trigault, Alfonso Vagnoni, and Nicholaus Longobardi. Christianity had been so monotheistic by nature as to exclude linguistic influences from Buddhism, especially in its doctrinal rendition. In a few cases in their apologetic writings, Ricci and his brothers in the same order retell exempla which, for certain reasons, have great bearing upon Buddhist apadAna or parabolic literature. To unravel these Christian connections with pagan stories, the present paper focuses on both the Jesuit borrowing of the Buddhist style in Trigault's translation of “De Vento et Sole” and the Sanskrit origin of Ricci's “Unicorn” and “Amicus,” even going as far back as the rhapsodies of Hsun-tzu to locate the genesis of the Buddhist style known as the “four-character unit” in the history of translation in China. Ricci and the other Jesuits were neither conscious of the Sanskrit roots of the stories they retold, nor did they have any knowledge of the rendition of these stories into Chinese as early as the Six Dynasties. Most of the exempla discussed in the present essay can also be found in Longobardi's Chinese Barlaam et Ioasaph, a hagiographical classic which, generally believed by modern scholars to be a Christian version of the life of the Buddha, was translated by him in 1602 to counter-attack the Buddhist criticism of the Christian lack of a doctrinal corpus as enormous as the Tripitaka. The early dialogue of European exempla with China, as a result of this ignorance on the part of the Jesuits, turned out to be a highly ironic episode in the history of early Christianity in China.
|Appears in Collections:||教師著作|
Files in This Item:
There are no files associated with this item.
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.