For forty years, I have devoted myself to the cause of the people’s revolution with but one aim in view – the elevation of China to a position of freedom and equality among the nations.
The instinct to impersonate produces the actor; the desire to provide pleasure by impersonations produces the playwright; the desire to provide this pleasure with adequate characterization and dialogue memorable in itself produces dramatic literature.
If the child is left to himself, he will think more and better, if less showily. Let him go and come freely, let him touch real things and combine his impressions for himself.
Yes, I am proud, and very humble too.
There is something mean in human nature that prefers to think evil, that gives a willing ear and a ready welcome to calumny, a sort of jealousy of goodness and greatness and things of good report.
Each man must have his I; it is more necessary to him than bread; and if he does not find scope for it within the existing institutions he will be likely to make trouble.
When the people share everything in the state, then will we truly reach the goal of the Min Sheng Principle, which is Confucius’ hope of a ‘great commonwealth.’
Back through the ages of barbarism and civilization, in all tongues, we find this instinctive pleasure in the imitative action that is the very essence of all drama.
Out of the past come the standards for judging the present; standards in turn to be shaped by the practice of present-day dramatists into broader standards for the next generation.
We are all treading the vanishing road of a song in the air, the vanishing road of the spring flowers and the winter snows, the vanishing roads of the winds and the streams, the vanishing road of beloved faces.