In the 19th century, the definition of "literature" differed from the modern one, originally referring to valuable works before gradually distinguishing itself from philosophy and history to specifically denote creative works with literary merit. Raymond Williams pointed out that many poems, plays, and novels in the 19th century were not regarded as "literature" but merely as "popular literature." By the late 19th century, when Western sinologists compiled content on Chinese literature, this concept began to shift. James Legge, in Chambers's Encyclopaedia, introduced Chinese classical texts in the order of classics, histories, masters, and collections, defining the "collections" as "pure literature" and including the Book of Songs among them. This reflected his aesthetic perspective on the Book of Songs, differing from his Confucian exegetical approach in The Chinese Classics. As an authoritative encyclopedia, Chambers's Encyclopaedia showcased Legge's holistic understanding of Chinese literature, expanding the definition of "literature" to encompass all categories of classical texts and "popular literature" while emphasizing their significance. For English readers, translations often fail to convey stylistic differences in the original text, a point Legge particularly emphasized.

I. The Literary Aesthetics and Interpretive Tendencies of the Two Versions of the Book of Songs Translations

In the "Introduction" to the fourth volume of The Chinese Classics, Legge discussed whether poetry translation should use verse, arguing that understanding the original text was more important than rhyme, with the goal of conveying the original meaning without additions or interpretations. He detailed the forms and meters of Chinese poetry and translated some sample poems in verse. Legge held a reserved view of the poetic value of the Book of Songs, believing its worth lay in its depictions of customs and emotionally evocative descriptions. He opposed comparing the Book of Songs to Western classical works, arguing it lacked "true revelation." After the 1871 edition of The Chinese Classics: Book of Songs was published, it faced criticism for insufficient poetic expression. In 1876, Legge published a metrical version, now regarding the Book of Songs as "high poetry" and admitting a change in his earlier views. In his critique, Li Sida proposed four principles for poetry translation, criticizing Western translators for frequently reminding readers that the original poems were written in Chinese, resulting in awkward translations. He praised some of Legge’s translations, considering at least twelve to be "perfect." In the 1876 edition, Legge shifted from traditional Confucian exegesis toward an understanding of literary themes and meanings, even reflecting a modern perspective. He simplified philological and Confucian interpretations, giving readers more space for appreciation and interpretation.

II. Legge’s Late-Life Translation and Interpretation of the Chu Ci

In his later years, Legge’s interest in Chinese poetry grew significantly, culminating in two major works in 1895: the lengthy essay "Li Sao and Its Author" and the public lecture "On Chinese Poetry." "Li Sao and Its Author" was divided into three parts, detailing Qu Yuan’s life and offering a close reading of Li Sao, followed by a full English translation. When translating "Embracing the Sands," Legge employed a creative "leap translation" method, turning it into a highly emotional English poem. While adhering to Chinese commentators in textual interpretation, he also took liberties in phrasing to enhance readability and comprehension. His translation work not only followed Zhu Xi’s segmentation but also reflected the positivist and comparative tendencies in late 19th-century European sinology. In translating Li Sao, Legge faced challenges with plant, animal, and mythological names, addressing them through detailed explanations and annotations to aid Western readers. Though later translators criticized his version for prioritizing philology over literary quality, his interpretive texts remain valuable references. Legge’s translations and interpretations reveal his critical standards for poetry, which, though possibly misaligned with contemporary literary views, still mark him as a candid and sincere Western critic.

III. Legge’s Manuscripts on Chinese Poetry at Oxford

In his 1895 Oxford lecture "On Chinese Poetry," Legge explored Chinese poetry from a literary perspective, citing the "Great Preface" to the Book of Songs to expound on the spirit of poetry. Starting with the Book of Songs, he selected poems reflecting customs and human emotions, demonstrating a modern understanding free from traditional commentators’ influence. He interpreted "The Gusty Wind" as a poem about marital relations and "Beyond the East Gate" as a love poem on fidelity, pioneering modern interpretations of the Book of Songs. Legge believed that post-Tang poetry was constrained by rigid prosody and that Chinese poetry had monotonous rhymes, but its depictions of customs, nature, and familial affection were no less remarkable than world literature. In his later years, he developed a renewed interest in Chinese poetry and prose, collaborating with the young Oxford poet Bradley to translate Li Bai’s poems, experimenting with new techniques such as sentence-splitting and rhyming methods. Though sometimes clumsy, these attempts had their highlights. Legge’s manuscript translations hold documentary value, reflecting his late-life empathetic understanding and literary turn toward Chinese poetry.