East Asian Languages and Societies Commons^™

Short Song Lyrics (Xiaoling) In The Song Dynasty : Feeling And Scene : Early Literati Song Lyrics, Maija Samei

How to Read Chinese Poetry Podcast

This episode discusses early efforts of literati poets in the song lyric, showing how their works reflect the genre’s origins in the entertainment quarters and remained largely tied to feminine themes, while they bore evidence of poetic craft. Examples show how Wei Zhuang’s more direct and lyrical expression contrasts with Wen Tingyun’s more implicit presentation.

Short Song Lyrics (Xiaoling) In The Song Dynasty : “I’Ve No Heart To Love Another” : A Pair Of Anonymous Poems In Dialog, Maija Samei

How to Read Chinese Poetry Podcast

This episode introduces us to the genre of the song lyric using two anonymous poems that present a male and female speaker in dialog. The episode discusses the origins of the genre during the Tang dynasty, its formal characteristics, and its connection to female voice and feminine themes.

庾信的生平創作及其意義 : 《中國中古文學史》的一個片段, Nong Gu

嶺南學報 Lingnan Journal of Chinese Studies

庾信（513—581）前半生在南朝梁爲宫廷文人，所作詩賦皆爲“宫體”；後半生不得已而在北，儘管北周的高層人士對他非常尊重客氣，但他内心深處總是有些矛盾和痛苦，並融化而進入其詩賦和文章之中。作爲使節他在被扣留之初，曾遭軟禁三年，其時的作品《傷心賦》《小園賦》《枯樹賦》飽含痛苦的心情，也流露了行將轉身的意向。後來作於天和四年（569）的《哀江南賦》，則深刻地總結了蕭梁王朝由盛而衰以至於滅亡的歷史教訓，文辭曲折典雅，歷來得到很高的評價。他詩和文也都達到很高的水準，其中同樣隱含了他對自己轉身的解釋和哀歎。當年的時代主潮在於民族融合，庾信認同鮮卑族主導的北周政權，肯同他們合作，是正常的；而不斷抒發其鄉關故國之思，則表現了對華夏文化大流的熱愛與眷念，深刻地符合中古歷史發展的大方向。要瞭解其時歷史發展過程中的波瀾與漩渦，庾信的作品包括那些諛墓諸文都具有很高的價值。

Yu Xin 庾信 (513 - 581 CE) had been a court official in the Southern Liang dynasty and wrote palace style poetry before he was confined to the non-Sinitic Norther Zhou dynasty. Despite the respect he received from its officials and nobles, he wrote his internal conflict, distress, and forthcoming resign into his poetry and prose, including “Shangxin fu” 傷心賦 (Rhapsody on a Broken Heart), “Xiaoyuan fu” 小園賦 (Rhapsody on a Small Garden) , and “Kushu fu” 枯樹賦 (Rhapsody on a Withered Tree) which he wrote during the first three years of his confinement as a diplomatic envoy. Yu’s …

湖湘派與同光體之離合, Yu Zhang

嶺南學報 Lingnan Journal of Chinese Studies

本文試圖展示湖湘派與同光體作爲晚清政治立場接近的最大的兩個古典詩派，在詩學與交往方面的種種離合。湖湘派可以追溯到明末清初王夫之論詩重緣情綺靡。嘉道間湖湘詩人鄧顯鶴與宋詩派多有交往，但並無意稱雄詩壇。以王闓運爲代表的湖湘派，是界於宋詩派與同光體之間的最大的一個詩派。同光體詩人中，如陳三立等，與湖湘派詩人多有交往。湖湘派詩人中，較早如鄧繹，晚學如陳銳、程頌萬等，作詩亦多受宋詩派影響。在新文化運動的洪流面前，這兩個古典詩派由於文化命運的相似，共鳴多於異見。

This article shows the various divergence in poetics and the interaction between the Huxiang School 湖湘派 and the Tongguang School 同光體, the two largest schools of classical poetry in the late Qing dynasty that took similar political stances. The Huxiang School can be traced back to Wang Fuzhi's 王夫之 poetics of emotion in the late Ming and early Qing dynasties. Despite his frequent associations with the Song Poetry School 宋詩派，Deng Xianhe 鄧顯鶴, a Huxiang School poet during the Jiaqing and Daoguang periods of Qing had no intention to dominate the circle. The Huxiang School, of which Wang Kaiyun 王闓運 …

吳廷華《儀禮》筆法研究探論, Lok Man Lee

嶺南學報 Lingnan Journal of Chinese Studies

《儀禮》嚮稱難讀。傳統以分節、繪圖、釋例爲治禮之法。三法之外，歷代禮家對《儀禮》筆法每有關注，卻未成系統。清代禮學大家吳廷華（1682—1725）著《儀禮章句》，其書於分節繪圖釋例三途，用力均篤，被譽爲“學禮者階梯”。吳書關注《儀禮》筆法，作經者的行文舖排、遣辭用字，每加析説，見解獨到。本文舉吳氏《章句》對《儀禮》筆法之意見凡十類，包括《儀禮》中的變文、行文語序、提示語、預陳其書、書有見無、省文、互文、相兼乃備、特定的虚詞等，各據例證。由於筆法每與禮例及禮意往往相須而成，吳氏對《儀禮》筆法的意見，與鄭、賈注疏互有異同，詮解出與注疏不同的禮經文本。藉此説明《儀禮》筆法應立爲專門之學，爲研治禮經之重要方法。

Yili 儀禮 (Book of Etiquette and Ceremonial) is considered a Confucians classic difficult to read. Scholars have adopted three basic methods of interpretation: (1) to break the texts into paragraphs; (2) to illustrate the ceremonies; (3) to explain the etiquette rules. In addition, scholars of different historical periods have also researched unsystematically on the writing style of This article examines Qing-dynasty scholar Wu Tinghua’s 吳廷華 (1682 -1755) annotations to the writing techniques of Yili in his Yili zhang ju 儀禮章句 (Analysis of the Book of Etiquette and Rites), including textual variation, words’ sequence, hint, pre-narration, indicating the hidden, omission, …

葉清臣行年攷 (下), Caizhi Chen

嶺南學報 Lingnan Journal of Chinese Studies

葉清臣既是北宋文學家，也是高節莫屈的一代名臣，然其生卒年與籍貫説法不一，行年亦有待詳攷。經梳理原始史料，比對有關記載，攷得葉清臣卒於宋仁宗皇祐元年（1049）四、五月之際，享年五十歲，逆推當生於宋真宗咸平三年（1000）。其郡望爲南陽，籍貫當爲湖州烏程，後徙寓蘇州長洲。其他行年及撰述等亦多有詳攷。

Ye Qingchen was a man of letters and court official of esteemed integrity in the Northern Song dynasty. This article compares the various biographical records of Ye’s birth and death years and his birth place and concludes that Ye was born in 1000 CE (the third year of the Xianping era during the reign of Emperor Zhenzong of Song) and died at the age of fifty, between April and May 1049 CE (the first year of the Huangyou era during the reign of Emperor Renzong of Song). Nanyang was the chroronym of Ye’s family clan. Wucheng, Huzhou was his …

李善《文選注》引書義例考, Jiancheng Zhao

嶺南學報 Lingnan Journal of Chinese Studies

李善《文選注》徵引浩繁，引書義例複雜。本文依據其引用文獻之實際情況，參考注中隨文標示之相關義例，從引用目的、書名標舉、引文處理三個方面系統、深入地考察了李善《文選注》引書之義例系統。把握李善注引書義例，有益於把握李善注及其所引文獻，乃至《文選》本文。

This article provides a systematic and comprehensive analysis of the numerous citations and their complex principles in Li Shan’s 李善 Wenxuan zhu 文選注 (Annotations to Selections of Refined Literature) through their purpose, title, and text. The article contributes to a deeper understanding of Li Shan’s annotations and citations, and moreover, the texts in Wenxuan文選 (Selections of Refined Literature).

被折疊的詞史段落 : 康熙末至乾隆初的浙西詞派與浙西詞壇, Shuiyun Chen

嶺南學報 Lingnan Journal of Chinese Studies

從康熙末到乾隆初這一段時間，在以往的詞史叙述中往往被忽略掉了，而這一時段正是浙西詞派影響擴大、厲鶚在詞壇地位逐漸上升的時期。朱彝尊退出詞壇之後，柯煜、杜詔、樓儼等接續其思想，或刊刻南宋詞籍，或參與詞書修纂，或組織詩詞唱和，在京師和江南壯大了浙派的聲勢，在浙西桐鄉、平湖、海寧、海鹽、錢塘等地更出現了浙派第二、三代傳人，這時徐逢吉、吳焯、厲鶚逐漸嶄露頭角，先後在杭州、揚州、天津組織了多次詩詞唱和，成爲浙西詞壇的主盟者，厲鶚在乾隆初更以其清婉深秀的風格引領一時風尚，得到了南北詞壇的一致推崇。

The period from the Late Kangxi to the Early Qianlong Period of Qing has often been omitted in the narratives of the history of ci. However, this is the period when the Western Zhejiang School’s influence expanded and Li E’s 厲鶚 fame rose in the ci circle. After Zhu Yizun’s 朱彝尊 withdrawal from the circle, Ke Yu 柯煜, Du Zhao 杜詔, and Lou Yan 樓儼 continued his thoughts by publishing collections of ci of the Southern Song dynasty and organizing ci recitations, which strengthened the Zhejiang School’s influence in Beijing and Jiangnan. There even appeared a second or …

康邸 : 桐城派的一個文學空間, Dangqian Ye

嶺南學報 Lingnan Journal of Chinese Studies

乾隆朝永恩襲爵康親王二十餘年間，劉大櫆及其門下弟子與康邸師友僚吏優遊園林，詩文酬唱，盛極一時。康邸成爲前期桐城派的重要文學空間，永恩、徐琰、甘運源、朱孝純等一批康邸文人被列入桐城派，康邸的桐城情結在父子之間傳承延續。以永恩爲代表的一批旗籍文人身份高貴卻清貧勤儉、情趣高雅，與劉大櫆、姚鼐人生理想與處世風格若合符契，讓長期漂泊北京、偃蹇坎坷的劉、姚得到物質上的支持、精神上的鼓勵與身份上的尊重，幫助桐城派在早期艱難發展中找到一條新路。

Liu Dakui 劉大櫆 and his disciples befriended Yong’en 永恩, Prince Kang and his fellows in the latter’s twenty years of holding the hereditary title during the reign of Emperor Qianlong of Qing. They held various literary activities in Prince Kang’s Mansion which became literary space for the early stage of the Tongcheng School 桐城派.Men of letters associated to Prince Kang’s Mansion such as Yong’en, Xu Yan 徐琰, Gan Yunyan 甘運源, Zhu Xiaochun 朱孝純 were also considered members of the Tongcheng School, and the bond passed down to its next generation. Yong’en was a representative of the Manchurian bannermen of …

中國古代音樂文學的創作模式, Jian-Hua Zhang

嶺南學報 Lingnan Journal of Chinese Studies

中國古代音樂文學的創作模式主要有“以樂從辭”“選辭配樂”“由樂定辭”三種。“以樂從辭”的創作機理是“聲依永，律和聲”，這與“由樂定辭”的創作機理正好相反，“由樂定辭”的創作機理乃是“永依聲”。“選辭配樂”的創作機理是選既成之辭配入既成之曲，既有對辭的“拼湊分割”，亦有對曲的“填實虚聲”。“元狩、元鼎”與“開元、天寶”是三種創作模式轉折的兩個關鍵的時間節點，伴隨創作模式之變更，辭樂關係也隨之發生一定的微妙變動。

Yi yue cong ci 以樂從辭 (lit., to compose the melody according to the lyrics), xuan ci pei yue 選辭配樂 (lit., to select an existing lyrics to match an existing melody), and you yue ding ci 由樂定辭 (lit., to write the lyrics according to the melody) are the three major creative modes of classical Chinese musical literature. Yi yue cong ci’s mechanism is sheng yi yong, lü he sheng 聲依永, 律和聲 (the sound relies on the singing, and pitch-pipes harmonize sound), while you yue ding ci’s mechanism is the opposite yong yi sheng 永依聲 (the singing relies on …

以夏變夷 : 晚明“天下全圖”的域外知識來源與製圖觀, Yawei Liu

嶺南學報 Lingnan Journal of Chinese Studies

曹君義《天下九邊分野人跡路程全圖》爲晚明出現的一種複合型“世界地圖”，它以變形南、北美洲大陸爲海島的繪圖方式爲特徵，雖吸收部分西學地理内容，但該圖並非受利瑪竇地圖直接影響。本文通過比對圖中美、歐、非洲的圖像特徵與文字内容，認爲其參考自傳教士艾儒略的《萬國全圖》，而另一種以諸多小島表現域外國家的製圖方式（如梁輈《乾坤萬國全圖古今人物事跡》），則受利瑪竇地圖影響。因此，依照域外知識來源，可將明清流傳的含有職方國與《山海經》神話之國的世界地圖分爲三類：九邊型全圖、四海五洲型全圖、四海島夷型全圖。這些結合中西地理知識、帶有想象色彩的早期世界地圖，反映了晚明地理製圖由關注“九邊”到“以夏變夷”的一種觀念變化。

Cao Junyi’s 曹君義 Tianxia jiubian fenye renji lucheng quantu 天下九邊分野人跡路程全圖 (Complete Map of the Allotted Fields, Human Traces, and Routes within and without the Nine Borders under Heaven) is a composite “world map” in the late Ming dynasty. This map followed Chinese cartographic tradition to place China in the center and represented Southern and Northern Americas as islands. Although it absorbed some knowledge about Western geography, it was not directly influenced by the map made by Matteo Ricci. This article provides comparisons of the map’s visual representations and texts about Americas, Europe, and Africa, and concludes that its major …

中國古代士人的離散—回歸意識與文學書寫 : 以唐宋貶謫文學爲例, Zili Ma, Bihua Pan

嶺南學報 Lingnan Journal of Chinese Studies

從生存狀態和生存體認出發，“離散”概念的外延，可以延伸到“離散意識”，以及與它相對的“回歸意識”這一層面。而離散的主體，則可以延伸到中國古代士人這一群體。自故鄉—政治文化中心離散，期盼回歸到故鄉—政治文化中心，構成了中國古代士人離散—回歸意識的核心内涵。這裡的“故鄉”，除了故土家園之外，還具有理想、歸宿或者精神家園的含義：所謂“此心安處是吾鄉”。古代中國士人“離散—回歸”意識的獨特内涵，及其文學書寫的獨特風貌，便是由上述質素構成、影響和造就的。從貶謫文學的視角看，貶謫帶來的離散，具有不可忽視的文化價值。

From the living state and survival awareness, the extension of the concept of ‘‘diaspora” can be extended to ‘‘diaspora consciousness” and its relative “regression consciousness”. Meanwhile, the subject of diaspora can be extended to the group of Chinese ancient intellectuals. Leaving from hometown-political cultural center and looking forward to return to hometown-political cultural center constitutes the Chinese ancient intellectual’s core connotation of the diaspora-regression consciousness. Here the “hometown” is not only the meaning of homeland but also includes the connotation of the ideal, destination or spiritual home: the so-called “Wherever my heart is at peace is my home”. The …

Women And Poetry In The Tang Dynasty : A Traitor And A Murderess : The Poetic Nuns Li Ye And Yu Xuanji, Maija Bell Samei

How to Read Chinese Poetry Podcast

This episode tells the stories of two Daoist nuns, Li Ye, who became a palace woman, and Yu Xuanji, who became a courtesan. Both left behind highly regarded poems but lost their lives to execution. The episode explores the perception of literary talent as it intersects with femininity.

Women And Poetry In The Tang Dynasty : Courtesans, Poets, And The Courtesan-Poet Xue Tao, Maija Bell Samei

How to Read Chinese Poetry Podcast

This episode discusses the interactions between courtesans and the literati during the Tang and how this is related to the formation of early ci poetry, and then introduces a few works by the well-known courtesan-poetess Xue Tao.

「迷霧時期」香港文學的「邊界」探索（1997-2014） : 論陳冠中、黃碧雲、韓麗珠小說中的文化身分, Yat Long Wong

Lingnan Theses (MPhil & PhD)

臨近九七，在歷史鎂光燈的照耀下，圍繞著回歸命題的香港文學研究蔚然成風；走過2014年的社會動盪，香港文學與社會關懷的傳統課題重啟，漸成研究的焦點。然而，介乎兩者之間的一段時期，受限於好像「什麼都沒有發生」的表徵，一直未受到研究者廣泛的關注。故本文提出1997-2014年為「迷霧時期」的時間概念，結合霍米．巴巴（Homi K. Bhabha）的「邊界」（boundary）觀念，試圖相對立體地展現出這時期香港文學的發展面貌，並延伸至對文化身分（cultural identity）的思索。巴巴提出「揉雜」（hybridity）和「超越」（beyond）等概念，視「邊界」為突破傳統二元對立框架的流動文化觀念，有助我們思考文學與身分的複雜性。本文以「邊界」為方法，分別討論陳冠中、黃碧雲和韓麗珠三位代表不同年代和面向的香港當代重要作家的小說作品。陳冠中一章環繞「國籍」與「城籍」的「邊界」；黃碧雲一章聚焦「世界」與「本位」的「邊界」；韓麗珠一章關注「個人」與「社會」的「邊界」，每章各有側重的同時，共同編織橫跨三層維度的「邊界」網絡，立體地展現出「迷霧時期」香港文學的各種面向。總結是次研究所得，以「邊界」為方法有效地呈現出「迷霧時期」香港文學的發展面貌，勾勒出不同年代的作家在回歸後探尋「位置」的異同，補足了這時期香港文學研究的空白，並以文學的獨特視角，豐富對文化身分的討論。在邊緣性的文化身分的基礎上，陳冠中、黃碧雲和韓麗珠分別呈現出對回歸後香港前景的不同展望，從審慎樂觀到悲觀，立體地呈現出「迷霧時期」文化身分的複雜性。

Women And Poetry In The Tang Dynasty : Writing Women From The Inner Quarters To The Halls Of Power : Shangguan Wan’Er, Maija Bell Samei

How to Read Chinese Poetry Podcast

This episode introduces the problem of writing for women in the Tang in terms of the ritual regulation of women’s behavior and the social nature of poetry writing, then discusses the poetry of Shangguan Wan’er, a palace woman who became secretary to Empress Wu Zetian and also served at the court of her successor Emperor Zhongzong, becoming his consort.

The Tang Dynasty : Quatrains : Waking From A Yangzhou Dream : Middle And Late Tang, Charles Egan

How to Read Chinese Poetry Podcast

This episode discusses the differences in tonal patterns between wujue and qijue, which had a clear impact on poetic practice. After the Tang, wujue became increasingly rare; we can conclude that poets no longer saw creative potential in the form—the great Tang writers had exhausted it. Qijue, on the contrary, remained one of the most popular and expressive poetic forms throughout the classical period.

The Tang Dynasty : Quatrains : The Boudoir And The Frontier : High Tang, Charles Egan

How to Read Chinese Poetry Podcast

Although a small number of Six Dynasties heptasyllabic quatrains are extant, and Early Tang poets experimented with the form, stylistically mature qijue poetry was an invention of the High Tang poets, most notably Wang Changling and Li Bai. Qijue developed along with Tang popular music, for which it was the major song form. Thus initially the thematic scope was narrow: qijue lyrics were generally limited to popular yuefu themes and those describing parting from friends and loved ones. Only gradually did the scope of qijue themes expand, until by the Middle and Late Tang, the form had become a flexible …

The Tang Dynasty : Quatrains : Empty Mountains And Mirror Ponds : High Tang, Charles Egan

How to Read Chinese Poetry Podcast

Although Tang poets all used wujue to record concentrated poetic experience, and pursued the same fundamental aesthetic goals for the form, differing styles of poems can be discerned. Using representative poems by Wang Wei, Wang Zhihuan, and Li Bai, this episode presents two basic styles of Tang wujue, differentiated primarily by the choice of themes and the type of language employed.

The Tang Dynasty : Quatrains : Songs Of The Heart, Verses Of Nature : Pre-Tang Quatrains, Charles Egan

How to Read Chinese Poetry Podcast

The Chinese equivalent term of quatrain, i.e., jueju, literally means “cut-off lines.” It was believed by many critics that this meant the wujue and qijue forms had originated as quatrain segments cut from the eight-line lüshi forms. This episode begins with close readings of representative poems to provide readers a sense of the thematic scope and aesthetic potential of jueju. A detailed examination of common jueju features then follows.

Recent-Style Poetry : Pentasyllabic Regulated Verse : Wang Wei : The Poet-Buddha Of China, Zong-Qi Cai

How to Read Chinese Poetry Podcast

This episode examines how Wang Wei embodies moments of heightened perception or rather Buddhist enlightenment through his painterly depiction of a mountain climbing trip. His masterful blending of illusive images, perceptual illusion, and Buddhist worldview exemplifies his towering achievement as the poet-Buddha.

Recent-Style Poetry : Pentasyllabic Regulated Verse : Li Bai : The Poet-Immortal Of China, Zong-Qi Cai

How to Read Chinese Poetry Podcast

This episode examines Li Bai’s self-fashioning as a free spirit or rather the creator of the universe in a poetic form seemingly ill-suited for making glamorous claims. The poem discussed is not among the best known of his works but well attests to his reputation as the poet-immotal.

Recent-Style Poetry : Pentasyllabic Regulated Verse : Du Fu : The Poet-Sage Of China, Zong-Qi Cai

How to Read Chinese Poetry Podcast

This episode provides a close reading of Du Fu’s Jiang and Han Rivers and shows how the poet makes a masterful use of topic-and-comment construction to project his Confucian vision of the universe and the self and earns himself the title of poet-sage.

Recent-Style Poetry : Pentasyllabic Regulated Verse : Dancing With Shackled Feet : Art Of Recent-Style Poetry, Zong-Qi Cai

How to Read Chinese Poetry Podcast

This episode explains the lexical, syntactic, and structural rules of regulated verse and shows how high Tang masters turn these formal rules into a nonpareil vehicle of projecting their visions of the universe and the self, as evidenced in Du Fu’s famous poem “Spring Scene.”

Pentasyllabic Shi Poetry : Landscape Poetry : Xie Tiao : The Integration Of Landscape, Lucas Rambo Bender

How to Read Chinese Poetry Podcast

This episode concludes our exploration of Six Dynasties landscape poetry by considering the verse of Xie Tiao (464–499). By Xie Tiao’s time, landscape was becoming an increasingly common topic within the world of courtly verse. Partly for this reason, Xie’s poetry begins to efface the previously definitive distinction between the human world and the natural landscape, and moreover imbues that landscape with the passions of the courtier—in Xie’s case, both his yearning for the court and capital and his well-justified fear of the dangers of court politics.

Pentasyllabic Shi Poetry : Landscape Poetry : Xie Lingyun’S “Mountains And Waters”, Lucas Rambo Bender

How to Read Chinese Poetry Podcast

Xie Lingyun (385–433) is generally recognized as the progenitor and paradigm of poetry on “mountains and waters” (shanshui 山水). Where Tao Qian had written predominantly of the only-partly wild landscapes near his cottage, Xie made his theme the dramatic wildernesses of the southlands. Much of his poetry concerns the scenery of his massive estate, which he staffed with a small army of servants and retainers. His most powerful verse, however, was written in the rugged, unforgiving landscapes he passed through on journeys into exile.

Pentasyllabic Shi Poetry : Landscape Poetry : Tao Qian's "Fields And Gardens", Lucas Rambo Bender

How to Read Chinese Poetry Podcast

Tao Qian (365–427) is premodern China's most famous recluse. After relinquishing his official career at around age 40, Tao returned to his rustic hometown to hide away from what he often suggested was a corrupt court and society. In the hermitage he made for himself at the foot of Mt. Lu, Tao wrote poetry that, on the one hand, extolls his enjoyment of life on the rural margin between the human world and the wilderness and, on the other, narrates the difficulties he had making a living there. For the first time in Chinese history, this is a poetry that …

Pentasyllabic Shi Poetry : Landscape Poetry : Landscapes Of The Mind, Lucas Rambo Bender

How to Read Chinese Poetry Podcast

This episode discusses the prehistory of Chinese landscape poetry. In the centuries before poets began to write consistently of their concrete, personal experiences out in nature, landscape appeared in poetry primarily as a foil for the city and the court, where most poets were writing. In this role, the natural landscape could be terrifyingly inhospitable or wondrous and pure. Either way, it was for the most part imagined rather than experienced, a site more often for mental roaming than for extended in-person exploration.

Han Ancient-Style Poetry : The “Nineteen Old Poems” : Reflection Through A Female Persona : A Mosaic Of Emotions, Zong-Qi Cai

How to Read Chinese Poetry Podcast

The first of the “Nineteen Old Poems”, the best known poem of an abandoned woman in the collection, features a mosaic combination of time, space, and emotion fragments and thereby captures the otherwise inexpressible melancholy of an abandoned woman. Such a mosaic combination is to become a preferred structure for the most intense of lyrical expressions in later poetry.

Han Ancient-Style Poetry : The “Nineteen Old Poems” : Interplay Of Images And Emotions : Binary Structure And Multilateral Texture, Zong-Qi Cai

How to Read Chinese Poetry Podcast

Two distinct formal features, binary structure and multilateral texture, are developed in the “Nineteen Old Poems,” the definitive collection of Han pentasyllabic poetry. The rise of these two formal features attests to the profound impact of transitions from oral performance to poetic writing, from the dramatic/narrative to the lyrical mode of self-presentation.