Dramatic and narrative modes of presentation in Han Yüeh-fu

Research output: Journal PublicationsJournal Article (refereed)

1 Scopus Citations

Abstract

This study is not a comprehensive discussion of all Han yueh-fu 樂府 (music-bu-reau poems), but a close examination of only those composed in pentasyllabic lines. It is part of a larger project on the evolution of early pentasyllabic poetry (wu-yen shih 五言詩) in Han and Wei-Chin times. First, I will address general issues concerning the overall classification of Han pentasyllabic poetry and the inter-generic distinction between Han yueh-fu and Han ku-shih 古詩 (ancient poems). Next, I will turn my attention to the issue of the classifications of extant Han yueh-fu poems. I will question traditional classifications of Han yueh-fu based on scattered accounts of Han music performance and argue for a re-classification of Han yueh-fu primarily on the ground of internal textual evidence. Lastly, I will analyze a number of representative Han yueh-fu poems, identify two distinct clusters of thematic and formal features in them, and examine these two clusters as internal evidence of dramatic and narrative modes of presentation, respectively. In the meantime, I will trace the dramatic mode to the collective composition and performance in a folk community, and the narrative mode to the solo presentation of a literati composer. In support of my discussion of the dramatic mode, I will examine three different kinds of corroborative evidence of folk dramatic performance. On the ground of the internal and corroborative external evidence examined, I will draw a broad intra-generic distinction between folk yueh-fu and literati yueh-fu, and set forth the transition from the dramatic mode in the former to the narrative mode in the latter.
Original languageEnglish
Pages (from-to)101-140
Number of pages40
JournalMonumenta Serica: Journal of Oriental Studies
Volume44
Publication statusPublished - 1 Jan 1996
Externally publishedYes

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Narrative Mode
Mode of Presentation
Poem
Folk
Poetry
Literati
Music Performance
Composer
Internal Evidence
Music
Thematic
Dramatic Performance
Solo

Cite this

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title = "Dramatic and narrative modes of presentation in Han Y{\"u}eh-fu",
abstract = "This study is not a comprehensive discussion of all Han yueh-fu 樂府 (music-bu-reau poems), but a close examination of only those composed in pentasyllabic lines. It is part of a larger project on the evolution of early pentasyllabic poetry (wu-yen shih 五言詩) in Han and Wei-Chin times. First, I will address general issues concerning the overall classification of Han pentasyllabic poetry and the inter-generic distinction between Han yueh-fu and Han ku-shih 古詩 (ancient poems). Next, I will turn my attention to the issue of the classifications of extant Han yueh-fu poems. I will question traditional classifications of Han yueh-fu based on scattered accounts of Han music performance and argue for a re-classification of Han yueh-fu primarily on the ground of internal textual evidence. Lastly, I will analyze a number of representative Han yueh-fu poems, identify two distinct clusters of thematic and formal features in them, and examine these two clusters as internal evidence of dramatic and narrative modes of presentation, respectively. In the meantime, I will trace the dramatic mode to the collective composition and performance in a folk community, and the narrative mode to the solo presentation of a literati composer. In support of my discussion of the dramatic mode, I will examine three different kinds of corroborative evidence of folk dramatic performance. On the ground of the internal and corroborative external evidence examined, I will draw a broad intra-generic distinction between folk yueh-fu and literati yueh-fu, and set forth the transition from the dramatic mode in the former to the narrative mode in the latter.",
author = "Zongqi CAI",
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Dramatic and narrative modes of presentation in Han Yüeh-fu. / CAI, Zongqi.

In: Monumenta Serica: Journal of Oriental Studies, Vol. 44, 01.01.1996, p. 101-140.

Research output: Journal PublicationsJournal Article (refereed)

TY - JOUR

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AU - CAI, Zongqi

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AB - This study is not a comprehensive discussion of all Han yueh-fu 樂府 (music-bu-reau poems), but a close examination of only those composed in pentasyllabic lines. It is part of a larger project on the evolution of early pentasyllabic poetry (wu-yen shih 五言詩) in Han and Wei-Chin times. First, I will address general issues concerning the overall classification of Han pentasyllabic poetry and the inter-generic distinction between Han yueh-fu and Han ku-shih 古詩 (ancient poems). Next, I will turn my attention to the issue of the classifications of extant Han yueh-fu poems. I will question traditional classifications of Han yueh-fu based on scattered accounts of Han music performance and argue for a re-classification of Han yueh-fu primarily on the ground of internal textual evidence. Lastly, I will analyze a number of representative Han yueh-fu poems, identify two distinct clusters of thematic and formal features in them, and examine these two clusters as internal evidence of dramatic and narrative modes of presentation, respectively. In the meantime, I will trace the dramatic mode to the collective composition and performance in a folk community, and the narrative mode to the solo presentation of a literati composer. In support of my discussion of the dramatic mode, I will examine three different kinds of corroborative evidence of folk dramatic performance. On the ground of the internal and corroborative external evidence examined, I will draw a broad intra-generic distinction between folk yueh-fu and literati yueh-fu, and set forth the transition from the dramatic mode in the former to the narrative mode in the latter.

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