Sound over Ideograph: The Basis of Chinese Poetic Art

Research output: Journal PublicationsJournal Article (refereed)

Abstract

The author argues that Chinese characters have shaped Chinese poetic art not through their ideographic form but through their monosyllabic sound. Specifically, the pauses in a Chinese poetic line tend to be determined by sound patterns. Since monosyllabic sound is nearly always endowed with meaning, sound patterns tend to be semantic groupings as well. These groupings of meaning, in turn, determine syntax and, by extension, the organization of an entire poem. Given the semantic denseness of Chinese poetry, this structure is crucial to the overall meaning of a poem, to how we read or understand it. So what we have is something like sound ⇒ prosodic pattern ⇒ semantic grouping ⇒ syntax ⇒ structure. A multilayered integration of all these elements seems to represent the gestalt of Chinese poetic form, with monosyllabic sound as its foundation. At its best, this gestalt engenders a dynamic interplay of all its elements, from which poetic vision emerges.
Original languageEnglish
Pages (from-to)545-572
Number of pages28
JournalJournal of Chinese Literature and Culture
Volume2
Issue number2
DOIs
Publication statusPublished - 1 Nov 2015

Fingerprint

Ideograph
Art
Poetics
Sound
Grouping
Sound Patterns
Gestalt
Syntax
Poem
Chinese Poetry
Poetic Form
Pause
Chinese Characters

Keywords

  • Chinese poetic language
  • monosyllabic Chinese characters
  • Chinese prosody
  • prosodic and thematic rhythm
  • syntax and structure

Cite this

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title = "Sound over Ideograph: The Basis of Chinese Poetic Art",
abstract = "The author argues that Chinese characters have shaped Chinese poetic art not through their ideographic form but through their monosyllabic sound. Specifically, the pauses in a Chinese poetic line tend to be determined by sound patterns. Since monosyllabic sound is nearly always endowed with meaning, sound patterns tend to be semantic groupings as well. These groupings of meaning, in turn, determine syntax and, by extension, the organization of an entire poem. Given the semantic denseness of Chinese poetry, this structure is crucial to the overall meaning of a poem, to how we read or understand it. So what we have is something like sound ⇒ prosodic pattern ⇒ semantic grouping ⇒ syntax ⇒ structure. A multilayered integration of all these elements seems to represent the gestalt of Chinese poetic form, with monosyllabic sound as its foundation. At its best, this gestalt engenders a dynamic interplay of all its elements, from which poetic vision emerges.",
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Sound over Ideograph: The Basis of Chinese Poetic Art. / CAI, Zong-qi.

In: Journal of Chinese Literature and Culture, Vol. 2, No. 2, 01.11.2015, p. 545-572.

Research output: Journal PublicationsJournal Article (refereed)

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AB - The author argues that Chinese characters have shaped Chinese poetic art not through their ideographic form but through their monosyllabic sound. Specifically, the pauses in a Chinese poetic line tend to be determined by sound patterns. Since monosyllabic sound is nearly always endowed with meaning, sound patterns tend to be semantic groupings as well. These groupings of meaning, in turn, determine syntax and, by extension, the organization of an entire poem. Given the semantic denseness of Chinese poetry, this structure is crucial to the overall meaning of a poem, to how we read or understand it. So what we have is something like sound ⇒ prosodic pattern ⇒ semantic grouping ⇒ syntax ⇒ structure. A multilayered integration of all these elements seems to represent the gestalt of Chinese poetic form, with monosyllabic sound as its foundation. At its best, this gestalt engenders a dynamic interplay of all its elements, from which poetic vision emerges.

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