The Social Circulation of Poetry in the Mid-Northern Song

Colin S. C. Hawes

Description

Observing that the vast majority of surviving Northern Song poems are directly addressed to other people, Colin S. C. Hawes explores how literati of China's mid-Northern Song period developed a social and therapeutic tradition in poetry. These social poems, produced in group settings and exchanged with friends and acquaintances, are often lighthearted in tone and full of witty banter and wordplay. Hawes challenges previous scholars' dismissal of these poems as trivial and insignificant because they lacked serious political and moral content by arguing that the central function of poetry at the time was to release pent-up emotions and share them with others in a socially acceptable manner—what Hawes views as circulating emotional energy or qi.

Focusing on the circle of poets around Ouyang Xiu (1007–72 CE) and Mei Yaochen (1002–60 CE), the most influential literary figures of the mid-Northern Song period and the creators of a distinctive Song poetic style, Hawes provides a number of translations of poems of the period. Several major functions of poetic composition are discussed, including poetry as a game, as therapy, as a means of building relationships, and as a way of finding solace in history and in the natural world. Ultimately, the Northern Song attitude toward poetic composition spread throughout Chinese society.
Acknowledgments

Introduction: Poetry and Energy Circulation

1. Poetry as Political and Social Criticism

2. Poetry as a Game

3. Poetry and Relationship Building

4. Poetry as Therapy

5. Poems Promoting Ancient Culture

6. Poetry as Humanization of Nature

Conclusion

Notes
Glossary
Bibliography
Index

Sujets

• History of Asia
• Confucianism
• Asia
• China

Informations

• Publié par: State University of New York Press
• Date de parution: 01 février 2012
• Nombre de lectures: 0
• EAN13: 9780791483183
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

The Social Circulation of Poetry in the MidNorthern Song

SUNY series in Chinese Philosophy and Culture

Edited by Roger T. Ames

The Social Circulation of Poetry in the MidNorthern Song

Emotional Energy and Literati Self-Cultivation

Colin S. C. Hawes

State University of New York Press

Published by State University of New York Press, Albany

© 2005 State University of New York

All rights reserved

Printed in the United States of America

No part of this book may be used or reproduced in any manner whatso- ever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including elec- tronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.

For information, address State University of New York Press, 194 Washington Avenue, Suite 305, Albany, NY 12210-2365

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Library of Congress CataloginginPublication Data Hawes, Colin S. C. The social circulation of poetry in the mid-Northern Song : emo- tional energy and literati self-cultivation / Colin S. C. Hawes. p. cm. Includes bibliographical references and index. ISBN 0-7914-6471-7 (alk. paper) 1. Chinese poetry—Song dynasty, 960–1279—History and criticism. 2. Social interaction—Poetry. 3. Friendship—Poetry. I. Title. PL2323.H39 2005 895.1¢1093552—dc22 2004018835

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To Shuyu, M. and D.

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Acknowledgments

Introduction

Chapter One

Chapter Two

Contents

Poetry and Energy Circulation

Poetry as Political and Social Criticism

Poetry as a Game

Chapter ThreePoetry and Relationship Building

Chapter Four

Chapter Five

Chapter Six

Conclusion

Notes

Glossary

Bibliography

Index

Poetry as Therapy

Poems Promoting Ancient Culture

Poetry as Humanization of Nature

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Acknowledgments

y fascination with Chinese literature and culture began M over twenty years ago, leafing through translations of Chinese poems and religious and philosophical texts by Arthur Waley, A. C. Graham, and other early and great sinologists. My first serious studies took place at Durham University in England, and I am especially grateful to Don Starr, Keith Pratt, Vicky Chu, and Caroline Mason for helping me set out on the long road of learning Chinese. Two years in Wuhan, China, followed, where I particularly appreciated Classical Chinese tutorials with Professor Dai Zijie, a teacher and calligrapher of the old school. I began copying down and commenting on Classical Chinese poems in Wuhan to improve my handwriting, and continued the habit during five years of graduate study at the University of British Columbia. There, Jerry Schmidt greatly inspired me with his enthusiasm for Song poetry, and I suddenly discovered that Chinese poems could be witty and humorous as well as profound, beautiful, and refined. At UBC, Michael Duke and Dan Overmyer honed my research skills and broadened my knowledge of traditional and con- temporary Chinese culture. I began writing this book after cross- ing the Rockies to teach at the University of Alberta, and I am grateful to Eva Neumaier and Kenneth Norrie for strongly sup- porting my research and approving several research grants that enabled me to collect essential materials in China. I also benefited from the constant assistance of librarians at UBC and Alberta, espe- cially Louis Chor and Yim Tse. And over the last three years, I received valuable input and suggestions for developing my ideas and improving my writing style from a number of scholars, including

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