Tang Poetry · Song Ci · Yuan Qu

Author: (Qing) Hongtang Tuishi and others selected and compiled
Publisher:
Publishing Date: 2006-07-01
Features: Tang Poetry, Song Ci, and Yuan Qu are the three towering peaks in the history of Chinese literature. The Tang Dynasty was the golden age of classical Chinese poetry, and "Tang Poetry" is the highest symbol of Tang literature, marking a new era in the development of Chinese poetry. There were many authors of Tang poetry, the most renowned among them being Li Bai, Du Fu, and Bai Juyi. The themes of Tang poetry were very diverse: some reflected the class status and class contradictions of the contemporary society from the side, exposing the darkness of feudal society; some praised just wars and expressed patriotic sentiments; some depicted the beautiful and charming landscapes of the motherland, expressing love for life. Its forms were also varied: ancient poetry included five-character and seven-character styles; regulated poetry included quatrains and regulated poems, each further divided into five-character and seven-character styles. Ancient poetry had relatively lenient requirements for rhyme and meter, while regulated poetry demanded stricter adherence. Modern readers of Tang poetry can appreciate its harmonious rhythms, concise language, and beautiful imagery, becoming utterly captivated by it.
Ci is a form of ancient Chinese poetry that originated in the Liang Dynasty, developed in the Tang Dynasty, and reached its peak in the Song Dynasty, hence the name "Song Ci." Song Ci is a dazzling gem on the crown of ancient Chinese literature and has long been paired with Tang poetry as the "Double Perfection." Some of the most famous Song Ci poets include Su Dongpo, Liu Yong, and Li Qingzhao. Among them, Su Dongpo represented the bold and unrestrained style, developing Ci into an independent lyrical art. Mountains, rivers, scenic spots, rural landscapes, leisurely pursuits, and patriotic aspirations all became themes for his Ci. Liu Yong and Li Qingzhao, on the other hand, represented the elegant and delicate style, with their works characterized by refined elegance and expressive depth. Ci is divided into sanqu (short Ci), zhongzhao (medium Ci), and changzhao (long Ci). A Ci may consist of a single stanza (danshuo), two stanzas (shuang), or three or four stanzas (santi or quadri). Ci also has fixed tunes (cipai), such as "Liu Zhou Ge Tou," "Xi Ting Yue," and "Nian Nu Jiao." Some tunes are derived from ancient Yuefu poetry, while others take characters from poems, some are based on historical allusions, and others are created by renowned poets.
Yuan Qu is another literary form that emerged after Tang Poetry and Song Ci, first flourishing in the northern regions, hence the name "Northern Qu." Compared to poetry and Ci, its form is more flexible and expressive, but its popularity and transmission are far less widespread than those of Tang Poetry and Song Ci, making it relatively unfamiliar to people today. Yuan Qu is broadly divided into two types: Yuan Zaju (operetta) and Yuan Sanqu (quasi-ballad). Zaju is a form that combines songs, spoken dialogue, and dance. Sanqu is a type of poetry, including quanshu (sets of qu) and xiaoshou (single qu). Quanshu consists of multiple qu, while xiaoshou contains only one qu. Guan Hanqing's "Dou E Yuan" represents the pinnacle of Yuan Zaju art, while Ma Zhenzhi wrote famous sanqu such as "Tian Jing Sha · Qiu Si." In summary, Tang Poetry, Song Ci, and Yuan Qu are monumental works in the history of Chinese literature and essential reading for those who love Chinese literature. This book compiles the "Three Hundred Tang Poems" selected and compiled by Qing Hongtang Tuishi, the "Three Hundred Song Ci" selected and compiled by Shangjiang Village Min, and the "Three Hundred Yuan Qu" selected and compiled by modern scholar Ren Zhongmin, aiming to provide modern readers with a feast of classical literature.