Complete Solution to Three Hundred Yuan Qu Lyrics

Author: Shi Liangzhao
Publisher:
Publishing Date: 2007-01-01
Features: Over a hundred years ago, a farmer in Henan unearthed a cow bone with artificial carvings while plowing his field. At the time, scholars paid high prices to acquire them, taking pride in the discovery of a new script. Today, more than 100,000 oracle bone fragments have been unearthed, revealing new genealogies of the Shang Dynasty and offering a vivid record of ancient history. History is like this—it constantly erodes and buries some aspects of existence while accumulating and preserving others. Later generations, while inheriting these legacies without cost, also gain the joy of exploration and discovery. Yuanqu, like oracle bone script, is naturally unrelated, but at least it is a gift from history, and this legacy can endure for eternity. Both are now far from being "mainstream studies," but this does not mean their vitality is compromised. The primary reason lies in the gap between modern perspectives and understanding, as the popular term would put it, "a difference in discourse." Yuanqu was the "pop song" of the Yuan Dynasty, a natural form of self-entertainment for the Yuan people in such a harsh era. In essence, this self-entertainment can be summarized in the four words, "defying tradition and breaking free from constraints." Because it defied orthodoxy and broke free from restrictions, it adopted colloquial language, embraced popular culture, and used this new style as a versatile tool for satire and humor. Moreover, due to its inherent inclination toward self-entertainment, its expression is direct and spontaneous, catering to the immediate needs of the senses and emotions, bidding farewell to the meticulous and deliberate approach of traditional poetry. It is clear that in transforming external factors such as social realities and personal experiences into internal poetic elements, Yuanqu achieved unprecedented innovation, rivaling poetry in its artistry. This is precisely the reason why this book recommends readers explore Yuanqu.
The world is filled with many beautiful things, but the ancients' categorization of them as the "Four Beauties" may have underestimated the meaning of the idiom "too numerous to count." In modern society, the concept that stands at the forefront of all beauty is "diversity." Only with diversity can the world be vibrant, civilization flourish, the spirit be free, and joy be complete. As someone once said well, the Grand View Garden has the (Yihong Yuan), the Xiangxia Pavilion, and the Rice Fragrance Village—this is "diversity." The artistic hall of Chinese poetry has Tang poetry and Song ci, but it cannot be without Yuanqu—only then can it be called "a realm of heaven and earth." By introducing the essence of Yuanqu and comparing it horizontally with Tang poetry and Song ci, readers can gain a deeper appreciation of the pluralistic achievements of Chinese poetry, enjoying both literary knowledge and refined cultural cultivation. This is the goal the author has strived to achieve.
After the publication of this book, it has been fortunate to receive readers' praise for its "appreciation techniques." If Wangpo's selling of melons can be successful, it is because the melons themselves are of superior quality, and advertising is secondary. However, learning to appreciate, especially savoring and immersing oneself in the beauty of everyday life, can indeed bring great benefits. If this book can contribute to readers in this regard, enabling them to understand and appreciate similar works with deeper insight, recognizing their essence—just as the new use of oracle bone fragments—it would be a pleasant surprise.