Sh i P oe t ry : musiC bur e au P oe m s 101- Ban Gu, Han shu 22.1043.
- Wei Zheng (580–643), ed., Sui shu (History of the Sui Dynasty), 75.1714; Li Yanshou (seventh
century), ed., Beishi (History of the Northern Dynasties), 82.2757. - Wang Xianqian, Han shu buzhu (Complementary Annotations to the “History of the Han Dy-
nasty”) (Beijing: Zhonghua shuju, 1983), 1:482. - The Shiji (Records of the Grand Scribe) records that Emperor Wu began to present sacrifices
to the Grand Unity, the highest deity in Han times, in 124 b.C.e. (Xiao Tong, comp., Wen xuan,
or Selections of Refined Literature, vol. 1, Rhapsodies on Metropolises and Capitals, trans. David R.
Knechtges [Princeton, N.J.: Princeton University Press, 1982], 276). - For another translation and comments, see Anne M. Birrell, Popular Songs and Ballads of
Han China (Honolulu: University of Hawai‘i Press, 1993), 38–39. - Ban Gu, Han shu 22.1057.
- For an interpretation of ao or yun, see David R. Knechtges, “A New Study of Han Yüeh-Fu,”
Journal of the American Oriental Society 110, no. 2 (1990): 312. - Xiao Tong, Wen xuan, 1:214.
- Sima Qian, Shiji (Beijing: Zhonghua shuju, 1963), 12.471.
- Joseph R. Allen, In the Voice of Others: Chinese Music Bureau Poetry (Ann Arbor: Center for
Chinese Studies, University of Michigan, 1996), 39–40. - Knechtges, “New Study of Han Yüeh-Fu,” 310–311.
- For other translations, see Arthur Waley, trans., Chinese Poems: Selected from “170 Chinese
Poems,” “More Translations from the Chinese,” “The Temple” and “The Book of Songs” (London: Allen
and Unwin, 1946), 52, and Wu-chi Liu and Irving Yucheng Lo, eds., Sunflower Splendor: Three
Thousand Years of Chinese Poetry (Bloomington: Indiana University Press, 1975), 35–36. - For a list of characteristics of the folk yuefu, see Zong-qi Cai, The Matrix of Lyric Transforma-
tion: Poetic Modes and Self-Presentation in Early Chinese Pentasyllabic Poetry (Ann Arbor: Center for
Chinese Studies, University of Michigan, 1996), 29. - For another translation, see Birrell, Popular Songs and Ballads, 134.
- Egan has presented systematic and strong arguments about these issues in “Reconsid-
ering the Role of Folk Songs,” 47–99, and “Were Yüeh-fu Ever Folk Songs? Reconsidering the
Relevance of Oral Theory and Balladry Analogies,” Chinese Literature: Essays, Articles, Reviews 22
(2000): 31–66. - Egan, “Were Yüeh-fu Ever Folk Songs?” 57.
- See Hans Frankel’s classic study “Yüeh-fu Poetry,” in Studies in Chinese Literary Genres, ed.
Cyril Birch (Berkeley: University of California Press, 1974), 81. - Cai, Matrix of Lyric Transformation, 21–59.
- For other translations, see Waley, Chinese Poems, 54, and Birrell, Popular Songs and Ballads,
147–148. - Birrell, Popular Songs and Ballads, 147.
- Birrell, Popular Songs and Ballads, 148.
- For another translation, see Birrell, Popular Songs and Ballads, 80–82.
- For other translations, see Waley, Chinese Poems, 65–67; Liu and Lo, Sunflower Splendor,
34–35; and Birrell, Popular Songs and Ballads, 169–173. - Frankel, “Yüeh-fu Poetry,” 81.
- Hans Frankel, “Some Characteristics of Oral Narrative Poetry in China,” in Études d’histoire
et de littérature chinoises offertes au Professeur Jaroslav Průšek, ed. Yves Hervouet (Paris: Presses Uni-
versitaires de France, 1976), 97–106. - Egan, “Were Yüeh-fu Ever Folk Songs?” 47.
- Frankel, “Some Characteristics of Oral Narrative Poetry,” 105.
- Cai, Matrix of Lyric Transformation, 33–48.
- Cai, Matrix of Lyric Transformation, 38.