224 t He tang Dy na s t y
- Charles Egan, “A Critical Study of the Origins of Chüeh-chü Poetry,” Asia Major, 3rd ser., 6,
pt. 1 (1993): 83–125. - Stephen C. Levinson, Pragmatics (Cambridge: Cambridge University Press, 1983).
- F. R. Palmer, Mood and Modality (Cambridge: Cambridge University Press, 1986).
- Shuen-fu Lin, “The Nature of the Quatrain from the Late Han to the High T’ang,” in The
Vitality of the Lyric Voice: Shih Poetry from the Late Han to the T’ang, ed. Shuen-fu Lin and Stephen
Owen (Princeton, N.J.: Princeton University Press, 1986), 306–308. Lin proposes three major
jueju characteristics derived from Six Dynasties songs: simple diction, dynamic syntactic conti-
nuity, and sententiousness (296–331). - The term is from Zhong Rong, Shi pin (An Evaluation of Poetry). See Kang-i Sun Chang, “De-
scription of Landscape in Early Six Dynasties Poetry,” in Lin and Owen, Vitality of the Lyric Voice,
105–129. - Daniel Hsieh, The Evolution of Jueju Verse (New York: Lang, 1996), 206–216.
- Wang Li, Hanyu shilü xue (Studies in Chinese Verse Regulation) (Shanghai: Jiaoyu, 1963), espe-
cially 33–41. - Shen Deqian, Tangshi biecaiji (A New Selection of Tang Poetry), quoted in Fu and Liu, Qian-
shou Tangren jueju, 220. - The second couplet is technically parallel as well, but the conditional proposition gives it
continuous syntax; this type of parallelism is called liushui dui (running-water parallelism). - Peter N. Gregory, “Sudden Enlightenment Followed by Gradual Cultivation: Tsung-mi’s
Analysis of Mind,” in Sudden and Gradual: Approaches to Enlightenment in Chinese Thought, ed.
Peter N. Gregory (Honolulu: University of Hawai‘i Press, 1987), 279–320, especially 281–284. - J. D. Frodsham, The Murmuring Stream: The Life and Works of the Chinese Nature Poet Hsieh
Ling-yün(385–433), Duke of K’ang-Lo (Kuala Lumpur: University of Malaya Press, 1967), 1:90. For
the development of landscape verse, see 86–105. - Eliot Weinberger, Nineteen Ways of Looking at Wang Wei: How a Chinese Poem Is Translated
(Mount Kisco, N.Y.: Moyer Bell, 1987). - Edward Conze, Buddhist Thought in India: Three Phases of Buddhist Philosophy (London: Allen
and Unwin, 1962), 60–61. - Paul Williams, Mahāyāna Buddhism: The Doctrinal Foundations (London: Routledge,
1989), 2. - The second character here is read ying, not jing (scene).
- Williams, Mahāyāna Buddhism, 96–115.
- Williams, Mahāyāna Buddhism, 112.
- Conze, Buddhist Thought in India, 229.
- Quoted in Neal Donner, “Sudden and Gradual Intimately Conjoined: Chih-I’s T’ien-t’ai
View,” in Gregory, Sudden and Gradual, 201–226, especially 212–213. - Lu Qinli, comp., Xian Qin Han Wei Jin Nanbei chao shi (Poetry of the Qin, Han, Wei, Jin, and
Northern and Southern Dynasties) (Beijing: Zhonghua shuju, 1983), 1:116–117. A rhyme-prose (fu)
composition in the Han shu (History of the Han Dynasty) is also attributed to Ban Jieyu. - Gao, Tang Song shi juyao, 750.
- In chapter 8, Zong-qi Cai describes the functional hierarchy of the four couplets using the
traditional critical terms qi (introduction), cheng (elaboration), zhuan (transition), and he (conclu-
sion). Traditional critics also frequently applied this quadripartite pattern to jueju, with the differ-
ence that each part was assigned to an individual line. However, difficulties arise when attempting
to interpret jueju in this way, as it requires that the two lines in a couplet fulfill different functions,
which is counter to usual poetic practice. If we instead employ a simpler bipartite pattern, then
the terms remain useful. Thus the first couplet of a jueju is for introduction/elaboration, and the
second is for transition/conclusion.