How to Read Chinese Poetry A Guided Anthology

c i P oe t ry : long s ong ly riC s on ob j eC t s 305

notes

1. Zhu Yizun, “Introduction,” in Ci zong (Selected Song Lyrics [ from the Tang Through the Yuan
   Dynasties]) (Shanghai: Guji chubanshe, 1978), 11.


2. Kao Yu-kung, “Xiaoling zai shi chuantong zhong de diwei” (The Place of Xiaoling Lyrics in
   the Poetic Tradition), Cixue 9 (1992): 20. I have discussed Kao’s idea of spatial design and Joseph
   Frank’s idea of spatial form relevant to the works of such twentieth-century writers in the West
   as Marcel Proust, James Joyce, Virginia Woolf, Ezra Pound, and T. S. Eliot in “Space-Logic in the
   Longer Song Lyrics of the Southern Sung: Reading Wu Wen-ying’s Ying-t’i-hsü,” Journal of Sung-
   Yuan Studies 25 (1995): 169–191. Joseph Frank’s ideas can be found in The Idea of Spatial Form
   (New Brunswick, N.J.: Rutgers University Press, 1991).


3. Kao, “Xiaoling,” 8, 20.


4. Huang Zhaohan has created a rather comprehensive collection of available explanatory notes
   and interpretations on all of Jiang Kui’s song lyrics in his book Jiang Baishi ci xiangzhu (The Ci
   Poetry of Jiang Baishi, with Detailed Annotations) (Taipei: Xuesheng shuju, 1998). I use this text
   as the main source of the texts of Jiang Kui’s two song lyrics and of the information and ideas of
   previous scholars on them.


5. Some of my discussion on Jiang Kui has been extracted from Shuen-fu Lin, The Transforma-
   tion of the Chinese Lyrical Tradition: Chiang K’uei and Southern Sung Tz’u Poetry (Princeton, N.J.:
   Princeton University Press, 1978). My views on Jiang Kui’s poetry have changed somewhat in the
   interim; these changes are reflected or accounted for in the discussion in this chapter.


6. Huang, Jiang Baishi ci xiangzhu, 281.


7. Huang, Jiang Baishi ci xiangzhu, 280–352.


8. Huang, Jiang Baishi ci xiangzhu, 282.


9. Huang, Jiang Baishi ci xiangzhu, 316.


10. Huang, Jiang Baishi ci xiangzhu, 316–317.


11. Huang, Jiang Baishi ci xiangzhu, 317.


12. Wuchao xiaoshuo (Fictions from Five Dynasties), juan 3, Xijing zaji (Miscellaneous Notes of the
    Western Capital), ab.


13. Huang, Jiang Baishi ci xiangzhu, 317.


14. Liu Wan has discussed this and other issues in her brilliant article on “Dappled Shadows”:
    “Jiang kui shuying ci de yuyan neibu guanxi ji shidian yiyi” (Jiang Kui’s “Shuying”: The Inter-
    nal Patterns of Its Language and the Meanings of the Allusions Used Therein), Cixue 9 (1992):
    22–30.


15. Huang, Jiang Baishi ci xiangzhu, 317.


16. Huang, Jiang Baishi ci xiangzhu, 317.


17. Huang, Jiang Baishi ci xiangzhu, 318.


18. Huantuo, rendered “playful spit” here, seems to allude to the following lines in the song
    lyric “Yihu zhu” (A Bushel of Pearls), by Li Yu (937–978):

Charmingly she leans across the embroidered bed,

Chews thoroughly at scraps of red wool,

Laughs, and then spits at her lover.

It seems clear that Wu Wenying uses this allusion to Li Yu’s woman’s dalliance as a symbol of his
happy union with his own beloved.

19. This translation is an adaptation of the magnificent translations in Grace S. Fong’s study of
    the thirteenth-century ci writer, Wu Wenying and the Art of Southern Song Ci Poetry (Princeton, N.J.:
    Princeton University Press, 1987), 110–112, and in Stephen Owen, “A Door Finely Wrought: Mem-
    ory and Art,” in Remembrances: The Experience of the Past in Classical Chinese Literature (Cambridge,
    Mass.: Harvard University Press, 1986), 114–130. In the translation, I have supplied the pronoun
    “I” throughout, which is absent in the original Chinese text. I hope that the addition of “I” has not
    spoiled the quality of spatiality in the song lyric.