Sh i P oe t ry oF t He m i ng anD q i ng Dy na s t i e s 377- Yuan Mei quanji (The Complete Works of Yuan Mei), ed. Wang Yingzhi (Nanjing: Jiangsu guji
chubanshe, 1993), 1:4. - Anne M. Birrell, “Anti-War Ballads and Songs,” in Popular Songs and Ballads of Han China
(London: Unwin Hyman, 1988), 116–127. - See examples in the comprehensive anthology of yuefu poetry compiled by Guo Maoqian in
the Song: Yuefu shiji, 4 vols. (Beijing: Zhonghua shuju, 1979). Joseph Allen focuses on the intra-
textuality of the yuefu in In the Voice of Others: Chinese Music Bureau Poetry (Ann Arbor: Center for
Chinese Studies, University of Michigan, 1992). - Wei Zhuang, “The Lament of the Lady of Ch’in,” trans. Robin D. S. Yates, in Sunflower Splen-
dor: Three Thousand Years of Chinese Poetry, ed. Wu-chi Liu and Irving Yucheng Lo (Bloomington:
Indiana University Press, 1975), 267–281. - For a translation and discussion of authorship, see Hans Frankel, “Cai Yan and the Poems
Attributed to Her,” Chinese Literature: Essays, Articles, Reviews 5, no. 2 (1983): 133–156. - The most comprehensive study of Du Fu’s life through his poetry is William Hung, Tu Fu:
China’s Greatest Poet (New York: Russell and Russell, 1969). - On Li Yu’s drama, fiction, and prose writings, see Patrick Hanan, The Invention of Li Yu
(Cambridge, Mass.: Harvard University Press, 1988). - The meaning of this couplet is ambiguous. Li Yu seems to be suggesting that he now under-
stands that those who are humane do not have the heart to record the violence and cruelty of war
in exhaustive, graphic details. - Hanyu da cidian (Great Dictionary of the Chinese Language), 1.1266B.
- Hanyu da cidian, 3.138A.
- For the Manchu troop movements and Ming loyalist resistance, see Lynn Struve, The South-
ern Ming, 1644–1662 (New Haven, Conn.: Yale University Press, 1984), 75. - The more cohesive local resistance movement in Shaoxing was able to drive out the Qing
occupation swiftly, and the Ming restoration movement established the prince of Lu as regent in
Shaoxing a month or two later. Thus began the Longwu reign (1645–1646) (Struve, Southern Ming,
76). - Stephen Owen, “The Self ’s Perfect Mirror: Poetry as Autobiography,” in The Vitality of the
Lyric Voice: Shih Poetry from the Late Han to the T’ang, ed. Shuen-fu Lin and Stephen Owen (Prince-
ton, N.J.: Princeton University Press, 1986), 71–102. - Maija Bell Samei, Gendered Persona and Poetic Voice: The Abandoned Woman in Early Chinese
Song Lyrics (Lanham, Md.: Lexington Books, 2004), 98. - Owen, “Self ’s Perfect Mirror,” 73.
- Gan Lirou’s autobiographical poetry writing is discussed in Grace S. Fong, Herself an Au-
thor: Gender, Writing, and Agency in Late Imperial China (Honolulu: University of Hawai‘i Press,
2008), chap. 1. - For comparison with a male poet’s self-narrative in his poetry collection, see Grace S. Fong,
“Inscribing a Sense of Self in Mother’s Family: Hong Liangji’s (1746–1809) Memoir and Poetry of
Remembrance,” Chinese Literature: Essays, Articles, Reviews 27 (2005): 33–58. The autobiographical
impulse is also strongly articulated in women’s suicide poems and their accompanying autobio-
graphical prefaces, as discussed in Grace S. Fong, “Signifying Bodies: The Cultural Significance of
Suicide Writings by Women in Ming–Qing China,” Nan Nü: Men, Women, and Gender in Early and
Imperial China 3, no. 1 (2001): 105–142. - On the legend of Wu Gang and the moon, see Duan Chengshi (d. 863), Youyang zazu (Mis-
cellanea from Youyang) (Beijing: Zhonghua shuju, 1981), 9. - This ritual is mentioned in “Dong shan” (Mao no. 156): “A girl is going to be married... /
Her mother has tied the strings of her girdle” (Arthur Waley, trans., The Book of Songs [New York:
Grove Press, 1978], 117).