Jueju: Difference between revisions
m switching the frankel cite to a template, diacritics |
m →History: dumping the subsection into the overall section |
||
Line 11: | Line 11: | ||
The ''jueju'' style was very popular during the Tang dynasty. Many authors composing ''jueju'' poems at the time followed the concept of "seeing the big within the small" ({{zh|t=小中見大|p=Xiăozhōng jiàndà}}), and thus wrote on topics of a grand scale; philosophy, religion, emotions, history, vast landscapes and more.<ref name="cai_ch10_199-201"/> |
The ''jueju'' style was very popular during the Tang dynasty. Many authors composing ''jueju'' poems at the time followed the concept of "seeing the big within the small" ({{zh|t=小中見大|p=Xiăozhōng jiàndà}}), and thus wrote on topics of a grand scale; philosophy, religion, emotions, history, vast landscapes and more.<ref name="cai_ch10_199-201"/> |
||
===Famous authors=== |
|||
Authors known to have composed ''jueju'' poems include [[Du Fu]],<ref name="cai_ch10_216">[[#cai_ch10|Egan (in Cai 2007)]], pp. 216-217</ref> [[Du Mu]],<ref name="cai_ch10_217">[[#cai_ch10|Egan (in Cai 2007)]], pp. 217-219</ref> [[Li Bai]],<ref name="cai_ch10_210">[[#cai_ch10|Egan (in Cai 2007)]], pp. 210-212, 216</ref> [[Li Shangyin]],<ref name="cai_ch10_219">[[#cai_ch10|Egan (in Cai 2007)]], p. 219</ref> [[Wang Changling]]<ref name="cai_ch10_213">[[#cai_ch10|Egan (in Cai 2007)]], pp. 213-215</ref> and [[Wang Wei (8th century poet)|Wang Wei]].<ref name="cai_ch10_205">[[#cai_ch10|Egan (in Cai 2007)]], pp. 205-209</ref> |
Authors known to have composed ''jueju'' poems include [[Du Fu]],<ref name="cai_ch10_216">[[#cai_ch10|Egan (in Cai 2007)]], pp. 216-217</ref> [[Du Mu]],<ref name="cai_ch10_217">[[#cai_ch10|Egan (in Cai 2007)]], pp. 217-219</ref> [[Li Bai]],<ref name="cai_ch10_210">[[#cai_ch10|Egan (in Cai 2007)]], pp. 210-212, 216</ref> [[Li Shangyin]],<ref name="cai_ch10_219">[[#cai_ch10|Egan (in Cai 2007)]], p. 219</ref> [[Wang Changling]]<ref name="cai_ch10_213">[[#cai_ch10|Egan (in Cai 2007)]], pp. 213-215</ref> and [[Wang Wei (8th century poet)|Wang Wei]].<ref name="cai_ch10_205">[[#cai_ch10|Egan (in Cai 2007)]], pp. 205-209</ref> |
||
Revision as of 13:57, 27 February 2013
Template:Contains Chinese text Jueju (traditional Chinese: 絕句; simplified Chinese: 绝句; pinyin: Juéjù; Wade–Giles: Chüeh2chü4; "broken off lines")[1] is a style of jintishi ("modern form poetry") that grew popular among Chinese poets in the Tang Dynasty (618-907), although traceable to earlier origins. Jueju poems are always quatrains; or, more specifically, a matched pair of couplets, with each line consisting of five or seven syllables.[2]
The five-syllable form is called wujue (Chinese: 五絕; pinyin: Wŭjué) and the seven-syllable form qijue (Chinese: 七絕; pinyin: Qījué).[3]
History
The origins of the jueju style are uncertain.[4] Fränkel states that it arose from the yuefu form in the fifth or sixth century.[1] This pentasyllabic song form, dominant in the Six Dynasties period, may have carried over into shi composition and thus created a hybrid of the yuefu quatrain and shi quatrain.[4] Indeed, many Tang dynasty wujue poems were inspired by these yuefu songs.[3]
In the seventh century the jueju developed into its modern form, as one of the three "modern" verse forms, or jintishi, the other two types of jintishi being the lüshi and the pailu.[1]
The jueju style was very popular during the Tang dynasty. Many authors composing jueju poems at the time followed the concept of "seeing the big within the small" (Chinese: 小中見大; pinyin: Xiăozhōng jiàndà), and thus wrote on topics of a grand scale; philosophy, religion, emotions, history, vast landscapes and more.[3]
Authors known to have composed jueju poems include Du Fu,[5] Du Mu,[6] Li Bai,[7] Li Shangyin,[8] Wang Changling[9] and Wang Wei.[10]
Form
Traditional literary critics considered the jueju style to be the most difficult form of jintishi. Limited to exactly 20 or 28 characters,[11] writing a jueju requires the author to make full use of each character to create a successful poem. This proved to encourage authors to use symbolic language to a high degree.[3]
Furthermore, tonal meter in jueju, as with other forms of Chinese poetry, is a complex process. It can be compared to the alternation of stressed and unstressed syllables in sonnets. A poet writing a jueju or similar lüshi-style poem needs to alternate level and oblique tones both between and within lines.[12]
Some of the formal rules of the regulated verse forms were applied in the case of the jueju curtailed verse, these rules as applied to the jueju include regular line length, use of a single rhyme in even-numbered verses, strict patterning of tonal alternations, use of a major caesura before the last three syllables, optional parallelism and grammaticality of each line as a sentence. Each couplet generally forms a distinct unit, and the third line generally introduces some turn of thought or direction within the poem.[13]
Example
This poem is called "Spring Lament" (Chinese: 春怨; pinyin: Chūn yuàn) and was written by Jin Changxu (Chinese: 金昌緒; pinyin: Jīn Chāngxù).[14]
Traditional Chinese
|
Simplified Chinese
|
English translation
|
---|---|---|
春怨 打起黃鶯兒 |
春怨 打起黄莺儿 |
"Spring Lament" Hit the yellow oriole |
See also
- Classical Chinese poetry
- Shi (poetry)
- Ci (poetry)
- Fu (poetry)
- Qijue
- Qu (poetry)
- Regulated verse
- Shichigon-zekku
- Three Hundred Tang Poems
Notes
- ^ a b c Fränkel, 212
- ^ Tian (in Cai 2007), p. 143
- ^ a b c d Egan (in Cai 2007), pp. 199-201
- ^ a b Egan 1993, p. 124
- ^ Egan (in Cai 2007), pp. 216-217
- ^ Egan (in Cai 2007), pp. 217-219
- ^ Egan (in Cai 2007), pp. 210-212, 216
- ^ Egan (in Cai 2007), p. 219
- ^ Egan (in Cai 2007), pp. 213-215
- ^ Egan (in Cai 2007), pp. 205-209
- ^ Egan 1993, p. 84
- ^ Cai (in Cai 2007), pp. 169-172
- ^ Fränkel, 212–214
- ^ Egan (in Cai 2007), p. 204
References
- Cai, Zong-qi (2007-12-14). "Recent-Style Shi Poetry: Pentasyllabic Regulated-Verse". In Zong-qi Cai (ed.). How to Read Chinese Poetry. New York: Columbia University Press. pp. 161–180. ISBN 0-231-13941-1.
- Egan, Charles (1993). "A Critical Study of the Origins of Chüeh-chü Poetry" (PDF). Asia Major. 3rd ser. 6 (pt. 1): 83–125.
- Egan, Charles (2007-12-14). "Recent-Style Shi Poetry". In Zong-qi Cai (ed.). How to Read Chinese Poetry. New York: Columbia University Press. pp. 199–225. ISBN 0-231-13941-1.
- Tian, Xiaofei (2007-12-14). "Pentasyllabic Shi Poetry: New Topics". In Zong-qi Cai (ed.). How to Read Chinese Poetry. New York: Columbia University Press. pp. 141–157. ISBN 0-231-13941-1.
- Fränkel, Hans H. (1978). The Flowering Plum and the Palace Lady (2nd ed.). New Haven: Yale University Press. ISBN 0-300-02242-5.