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79 Cards in this Set
- Front
- Back
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文選
Wen xuan |
- compiled early 6th cent. by Xiao Tong 蕭統 (501-531)
- in terms of Western Han, important for its reliable preservation of early texts |
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藝文類聚
Yiwen leiju |
- encyclopedia, compiled 624
- in terms of Western Han, important for its preservation of texts, but problematic due to manuscript transmission and spurious attributions |
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初學記
Chuxue ji |
- encyclopedia, compiled early 8th cent.
- in terms of Western Han, important for its preservation of texts, but problematic due to manuscript transmission and spurious attributions |
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西京雜記
Xijing zaji |
- encyclopedia/anecdotal collection, uncertain date (likely Wei or Jin, not before 3rd century)
- contains a number of short fu spuriously attributed to Western Han authors in the court of Prince Xiao of Liang - source of many famous stories about the Western Han |
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舞賦
Wufu，“The Dance” |
- written by Fu Yi 傅毅 (ca. A.D. 47-92), 帶作 Song Yu
*see 10/8 Eastern Han |
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賦
fu |
- genre usually associated with the Han (esp. Western Han)
- original term best rendered as “presentation” (i.e. to a ruler) - in pre-Qin times, fushi 賦詩 found in the Six Principles in Shi jing - associated with “elaboration” or “amplification” because linked to other similar words, e.g. fu 敷, to “unroll” or “spread out” (as in fuyan 敷衍) and pu 鋪 - early forms: lyric monologue, works with fictional frame narratives - three parts: contextual frame (preface), main body, and coda (亂) |
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藝文志
Yiwenzhi, “Treatise on Letters” |
- written by Ban Gu, in Hanshu
- based on the Qilue 七略 (a book catalogue) of Liu Xin 劉歆 (ca. 53 B.C.- A.D. 23) - enumerates 1004 poetic expositions by seventy-eight authors, of which only about a dozen survive in tact |
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七略
Qilue |
- a book catalogue, written by Liu Xin 劉歆 (ca. 53 B.C.- A.D. 23)
- basis for Ban Gu’s “Treatise on Letters” in Han Shu |
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劉歆
Liu Xin |
- ca. 53 B.C.- A.D. 23
- wrote a book catalogue entitled “Qilue 七略”which was the basis for Ban Gu’s “Treatise on Letters” in Han Shu |
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辭賦
cifu |
- generic category found in Yiwenzhi 藝文志 (“Treatise on Letters”) in Han shu
- notable for its inclusivity (included: Li Sao, riddles, rhymed declamations on political and moral philosophy - four categories: 1. lineage of Qu Yuan (incl. Jia Yi, Mei Sheng, and Sima Xiangru), 2. lineage of Lu Jia 陸賈 (ca. 210-150 B.C.), an early Han orator and the author of Xinyu 新語 , probably rhymed persuasions, 3. lineage of Xun Qing 荀卿, fu in the Xunzi, 4. miscellaneous, with topical divisions |
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誦
song |
- to recite, e.g. Hanshu
- essentially the same as 頌 (category of “Hymns” in Shi jing), commonly used as a generic marker in Han titles, in many cases interchangeable with fu |
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不歌而誦謂之賦
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- The characterization of fu given in the “Treatise on Letters” (Han shu 30.1755)
- “To recite without singing is called fu” |
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登高能賦可為大夫
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- statement immediate following “不歌而誦謂之賦”in Han shu
- “One who can climb to a high place [platform?] and make a recitation [fu] can become a Grand Master” |
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六義
Liuyi, “Six Principles” |
- undatable, principles of the Shi jing, in the “Great Preface” of the Mao Poem
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疊韻
dieyun |
- rhyming
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雙聲
shuangsheng |
- alliteration
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班固
Ban Gu |
- author of Han shu
*see 10/6 Eastern Han |
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賢人失志
xianren shizhi |
- “a worthy man who had lost hope to fulfill his aims”
- phrase used by Ban Gu in Han Shu to describe Qu Yuan - later adopted by Hellmut Wilhelm as “the scholar’s frustration” and Nakashima Chiaki to describe fu following in the Qu Yuan tradition |
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招魂
Zhaohun, "Calling Back the Soul" |
*see 10/1 Chuci
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大招
Dazhao, "The Great Calling Back" |
*see 10/1 Chuci
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七發
Qifa, "Seven Stimuli" |
- undatable, fu by Mei Sheng 枚 乘 (d. 140 BC)
- started tradition of pieces in which orator tries to heal a sick ruler by first describing pleasures of the senses, then succeeds when he describes the pleasures of good govt. - presents an essential concern of fu of the Western Han: problematic relationship between the extended call to sensuous excitement and the concluding diversion or restriction of such excitement. |
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爾雅
Er Ya |
- believed to date from the third century B.C
- earliest extant lexicographical work, words in categories similar to catalogues in fu |
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上林賦
Shanglin fu, "The Imperial Park" |
- written by Sima Xiangru 司馬相如
- fu describing the superiority of the splendors of the imperial park over princely parks |
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風賦
Feng fu， “The Winds" |
- full poetic exposition, attributed to Song Yu 宋玉
- Song Yu refutes the claim that the king shares “wind” with the common people and describes the difference between the king’s wind and the commoner’s wind |
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劉濞
Liu Pi |
- d. 154 B.C., nephew of the founding Han emperor
- led the “rebellion of the seven princes” and was killed |
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枚乘
Mei Sheng |
- wrote fu, notably “Seven Stimuli,” and ornamental prose
- wandering rhetorician, traveled with Zou Yang 鄒陽 and Yan Ji 嚴忌 from Liu Pi’s court to Prince Xiao of Liang (“Rabbit Park”) to Emperor Wu’s court (but died on the journey to Chang’an) |
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鄒陽
Zou Yang |
- contemporary of Mei Sheng 枚乘 and Yan Ji 嚴忌, traveled with them from Liu Pi’s court to Prince Xiao of Liang to Emperor Wu’s court
- only prose works survive, notably “Letter to the Prince of Wu” 上書吳王 and “Sent to My Prince from Prison Explaining Myself” 獄中上書自明 |
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梁孝王
Prince Xiao of Liang |
- a.k.a. Liu Wu 劉武
- d. 144 B.C., Emperor Jing’s little brother - his court was famous as the setting of literary production and gathering place of writers such as Zou Yang 鄒陽, Mei Sheng 枚乘, Yan Ji 嚴忌, and Sima Xiangru 司馬相如 |
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宋玉
Song Yu |
- pre-Qin, clever orator and “disciple” of Qu Yuan
- most famous works include 風賦 (feng fu), “Gaotang” Gaotang fu 高唐賦 and “The Goddess” Shennü fu 神女賦 - many other pieces spuriously attributed to him, often figure of daizuo |
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賈誼
Jia Yi |
- 200-168 B.C., native of Luoyang, dominant intellectual figure of early Han, author of first pieces generically classifiable as fu
- notably, “Memorial to the Throne on Governance” 陳政事疏, which won him favor of Emperor Wen (r. 179-157 B.C.), “Discourse on the Errors of Qin” 過秦論 (ornamental prose), “Lament for Qu Yuan” Diao Qu Yuan fu 弔屈原賦 and “The Owl,” Funiao fu 鵩鳥賦 |
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新書
Xin Shu |
- surviving collection of writings by Jia Yi 賈誼 (200-168 B.C.), compiled by Liu Xiang 劉 向 (ca. 79- c. 6 B.C)
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古文苑
Gu wen yuan |
- Tang anthology
- manuscript discovered by Sun Zhu 孫洙 (1031-1079) in a Buddhist monastery, organized into 9 juan in 1179, then fixed by Zhang Qiao 章樵 and re-divided into 21 juan in 1232. |
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兔園
Tu Yuan, "Rabbit Park" |
- a.k.a. “Tu-plant Park” 菟園
- court of Prince Xiao of Liang, famous as a site where writers gathered under the protection of an appreciative prince |
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七
qi, "Seven" |
- generic category in Wen Xuan, tradition beginning from Mei Sheng’s “Seven Stimuli”
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客
ke |
- both “client” and “visitor”
- the “persuader” in “Seven Stimuli” who tries to rouse the prince through description |
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司馬相如
Sima Xiangru |
- courtesy name Zhangqing 長卿
- 179-118 B.C., native of Shu (Chengdu), served Prince Xiao of Liang, then Emperor Wu - most famous fu: “Master Emptiness” Zixu fu 子虛賦, “The Imperial Park” Shanglin fu 上林賦 and “The Great One,” Daren fu 大人賦 - the extreme description in Sima Xiangru’s fu can be read as either imperial panegyric or as a satire against imperial excesses |
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子虛賦
Zixu fu, "Master Emptiness" |
- written by Sima Xiangru 司馬相如 (179-118 B.C.)
- Zixu (“Master Emptiness” 子虛) from Chu and Wuyou xiansheng (“Sir No-such” 烏有先生) from Qi each praise of his own patron’s hunting park. Wuyou xiansheng criticizes the extravagance of the Chu hunting park, then goes on to offer an equally lavish description of the Qi park. |
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卓文君
Zhuo Wenjun |
- daughter of a wealthy merchant in Chengdu, eloped with Sima Xiangru 司馬相如 (179-118 B.C.)
- story of elopement from Han Shu biography of Sima Xiangru; accuracy unascertainable |
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上林賦
Shanglin fu, "The Imperial Park" |
- written by Sima Xiangru 司馬相如 (179-118 B.C.)
- expansion of “Master Emptiness” Zixu fu 子虛賦 with an added character Wangshi gong (“Lord No One” 亡是公), who praises the Emperor’s hunting park over those of the princes, but closes by urging the emperor to frugality - near allegory of Emperor Wu’s political centralization project, imperial park as microcosm of the empire, can be read as ironic criticism |
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大人賦
Daren fu, "The Great One" |
- written by Sima Xiangru 司馬相如 (179-118 B.C.)
- describes the Great One’s flight through the cosmos to a final state beyond the senses, can be read as either imperial panegyric or satire |
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茂陵
Maoling |
- on the outskirts of Chang’an, deathplace of Sima Xiangru 司馬相如 (d. 118 B.C.)
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長門賦
Changmen fu, "Tallgate Palace" |
- attributed to Sima Xiangru 司馬相如 (179-118 B.C.)
- supposedly commissioned by Emperor Wu’s wife, Empress Chen, to help win back his love - included in Wen Xuan as genuine work of Sima Xiangru, but authenticity is debated |
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定情
dingqing, "stilling the passions" |
- theme in poetic exposition in which the author first describes a beautiful woman, then claims to be disinterested or have conquered his passion
- notably, “The Beauty,” Meiren fu 美人賦, dubiously attributed to Sima Xiangru 司馬相如 (179-118 B.C.), and Tao Qian’s 陶潛 (365?-427) “Fu on Calming the Passions” Xianqing fu 閑情賦. |
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登徒子好色賦
Dengtuzi haose fu, "Master Dengtu's Lust" |
- attributed to Song Yu 宋玉
- anecdote-like fu, rhymed description in narrative frame - an example of the “stilling the passions” theme in which Song Yu defends himself against Master Dengtu’s accusation of lustfulness |
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九辯
Jiubian, "Nine Variations" |
- found in the Chu ci, most influential work attributed to Song Yu 宋玉
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高唐賦
Gaotang fu |
- one of the most influential works attributed to Song Yu 宋玉, stylistically similar to “Seven Stimuli”
- Song Yu describes the dream of a former king of Chu in which he was visited by the Goddess of Wu Mountain, including a description of Wu Mountain - origin of the famous phrase “cloud and rain” 雲雨, later a euphemism for love making, as the Goddess tells the King that she will appear as cloud in the morning and rain at dusk |
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神女賦
Shennü fu, "The Goddess" |
- sequel to the “Gaotang” Gaotang fu 高唐賦, one of the most influential works attributed to Song Yu 宋玉
- describes Song Yu’s dream of the goddess in which she seems attracted to him but them rejects him - beginning of a tradition of fu on the theme of the goddess |
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東方朔
Dongfang Shuo |
- ca. 154-93 B.C., court rhetorician and wit, subject of many anecdotes
- best-known works are “Answering Someone’s Criticism” Da ke nan 答客難 and the “Discourse of the Master Who-Is-Not” Feiyou xiansheng lun 非有先生論 |
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答客難
Da ke nan, "Answering Someone's Criticism" |
- one of best-known works of Dongfang Shuo 東方朔 (ca. 154-93 B.C.)
- Dongfang Shuo responds to criticism of his low status by praising Emperor Wu’s ability to rule over a peaceful land - first of a type of piece reconciling complaint about one’s low post with obligatory praise of the emperor (whose enlightened good will would be the sole means to remedy the complaint) |
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非有先生論
Feiyou xiansheng lun, “Discourse of the Master Who-Is-Not” |
- one of best-known works of Dongfang Shuo 東方朔 (ca. 154-93 B.C.)
- in the lineage of Warring States framed speech - comment on court discourse in the reign of Emperor Wu, with nostalgia for an imagined era when the clever court orator could affect royal behavior with words. |
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哀李夫人賦
Ai Li furen fu, "Lament for Lady Li" |
- Han Shu attributes this piece to Emperor Wu
- two distinct parts: one uses Chu ci language and treats Lady Li as the goddess, the other is a public address to the spirit of the dead |
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董仲舒
Dong Zhongshu |
- ca. 179- 104 B.C., famous philosopher and author of the Chunqiu fanlu 春秋繁露
- “The Officer Does Not Meet Good Fortune,” Shi bu yu fu 士不遇賦 (conventional complaint about unfulfilled goals and troubled times written in Chuci language) also attributed to him |
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春秋繁露
Chunqiu fanlu |
- philosophical text, attributed to Dong Zhongshu 董仲舒 (ca. 179-104 B.C.)
- New Text tradition, described ethical and political principles found in the Chunqiu |
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報任少卿[任安]書
Bao Ren Shaoqing shu, “Letter to Ren Shaoqing [Ren An]” |
- letter from Sima Qian to his friend, Ren An, responding to Ren An’s criticism, defends decision to accept castration and finish Shi ji (rather than commit suicide)
- one of the earliest extant letters that is not to or from a ruler, significant as the appearance of the private letter as simultaneously a public document, and a public document intended not just for the present but for posterity |
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楊惲
Yang Yun |
- d. 56 B.C., grandson of Sima Qian
- author of “Letter in Response to Sun Huizong,” Bao Sun Huizong shu 報孫會宗書, which tells about his fall from power and withdrawal to private life - executed for offending the emperor with his letter |
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報孫會宗書
Bao Sun Huizong shu, "Letter in Response to Sun Huizong" |
- letter by Yang Yun’s 楊惲 (d. 56 B.C.)
- told of Yang Yun’s fall from power, withdrawal to private life, and contentment with farming; offended the emperor and led to Yang Yun’s execution |
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王褒
Wang Bao |
- ca. 90 B.C-ca. 51 B.C., native of Shu, court favorite of Emperor Xuan (r. 73-49 B.C.), most famous writer from generation after Emperor Wu
- important works include “Nine Cares,” Jiuhuai 九懷 (Chuci piece, about heavenly journeys), “Panpipes,” Dongxiao fu 洞簫賦 (builds on “Seven Stimuli” section on the zither), “Ganquan Palace,” Ganquan song 甘泉宮頌 (only fragments exist, palace architectural beauties), two light prose pieces “Servant Contract,” Tong yue 僮約 and “Denouncing a Whiskered Slave,” Ze xurannu wen 責鬚髯奴辭 (comic poetic exposition, dubious authenticity), and an “Account of Yizhou” Yizhou ji 益州記 (one of the earliest examples of local geographic writings, but dubious attribution) |
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劉向
Liu Xiang |
- ca. 79- c. 6 B.C., imperial descendent, father of Liu Xin; scholar, compiler, and writer of fu
- wrote “Nine Sighs,” Jiu tan 九歎, edited the primary form of Chuci and compiled Zhanguo ce 戰國策書錄, the Lienü zhuan 列女傳, and the Shuoyuan 說苑 and (maybe) the Xinxu 新序 - best known for “text accounts” shulu 書錄 (earliest form of the classical “preface,” xu 序) on the Zhanguo ce, for the Guanzi, the Yanzi chunqiu (given simply as Yanzi), for the Xunzi (given as Sun Qing), for the Han Feizi, the Liezi, the Dengxizi 鄧析書錄, the Guanyinzi 關尹子書錄, the Zihuazi 子華子書錄, and the Shuoyuan |
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列女傳
Lienü zhuan |
- compiled by Liu Xiang 劉向 (ca. 79- c. 6 B.C.)
- collection of biographies of exemplary women |
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說苑
Shuoyuan |
- compiled by Liu Xiang 劉向 (ca. 79- c. 6 B.C.)
- collection of exemplary anecdotes, organized in 20 chapters with titles resembling chapter titles of masters literature; taxonomic organization influenced later anecdote collections (for example, Shishuo xinyu 世說新語, 5th century) |
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新序
Xinxu |
- compiled by Liu Xiang 劉向 (ca. 79- c. 6 B.C.), sometimes attributed to his son Liu Xin 劉歆 (ca. 53 B.C.-A.D. 23) who wrote a “discussion” on it
- collection of anecdotes |
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世說新語
Shishuo xinyu |
- 5th century, collection of anecdotes
- strongly influenced by Liu Xiang 劉向’s (ca. 79- c. 6 B.C.) Shuoyuan 說苑 |
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劉歆
Liu Xin |
- ca. 53 B.C.-A.D. 23, son of Liu Xiang 劉向 (ca. 79- c. 6 B.C.)
- finished compiling a catalogue of the library, the Qilüe 七略, which formed the basis of the “Treatise on Letters” in Ban Gu’s Han Shu and wrote “Origins,” Suichu fu 遂初賦 (earliest example of “poetic expositions on travel” zhengfu 征賦 - strong proponent of the “Old Text” Classics, served Wang Mang 王莽 (r. A.D. 9-23) after he usurped the throne in A.D. 8, and was eventually executed by Wang Mang due to political distrust |
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班倢妤
Lady Ban (the jieyu) |
- c. 48 B.C.-c. 6 B.C., first member of the Ban family to appear in literature, highly ranked (jie yu rank) member of the harem of Emperor Cheng 成帝 (r. 32-7 BC)
- “Sorrowing For Myself,” Zidao fu 自悼賦 preserved in Han Shu (clear first-person description of experiences) - several other fu sometimes attributed to her: Sima Xiangru’s “Tallgate Palace” Changmen fu 長門賦, “Pounding White Silk,” Daosu fu 擣素賦, and “Poem of Resentment,” Yuanshi 怨詩 |
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揚雄
Yang Xiong |
- 53 B.C.-18 A.D., native of Shu, served Emperor Cheng 成帝 (r. 32-7 BC) and Wang Mang 王莽 (r. A.D. 9-23); most famous literary and intellectual figure of the Western Han; composer of poetic expositions, lexicographer, and moral philosopher
- important poetic expositions: “Shu’s Metropolis,” Shufu fu 蜀都 (glorifies Chengdu 成都), “Contra-Li Sao,” Fan Li Sao 反離騷 (retells Qu Yuan’s story, criticizes his suicide), and four fu written for Emperor Cheng - “Ganquan Palace,” Ganquan fu 甘泉賦 “Hedong,” Hedong fu 河東賦, “Plume Hunt,” Yulie fu 羽獵賦, and “Tall Poplars,” Changyang fu 長楊賦 - also wrote Model Sayings (Fayan 法言), a critical work that discusses the principles of fu |
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反離騷
Fan Li Sao, "Contra-Li Sao" |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.), preserved by Ban Gu in Han Shu
- part of a series of Chuci pieces; retells Qu Yuan’s story, criticizes his suicide |
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甘泉賦
Ganquan fu, "Ganquan Palace" |
- 11-12 B.C., written by Yang Xiong 揚雄 (53 B.C.-18 A.D.) for Emperor Cheng 成帝 (r. 32-7 BC)
- for sacrifice to Taiyi 太一, tells the story of the emperor expelling two goddesses; taken as indirectly urging the emperor to get rid of imperial favorite Zhao Feiyan and her sister -represents the tension between celebration and indirect moral persuasion that became central to the fu form during Yang Xiong’s era |
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勸
quan |
- “encouraging”
- one side of the contradiction between celebration and criticism in fu (other side is “satirizing” feng 諷) |
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諷
feng |
- “satirizing”
- one side of the contradiction between celebration and criticism in fu (other side is “encouraging” quan 勸) |
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河東賦
Hedong fu |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.) for Emperor Cheng 成帝 (r. 32-7 BC)
-“encourages” the emperor to undertake the sacrifices to the Earth God |
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羽獵賦
Yulie fu, "Plume Hunt" |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.) for Emperor Cheng 成帝 (r. 32-7 BC)
- recalls Sima Xiangru’s fu; describes the hunt, closes by rejecting the hunt and all ostentation |
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長楊賦
Changyang fu, "Tall Poplars" |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.) for Emperor Cheng 成帝 (r. 32-7 BC)
- builds on debate frame of Sima Xiangru’s fu; turns traditional fu on the hunt into a debate on the merits of the hunt |
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鹽鐵論
Yantie lun, "Discourses on Salt and Iron" |
- expanded account of the court debate ordered by imperial edict in 81 BC
- concerned with the government’s monopoly of iron and salt industries and other controversial issues |
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法言
Fa yan, Model Sayings |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.)
- critical work that discusses the principles of fu, including the contradiction between encouragement and criticism, and the distinction between fu of the Poets and fu of the Rhetoricians |
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詩人之賦麗以則，辭人之賦麗以淫
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- from Yang Xiong 揚雄‘s (53 B.C.-18 A.D.) Model Sayings (Fayan 法言)
- “The poetic expositions of the Poets are beautiful [/parallel] and thereby offer a norm; the poetic expositions of the Rhetoricians are beautiful [/parallel] and thereby are unrestrained” - makes a distinction between fu in the service of ethical purpose and those with no moral message; this distinction had important consequences for later poetic exposition |
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解嘲 and 解難
Jiechao and Jienan, "Resolving Mockery" and "Resolving Criticism" |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.), two of his later dialogues
- in the tradition of Dongfang Shuo’s “Answering Someone’s Criticism,” Da ke nan 答客難 - Set in the reign of Emperor Ai (6 B.C.-1 B.C.); Yang Xiong defends himself against criticism of his Supreme Mystery, Taixuan 太玄 |
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太玄
Taixuan, Supreme Mystery |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.)
- modeled on the Classic of Changes; Yang Xiong made tetragrams and invented a new cosmology, also based on phases of difference |
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逐貧賦
Zhupin fu, "Banishing Poverty" |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.)
- tongue-in-cheek fu, Yang Xiong tries to send away “Poverty,” but Poverty defends his virtues, and in the end is invited to stay |
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方言
Fangyan |
- written by Yang Xiong 揚雄 (53 B.C.-18 A.D.)
- dictionary of regional usages extensively used in philological research since the Qing |
