The Ci Poetry of Zhang Yuangan

张元幹Shanghai Classics Publishing House · ChinaSep 2015

Rating 4.0
Word count
41K words
Chapters
189
ISBN
9787532559954

Tags

Classical Poetry Thwarted AmbitionLiterary GiantsPatriotismObject ChantingSong Ci AppreciationAnnotated GuideComplete Ci CollectionBold Ci StyleTurbulent EraMusical Rhythm

Summary

More than one hundred eighty ci poems by Zhang Yuangan survive today. His themes are wide-ranging and his style varied, with the bold and unconstrained mode predominant, making him the representative bold-school ci poet after Su Shi and Xin Qiji. This collection gathers all of Zhang Yuangan's extant ci together with the finest later criticism, supplemented by brief annotations and an excellent introductory guide by Mr. Cao Jiping, a leading specialist in Zhang Yuangan studies, offering readers considerable convenience in appreciating and studying his poetry.

Editor's review

More than 180 of Zhang Yuangan's ci survive, broad in subject and varied in style but chiefly in the bold manner; he is regarded as a representative bold-school ci poet after Su Shi and Xin Qiji. The value of this edition lies in its completeness and convenience: it gathers all of Zhang's ci, appends fine comments by later critics, and provides brief annotation—friendly to beginners yet still useful for research. Mr. Cao Jiping's introduction is the highlight of the volume, helping readers quickly grasp the poet's life, the arc of his work, and his stylistic traits, so they are not at a loss before a complete collection. The brief annotation also leaves readers room to savor the originals for themselves. It suits thematic reading of Song ci, and also lends itself to being read alongside Su Shi and Xin Qiji when tracing the bold-school lineage, to appreciate how this style passed and changed around the time of the southward crossing.

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Reading tips

  1. Read Mr. Cao Jiping's introduction first to learn about the poet's life and style, then turn to the ci themselves.
  2. Read by theme, noting works in styles other than the bold, so as not to generalize from a part.
  3. As you read, compare the annotations and later critics' comments, and sense how different readers understand the same work.
  4. Read alongside Su Shi and Xin Qiji to observe how the bold school passed and changed around the Southern Song.

About the publisher

Shanghai Classics Publishing House China · Founded in 1956

Shanghai Classics Publishing House is a professional publisher centered on the collation of ancient texts and academic research works. Its publishing areas cover historical readings, classical poetry, folk literature, literary appreciation, canonical works, and Eastern philosophy. Its books include Chen Yinke's A Brief Discussion of the Origins of the Sui and Tang Institutions, Xin Qiji's Chronological Annotated Edition of Jiaxuan's Ci (Simplified Edition), Tang Xianzu's The Peony Pavilion, Liu Xie's The Literary Mind and the Carving of Dragons, as well as New Annotations to Three Hundred Tang Poems (Collector's Edition), Annotated Edition of Han Changli's Collected Works (Simplified Edition, 3 volumes), and Youyang Zazu. Its authors include Chen Yinke, Xin Qiji, Tang Xianzu, Liu Xie, Deng Guangming, Hengtang Tuishi, Han Yu, and Ma Qichang. In terms of publishing characteristics, the house emphasizes collation, annotation, and compilation of ancient texts alongside academic research works, and continues to issue simplified and collector's editions that balance scholarship and accessibility. Public information about the publisher's fuller publishing profile is limited.

Contents

  1. 版权信息
  2. 导读
  3. 卷上
  4. 贺新郎（曳杖危楼去）
  5. 前调（梦绕神州路）
  6. 满江红（春水迷天）
  7. 兰陵王（卷珠箔）
  8. 前调（绮霞散）
  9. 念奴娇（江天雨霁）
  10. 前调（蕊香深处）
  11. 前调（吴淞初冷）
  12. 前调（秋风万里）
  13. 前调（寒绡素壁）
  14. 前调（垂虹望极）
  15. 石州慢（寒水依痕）
  16. 前调（雨急云飞）
  17. 永遇乐（月仄金盆）
  18. 前调（飞观横空）
  19. 八声甘州（倚凌空飞观展营丘）
  20. 前调（记当年共饮醉画船）
  21. 水调歌头（落景下青嶂）
  22. 前调（闰馀有何好）
  23. 前调（缥缈九仙阁）
  24. 前调（平日几经过）
  25. 前调（雨断翻惊浪）
  26. 前调（露下菱歌远）
  27. 前调（万里冰轮满）
  28. 前调（袖手看飞雪）
  29. 前调（放浪形骸外）
  30. 前调（拄策松江上）
  31. 前调（今夕定何夕）
  32. 前调（最乐贤王子）
  33. 前调（举手钓鳌客）
  34. 前调（戎虏乱中夏）
  35. 风流子（飞观插雕梁）
  36. 鱼游春水（芳洲生蘋芷）
  37. 宝鼎现（山庄图画）
  38. 祝英台近（枕霞红）
  39. 朝中措（花阴如坐木兰船）
  40. 蝶恋花（窗暗窗明昏又晓）
  41. 前调（燕去莺来春又到）
  42. 沁园春（神水华池）
  43. 临江仙（玉立清标消晚暑）
  44. 前调（莺唤屏山惊睡起）
  45. 前调（十日篱边犹袖手）
  46. 前调（露坐榕阴须痛饮）
  47. 醉落魄（浮家泛宅）
  48. 前调（绿枝红萼）
  49. 前调（一枝冰萼）
  50. 前调（云鸿影落）
  51. 南歌子（凉月今宵满）
  52. 前调（远树留残雪）
  53. 前调（玉露团寒菊）
  54. 前调（桂魄分馀晕）
  55. 卜算子（的皪数枝斜）
  56. 前调（凉气入熏笼）
  57. 前调（风露湿行云）
  58. 前调（芳信着寒梢）
  59. 浣溪沙（曲室明窗烛吐光）
  60. 前调（一枕秋风两处凉）
  61. 前调（翡翠钗头缀玉虫）
  62. 前调（燕掠风樯款款飞）
  63. 前调（云气吞江卷夕阳）
  64. 前调（山绕平湖波撼城）
  65. 前调（目送归舟铁瓮城）
  66. 前调（月转花枝清影疏）
  67. 前调（花气天然百和芬）
  68. 前调（萼绿华家萼绿春）
  69. 前调（花气蒸浓古鼎烟）
  70. 前调（花气熏人百和香）
  71. 前调（残腊晴寒出众芳）
  72. 前调（棐几明窗乐未央）
  73. 前调（榕叶桄榔驿枕溪）
  74. 柳梢青（清山浮碧）
  75. 前调（小楼南陌）
  76. 醉花阴（紫枢泽笏趋龙尾）
  77. 前调（翠箔阴阴笼画阁）
  78. 长相思令（香暖帏）
  79. 前调（花下愁）
  80. 如梦令（雨洗青冥风露）
  81. 前调（潮退江南晚渡）
  82. 前调（卧看西湖烟渚）
  83. 春光好（疏雨洗）
  84. 前调（吴绫窄）
  85. 虞美人（开残桃李春方到）
  86. 卷下
  87. 青玉案（华裾玉辔青丝鞚）
  88. 前调（王孙陌上春风鞚）
  89. 前调（花王独占春风远）
  90. 前调（水芝香远摇红影）
  91. 前调（银潢露洗冰轮皎）
  92. 前调（月华冷沁花梢露）
  93. 前调（平生百绕垂虹路）
  94. 点绛唇（山暗秋云）
  95. 前调（水驿凝霜）
  96. 前调（春晓轻雷）
  97. 前调（画阁深围）
  98. 前调（嵩洛云烟）
  99. 前调（清夜沉沉）
  100. 前调（醉泛吴松）
  101. 前调（减塑冠儿）
  102. 前调（水鹢风帆）
  103. 虞美人（广寒蟾影开云路）
  104. 前调（西郊追赏寻芳处）
  105. 前调（菊坡九日登高路）
  106. 渔家傲（钓笠披云青障绕）
  107. 前调（楼外天寒山欲暮）
  108. 前调（寒日西郊湖畔路）
  109. 谒金门（鸳鸯渚）
  110. 前调（风露底）
  111. 前调（清光溢）
  112. 瑞鹧鸪（雏莺初啭斗尖新）
  113. 前调（白衣苍狗变浮云）
  114. 好事近（老去更思归）
  115. 前调（梅润乍晴天）
  116. 前调（春色到花房）
  117. 前调（斗帐炷炉熏）
  118. 怨王孙（小院春昼）
  119. 前调（霁雨天迥）
  120. 喜迁莺令（文倚马）
  121. 前调（云叶乱）
  122. 喜迁莺慢（雁塔题名）
  123. 鹧鸪天（不怕微霜点玉肌）
  124. 忆秦娥（桃花萼）
  125. 明月逐人来（花迷珠翠）
  126. 小重山（谁向晴窗伴素馨）
  127. 上西平（卧扁舟）
  128. 春光好（花恨雨）
  129. 前调（寒食近）
  130. 清平乐（乱山深处）
  131. 前调（明珠翠羽）
  132. 菩萨蛮（天涯客里秋容晚）
  133. 前调（拍堤绿涨桃花水）
  134. 前调（春来春去催人老）
  135. 前调（雨馀翠袖琼肤润）
  136. 前调（黄莺啼破纱窗晓）
  137. 前调（甘林玉蕊生香雾）
  138. 楼上曲（楼外夕阳明远水）
  139. 前调（清夜灯前花报喜）
  140. 豆叶黄（冰溪疏影竹边春）
  141. 前调（疏枝冷蕊忽惊春）
  142. 满庭芳（梁苑春归）
  143. 前调（韩国殊勋）
  144. 前调（玉叶联芳）
  145. 前调（三十年来）
  146. 瑞鹤仙（倚格天峻阁）
  147. 前调（喜西园放钥）
  148. 瑶台第一层（宝历祥开飞练上）
  149. 前调（江左风流钟间气）
  150. 望海潮（苍山烟澹）
  151. 前调（麒麟图画）
  152. 十月桃（年华催晚）
  153. 前调（蟠桃三熟）
  154. 感皇恩（绿发照魁星）
  155. 前调（年少太平时）
  156. 前调（荔子着花繁）
  157. 前调（豹尾引黄幡）
  158. 夏云峰（涌冰轮）
  159. 千秋岁（相门出相）
  160. 水龙吟（水晶宫映长城）
  161. 南乡子（山寺《辋川图》）
  162. 卷珠帘（祥景飞光盈衮绣）
  163. 醉蓬莱（对小春桃艳）
  164. 陇头泉（少年时）
  165. 天仙子（楼外轻阴春澹伫）
  166. 鹊桥仙（靓妆艳态）
  167. 渔父家风（八年不见荔枝红）
  168. 生查子（天生几种香）
  169. 减字木兰花（客亭小会）
  170. 眼儿媚（萧萧疏雨滴梧桐）
  171. 昭君怨（春院深深莺语）
  172. 夜游宫（半吐寒梅未拆）
  173. 杨柳枝（深院今宵枕簟凉）
  174. 彩鸾归令（珠履争围）
  175. 江神子（梦中北去又南来）
  176. 西江月（小阁劣容老子）
  177. 诉衷情（儿时初未识方红）
  178. 采桑子（华堂清暑榕阴重）
  179. 菩萨蛮（山城何岁无风雨）
  180. 前调（微云红衬馀霞绮）
  181. 浣溪沙（睡起中庭月未蹉）
  182. 好事近（华烛炯离觞）
  183. 南歌子（玉斧修圆了）
  184. 醉花阴（紫菊红萸开犯早）
  185. 点绛唇（小雨忺晴）
  186. 花心动（水馆风亭）
  187. 蓦山溪（一番小雨）
  188. 西楼月（瑶轩倚槛春风度）
  189. 踏莎行（芳草平沙）

FAQ

How many of Zhang Yuangan's ci does this book include? According to the source, more than 180 of Zhang Yuangan's ci survive; this book gathers all of them, with fine comments by later critics and brief annotation, so it can serve as a fairly complete reader of Zhang's ci.
Is the introduction helpful for reading? Yes. It is written by Mr. Cao Jiping, an expert on Zhang Yuangan, and helps readers understand the poet's background, range of subjects, and stylistic traits. It is especially friendly to those new to Zhang's ci and makes a good first stop before the complete collection.
Is the annotation detailed, and is it suitable for beginners? The annotation is brief, aimed at clarifying meaning rather than extensive textual research, and suits general readers and students of classical literature. Those needing detailed line-by-line commentary or textual scholarship should look for specialized editions.

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About the author

张元幹 Author

Zhang Yuangan is a Chinese author of classical poetry, about whom public information is limited; his birth and death years, native place, and official career are not clearly recorded. All that can currently be confirmed is that two of his works survive, namely an anthology of Song poetry, the "Luchuan Guilai Ji Chao," and the "Zhang Yuangan Ci Collection." Judging from the titles and the common classification of his works, he wrote both shi and ci, with the latter being especially prominent. His ci often express personal feelings and thoughts on home and country, in a somber and indignant style, and are somewhat representative of the early Southern Song ci world; his shi appear in old-style poetry anthologies and mostly relate to his personal experience and the times. Because insufficient historical material survives, the details of his life are difficult to set out, and literary history generally regards him as one of the literati active at the transition from the Northern to the Southern Song, whose works influenced later patriotic ci writing.