Complete Yuan Qu 102

薛鸿鹏 / Feng XueliThe Commercial Press · ChinaJun 2024

3.4

Word count: 35K words
Chapters: 4

Summary

Yuan Drama Complete: Volume 102. Yuan drama (qu) is a newly emerging literary form, generally divided into zaju (variety plays) and sanqu (scattered songs). It produced great writers and many outstanding works, and has exerted a profound influence on literary history. Sanqu grew out of the popular songs and folk tunes of the Jin dynasty; the vast majority belong to the northern qu tradition and include xiaoling (short lyrics) and taoshu (song suites). More than 3,800 xiaoling and over 450 taoshu survive today. There are more than 204 named authors, among them, in the early period, Guan Hanqing, Ma Zhiyuan, and Bai Pu, and in the later period, Qi Ji, Zhang Kejiu, Sui Jingchen, Zhang Yanghao, and Liu Shizhong. Because sanqu were often used as lyrics sung by singing girls at banquets, romantic songs are relatively numerous, but there is also no lack of xiaoling on scenery, lyric expression, and meditation on the past, as well as taoshu that satirize customs and criticize contemporary abuses; famous examples include Ma Zhiyuan's "Borrowing a Horse," Liu Shizhong's "To High Commissioner Gao," and Sui Jingchen's "The Emperor Gaozu Returns to His Hometown."

Editor's review

This book is one volume in the Complete Yuan Drama series, continuing the textual lineage of the original Republican-era Commercial Press edition. Its content revolves around the two major types of Yuan drama: zaju and sanqu. The sanqu section introduces its background in the popular songs and folk tunes of the Jin dynasty and includes both xiaoling and taoshu, encompassing not only the romantic songs of banquet performance but also works on scenery, lyric expression, and meditation on the past, as well as pieces satirizing contemporary abuses. Masterpieces such as Ma Zhiyuan's "Borrowing a Horse," Liu Shizhong's "To High Commissioner Gao," and Sui Jingchen's "The Emperor Gaozu Returns to His Hometown" are specially noted. The zaju section touches on its popularity in Shanxi and Hebei in the early Yuan. This book serves as an anthology for understanding the overall landscape of Yuan drama; as you read, pay attention to the evolution of sanqu from folk tunes to literati composition and to the stylistic differences between early figures such as Guan Hanqing, Ma Zhiyuan, and Bai Pu and later ones such as Zhang Kejiu, Zhang Yanghao, and Liu Shizhong, so as to grasp Yuan drama's place in literary history.

Who it's for

A good fit for

Literary enthusiasts who want a systematic understanding of the division between sanqu and zaju in Yuan drama
Students preparing for exams who need leads on representative Yuan drama authors and famous works
Collectors interested in the original Republican-era Commercial Press edition
General readers who enjoy classical verse and dramatic texts

Not a good fit for

Beginners who need detailed annotations, vernacular translations, and pronunciation glosses for rare characters
Specialist scholars studying only the complete works of a single Yuan drama author
Readers with no interest in classical dramatic texts

Reading tips

First browse the table of contents to build an overall framework by sanqu xiaoling, taoshu, and zaju.
Focus first on famous works such as "Borrowing a Horse," "To High Commissioner Gao," and "The Emperor Gaozu Returns to His Hometown," then expand to other authors.
Group early and late authors for contrast, noting changes in subject matter and language style.
Consult Yuan-era social and cultural background as you read to aid understanding of satirical and historical-meditation works.

About the publisher

The Commercial Press China · Founded in 1897

"Republic-era Commercial Press Original Editions" refers to original books printed by The Commercial Press during the Republican period, not a separate publishing house. Judging from the 300 titles held in the collection, its publishing focus centers on classical poetry and lyrics, literary appreciation, classic works, military texts, prose and miscellaneous writings, and Eastern philosophy. Representative titles include Wang Guowei's Renjian Cihua, Zhong Rong's Shipin, the lyric collections of Xin Qiji and Liu Yong, Sun Wu's The Art of War, and Lü Buwei's Xianshi Lan. Its author resources are mainly classical writers, together with modern scholars such as Li Jingbang and Guo Huaruo, whose collations and annotations are also represented, giving the list a character centered on original texts while attending to annotation and appreciation. Public information on the precise Republican-era catalog and printings is limited; this overview is based only on the titles held in the collection.

版权信息
钱大尹智勘绯衣梦
诈妮子调风月
感天动地窦娥冤

FAQ

Can I understand this book without annotations?

This book relies on the original Republican-era edition and may not provide modern annotations or translations, so reading it directly will pose some difficulty. It is advisable to take it up after acquiring basic competence in classical Chinese and classical verse, or to use it alongside an annotated anthology of Yuan drama, looking up rare words and expressions as needed.

What is the difference between this book and Complete Yuan Drama 101?

Both books belong to the Complete Yuan Drama series; the order of credited authors and the year of publication differ, and both center on sanqu and zaju. The sources show slight differences in statements such as the number of authors; the specific contents and editorial scope should be based on each volume's own table of contents, and readers may choose according to need or use them for cross-reference.

Does Yuan sanqu consist only of romantic songs?

Not at all. The sources clearly state that although sanqu were often used as lyrics sung by singing girls at banquets and romantic songs are relatively numerous, there is also no lack of xiaoling on scenery, lyric expression, and meditation on the past, as well as taoshu that satirize customs and criticize contemporary abuses; "Borrowing a Horse," "To High Commissioner Gao," and "The Emperor Gaozu Returns to His Hometown" are examples. Note the diversity of subject matter as you read.

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About the author

薛鸿鹏 Author

Xue Hongpeng is an author for whom public information is currently limited; details such as nationality, dates of birth and death, and educational background are not clearly recorded. According to Chinese book databases, 55 works appear under this name, mainly in the category of classical poetry, with representative titles being volumes 142 to 149 of the Complete Yuan Qu series. These works center on the compilation and presentation of Yuan dynasty sanqu and zaju texts, systematically assembling Yuan qu literature so that readers can consult material from this period in a concentrated way. The editing style tends toward documentary organization, emphasizing textual completeness and orderly arrangement, and serves the reading and research needs of enthusiasts of classical poetry and qu studies. Owing to the lack of biographical detail, little more can be said about the author's scholarly background.

Feng Xueli Author

Feng Xueli is an editor engaged in the collation of ancient Chinese texts; public information about him is limited, and no authoritative record of his life, native place, dates of birth and death has been found. According to available records, in 1999 he edited the combined "Complete Tang Poems," "Complete Song Ci," and "Complete Yuan Qu," published by Inner Mongolia Cultural Press in sixteen volumes. He also co-edited "Complete Tang Poems" and "Complete Yuan Qu" with Xue Hongpeng. Fifty-six of his works are held in the collection, mainly individual volumes of the "Complete Yuan Qu" series, such as volumes 142 through 149. Classified under ancient poetry, these works reflect his focus on compiling and collating classical verse—Tang poems, Song ci, and Yuan qu—providing readers with a relatively systematic body of texts for studying ancient Chinese poetry and song.