Complete Yuan Qu 12

Feng Xueli / 薛鸿鹏The Commercial Press · ChinaDec 2020

3.7

Word count: 9.7K words
Chapters: 8

Summary

Quanyuanqu (Complete Yuan Drama and Songs) is a newly emerging literary genre, generally divided into zaju (variety plays) and sanqu (non-dramatic songs). It produced great writers and many excellent works, with a profound influence on literary history. Sanqu grew out of the popular ballads and folk tunes of the Jin dynasty; the vast majority belong to the northern style and include xiaoling (short songs) and taoshu (song suites). More than 3,800 xiaoling and over 450 taoshu survive today. There are more than 223 named authors, among whom the early period includes Guan Hanqing, Ma Zhiyuan, and Bai Pu, while the later period includes Qiao Ji, Zhang Kejiu, Sui Jingchen, Zhang Yanghao, and Liu Shizhong. Because sanqu were mostly used as lyrics sung by entertainers at banquets, romantic songs are numerous, but there is also no lack of xiaoling on scenery, lyric expression, and nostalgia for the past, as well as taoshu satirizing worldly ways and criticizing current abuses. Famous examples include Ma Zhiyuan's "Borrowing a Horse," Liu Shizhong's "To High Commissioner Gao," and Sui Jingchen's "The Return of Gaozu." Yuan zaju originally circulated in the Shanxi and Hebei regions, and in the early Yuan period flowed

Editor's review

This is the twelfth volume in the Quanyuanqu series, reproduced or collated from the original edition published by the Commercial Press in the Republican period, and is suitable as a desk reference for checking Yuan qu texts. Yuan qu encompasses both zaju and sanqu, and sanqu is further divided into xiaoling and taoshu. Sources indicate that more than 3,800 xiaoling and over 450 taoshu survive, with more than 220 named authors; the early period is represented by Guan Hanqing, Ma Zhiyuan, and Bai Pu, while the later period includes Qiao Ji, Zhang Kejiu, Sui Jingchen, Zhang Yanghao, and Liu Shizhong. Although sanqu were mostly used as banquet songs for entertainers and romantic pieces are numerous, works on scenery, lyric expression, and nostalgia for the past, as well as taoshu satirizing worldly ways and criticizing current abuses, are equally notable; famous pieces include Ma Zhiyuan's "Borrowing a Horse," Liu Shizhong's "To High Commissioner Gao," and Sui Jingchen's "The Return of Gaozu." The value of this volume lies in preserving the appearance of the original printed edition and facilitating verification of individual pieces and authorship. It is suitable for extended study after reading an anthology, or for checking quotations and comparing editions. When reading, it is advisable to use the general table of contents and author index: first locate the desired piece, then turn to the specific text, so as not to lose one's way in the sheer volume.

Who it's for

A good fit for

Classical literature enthusiasts who have read anthologies of Yuan qu and wish to consult the original texts further
Scholars and teachers in the humanities who need to verify Yuan qu pieces, authors, and quotations
Readers interested in bibliography and textual scholarship who wish to see the appearance of the Commercial Press edition from the Republican period
Students taking specialized courses on Yuan qu in university classical literature programs

Not a good fit for

Readers new to Yuan qu who wish to begin with an annotated introductory anthology
General readers who only want a light understanding of famous stories and are unwilling to deal with traditional characters or original printed texts
Readers expecting modern vernacular translations and detailed appreciation

Reading tips

First read the general table of contents and author index, mark the writers and pieces included in this volume, then read closely as needed.
Read alongside an annotated anthology of Yuan qu; when encountering difficult lyrics, consult the anthology's notes first.
Read by author groups: begin with early masters such as Guan Hanqing and Ma Zhiyuan, then move on to later writers.
When taking reading notes, record the source of each piece and edition information for future verification of quotations.

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
王实甫
张君瑞闹道场（第一本）
楔子
第一折
第二折
第三折
第四折

FAQ

Is this book suitable for beginners in Yuan qu to read directly?

Not very. This volume is collated from the original Commercial Press edition of the Republican period and focuses on preserving the appearance of the original text; annotation and introductory guidance are relatively limited. Beginners who start directly with it may lose their bearings before its sheer volume and the obstacles of the lyrics. It is advisable first to read an annotated anthology of Yuan qu, become familiar with representative authors and famous pieces, and then turn to this volume for verification.

What is the difference between sanqu and zaju in Yuan qu?

According to the sources, Yuan qu is generally divided into two categories: zaju and sanqu. Sanqu grew out of the popular ballads and folk tunes of the Jin dynasty; the vast majority belong to the northern style and include xiaoling and taoshu. They were mostly used as lyrics sung by entertainers at banquets, and there are also works on scenery, lyric expression, and nostalgia for the past, as well as pieces satirizing current abuses. Zaju, by contrast, is a form of theatrical performance that originally circulated in the Shanxi and Hebei regions.

What is the relationship between this volume and the other volumes of Quanyuanqu?

This is the twelfth volume of the Quanyuanqu series, which arranges and collects qu texts in the corresponding scope according to the series plan; the specific pieces are determined by this volume's general table of contents. It is not a standalone anthology but part of the complete set. When consulting it, one should use the complete set's general table of contents and author index to locate material, and avoid judging completeness on the basis of a single volume.

How should one handle the romantic content in sanqu when reading?

The sources point out that sanqu were mostly used as banquet lyrics for entertainers and that romantic pieces are numerous, but at the same time there are xiaoling on scenery, lyric expression, and nostalgia for the past, as well as taoshu satirizing worldly ways and criticizing current abuses. When reading, one may begin with famous pieces such as Ma Zhiyuan's "Borrowing a Horse," Liu Shizhong's "To High Commissioner Gao," and Sui Jingchen's "The Return of Gaozu," then expand according to interest; there is no need to read all the romantic pieces cover to cover.

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About the author

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.

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.