Remarks on Ci from Xiangqi Tower

王闾运Jinzhang Book Company (Jinzhang Shuju) · ChinaJun 2024

4.1

Word count: 3.4K words
Chapters: 5

Summary

In former days, Sun Yuepo was skilled at writing ci and served as teacher to Chen Xitang. Both were in Nanchang, and day after day they exchanged verse with Deng Xinmei. I was then barely twenty, my mind set on the prose and poetry of Han and Wei, and I disdained to bother with ci. In truth, I did not understand its subtleties. When I returned to Changsha, I heard that Li Boyuan and Xitang had both died defending the country. Alone, before the inscription on a painting of swallows, I chanted and brooded in grief and began myself to write short lyrics. Though I could not master the long and slow tunes, I had come to recognize the path Sun Yuepo spoke of. And Xinmei had earlier received word sent by Elder Deng Qi to warn us, saying that to write ci in a manner of hidden resentment was no sign of wealth, long life, or good fortune, and that moreover the refined man does not do it.

Editor's review

In "Critiques of Ci from the Xiangqi Tower," Wang Kaiyun begins by recounting his own experience of learning ci, writing in a plain style tinged with self-reflection: in his youth he was devoted to Han-Wei poetry and prose, held ci in contempt ("did not deign to bother with it"), and did not grasp its finer points. Later, after personal upheavals, he was moved to "sorrowful brooding" by an inscription on a painting of swallows and began trying his hand at short lyrics (xiaoling), gradually coming to understand the approach Sun Yuepo had described. The piece also records Deng Xinmei's relayed warning that "writing ci in a plaintive vein is not a sign of wealth and longevity, and the refined man does not do it," touching on the tension between the style of the ci genre and literati values. Its value lies not in systematic ci theory but in offering a firsthand record of a late-Qing literatus's attitude toward learning ci, letting readers see how one person moved from disdain for the genre to personal experimentation and then to accepting admonition. When reading, attend to the thread of shifting attitude—"disdain—sorrow—understanding the approach—receiving the warning"—and note how critique and personal narrative intertwine. The piece is short and suited to close reading by those interested in ci anecdotes and literati self-accounts.

Who it's for

A good fit for

Readers interested in Qing-dynasty ci studies, literati anecdotes, and accounts of learning to write ci
Readers who enjoy autobiographical writing and shifts in an author's state of mind
Readers with some grounding in classical Chinese who are willing to savor a short preface or colophon

Not a good fit for

Beginners seeking systematic study of ci prosody, tonal patterns, or composition techniques
Readers expecting a complete anthology, poem-by-poem commentary, or theoretical system
Readers unaccustomed to classical Chinese self-narration who need modern vernacular explanation

Reading tips

Read through once to grasp the thread of the author's attitude shifting from contempt for ci to writing his own xiaoling and then accepting admonition.
On a second reading, examine closely the two remarks by Sun Yuepo and Deng Xinmei and compare their differing demands on ci writing.
Circle phrases such as "did not deign to bother," "did not grasp its finer points," and "first began writing xiaoling" to sense the self-reflection in the narrative voice.
After reading, write a short commentary on how you view the tension between the "plaintive" and the "refined."

About the publisher

Jinzhang Book Company (Jinzhang Shuju) China · Founded in 1901

Jinzhang Book Company (Jinzhang Shuju) was a private publishing and distribution house in Shanghai during the late Qing and early Republican periods, issuing traditional works by lithographic printing. Judging from the 1,194 titles in the collection, its publishing focused on classical poetry, Eastern philosophy, historical reading, traditional Chinese medical texts, and canonical works, along with books on literary appreciation. Representative titles include the poetry and prose collections of Du Fu and Ouyang Xiu; historical works such as the Book of Han and Zizhi Tongjian; classical texts such as the Book of Documents and Mencius; and specialized and literary classics such as Treatise on Cold Damage and Li Sao. Its author resources cover major figures across the ages, including Du Fu, Ban Gu, Sima Guang, Zhang Zhongjing, Qu Yuan, Ouyang Xiu, and Tang Shenwei, reflecting the house's characteristic reliance on traditional scholarship and medical literature while serving general readers. Public information on its early history and operational details is limited, so no conjecture is offered here.

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FAQ

What does this critique mainly record?

It mainly records Wang Kaiyun's account of his early devotion to Han-Wei poetry and prose and his contempt for ci, his later turn to writing xiaoling after personal sorrow, and his gradual understanding of the approach described by Sun Yuepo, along with Deng Xinmei's relayed admonition on ci writing. It is a piece of ci writing with an autobiographical flavor.

Is it a systematic work of ci theory?

No. It is closer to the author's account of his experience learning ci, with scattered remarks; it does not lay out a complete system of prosody, tonal patterns, or criticism. Readers seeking systematic study of ci should look for specialized works; it is better read as anecdote and a record of attitude.

What does "a plaintive vein is not a sign of wealth and longevity" mean?

This is a relayed admonition, roughly meaning that writing ci in an overly plaintive vein does not accord with the auspicious signs of wealth and long life, nor with the way of the refined. It reflects a view of the ci genre held by literati of the time; its admonitory force should be understood in context.

Do I need to know about Wang Kaiyun beforehand to read this?

No specialized research is necessary. It is enough to know he was a late-Qing literatus with interests in poetry, prose, and ci. As for figures such as Sun Yuepo and Deng Xinmei mentioned in the text, simply note the role their remarks play; there is no need to verify each biography.

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About the author

王闾运 Author

Wang Lüyun: reliable public information about his life and nationality is limited, making it difficult to give a detailed account of his personal experience. One work by him is held in the collection, Xiangqi Lou Pingci (Comments on Ci from the Xiangqi Studio), commonly classified under folk literature. Judging from the title, the book takes the form of commentary on ci poetry, offering evaluations and discussions of individual works in the manner of traditional literati criticism; the name “Xiangqi Lou” serves as a studio designation, suggesting that the writing is connected to his personal reading and appreciation. On the available evidence, it can be confirmed only that he left this one work in folk literature or related ci criticism; his career, scholarly lineage, and period of activity require further sources. Readers approaching his writing through this book should begin with its commentary format, diction, and the works discussed, rather than speculate unduly about the author's life.