Discussion and Reply

AnonymousBashu Publishing House · ChinaJul 2024

4.2

Word count: 1.3K words
Chapters: 6

Summary

"Deliberations and Responses" is the twenty-fourth chapter of The Literary Mind and the Carving of Dragons, discussing two closely related genres: "deliberation" (yi) and "response" (dui). "Deliberation" carries the sense of argumentation; what distinguishes it from ordinary argumentative writing is that it is addressed to the sovereign. "Response" refers to two types, duice and shece, differentiated by examination subject and collectively called ce.

Editor's review

This chapter, the twenty-fourth of The Literary Mind and the Carving of Dragons, is devoted to two closely related genres, yi (deliberation) and dui (response). Liu Xie first defines the genres: yi differs from ordinary argumentative prose in that its essential character lies in addressing the sovereign; dui comprises duice and shece, which take different names according to the examination subject but are collectively called ce. In a brief space it clarifies generic boundaries, purposes, and occasions, reflecting Liu Xie's method in discussing genres of valuing "defining names to make meanings manifest." For today's readers its value lies, first, in helping understand the differentiation of ancient official documents and examination genres, and second, in offering a method of distinguishing genres by audience, occasion, and purpose. The 2024 Bashu Publishing House edition is convenient for reading alongside the whole work. Suitable for students of ancient literary theory, genre studies, and the history of the examination system, and for writers interested in the differences between yi and dui in audience and mode of response. Read it together with other genre chapters of the work, noting how Liu Xie draws boundaries in a few words, rather than treating it as an isolated manual of composition.

Who it's for

A good fit for

Undergraduate and graduate students studying The Literary Mind and the Carving of Dragons and ancient genre theory
Readers in history and literature researching ancient official documents, memorials, and the examination system
Writers and teachers who need to distinguish the concepts of yi, dui, and ce
Enthusiasts of traditional culture interested in ancient Chinese examination genres

Not a good fit for

Test-oriented readers seeking templates for modern argumentative writing
Complete beginners with no classical Chinese who are unwilling to consult annotations
Readers who want the complete Literary Mind and the Carving of Dragons rather than a single chapter

Reading tips

Read the original text first, marking terms such as yi, dui, duice, and shece, then use the annotations to clarify what each refers to.
Read this chapter alongside other genre chapters of The Literary Mind and the Carving of Dragons and observe Liu Xie's common approach to defining genres.
Consult Han-dynasty examination materials to understand the difference between duice and shece, rather than merely memorizing the names without understanding the system.
After reading, try to summarize the boundary between yi and dui in one or two sentences to test whether you have truly grasped it.

About the publisher

Bashu Publishing House China · Founded in 1983

Bashu Publishing House is a publisher centered on collating and publishing classical Chinese cultural texts, with its main publishing areas covering classical literature, Eastern philosophy, ancient poetry, and educational classics. Its library currently holds 1,075 titles, including representative works such as Dream of the Red Chamber, the Preface to the Orchid Pavilion Gathering, Renjian Cihua, and Out to the Frontier, involving authors such as Cao Xueqin, Wang Xizhi, Wang Guowei, Wang Changling, Liu Xie, and Yan Yu. These reflect the publisher's focus on literary classics, poetry criticism, and philosophical readings. Its publishing character lies in working around ancient texts and canonical works, with attention to textual collation and presentation. Public information on its more detailed publishing background and series plans is limited; this introduction is based only on the library's book information.

版权信息
正文一
正文二
正文三
正文四
正文五

FAQ

How does yi differ from ordinary argumentative writing?

According to this chapter, yi carries the sense of argumentation, but differs from ordinary argumentative writing in that it is "addressed to the sovereign." That is, its audience and occasion define its generic nature: it is not the airing of views in general but the presentation of opinions to the ruler, and thus points toward the genre of memorials.

What is the difference between duice and shece?

This chapter states that dui refers to two types, duice and shece, differentiated by examination subject and collectively called ce. That is, the difference in name derives from examination subject and method, not from two wholly unrelated genres. Specific institutional details require Han-dynasty examination materials.

What is this chapter's place in The Literary Mind and the Carving of Dragons?

It is the twenty-fourth chapter of the work and belongs to the section on genres, specifically discussing the two closely related genres yi and dui. Read it within the sequence of genre chapters, observing how Liu Xie defines names, distinguishes genres, and gives example, rather than treating it as an isolated manual of composition.

Can I read it without a foundation in classical Chinese?

Yes, but you will need annotations and reference works. The chapter is dense with terms such as yi, dui, duice, and shece, all of which must first be clarified; choose an edition with detailed annotations, first clearing up the wording, then grasping the approach to defining genres. If you are entirely unwilling to consult annotations, reading will be difficult.

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About the author

Anonymous Author

Anonymous is not a real personal name but a general Chinese designation for authors whose names are unknown, lost, or unsigned. Neither nationality nor dates of birth and death can be verified, and available public information is limited, so the works attributed to this name are the only basis for description. The collection holds 2,078 works under Anonymous, spanning medicine, classics, historical readings, ancient poetry, classical literature, and philosophy. Representative works include The Yellow Emperor's Inner Canon: Lingshu, Mencius, The Book of Documents, Nineteen Old Poems, Complete Song Ci, and The Peacock Flies Southeast. Most of these works took shape through long transmission and editing, emerging either from collective folk creation or from authors whose names were lost over time. In ancient China, the Book of Songs, the Great Learning, and many popular storybooks and plays were signed Anonymous because their authors could not be traced. Anonymous works cross the classics, histories, philosophical writings, medical texts, and poetry; their subjects are broad, and their styles vary from archaic simplicity to clear naturalness, making them important and influential sources for understanding ancient Chinese thought, medicine, and literature.