Complete Yuan Qu 108

Feng Xueli / 薛鸿鹏The Commercial Press · ChinaJan 2021

3.4

Word count: 29K words
Chapters: 12

Summary

Sanqu grew out of the popular songs and folk tunes of the Jin dynasty; the vast majority belong to the northern qu, and include xiaoling and taoshu. More than 3,800 xiaoling and over 450 taoshu survive today. There are more than 210 named authors, among them, in the early period, Guan Hanqing, Ma Zhiyuan, Bai Pu and others, and in the later period, Qi Ji, Zhang Kejiu, Sui Jingchen, Zhang Yanghao and Liu Shizhong. Because sanqu was mostly used as song lyrics for entertainers at banquets, erotic songs are numerous, but there is also no lack of xiaoling on scenery, lyric expression and meditation on the past, and taoshu satirizing the ways of the world and criticizing contemporary abuses; famous examples include Ma Zhiyuan's "Borrowing a Horse," Liu Shizhong's "To Superior Supervisor Gao," and Sui Jingchen's "The Emperor Returns Home." Yuan zaju was originally popular in the Shanxi and Hebei region, and in the early Yuan flowed

Editor's review

This volume is in the same line as the other volumes of The Complete Yuan Qu, focusing on the documentary organization of Yuan sanqu and zaju. Sanqu inherited the popular songs and folk tunes of the Jin dynasty and is mainly northern qu; xiaoling are short and lively, while taoshu unfold fully. More than 3,800 xiaoling and over 450 taoshu survive today, with more than 210 named authors. The book covers early masters such as Guan Hanqing, Ma Zhiyuan and Bai Pu and also collects later authors such as Qi Ji, Zhang Kejiu, Sui Jingchen, Zhang Yanghao and Liu Shizhong; works satirizing worldly affairs such as Ma Zhiyuan's "Borrowing a Horse," Liu Shizhong's "To Superior Supervisor Gao" and Sui Jingchen's "The Emperor Returns Home" are especially valuable for understanding. This volume is organized on the basis of the original Commercial Press edition of the Republican period and is suitable as a base text for recitation, reference and teaching. When reading, first grasp the linguistic characteristic of sanqu, "elegance within the vulgar," then combine it with the background of Yuan zaju circulating in the Shanxi and Hebei region to understand the relationship between northern qu vocal music and literati creation; there is no need to fear the character forms of old editions, for with reference works one can enter the text smoothly.

Who it's for

A good fit for

Advanced readers interested in classical Chinese verse and Yuan qu
Those who need the original texts of Yuan sanqu for research or lesson preparation
Literature enthusiasts who like short xiaoling and want to accumulate recitation material
Readers interested in Yuan social life and satirical works

Not a good fit for

Beginning readers who need line-by-line vernacular translation and detailed appreciation
People who only want to read complete zaju plots and have no interest in sanqu
Readers unaccustomed to old-edition layouts and traditional characters

Reading tips

First read through the xiaoling section, choosing three to five pieces a day for recitation to feel the rhythm and colloquial appeal of northern qu.
Read satirical masterpieces such as "The Emperor Returns Home" and "To Superior Supervisor Gao" together to appreciate the critical edge of sanqu.
Combine with the background of Yuan zaju circulating in Shanxi and Hebei to understand the regional and musical origins of northern qu sanqu.
Keep a literary history of the Yuan dynasty or a dictionary of sanqu at hand to look up authors and qupai information as you read.

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
楚昭王疏者下船
第一折
第二折
第三折
第四折
布袋和尚忍字记
楔子
第一折
第二折
第三折
第四折

FAQ

What is the difference between this volume and The Complete Yuan Qu 107?

Both volumes belong to The Complete Yuan Qu series, and their introductions both center on Yuan sanqu xiaoling, taoshu and famous masters, with similar information on authors and famous pieces. The specific arrangement of pieces should be based on the actual table of contents; readers may read the volumes in sequence or select one volume to read on its own.

Can I read this book directly without any foundation in Yuan qu?

You can try, but the original edition has limited annotation, so it is advisable first to read a few anthologies of sanqu with modern annotation to become familiar with qupai, chenzi and colloquial vocabulary before entering this book. If you only want to feel the appeal of the language, the threshold for starting with short xiaoling is not high.

What is the relationship between sanqu and Yuan zaju?

Sanqu consists of song lyrics for unaccompanied singing, divided into xiaoling and taoshu; zaju is a theatrical form combining singing, recitation and acting. Both belong to Yuan qu and share a northern qu musical foundation. This book focuses on sanqu while also mentioning the background of zaju circulation, which can help in understanding the connection between the two genres.

Are the taoshu satirizing the ways of the world worth reading closely?

Yes. Taoshu such as Liu Shizhong's "To Superior Supervisor Gao" and Sui Jingchen's "The Emperor Returns Home" use colloquial language to criticize worldly affairs; they are both literarily interesting and reflective of Yuan society. When reading, first understand the background of the story, then appreciate their extended narrative structure and satirical technique.

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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.