Sequel to Collected Remarks on Ci and Qu
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Summary
Traditional Chinese thought and culture have a long history and are highly original, inventive, and literary. Early forms of thought are distinctive in character, and subjects such as religious theology, classical texts of Chinese medicine, ancient military strategy, Confucianism, Daoism, Buddhism, and the Hundred Schools of Thought, feng shui and metaphysics, the Twenty-Four Histories, and local customs and geography are vast and profound. This series, "Essential Classics of Chinese Traditional Culture: Original Texts," preserves the appearance of the original books, with the aim of conserving and transmitting traditional Chinese thought and culture. By reading the literary essence left by ancient sages, readers can cultivate their temperament and subtly come to appreciate the classics of Chinese learning.
Editor's review
This book is one of the "Essential Classics of Chinese Traditional Culture: Original Texts" series and is compiled and published while preserving the appearance of the original book. Yang Enshou's Xu Ciyu Conghua continues earlier works and is a note-style work discussing ci and qu. Its content largely concerns the composition, prosody, appreciation, and criticism of ci and qu, and it combines documentary value with theoretical interest. Its value lies in preserving ancient literati's scattered views and critical writings on ci and qu, making it a source for research on ci and qu, the history of literary criticism, and Qing dynasty literary theory. For general readers, it is a window into traditional aesthetic and critical discourse on ci and qu. The book is not distinguished by a tightly organized system but is presented in the form of note entries, making it suitable for reading and noting at leisure and for selective reading according to interest. Readers should combine it with specific ci and qu works in order to grasp what its comments refer to; at the same time, they should bear in mind its historical context and the author's personal standpoint and should not treat one person's views as settled conclusions. Overall, this is a traditional work of literary theory suited to slow reading, careful savoring, and consultation on specific topics.
Who it's for
A good fit for
- Scholars and students researching ci and qu studies, Qing literary theory, and the history of literary criticism
- Literature enthusiasts who enjoy classical poetry, ci, and qu and wish to understand traditional critical discourse
- Practitioners engaged in the collation, editing, and reference use of ancient books
- Readers who wish to build experience in reading Chinese classics while preserving the appearance of the original books
Not a good fit for
- Beginners who want to systematically learn ci and qu prosody and composition through a single book
- Readers who prefer modern vernacular explanations and need extensive annotations and translations
- People seeking only light entertainment reading and uninterested in note-style literary theory
Reading tips
- Begin with the preface, postscript, and table of contents to understand the structure and scope of the entries, then read selectively according to interest.
- For each entry, try to find the original ci or qu work being discussed and read them together in order to grasp the point and measure of the commentary.
- Keep a notebook and excerpt passages by theme, such as prosody, composition, and evaluation, to form your own reference index.
- Read alongside other works of ci criticism and qu criticism to compare the views and critical standards of different critics.
Contents
- 版权信息
- 续词余丛话
- 续词余丛话卷一
- 续词余丛话卷二
- 续词余蕞话卷三
FAQ
Can I read this book without any foundation in ci and qu?
You can try, but there will be a certain threshold. This book is note-style literary theory involving ci and qu prosody, composition, and evaluation, and it is not easy to grasp without some foundation. It is advisable to first read some anthologies of ci and qu and introductory works, then return to a careful reading, or to use this book as material for reference and verification rather than as an introductory textbook.
Is this a systematic theoretical work on ci and qu?
No. It belongs to the congshi (collective notes) genre, consisting mostly of scattered entries of evaluation, anecdote, and discussion, and lacks system-building in the modern sense. Its strength is that it preserves the immediate views and critical discourse of an ancient critic; it is suitable for subject-based consultation and reading with notes at leisure, and one should not expect a rigorously structured theoretical framework.
How should I make use of the commentary in the book while reading?
It is best to read it against the original ci and qu works being discussed, observing whether the commentary targets wording, prosody, or overall style, and to note the critic's standpoint and the tastes of the era. You can group and compare similar views across different entries, and also read it alongside other ci and qu criticism, to form your own judgment rather than accepting everything wholesale.
Is this book suitable as material for citation in academic papers?
It can be used as a source of leads, but when citing, you should verify the original text and edition, indicate the specific entry and source, and cross-check with other documents. Works of the congshi type often contain retellings, hearsay, and personal bias, so conclusions should not be drawn from a single piece of material; it should be used cautiously within a specific scholarly question.
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About the author
杨恩寿
Author
Yang Enshou was a Qing-dynasty writer on drama, though public information about him is limited and neither his dates nor his native place are clearly recorded. Two works bearing his name survive, Ciyu Conghua and its sequel Xu Ciyu Conghua, both belonging to the genre of drama criticism. "Ciyu," literally "the remainder of ci," is an alternative term for qu (aria), and the two books follow the traditional form of quhua, collecting and evaluating dramatists, plays, and anecdotes of the theatrical world while also touching on prosody, diction, and the sources of plots. They are important materials for the study of Qing drama criticism. Their emphasis falls on appreciation and ranking, with discussion that is concrete and close to actual practice, and they are often cited in the collation and study of classical drama texts. Because the author's life is difficult to verify, later understanding of him and his work rests mainly on these two books themselves.
