textual force, 8; utterance and, 2,
emperor; palace concubines/
3, 7
ladies
Documents, see Classic of Docu-
Cui Riyong, 218–20
ments
cultural competence, 11, 44, 72, 135,
dramatic unity, 80
136, 144–47; citation and, 67–68;
dream, 4
moral worth and, 119; per-
drunken poet, 239, 241, 255–56
formance and, 144, 146, 155–56;
Du Fu, 230, 239, 248–50
power of, 112, 120–21, 132; in
Du Mu, 254–56
Prince Chong’er story, 35, 36–38, Duan Chengshi, 161, 166
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304
Index
Eastern Zhou, 10, 11, 14, 32, 46, 111;
family ties, 147–48, 208
Traditionalists in, 15, 19, 20, 28,
Fan Shu, 165–66; Friendly Debates
37
at Misty Brook, 161, 181, 261;
“elegant words,” 172, 174–75
Xunxi, 166
elite (ruling) class, 112, 158, 159, 203,
feelings, see emotion/feelings
244; art of conversation and, 135,
feng, see admonition
186; émigré aristocracy, 113; im-
Feng Zhi, 181, 202
provisational skills of, 135,
folk song ( yuefu) , 133–34, 187–88
136–37, 140; literary talent and,
Forest of Conversations ( Yu lin) , 145
204; Traditionalist, 19, 20. See
frustration, venting of, 87, 89, 119,
also literate class; official class
193; outburst song and, 11, 81, 84,
elite knowledge, 125, 136, 137, 140.
92, 98, 224–25
See also Traditional knowledge
emotion/feelings, 13, 79, 103, 143,
“Gaixia ge,” see “Song of Gaixia”
145, 167–70; audience and, 259,
Gao Lishi, 183
273; chain reaction of, 222–23;
Gao Yun: Wei History, 200
impulse ( xing), 41, 151, 152–54, 155;
“gathering poems” doctrine, 180–81
intent and, 168–69, 197–98;
gentlemanly conduct, 22. See also
outburst song and, 98–99, 101,
cultured man
171–72; in performance, 74, 75,
ghost-mother’s poem, 221–23, 259
76–77, 85; poetic offering and, 33;
gift giving, 273
poetic power and, 178; poetry as
Golden Age, 20, 22, 23
response to, 234, 244, 261; state
Gongyang Commentary ( Gongyang
of mind and, 107, 108; stimulus-
zhuan) , 197
response model and, 175–76;
“Great Preface” (“Da xu,” to Clas-
stolen love and, 269. See also
sic of Poetry), 13, 72, 158, 193, 218,
specific emotions
222, 277; cited in Storied Poems,
emperor, 244; as audience, 101–2,
167–75 passim, 179, 184–85
208, 211, 223, 236–38, 245. See also
Great Learning ( Da xue) , 175
court; imperial power; and spe-
“Great Wind, The” (“Dafeng ge,”
cific emperors by name
Liu Bang), 75–78, 85, 86, 93–94
examination system, 157, 168, 218,
Green Pearl (servant girl), 266 n 82,
229–31, 247, 248
267
explicit comment, 49–50
Gu Kaizhi, 135, 138, 150
“exquisite lines,” 141, 172, 174–75
Gu Kuang, 260
Guo Pu, 145, 146
fahui (manifestation of power),
Guo Zhaojun, 104, 105
177–78
“Gushi shijiu shou,” 261
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Index
305
Han dynasty, 11, 14, 108, 192, 270;
Historical Records ( Shi ji), 11, 80–81,
disunion following, 109, 112, 185,
154
200
historiography, 16, 162, 163
Han History ( Han shu), 10, 12, 98,
Hu Yan, 34–35, 36–37, 42–43, 44, 48
166, 194; clan competition in, 111,
Hu Yinglin, 159, 195–96; Collected
112; Empress Lü’s cruelty and, 91,
Notes from the “Humble Abode”
92; “gathering poems” doctrine
Mountain Retreat, 195
in, 180; imperial power in, 120;
Huai Ying, 35, 36
narrative frame and, 106, 109;
Huan Wen, 135
performance in, 280–81; on
Huan Xuan, 133, 138
ruling class, 113; on Xiang Yu
Huan Yin, 145
and Liu Bang, 73, 78, 82; Zuo
Huangfu Mi, 146, 147, 148, 149
Tradition in, 183–84. See also
Huarong, Lady, 102, 104
under outburst song
Hui (Han emperor), 87, 88
Han Huang, Duke of Jin, 161,
Hui, King of Liang, 133
270–74, 277
Hui, Prince of Zhao, 92–93, 94
Hanlin Academy, 161, 239
Huizi, 39–40 n 35
Han shu, see Han History
human swine, Lady Qi as, 88,
Han Ying: Supplementary Com-
89–90
mentary on the Han School
humiliation, 211, 216, 217
Poems, 187
humility, 43, 44–45, 58
Han Yu, 189, 222; An Explication of
humor, 126, 127, 138, 150; puns, 211,
Advancing in Studies, 190; “The
246; stand-up comedy, 50. See
Tale of Xuanyuan Miming,”
also wit
252–54
He Zhizhang, 239
imperial power, 111, 112, 114, 116–19,
Hearsay Noted from the Great Tang
281; symbolic power and, 116,
Dynasty ( Da Tang chuanzai) , 182
117–18, 120. See also court; em-
heart, discourse of, 131, 281. See also
peror
romance
impotence, 81, 109, 149. See also
hermeneutic skills, 136, 192. See also
powerlessness
Traditional knowledge
improvisation, 26, 27 n 12, 115, 118,
heterogeneity, 160, 201
139–40; “word chain” game,
hierarchy, 132, 138, 157; at court,
135–38. See also spontaneous
18–19, 20, 52; political, 37, 203,
performance
241, 255; of power, 41, 271–72
impulse ( xing), 41, 151, 152–54, 155
historical context, 3, 10
incest taboo, 59–60
historical fact, 164
innovation, 120, 160, 188
historical narrative, 92, 106–8,
inscribed objects, 3
184
instrumental accompaniment, 84
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306
Index
intent, 71–72, 108, 196; feeling and,
Li Linfu, 223–26
168–69, 197–98
Li Shizhi, 223–26
interiority, 47, 130–31, 198, 269;
Li Yuan, 254–56
outburst song and
, 11–12, 79
Li Zhangwu, 229–30
interpretation, 54, 69–70
lianju, see “linked verses”
intertextuality, 8, 59, 162
Ling, Duke of Jin, 55–59, 62, 63,
interval ( jian), 9. See also time
65–67
frane
“linked verses” (game), 252–54
irony, 193, 226; in citations, 123, 125,
Li sao, 83
127, 131
literary arena, 256–57
literary gatherings, 250, 252, 268,
Ji Yougong: Recorded Stories of
270
Tang Poetry, 189
literary heritage, 177
Ji Yun, 160
literary judgment, 237–38
Jia Dao, 230–31
literary production, 114–15, 203;
jian, see interval; time frame
talent in, 120, 137; theory of,
Jifu, 45, 48
80–81. See also poetry produc-
Jin dynasty, 41, 43, 62, 112
tion
jokes, see humor; wit
literary reputation, 12, 144, 146, 148,
judgment, imperial, 237–38
149, 204, 229
literary talent, see talent
Kang Sengyuan, 138–39, 144
literate class, 13, 181, 201, 281
Kong Yingda, 167–69, 174, 178;
Liu Bang, 73, 81–87, 89, 112, 118 n 13;
Standard Meaning of the Mao
“The Great Wind,” 75–78, 85, 86,
Poems, 167
93–94; “The Wild Swan,” 82–85,
Kui (music director), 70–71
86
Liu clan, 83, 182
Lao Xiaoyu, 69
Liu Fu: Lofty Discussions Under the
“Lesser Preface(s)” (“Xiao xu”), 48,
Green Willow, 261
158, 189, 190–93, 198, 215, 235,
Liu Gong jiahua lu, 182
244–45
Liu Jun, 112, 126, 145, 153
Li Bai, 238–44, 248–50, 256
Liu Mengde wenji, 234
Li Deyu, 161–62, 163–64, 182; Notes
Liu Su, 161, 196 n 63
on Traveling in Zhou and Qin,
Liu Xiang, 186, 187, 188; Biographies
169
of Virtuous Women, 185
Li Fengji, 274–77
Liu Yiqing, 12, 112. See also Topical
Li Jun, 163–64; Miscellaneous Re-
Tales
cords of Pine View Studio, 162,
“Liu yue,” see “Sixth Month”
182, 197
Liu Yuxi, 231–35; “Given to All the
Li Kang, 161
Fine Gentlemen Viewing
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Index
307
Flowers,” 231–32, 234; “Immor-
military tactics, 22–23. See also
tal Peach Trees,” 232–35
martial; warfare
Liu Zhiji, 161
mind, theory of, 39–40, 43. See also
locutionary act, 7–8
state of mind
“Look at the Rat” (“Xiang shu”), 51
Miscellaneous Offerings from
loss of face, 273. See also humilia-
Youyang ( Youyang zazu), 161–62,
tion
166
love stories, 203, 243–44. See also
Miscellaneous Records of
“stolen love” stories
Cloud-Dwelling Immortals
Lu Ji, 144, 169
( Yunxian zaji), 181, 202
Lu Zhao, 162
moral didacticism, 142–43, 149
Lü, Han Empress, 82, 84, 86–93;
moral worth, 119, 131, 226
Prince You and, 90–92; torture
morality, 185–86, 199, 238; Confu-
of Lady Qi by, 87–90
cian, 186, 192, 199
Lü clan, 90, 91–92
Mu, Duke of Qin, 35–40 passim,
Lunyu, see Analects
43–48 passim, 53. See also
Lupu Gui, 59–60
Chong’er, Prince of Jin
Lynn, Richard, 177
“Mulian bian” (Song of Mulian),
lyricism, 173
247, 248
Lyrics of Chu ( Chu ci) , 83, 143, 171,
“Multitudes,” 63–65
173
musical performance, 69, 70–71, 84,
169, 244; ritual and, 32–33. See
manifestation, 190, 193, 198, 215; of
also performance
power ( fahui), 177–78
Mao prefaces (“Maoshi xu”), to
narrative, 7, 85, 110, 148, 154–55; as
Poems, 27 n 13, 28, 125, 140, 215, 235,
context for poems, 77–78, 177,
244
193–94; historical, 92, 106–8, 184;
Maoshi jian, 191, 192
performance and, 6–7, 78, 86,
“Maoshi xu,” see Mao prefaces
102, 103, 104, 217; poem-bearing,
martial ( wu) and civil ( wen) men, 19,
5, 9; repetition in, 17–18; veracity
208, 212, 228
of, 164, 196
master-slave relations, 127–31, 132
“Nineteen Old Poems” (“Gushi
Mather, Richard, 134, 186
shijiu shou”), 261
mediocrità, 26
Niu Sengru: Record of the Mysteri-
Mencius, 19, 21, 45 n 39, 177
ous and Weird, 162
Mencius, 21, 169, 223
Meng Qi, 13, 187. See also Storied
official class, 181, 183, 193, 232, 244;
Poems
anecdotal collections by, 161–62,
Mengzi, see Mencius
181, 194; as audience, 234; au-
meter, 83–84
thenticity and, 280; court hier-
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308
Index
archy and, 18–19; judging merit
past-present perspective, 20, 21,
in, 219; poetic competence and,
67–68
157, 254; romance poetry and,
patterned culture, 21, 27. See also
257; speechmaking by, 51–52, 65.
cultural competence
See also Traditionalists
patterned language, 168, 169, 214,
oral performance, 175. See also
215, 218; Confucius on, 222, 259
performance
Pei Du, 230–31
oral transmission, 1, 154, 182–83
Pei Yan, 212–14
outburst song, 224–25; in Han
performance, 107, 109, 111, 140, 213;
History, 79–81, 112, 217, 280; of
appreciation of, 143–44, 146, 237;
Lady Qi, 88–89, 101; of Liu Bang,
audience and, 85, 89, 93, 101–2,
84, 86; passion and, 171–72;
106, 144; captured in writing, 175;
Prince Qu’s perversion of, 98–
composition and, 93–94; con-
99; of Prince You, 90–92, 101; of
text of, 2; mode of, 52, 84; mu-
Princess Xijun, 99–102; sorrow
sical, 32–33, 69, 70–71, 84, 169,
and, 77, 93, 96, 102, 104, 106;
244; narrative frame and, 6–7, 78,
suffering and, 81, 98, 99, 101, 218;
86, 102, 103, 104, 217; ownership
tripartite form of, 100–101;
of, 156; passion in, 74, 75, 76–77,
venting of frustration in, 11, 81,
85, 172; poetic competence and
,
84, 92, 98, 119, 224–25; of Wang
13, 49, 157–58, 209, 211, 279, 282;
Huizi, 151, 152. See also Liu Bang;
politics and, 213–14, 280–81; of
Xiang Yu
Prince Dan, 102–4; of Prince
Ouyang Xiu: New Tang History,
Qu’s concubines, 95–99; public,
159, 164
155; repertoire and, 279; as
Ouyang Xun, 206–9
source of power, 120; sponta-
Owen, Stephen, 169
neous, 14, 49, 76–77, 84, 85, 107,
ownership, 156
119, 265; staged, 76–77, 85, 274;
strategy of, 86, 94, 101, 102, 108,
palace concubines/ladies, 101, 102–3,
274; suasive effect of, 108–9;
104; singing girls, 239–41, 242,
Traditionalists and, 19, 24, 27;
254–55, 257, 265–67, 270–73; sto-
variables of, 209. See also musi-
len love and, 262–67, 270–73,
cal performance
274; torture and death of,
perlocutionary act, 7–8
94–99
person, unity of, 80, 94
“Pan shui,” 123
Ping, King of Zhou, 170, 171
Pan Yue, 144
play, 126, 155
passionate feeling, 171–72, 229; in
poem fragments, 189
performance, 74, 75, 76–77, 85,
Poems, 11, 21, 28, 78, 184; citation
172. See also emotion/feelings;
from, 26, 111, 119–20, 121, 130,
romance
140–42; Confucian tradition and,
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Index
309
33, 151–52, 192, 193, 199; cultural
204, 236, 250, 281; in utterance,
competence and, 24–26; intent
14, 16, 42, 47; word-chain game,
in, 72, 108; interpretation of,
135–38; Zuo Tradition and, 10, 11,
69–70; Mao prefaces to, 27 n 13,
16, 24, 33, 203–4, 236, 270, 279,
28, 125, 140, 215, 235, 244; mean-
280. See also talent
ing of, 211; “No Use,” 128;
poetic exchange/offering, 47–49,
original meanings of, 69–70; on
50, 53, 59; at court, 206–8;
outburst song, 79–80, 81; re-
male-female, 204; in Prince
monstration from, 55–56, 58–59,
Chong’er story, 37–44; ritual
60, 67, 68; Sima Qian on, 171,
protocol in, 31–33, 41, 42–43, 46,
225; in speechmaking, 30, 52–54;
49
“Swelling Waters,” 37–38, 41, 43;
Poetic Exposition on Literature
tetrasyllabic forms in, 24, 52,
( Wen fu), 169
Words Well Put Page 45
