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  3. Pearl from the Dragon's Mouth: Evocation of Scene and Feeling in Chinese Poetry

Pearl from the Dragon's Mouth: Evocation of Scene and Feeling in Chinese Poetry

Cecile C. C. Sun 1995 Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license Open access edition funded by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program
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The interplay between the external world (ching) and the poet's inner world (ch'ing) lies at the heart of Chinese poetry, and understanding the interaction of the two is crucial to understanding this work from within its own tradition. Closely coordinating her discussions of poetry and criticism so that practice and theory become mutually enriching and illuminating, Sun offers sensitive and original readings of poems and a wealth of insights into Chinese poetics.
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Series
  • Michigan Monographs in Chinese Studies
ISBN(s)
  • 978-0-472-03800-8 (paper)
  • 978-0-89264-110-9 (hardcover)
  • 978-0-472-12740-5 (ebook)
  • 978-0-472-90135-7 (open access)
Subject
  • Asian Studies:China
  • Literary Studies:Poetry and Poetry Criticism
Citable Link

  • Table of Contents

  • Stats

  • Cover
  • Series Page
  • Title Page
  • Copyright
  • Dedication
  • Contents
  • Chinese Historical Periods
  • Preface
  • Introduction
  • 1. The Pragmatic Phase
    • The Confucian View of Hsing
    • Hsing as an Essential Lyrical Element
  • 2. The Affective Phase: Pre-T’ang Poetic Developments
    • “Feeling” as the Major Thrust of Poetry
    • Neo-Taoist Thought as the Primary Theme of Poetry
    • Natural Scenery as the Literal Focus of Poetry
    • T’ao Ch’ien’s Poetry
    • Landscape Poetry
    • Sensory Objects as the Main Concern of Poetry
  • 3. The Affective Phase: Pre-T’ang Critical Explorations
    • The Emotive Origin of Poetry
    • The Affective Interaction between “Feeling” and “Object”
    • The Role of “Object”
    • Early Intimations of the Aesthetic Dimension
  • 4. The Aesthetic Phase
    • T’ang Poetry: Fusion of “Feeling” and “Scene”
    • Critical Explorations
  • 5. The Synthesis Phase
    • Post-Tang Critical Views on “Feeling” and “Scene”
    • Arrangement
    • Language
    • Inner Dynamics
    • Wang Fu-chih
    • Wang Kuo-wei
  • Afterword
  • Glossary
  • Notes
  • Bibliography
  • Index
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