Observing that the vast majority of surviving Northern Song poems are directly addressed to other people, Colin S. C. Hawes explores how literati of Chinaas mid-Northern Song period developed a social and therapeutic tradition in poetry. These social poems, produced in group settings and exchanged with friends and acquaintances, are often lighthearted in tone and full of witty banter and wordplay. Hawes challenges previous scholarsa dismissal of these poems as trivial and insignificant because they lacked serious political and moral content by arguing that the central function of poetry at the time was to release pent-up emotions and share them with others in a socially acceptable mannerawhat Hawes views as circulating emotional energy or qi. Focusing on the circle of poets around Ouyang Xiu (1007a72 CE) and Mei Yaochen (1002a60 CE), the most influential literary figures of the mid-Northern Song period and the creators of a distinctive Song poetic style, Hawes provides a number of translations of poems of the period. Several major functions of poetic composition are discussed, including poetry as a game, as therapy, as a means of building relationships, and as a way of finding solace in history and in the natural world. Ultimately, the Northern Song attitude toward poetic composition spread throughout Chinese society.Turning to Meia#39;s aquot;Ancient Willow Tree, aquot; we find that it contains thirty lines with fifteen rhyme words, fourteen of which are ... unusual rhyme scheme, and would recall its Tang source, a poem that doubtless expressed a quite different messageanbsp;...
|Title||:||The Social Circulation of Poetry in the Mid-Northern Song|
|Author||:||Colin S. C. Hawes|
|Publisher||:||SUNY Press - 2006-06-01|