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the banquet’s aftermath 211 © Brill, Leiden, 2002 T 2 oung Pao LXXXVIII Also available online – www.brill.nl THE BANQUET’S AFTERMATH: YAN JIDAO’S CI POETICS AND THE HIGH TRADITION * by ROBERT ASHMORE University of California, Berkeley I. Introduction At what point in the history of medieval Chinese literary culture should one say that the history of the genre of “song lyric,” or ci 詞 , begins? Many of the musical tune-forms that make up the genre can be traced back to at least the mid-eighth century; 1 by this measure, the eleventh-century lyricists from the heyday of the banquet ci — writers such as Fan Zhongyan 范仲淹 (989–1052), Zhang Xian 張先 (990–1078), Yan Shu 晏殊 (991–1055), Ouyang Xiu 歐陽修 (1007– 1072), and Yan Jidao 晏幾道 (~1030?–~1110?)—were heirs to nearly four centuries of tradition in the craft. Another way, however, to approach the question of the beginnings of ci is to attempt to locate the time at which the genre begins to be discussed within the tradition as an object of serious historical inquiry, and to be accorded a secure place among older literary forms. As is well known, when asked in this way the question yields a
T'oung Pao – Brill
Published: Jan 1, 2002
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