This paper delves into the ancient concept of shi yan zhi (poetry expressing aspirations) within Chinese poetry. It examines the precise meaning of zhi, the dialectical relationship between yan and zhi, and the historical development of “poetry expressing aspirations.” It further looks at how this foundational concept underpins the logical construction of Chinese poetic tradition, reaffirming its historical significance as the“manifesto” of Chinese poetics.
The phrase, shi yan zhi (poetry expressing aspirations) is ancient China’s first ontology of poetry, and therefore its significance should be examined from the ontological perspective. This paper explores the historical context in which this theory is created in three respects: the maturity of the artistic form that integrates poetry, music, and dance, the establishment of governance through an education system, and the establishment of an ethical system. This paper holds that as an ancient and classical theory, shi yan zhi was embraced and carried forward by the scholar-officials of the Spring and Autumn Period when reciting poems, and later was cited and further expanded by the pre-Qin philosophers. Zhi is the unique attribute of The Book of Odes to distinguish it from other classics. This paper also investigates the evolution history from shi yan zhi to the six music language skills and six forms of poetry described in “The Office of Spring” in The Rites of Zhou, as well as the six essential elements mentioned in the Introduction to Mao’s Version of The Book of Odes, highlighting the contribution of “The Record of Music” in The Book of Rites to the development of shi yan zhi．
During the pre-Qin period, shi yan zhi (poetry expressing aspirations) was not a poetic concept. It primarily served to shape Confucian ideology, carrying significant discourse implications. The practices of shi yan zhi and bi zhi in religious rituals held important implications for poem reciting, a prevalent activity during the banquet ceremonies in the Spring and Autumn Period and its various forms. Together, they established the rites and music tradition characterized by yanshuo (speeches). This tradition further established the status of The Book of Odes as a classic, furnishing high-ranking officials and Confucian scholars with legitimacy and rich discourse resources to develop new ideologies. The different interpretations and applications of shi yan zhi resulted in diverse discourse models, such as duanzhang-quyi (to interpret out of context), xin’er youzheng (being reliable and borne out by evidence), wenwang yinyan (no word, no expression of thoughts) and yiyi-nizhi (interpreting a writing from one’s perspective). Through these different interpretations and applications, the scholarly-official class established multiple values and objectives, such as liyan buxiu (advocating lasting noble ideas untouched by time), xing-guan-qun yuan (stimulation, contemplation, communication, and criticism), shang you (befriending those superior to oneself), fa hu qing, zhi hu li yi (starting with feelings and control with propriety). In the process of building a unified ideology in the Han Dynasty, the “Introduction to Mao’s Version of The Book of Odes” advocated the unity of qing (sentiment) and zhi(aspiration), infusing shi yan zhi with connotations of enlightenment as well as extolment and satirical criticism. This advocacy redefined the political authority and discourse models of the scholar-official class, objectively unveiling the literary features of poetry, such as evoking an emotional response and commencing the practice of education through poetry teaching.
By closely examining the literary works of the Song Dynasty, such as prose, poetry, rhyme-prose, lyrics, notes, and miscellaneous theses, this paper combines historical and literary evidence to rediscover the 13 types of soundscapes and their corresponding spaces in the Bianjing City, the capital of the Northern Song Dynasty, and it reveals the causes and historical-cultural significance of these soundscapes. Focusing on the key issues of soundscapes, this paper analyzes the sound spaces, identities, discourses, and literary achievements depicted in the writings about Bianjing. It argues that the “Bianjing Spectacle” of vendors’ cries described by the Southern Song people can be used as a summary of the soundscape characteristics of Bianjing. Furthermore, it interprets the special silence, crying, and the absence of the sounds of production from an aesthetic perspective. By rediscovering, analyzing, and interpreting the soundscapes of Bianjing, this paper reveals significant differences between the Tang and Song dynasties at the sound level and differentiates various “auditory communities.” It thereby demonstrates the portrayal of Bianjing in Song literature, addresses theoretical hot topics in literature and geography, and builds on Marx’s arguments to propose that a thorough understanding of history, the world, and ourselves requires an in depth study of the soundscapes in literature.
The existing research of literature on sound description in classical Chinese poetry has predominantly centered around Tang poetry and its lyrical aesthetics, with a particular focus on recurring typified images such as “the call of the cuckoo,” “the howl of the ape,” “the toll of the bell,” and “the pitter-patter of the night rain.” The research paradigm has been somewhat one-dimensional. This paper examines the poems of Fan Chengda, a poet from the Southern Song Dynasty, to showcase the new exploration that Song poetry has made in sound description. Fan’s poetry, characterized by its realistic portrayal of everyday life, offers rich descriptions of the “sounds of urban life”—An imagery closely intertwined with the urban forms and commercial culture of the Song Dynasty. Through detailed narratives, Fan reinforces the emotional connotations and symbolic meaning of this imagery. Departing from the traditional focus on artistic conception prevalent in classical Chinese poetry, Fan’s work highlights the depiction of reality and affinity for everyday life. By presenting real-world sounds in a distorted manner, drawing on the psychological construct of “dreams,” Fan carries forward the artistic expression pioneered by the Northern Song poet Huang Tingjian. Moving beyond the lyrical aesthetics of Tang poetry marked by the “fusion of emotion and the natural setting,” Fan explores a novel approach, articulating his inner world through the medium of sound, showcasing the distinctive artistic qualities of Song poetry.