Lu Chi

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Lu Chi

 

(Lu Shih-heng). Born in 261; died in 303. Chinese poet. The son of an important government official, Lu Chi was falsely accused of treason and executed. More than 200 of his poems have been preserved, including his yüeh-fu songs. His poetry is imbued with sadness and a sense of the transitoriness of human existence. Lu Chi was the first to extensively use parallel construction in verse (p’ai-ou-wu), which became one of the norms of classical Chinese poetry. His Ode to the Elegant Word is one of the first Chinese works on poetics to analyze the genres of ancient literature. Although he emphasized form and praised originality, Lu Chi criticized stylistic caprice and poetry without content.

WORKS

Lu Shih-heng shih chu. Peking, 1958.

REFERENCE

Alekseev, V. M. “Rimlianin Goratsii i kitaets Lu Tszi o poeticheskom masterstve.” Izv. AN SSSR. Otdelenie literatury i iazyka, 1944, vol. 3, issue 4.

Lü Chi

 

Born 1909. Chinese composer, musicologist, and public figure. Member of the Communist Party of China.

In the late 1930’s Lu Chi became famous for his mass songs. During the war against Japan (1937-45), he headed the music faculty of the Lu Hsin Academy of Arts in Yenan, the capital of the liberated areas. He wrote such popular revolutionary songs as “March of the Border Troops.” In 1949 he became chairman of the All-China Association of Literature and Art and deputy director of the Central Conservatory in T’ien-ching. Lii Chi is the author of many articles on problems of musical culture. During the 1950’s he frequently visited the USSR. In 1966, during the “cultural revolution” in China, he was persecuted.

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The reasons for this absence may deserve some in-depth examination, because if letter writing offers an excellent opportunity for the display of personal emotion and literary creativity, it is curious that Lu Ji, an advocate of a strong authorial role in literary creation, would fail to discuss or even mention this genre.
According to Lu Ji, for imagination to operate, one needs to "repress visual and audio perceptions and engross oneself in contemplation" [TEXT NOT REPRODUCIBLE IN ASCII] [TEXT NOT REPRODUCIBLE IN ASCII] (1984, 25).
For Lu Ji and Liu Xie, as discussed above, invocation of imagery is a crucial stage in the process of poetic imagination.
Grandson of the great Lu Xun, one of the founders of the Wu kingdom, Lu Ji remained in obscurity for 10 years after the Wu kingdom was subjugated by the Jin dynasty (265-317).
Although Lu Ji left a considerable body of lyric poetry in imitative style, he is better known as a writer of fu, an intricately structured form of poetry mixed with prose.
The earliest example of a "Ju gexing" that has been preserved is by Lu Ji [TEXT NOT REPRODUCIBLE IN ASCII] (261-303), and Xie Huilian's poem follows the 6-7 meter of Lu Ji's.
For the texts of these poems as well as two other poems to the same tune by Lu Ji and Li Bo, see Yuefu shiji [TEXT NOT REPRODUCIBLE IN ASCII] (Taipei: Zhonghua shuju, 1970), 33.
These thirty-eight lost works, together with the thirty-six listed as extant for the Mao tradition, included individual commentaries, collections of several commentaries, sub-commentaries to earlier commentaries, works specializing on phonology, expository writings that promoted or refuted particular interpretations, books devoted to the discussion of textual variants and doubtful characters, works that collected fragments of lost poems, and a text on the plants and animals in the Odes, attributed to an otherwise obscure third-century Lu Ji [TEXT NOT REPRODUCIBLE IN ASCII].
Yet even more remarkably, Lu Ji drew "Fishhawks" straight into the rhetoric of erotic enticement.
However, it was the only early interpretation that presented the "Airs" without the historical impositions of the Mao and Lu readings, and its forthright acceptance of the expressions of sexual allure and desire will not have ended with Lu Ji who was, after all, one of the most prominent writers of his age.
The following association of "a foot of silk" with "an inch of heart," also owed to Lu Ji, (72) is significantly modified according to Liu Xie's priorities in the "Shu ji" chapter.