Lu Chi

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.


Lu Shih-heng shih chu. Peking, 1958.


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.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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References in periodicals archive ?
Lu Ji's [TEXT NOT REPRODUCIBLE IN ASCII] (261-303) Wenfu [TEXT NOT REPRODUCIBLE IN ASCII] (Rhapsody on Writing) construes literary imagination as a process in which the writer's "spirit flies to the world's eight boundaries, and [his] mind journeys across thousands of fathoms" [TEXT NOT REPRODUCIBLE IN ASCII] (1984, 25).
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).
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.
Lu Ji (261-303 A.D.), for example, described his emotional response to fine writing as "oblivious to all sights, oblivious to all sound"; he "drank at the onrush of words, and rinsed his mouth with the fragrant essense of the six arts." As Eugene Chen Eoyang reminds us, for the Chinese critic, the distinctiveness of a work lies in that quality called "flavor." However, deciphering the values enunciated in the critical language of scents and savors could be a frustratingly elusive task, and it is significant that our literary guide interweaves his explanation with a discussion of the critical terminology of Chan Buddhism.
The first section explores the discussion (or lack thereof) of epistolary genres in works of literary criticism from the early medieval period, namely, Cao Pi's [TEXT NOT REPRODUCIBLE IN ASCII] (187-226) "Disquisitions on Literature" (Lun wen [TEXT NOT REPRODUCIBLE IN ASCII]), Lu Ji's [TEXT NOT REPRODUCIBLE IN ASCII] (261-303) "Rhapsody on Literature" (Wen fu [TEXT NOT REPRODUCIBLE IN ASCII]), Liu Xie's [TEXT NOT REPRODUCIBLE IN ASCII] (ca.
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), 33.7b-8b.
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].
Furthermore, a different version of Lu Ji's apparently damaged and fragmentary text has a significant variant in the second line of the first couplet, which would result in the following reading: North of the Mei River, there was the longing [of a man] gathering dodder; The gentleman from the Qi River endured being sent off [across the river].
Most of the latter share the lot of the "Shu ji" chapter: although routinely consulted for the earliest detailed statement about a specific genre, they are frequently chided for their shortcomings and are usually excluded from comprehensive reflections on the book.(10) This is the more surprising as the Wenxin diaolong by far supersedes any earlier attempts at genre classification in China, e.g., Cao Pi's[TEXT NOT REPRODUCIBLE IN ASCII] (187-226) "Lun wen" [TEXT NOT REPRODUCIBLE IN ASCII] (Disquisition on Literature) or Lu Ji's [TEXT NOT REPRODUCIBLE IN ASCII], (261-303) "Wen fu" [TEXT NOT REPRODUCIBLE IN ASCII] (Rhapsody on Literature), (11) both preserved in the Wenxuan [TEXT NOT REPRODUCIBLE IN ASCII] anthology (Selections of Refined Literature, ca.
Lu Ji [Chinese Text Omitted] (third century A.D.), in Mao shi caomu niaoshou chongyu shu [Chinese Text Omitted] (in Han Wei congshu [Chinese Text Omitted], 1791 ed.), B.16b, connects the Mao shi with Xun Qing as well.