Yüeh-Fu

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 It might be outdated or ideologically biased.

Yüeh-Fu

 

Chinese folk songs recorded by the Yüeh Fu (Music Bureau). Several hundred texts of yüeh-fu have been preserved. They are traditionally divided into three types, which differ markedly from one another: those of the Han period (second century B.C. to third century A.D.) and the northern and southern yiieh-fu of the Six Dynasties period (fourth to sixth centuries). The yiieh-fu deal with love (particularly the southern yiieh-fu), the fleeting nature of existence (the Han yiieh-fu), war, feats of arms, and national calamities. Social protest is expressed mainly in short aphoristic songs similar to the Russian chastushki. Among the many Chinese poets who imitated the yiieh-fu are Ts’ao Ts’ao, Ts’ao P’ei, Ts’ao Chih, Lu Chi, Pao Chao, Li Po, Tu Fu, Po Chü-i, Li Ho, and Wen T’ing-yün.

PUBLICATION

Ko Mao-ch’ien. Yüeh-fu shih chi, vols. 1–12. Peking, 1955.
In Russian translation:
Iuefu: Iz drevnikh kitaiskikh pesen. Moscow-Leningrad, 1959.

REFERENCE

Lisevich, I. S. Drevniaia kitaiskaia poeziia i narodnaia pesnia (iuefu kontsa 3 v. do n. e.-nach. 3 v. n. e.). Moscow, 1969.

I. S. LISEVICH

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The protagonist of the poem, an extravagant young man fond of wine and women, is a figure developed from yuefu poems.
In addition to moral integrity, Lin Shu also pioneered in writing innovative creations defending the equality of women and their education, some of which were early published in his well-known collection Minzhong xin yuefu [TEXT NOT REPRODUCIBLE IN ASCII] (New Yuefu from Minzhong, 1897), as the beautifully composed, "Shui wuqing" [TEXT NOT REPRODUCIBLE IN ASCII] ("Water is Merciless").
En cuanto a las FNT, en el texto original hemos encontrado diversos ejemplos como formas de respeto o bien otras relacionadas con la ocupacion de los personajes, como duizhang <<jefe de equipo>>, yuefu daren <<senor suegro>>, laoye <<senor (de edad avanzada)>>, que a su vez son reflejo de la evolucion de la sociedad china de la epoca, que paso de una sociedad muy tradicional a una marcada por el comunismo.
Although Saussy points outs "the shift of value that takes place when a distinction among Chinese poetic genres (shi versus ci, yuefu, qu, etc.) becomes the basis of a distinction between Chinese and European poetic assumptions," he also admits historical groundings of poetic transparency as a mode of reading in traditional China--"the dominant position of shi poetry vis-a-vis genres considered artificial, unserious, or convention- ridden and the exaltation of certain shi poets above others for their sincerity and stylistic naturalism was the handiwork of several centuries of Chinese critics, and the scholars I mention acknowledge this inheritance" (213).
Many other organizations devoted to local culture were subsequently founded and promoted similar activities, for example, the Han Sheng Za Zhi [[TEXT NOT REPRODUCIBLE IN ASCII], Echo Magazine], founded 1971, the organization Zhongguo xiandai yuefu [[TEXT NOT REPRODUCIBLE IN ASCII], Chinese Modern Folksongs and Ballads], founded 1973, and the Cloud Gate Dance Theatre, founded 1973.
(20) The Nuo rites as recorded in Duan Anjie's Yuefu Zalu (Miscellaneous Records on Music, Dance, and Play, completed in 894 C.E.) also accord with those described in the Tang chronicles.
However, my research proves that only Yaoshantang waiji, a sixteenth-century source, ascribes the "Autumn Thought" to the celebrated Yuan author, while all three sources of the thirteenth to fourteenth centuries, Liyuan yuefu, Zhongyuan yinyue, and Shuzhai lao xue congtan, identify the sanqu poem to a folk or unknown origin.
Under the direction of Chen Mei-O, the Han Tang Yuefu group performed The Court Songs of Ancient China, ancestral Chinese song and dance dating to the thirteenth century.
(1) While insisting on the nonfictionality of shi or Chinese poetry, Owen does allow a certain degree of metaphoricity or fictionality in some subgenres, especially yuefu or songs collected by the official "music bureau." See ibid., 53 and a long explanatory note, 292-93.
Though famed for these xin yuefu, or "new music bureau" ballads, as well as for his more conventional poetry, Yuan was best known for his short fiction.