Interpretation and Literature in Early Medieval China

4. Evolving Practices of Guan and Liu Xie’sTheory of Literary Interpretation

103 4 Evolving Practices of Guan and Liu Xie’s Theory of Literary Interpretation Zong-Qi Cai The term guan 觀, literally meaning “to observe” or “observation,” has been used to denote a broad range of interpretive traditions developed since antiquity. Of early interpretive traditions, two are most noteworthy . The first is that of guanshi 觀詩 or “observing the Poetry”—that is, the Book of Poetry (Shijing 詩經, hereafter Poetry)—prevalent in preHan and Han times. This tradition is composed of diverse interpretive practices and views. The other is that of guanren 觀人 (observing human characters) that flourished during the Wei-Jin period. This tradition is less diverse and features mainly two opposing interpretive approaches, one thoroughly objective and analytical and the other, highly subjective and aesthetic. An in-depth exploration of early interpretive practices and views is particularly important to a study of the development of the guanwen 觀文 (observing belles lettres) tradition during the Six Dynasties. In theorizing about the newly established guanwen tradition, Liu Xie 劉勰 (ca. 465–ca. 532) draws extensively from those interpretive practices and views and formulates a comprehensive theory of literary interpretation in “The One Who Knows the Tones” (“Zhiyin” 知音), the forty-eighth chapter of his magnum opus Wenxin diaolong 文心雕龍 (Literary Mind and the Carving of Dragons). Liu Xie’s debt to those early interpretive practices and views is much greater than commonly acknowledged. By investigating this debt, I seek to demonstrate not only the genesis of Liu’s theory but also the interconnectedness of all the interpretive practices and views examined. This, I hope, will shed light on the evolution of interpretive traditions in ancient and early medieval China. 104 Zong-Qi Cai The Guanshi Tradition in the Spring and Autumn Period: Noninteractive Tingshi, Interactive Fushi, and Illustrative Yinshi Observing the Poetry or guanshi was one of the most important cultural activities during the Spring and Autumn period (770–476 B.C.E.). It was then avidly pursued by men of culture on both public and private occasions for a variety of purposes, ranging from courtly entertainment to diplomatic negotiations and to personal cultivation. Broadly speaking , three major types of guanshi were practiced during the Spring and Autumn Period. The first type is guanyue 觀樂, or observing the musical performance of the Poetry. The most famous example of the guanyue practice is the episode about Ji Zha’s 季札 visit to the Lu court, recorded in the Zuo zhuan 左傳, Duke Xiang 襄 29th year (543 B.C.E.): [Ji Zha] requested to listen to the music of Zhou. So, the performers were ordered to sing for him the airs of Zhou Nan and Shao Nan. [Zha] said, “Beautiful! They mark the beginning of a [kingly] foundation , though they are still incomplete. Yet they are aspiring but not resentful. . . .” They sang the airs of Zheng for him. [Zha] said, “Beautiful! They have gone too far in elaboration. The people cannot endure, and the state of Zheng will be the first to perish. . . . 請觀於周樂 。使工為之歌周南召南。曰。 美哉。 始基之矣。 猶未也。 然勤而不怨矣。 . . . 為之歌鄭。曰。 美哉。其細已甚。 民弗堪也。是其 先亡乎。 . . . Then they sang the lesser odes (xiaoya) for him. “Beautiful!” [Zha] said, “They are wistful but not faithless. They are plaintive, but do not air grievances outright. Is the virtue of Zhou on the decline? There are still remnants of the people of the late kings.” They sang the great odes (daya) for him. [Zha] said, “How vast! So joyful! They are dexterous and yet display a quality of straightforwardness. This is the virtue of King Wen, isn’t it?” 為之歌小雅曰。 美哉。 思而不貳。 怨而不言。 其周德之衰乎。 猶有先王之 遺民焉。 為之歌大雅。 曰。 廣哉。 熙熙乎。 曲而有直體。 其文王之德乎。 They sang the hymns (song) for him. [Zha] said, “Completely perfect ! They are straightforward but not overbearing. They are dexterous but unbending. Coming close, they are not overcrowded. Going afar, they do not become adrift. They move around but do not go beyond bounds. They repeat but do not border on monotony. They Evolving Practices of Guan 105 are mournful, but do not render one distraught. They are joyful, but not in an excessive degree. They are useful, but not exhaustible. They are vast, but not grandiose. When giving, they do not waste; when taking, they do not covet. Staying put, they do not get stranded. When moving, they do not go astray. 為之歌頌。 曰。 至矣哉。 直而不倨。 曲而不屈。 邇而不偪。 遠而不攜。 遷而不 淫。 復而不厭。 哀而不愁。 樂而不荒。 用而不匱。 廣而不宣。 施而不費。 取而 不貪。 處而不底。 行而不流。 1 This is perhaps the most exhaustive musical performance of the Poetry ever recorded: It covers all of its four major parts—the airs from fifteen states (fourteen states selected), the lesser and greater odes, and hymns. Ji Zha’s aural reception of the performed poems exhibits a uniform tripartite pattern. First, he uttered an...