2003 9 1 32 1 2 1 1 972 3 1-37 2 3 9-61 219-266 -1-
3 4 5 6 7 8 3 59 4 228 5 1992 41-62 6 1 0 1 0 1 982 3 70-107 7 1986 24-27 8 1 983 1 5 3 21-322 -2-
9 1 0 11 1 2 9 24 10 1980 84-90 11 3 1 993 3 2 09-304 12 1 985 11 5-148 9 1-117 -3-
1 3 14 15 2 109-165 13 1 975 1 27-133 14 1 979 1 1 12-19 15 13-4-
16 1 7 18 19 20 16 3 46 1 7 4 6 0-61 2 38-242 1 2 2 000 5 1 2-13 18 1982 1131 19 1312 20 1135-5-
2 1 22 23 24 21 1 968 2 6 1 991 51-78 22 1974 8 86 23 38 682 2 4 1 986 143-6-
25 26 25 38 683 26 39 701-702 -7-
27 2 8 29 30 3 1 32 27 1 9 8 1 7 257 28 20 285 29 283 30 282-283 31 39 701 32 9 175-8-
33 34 33 1 974 8 14b 34 14a-b -9-
35 3 6 37 35 1 996 1 27-83 36 37 2 4-10-
38 39 40 4 1 42 43 44 45 38 1 1 15 39 23 354-356 40 358 4 1 262 42 83 43 22 337 44 234 45 235-241 -11-
47 4 8 49 50 51 46 46 12 2b-3a 47 3a 48 241 49 230-231 50 81 51 22 129-12-
52 53 54 55 5 6 52 50 845 53 128 133 54 1 1 16 55 17 56 142 2-13-
5 7 58 57 24 58 1988 213-214 -14-
59 60 6 1 62 59 2 3 3 56 1 1 15 60 8 4 61 1 1 12 62 70-15-
6 3 6 4 65 63 1 06-109 1 58-159 64 65 2 61-288 1 997-16-
66 67 211-253 1 999 2 7-68 2 002 1 71-191 66 556-557 67 4 1 152-17-
68 6 9 70 71 68 6 9 357 69 143-149 70 17 156 71 1 1 15-18-
72 73 74 72 54-55 73 1994 391-438 413 74 414-415 -19-
75 76 77 78 75 4 17-424 244-349 76 8 1 281 77 1 0 9 b 78 1 988 3 13-345 3 26-20-
7 9 8 0 81 2 002 2 10-212 79 5 80 1 996 47 81 21 2b -21-
8 2 8 3 84 85 8 6 87 82 3b 4a 4b 83 1976 175 84 17-22 85 22 86 87 5 1b 1985 1-22-
88 89 90 88 1 966 1 1a-b 89 1 995 6 623-625 90 16-17 -23-
9 1 92 93 94 91 17 92 5 1b 93 20-21 94 678-24-
95 96 97 98 95 6 3a-4a 96 1 980 1027 839 97 3 26 98 (Joseph Needham) (correlative thinking) 1993 372-378 -25-
9 9 100 101 102 1 0 3 99 1 20-121 100 1 1 20 101 11 102 7 1 253 103 27 372-26-
1 0 4 105. 106 104 14 217 105 14 2 482 106 6 25 9 2 8 a -27-
1 0 7 1 0 8 1 0 9 110 107 1988 12 873 108 13 907 109 1975 2 25 110 8 1 281-28-
111 112 113 11 4 111 1 9 8 4 845 112 4 2b 3 2a 113 114 1 991 29-35 -29-
11 5 116 115 43-45 116-30-
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The Planes of Interpretation: Lyric Tradition Revisited, from the Perspective of the Greater Preface to the Book of Songs CHENG Yu-yu Since Chen Shixiang, from the perspective of Western lyric poetry, suggested the idea of lyric tradition in Chinese literature, scholars have tended to stress the poets interiority and stirring of emotions, emphasizing a worldview rooted in affect. The late-han and Wei-Jin poetry and prose were taken as exemplars to advance their theories. Yet they have overlooked the important role the Han period the great span of time chara cte riz ed by e xpre ssion of the collective social w ill played in constituting the lyric tradition. Drawing on the Greater Preface to the Book of Songs, I focus on the topics of expressing intent (yanzhi) and comparison and affective image (bi and xing) to introduce and investigate more fully the constitutive materials of the lyric tradition. My goal is to locate the possible planes of interpretation, and to demarcate a critical space for meaningful discussions of the Greater Preface. The relevant background is inextricably linked to the textual environment in which the original materials existed, which forms the horizon of expectat ion of the Greater Preface w r i t e r s. This relevant background calls forth the points of view of the previous and succeeding generations from which they understand things, and invokes the manners they lived. It is, in short, u n w i s e to confine analysis to merely the individual s emotions. In the process of the formation of the lyric tradition from pre- Qin to Han times, we observe a process of transformation from musical education (yue jiao) to poetic education (shi jiao), from praising the six poems (liu shi) to emphasizing the meaning of individual words in the spirit of the six principles (liu y i). P a r t i c u l a r l y, since the practice in which poems were cited for the purpose of analogy, intellectuals had made full use of analogies pointing to stock natural images and phenomena. In the process of negotiating how to read and how to make use of the affective means available at the time, they laid the foundation of subjective expression for later poets. At the same time, they set forth a lyric tradition that was at once intellectual and emotional. Keywords: Greater Preface lyric tradition six poems six principles analogy -32-