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The Literary Design of Liu Yiqing's Qiantang Yishi And THE POETICS OF MISCELLANEOUSNESS: THE LITERARY DESIGN OF LIU YIQING’S QIANTANG YISHI AND THE HISTORIOGRAPHY OF THE SOUTHERN SONG by Gang Liu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Asian Languages and Cultures) In the University of Michigan 2010 Doctoral Committee: Professor Shuen-fu Lin, Chair Professor Yopie Prins Associate Professor David L. Rolston Assistant Professor Christian de Pee © Gang Liu 2010 To Wei and Ava ii ACKNOWLEDGEMENTS I owe my deepest gratitude to my adviser, Professor Shuen-fu Lin, whose unfailing support and incisive comments have made the writing of this dissertation such a pleasant and rewarding experience for me. Professor Lin is not only an inspiring mentor and teacher, but also an amiable person whom I have always been comfortable to work with. I am grateful to have him as my adviser during my graduate study. I also owe great debts of thanks to Professors David L. Rolston, Christian de Pee, and Yopie Prins, who are on my dissertation committee. Professors Rolston, de Pee, and Prins have all been very supportive and have helped me immeasurably throughout the entire course of this dissertation. They have been most willing to read and to offer me feedback from different perspectives (literary, historical and theoretical, etc.) on drafts of this dissertation at various stages. Without their support and insightful comments, this dissertation would never become possible. I would like to extend my thanks to Professors William Baxter, Miranda Brown, Xiaobing Tang, Jonathan Zwicker, Ken Ito, and Nancy Florida, who have showed enthusiastic interests in this dissertation and offered me invaluable suggestions on it. In addition, my colleagues in the Department of Asian Languages and Cultures, especially Uffe Bergeton, Jason Herlands, Ignacio Villagran, Lenore Szekely, Martino Dibeltulo, Anna-Alexandra Fodde-Reguer, and Brian Dowdle have also provided perceptive comments and valuable support to my dissertation writing. Their interest and support are what have motivated and sustained me to complete this project. I am also extremely grateful to the institutions at the University of Michigan which have provided me different kinds of academic and financial support to make my graduate study here a pleasant and smooth experience. These include the Department of Asian Languages and Cultures, the Center for Chinese Studies, the International iii Institute, the Rackham School of Graduate Studies and the University libraries. During the writing of this dissertation, the Social Sciences and Humanities Research Council of Canada also generously offered me a full year of doctoral scholarship, which was of tremendous importance for the completion of this dissertation. My profound thanks are also due to my parents, Sibin Liu and Guocui Sui, who have always been my spiritual support and unfailing source of love throughout the years of my graduate study. I would also like to use this opportunity to especially thank my parents-in-law, Linghu Meng and Qiuhui Cheng, who stayed with us in Canada for one year in 2009. They offered me the most timely help and support during the hardest time of my dissertation writing. Without them, I would have never been able to complete this dissertation at this speed. Last but not least, I would like to thank my wife, Wei Meng, and my one-year-old daughter, Ava Meng Liu. Ava, in spite of her young age, has shown tremendous support to my dissertation writing. Wei has been accompanying me through all these years of my academic pursuit, both in China and in North America. She has always been my source of love, support, inspiration, and everything else that I can dream of. Without her, I could never accomplish what I have accomplished so far. I dedicate this dissertation to Wei and Ava. iv TABLE OF CONTENTS DEDICATION……………………………………………………………………………………………….ii ACKNOWLEDGEMENTS……………………………………………………………………………..iii INTRODUCTION………………………………………………………………………………………….1 CHAPTERS I. THE ENABLING CONDITIONS OF THE TEXT…………………………...35 II. FORMLESS FORM…………………………………………………………….……83 III. A SYMPHONY OF DISCORDANCE…………………………………………129 IV. THE POETIC EYES…………………………………………………………………240 AFTERWORD………………………………………………………………………………..………...291 APPENDIX…………………………………………………….…………………………………………294 BIBLIOGRAPHY……………………………………………………………………………………….304 v INTRODUCTION The present study focuses on a ten-chapter (juan 卷) book titled Qiantang yishi 錢塘遺事 (Anecdotes of Qiantang), written/compiled by Liu Yiqing劉一清, who is believed to have been a Southern Song (1127-1279) loyalist living in the late thirteenth and early fourteenth centuries.1 In general, the book chronicles the political, military, and cultural reasons behind the fall of the Southern Song, but, as I shall show later in my study, there is much more that we can learn from it. The book did not enjoy wide circulation after it was completed and the recognition of its importance, both as a book about the history of the Song (960-1279) and as a literary work, is very limited. While materials from the book have been frequently used in studies on Chinese literature and history, the book as a whole has not received much scholarly attention. This can be seen from the fact that even until today there is no punctuated copy of the book published in Chinese. The Genre 1 See Liu Yiqing 劉一清 (fl. late 13th-early 14th centuries),Qiantang yishi 錢塘遺事 (Anecdotes of Qiantang; Shanghai: Shanghai guji, 1985). This is the edition that I use for this study. It is a photo-reprint of the woodblock edition published in 1799 by Xishi saoye shanfang 席氏掃葉山坊, collated by Xi Shichen 席世臣 (ca. 1756–ca. 1815). For a brief discussion on the different edition of Qiantang yishi, please refer to Huang Yanhong 黃雁鴻, “Siku quanshu zongmu tiyao bianwu—Yi Xu Song biannian Zizhi tongjian, Qiantang yishi, Wudaishi quewen wei li.” 《四庫全書總目》提要辨誤——以《續宋編年資治通鑒》、 《錢塘遺事》、《五代史闕文》為例 (Errors in the Summary of the General Catalogue of Complete Library of Four Branches of Literature—Using the Sequel to the Song Comprehensive Mirror to Aid in Government, Anecdotes of Qiantang, and Omissions in the History of the Five Dynasties as examples ), Shumu jikan, 2009.4: 73-83. 1 Qiantang yishi belongs to a type of Chinese literature called biji 筆記 (literally, brush notes), whose miscellaneous content, accommodative structure, and flexible form often challenge our very conception of literary genre itself. The word “biji” appears quite early in Chinese writing, but the actual use of it to denote a genre is possibly a recent phenomenon.2 Historically, the texts that are now regarded as biji have been called by different names, such as bitan 筆談 (brush talks), congtan 叢談 (collected chats), conghua叢話 (collected talks), xinyu 新語 (new talks) , suichao 隨抄 (casual excerpts), suibi 隨筆 (casual writing), suilu 隨錄 (casual records), zaji雜記 (miscellaneous notes), zalu雜錄 (miscellaneous records), suowen瑣聞 (trifles overheard), or yishi 遺事 (remnant events).3 The term biji has also been translated differently into English, such as “random jottings,” “note-form literature,” “occasional notes,” “desultory notes,” “miscellanies,” “literati miscellanies,” and “miscellaneous notes.” This diversity in translation, according to James Hargett, suggests a major difficulty that one may face in attempting to define and discuss the genre: It is extremely difficult, if not impossible, to define pi-chi in precise terms because there are no hard-and-fast rules governing its style and content. This also explains why pi-chi [biji] does not fit into any single Chinese bibliographic category. Such works are usually assigned to either the tsa- chia [zajia] (miscellaneous schools) or the hsiao-shuo [xiaoshuo] (fiction) sections in the traditional bibliographies. Since there are no strict prosodic or genre rules governing pi-chi, the number of extant pi-chi collections in China could easily number in the thousands. The total would vary greatly depending on how one defines the genre.4 Hargett’s argument regarding the difficulty of defining biji can be explicated at three levels: (1) The extremely heterogeneous content and style of biji make it hard for us to describe and define the genre in clear and definite terms. (2) The texts that we now 2 To my knowledge, the first use of the term to denote a genre called biji probably did not occur until the early 20th century. See my discussion in the latter part of this introduction. 3 Translations of these terms are based on Wilkinson’s translations. See Endymion Wilkinson, Chinese History: A Manual (Cambridge, Massachusetts and London: Harvard University Press, 2000), "Biji," p. 611. 4 James M. Hargett, "Sketches," included in Victor H. Mair ed. The Columbia History of Chinese Literature, (New York: Columbia University Press, 2001), p. 560. 2 regard as biji are scattered across different categories in traditional Chinese bibliographies, which betrays incongruences among the assessments of these texts by their creators, traditional Chinese bibliographers, and literary critics. (3) The sheer number of the texts that could be classified under the category of biji also creates difficulties for us to have a clear and comprehensive view of the genre. One thing that needs to be pointed out here is that these reasons are in fact interconnected with each other and sometimes also mutually causative. It is, therefore, extremely difficult for us to separate them clearly. But for the convenience of discussion, I choose to put them into separate categories in the following discussion. I believe this
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