What drives literary change? Does literature merely follow shifts in a culture, or does it play a distinctive role in shaping emergent trends? Michael Fuller explores these questions while examining the changes in Chinese shi poetry from the late Northern Song dynasty (960–1127) to the end of the Southern Song (1127–1279), a period of profound social and cultural transformation.

Shi poetry written in response to events was the dominant literary genre in Song dynasty China, serving as a central form through which literati explored meaning in their encounters with the world. By the late Northern Song, however, old models for meaning were proving inadequate, and Daoxue (Neo-Confucianism) provided an increasingly attractive new ground for understanding the self and the world. Drifting among Rivers and Lakes traces the intertwining of the practice of poetry, writings on poetics, and the debates about Daoxue that led to the cultural synthesis of the final years of the Southern Song and set the pattern for Chinese society for the next six centuries. Examining the writings of major poets and Confucian thinkers of the period, Fuller discovers the slow evolution of a complementarity between poetry and Daoxue in which neither discourse was self-sufficient.

This innovative textbook for learning classical Chinese poetry moves beyond the traditional anthology of poems translated into English and instead brings readers—including those with no knowledge of Chinese—as close as possible to the texture of the poems in their original language. The first two chapters introduce the features of classical Chinese that are important for poetry and then survey the formal and rhetorical conventions of classical poetry. The core chapters present the major poets and poems of the Chinese poetic tradition from earliest times to the lyrics of the Song Dynasty (960–1279).

Each chapter begins with an overview of the historical context for the poetry of a particular period and provides a brief biography for each poet. Each of the poems appears in the original Chinese with a word-by-word translation, followed by Fuller’s unadorned translation, and a more polished version by modern translators. A question-based study guide highlights the important issues in reading and understanding each particular text.

Designed for classroom use and for self-study, the textbook’s goal is to help the reader appreciate both the distinctive voices of the major writers in the Chinese poetic tradition and the grand contours of the development of that tradition.

This textbook for beginning students contains 35 lessons of increasing difficulty designed to introduce students to the basic patterns of Classical Chinese and to provide practice in reading a variety of texts. The lessons are structured to encourage students to do more work with dictionaries and other references as they progress through the book. The Introduction provides an overview of the grammar of Literary Chinese. Part I presents eight lessons on sentence structure, parts of speech, verbs, and negatives. Part II consists of sixteen intermediate-level lessons, and Part III offers five advanced-level selections. Part IV has six lessons based on Tang and Song dynasty prose and poetry.

This textbook for beginning students contains 35 lessons of increasing difficulty designed to introduce students to the basic patterns of Classical Chinese and to provide practice in reading a variety of texts. The lessons are structured to encourage students to do more work with dictionaries and other references as they progress through the book.

The Introduction provides an overview of the grammar of Literary Chinese. Part I presents eight lessons on sentence structure, parts of speech, verbs, and negatives. Part II consists of sixteen intermediate-level lessons, and Part III offers five advanced-level selections. Part IV has six lessons based on Tang and Song dynasty prose and poetry.

The second edition of An Introduction to Literary Chinese incorporates recent developments in linguistics and has been expanded to include a lesson on Buddhist texts. Beginning with an overview of literary Chinese—its phonology, morphology, and syntax, as well as a short account of the nature of the writing system—the textbook then presents thirty-six lessons of increasing difficulty designed to introduce students to the basic patterns of the language and give them practice in reading a variety of texts.

Part I presents eight lessons on the basic syntactic components in literary Chinese. Each lesson begins with an overview of its topic, introduces an exemplary text, and provides a glossary, notes, and practice exercises. The sixteen lessons in Part II use increasingly long and complex texts to introduce styles of narrative and argumentation in literary Chinese and, at the same time, solidify students’ grasp of the syntax. The advanced texts in the six lessons in Part III introduce students to central authors and philosophical traditions in premodern China and broaden the process of reading to include elements of cultural and historical interpretation. Part IV has six lessons comprising important Tang and Song dynasty prose and poetic texts.