Abstract
Lu Ji's term of "liuliang" in A Treatise on Rhapsody (Fu) had been interpreted since Li Shan in the Tang Dynasty as "clear and bright" or "lucid," although some scholars take it as referring to a new mode of writing rhapsody ("fu," rhymed prose) in the Wei and Jin Dynasties. In this paper, I argue that "liuliang" means "resonant," which was then used to describe the high and loud quality of sound. The term was used by Lu Ji to describe not only the loudness of the sound quality in "fu" but also the rhetoric and beautiful style in its diction as the words might evoke through synesthesia "the audible form of the word" and "thinking of the shape in our mind." Lu Ji claimed that "describing objects with loud sounds and beautiful language" to be one ideal characteristic of "fu," and obviously "the Grand Fu" ("da fu") in Han Dynasty could be the representative genre, which could be illustrated by Lu Ji's praise for Zuo Si's "A Rhapsody on Three Capitals."
First Page
132
Last Page
139
Recommended Citation
Chen, Songqing. 2013. "On Lu Ji's Concept of Audible Meaning as a Form of Synesthetic Criticism." Theoretical Studies in Literature and Art 33, (3): pp.132-139. https://tsla.researchcommons.org/journal/vol33/iss3/16
