Abstract
The term “Qie,” denoting consonance or aptness, emerged as a relatively mature concept with a convoluted development trajectory within ancient Chinese poetics. Prior to the Song dynasty, “Qie” was used as a term of positive appraisal. In the comparative discourse between Tang and Song poetry, Yan Yu recognized the “truthfulness” of Song poetry as being apt in subject matter and grounded in reality. Subsequently, Ming dynasty poetics, under a trend of eschewing overt realism, advocated for a moderation in poetry's adherence to “Qie.” Early Qing poetic scholars, in a reflective reevaluation, redefined “Qie”: Wu Qiao deemed it essential for capturing taste, while Ye Xie identified “rationale, matter, and emotion” as its evaluative criteria. Mid-Qing reflections on the shortcomings of “divine charm” led Weng Fanggang and Jin Deying to reposition “Qie” within the realms of authenticity and continual innovation, arguing that “Qie” involves an alignment among the poet's genuine circumstances, inner spirit, and the imagery of the poem. This reconceptualization of “Qie” through the phases of reality, truth, and innovation transcended the aesthetic debates over Tang and Song poetry, establishing it as a universal principle in the advancement of poetics.
Keywords
qie, taste, reality, truth, innovation
First Page
205
Last Page
212
Recommended Citation
Juan, Chen. 2024. "Reality, Truth, and Innovation: The Three Dimensions and Evolution of Qie in Qing Dynasty Poetics." Theoretical Studies in Literature and Art 44, (5): pp.205-212. https://tsla.researchcommons.org/journal/vol44/iss5/20
