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XLVI. The Physical World

  • Liu Hsieh
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The Literary Mind and the Carving of Dragons
This chapter is in the book The Literary Mind and the Carving of Dragons
© 2019 Columbia University Press

© 2019 Columbia University Press

Chapters in this book

  1. Frontmatter I
  2. Acknowledgments VII
  3. Contents IX
  4. Introduction XI
  5. Preface 1
  6. I. On Tao, the Source 8
  7. II. Evidence from the Sage 13
  8. III. The Classics as Literary Sources 17
  9. IV. Emendation of Apocrypha 21
  10. V. An Analysis of Sao 25
  11. VI. An Exegesis of Poetry 31
  12. VII. Musical Poetry (Yüeh-fu) 39
  13. VIII. Elucidation of Fu 45
  14. IX. Ode and Pronouncement (The Sung and the Tsan) 49
  15. X. Sacrificial Prayer and Oath of Agreement (The Chu and the Meng) 54
  16. XI. Inscription and Exhortation (The Ming and the Chen) 59
  17. XII. Elegy and Stone Inscription (The Lei and the Pei) 64
  18. XIII. Lament and Condolence (The Ai and the Tiao) 68
  19. XIV. Miscellaneous Writings 73
  20. XV. Humor and Enigma (The Hsieh and the Yin) 78
  21. XVI. Historical Writings 83
  22. XVII. Speculative Writings 94
  23. XVIII. Treatise and Discussion (The Lun and the Shuo) 101
  24. XIX. Edict and Script (The Chao and the Ts’e) 108
  25. XX. War Proclamation and Dispatch (The Hsi and the I) 116
  26. XXI. Sacrifices to Heaven and Earth (Feng Shan) 121
  27. XXII. Memorial, Part I (The Chang and the Piao) 126
  28. XXIII. Memorial, Part II (The Tsou and the Ch’i) 130
  29. XXIV. Discussion and Answer (The I and the Tui) 136
  30. XXV. Epistolary Writing (The Shu and the Chi) 144
  31. XXVI. Spiritual Thought or Imagination (Shen-ssu) 154
  32. XXVII. Style and Nature (T’i-hsing) 158
  33. XXVIII. The Wind and the Bone (Feng-ku) 162
  34. XXIX. Flexible Adaptability to Varying Situations (T’ung-pien ) 165
  35. XXX. On Choice of Style 169
  36. XXXI. Emotion and Literary Expression 174
  37. XXXII. Casting and Cutting, or, on Editing of Ideas and Rhetoric (]ung-ts’ai) 179
  38. XXXIII. Musicalness 182
  39. XXXIV. Paragraph and Sentence 186
  40. XXXV. Linguistic Parallelism 190
  41. XXXVI. Metaphor and Allegory (Pi and Hsing) 195
  42. XXXVII. Embellishment as Description 198
  43. XXXVIII. Factual Allusion and Textual Reference 202
  44. XXXIX. Philology and Choice of Words 208
  45. XL. The Recondite and the Conspicuous (Yin-hsiu) 214
  46. XLI. Literary Flaws 216
  47. XLII. The Nourishing of Vitality 222
  48. XLIII. Organization (Fu-hui) 225
  49. XLIV. Discussion on the Art of Writing (Tsung-shu) 229
  50. XLV. Literary Development and Time (Shih-hsu) 233
  51. XLVI. The Physical World 245
  52. XLVII. Literary Talents 249
  53. XLVIII. An Understanding Critic (Chih-Yin) 258
  54. XLIX. The Capacity of a Vessel (Ch’eng-ch’i) 264
  55. Glossary 269
  56. Index 277
https://doi.org/10.7312/liu-93742-048

Chapters in this book

  1. Frontmatter I
  2. Acknowledgments VII
  3. Contents IX
  4. Introduction XI
  5. Preface 1
  6. I. On Tao, the Source 8
  7. II. Evidence from the Sage 13
  8. III. The Classics as Literary Sources 17
  9. IV. Emendation of Apocrypha 21
  10. V. An Analysis of Sao 25
  11. VI. An Exegesis of Poetry 31
  12. VII. Musical Poetry (Yüeh-fu) 39
  13. VIII. Elucidation of Fu 45
  14. IX. Ode and Pronouncement (The Sung and the Tsan) 49
  15. X. Sacrificial Prayer and Oath of Agreement (The Chu and the Meng) 54
  16. XI. Inscription and Exhortation (The Ming and the Chen) 59
  17. XII. Elegy and Stone Inscription (The Lei and the Pei) 64
  18. XIII. Lament and Condolence (The Ai and the Tiao) 68
  19. XIV. Miscellaneous Writings 73
  20. XV. Humor and Enigma (The Hsieh and the Yin) 78
  21. XVI. Historical Writings 83
  22. XVII. Speculative Writings 94
  23. XVIII. Treatise and Discussion (The Lun and the Shuo) 101
  24. XIX. Edict and Script (The Chao and the Ts’e) 108
  25. XX. War Proclamation and Dispatch (The Hsi and the I) 116
  26. XXI. Sacrifices to Heaven and Earth (Feng Shan) 121
  27. XXII. Memorial, Part I (The Chang and the Piao) 126
  28. XXIII. Memorial, Part II (The Tsou and the Ch’i) 130
  29. XXIV. Discussion and Answer (The I and the Tui) 136
  30. XXV. Epistolary Writing (The Shu and the Chi) 144
  31. XXVI. Spiritual Thought or Imagination (Shen-ssu) 154
  32. XXVII. Style and Nature (T’i-hsing) 158
  33. XXVIII. The Wind and the Bone (Feng-ku) 162
  34. XXIX. Flexible Adaptability to Varying Situations (T’ung-pien ) 165
  35. XXX. On Choice of Style 169
  36. XXXI. Emotion and Literary Expression 174
  37. XXXII. Casting and Cutting, or, on Editing of Ideas and Rhetoric (]ung-ts’ai) 179
  38. XXXIII. Musicalness 182
  39. XXXIV. Paragraph and Sentence 186
  40. XXXV. Linguistic Parallelism 190
  41. XXXVI. Metaphor and Allegory (Pi and Hsing) 195
  42. XXXVII. Embellishment as Description 198
  43. XXXVIII. Factual Allusion and Textual Reference 202
  44. XXXIX. Philology and Choice of Words 208
  45. XL. The Recondite and the Conspicuous (Yin-hsiu) 214
  46. XLI. Literary Flaws 216
  47. XLII. The Nourishing of Vitality 222
  48. XLIII. Organization (Fu-hui) 225
  49. XLIV. Discussion on the Art of Writing (Tsung-shu) 229
  50. XLV. Literary Development and Time (Shih-hsu) 233
  51. XLVI. The Physical World 245
  52. XLVII. Literary Talents 249
  53. XLVIII. An Understanding Critic (Chih-Yin) 258
  54. XLIX. The Capacity of a Vessel (Ch’eng-ch’i) 264
  55. Glossary 269
  56. Index 277
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