Biji (Chinese: 筆記) is a special literary genre in classical Chinese literature. Literally "notebook" or "written notes".[1][2] There is no strict writing mode for biji,[3] it is a literary form mainly based on recording personal insights, experiences, miscellaneous sensations, and trifles, and it is known for its characteristics of scattered notes and trivial records. A book of biji can contain stories, anecdotes, quotations, random musings, philological speculations, literary criticism and indeed everything that the author deems worth recording.
Genre and evolution edit
The genre first appeared during the Wei and Jin dynasties, and matured during the Tang dynasty. The Wei, Jin, Northern and Southern Dynasties was a period of political division in Chinese history, and also an era of flourishing culture and art. During this time gave rise to various literary genres, including biji. The biji of that period of time mostly contains the believe-it-or-not kind of anecdotes, and many of them can be treated as collections of short fictions. To differentiate this kind of "biji fiction" from the general biji, the former is later called biji xiaoshuo (筆記小說 "notebook fiction").
Biji emerged as an independent literary genre during the Southern Dynasties (420 to 589) and underwent further refinement during the Tang Dynasty (618 to 907).[3] In addition, the Song Dynasty, known for its extended period of peace in Chinese history, saw stable social and economic development. This stability contributed to a prosperous environment, fostering the flourishing of biji literature during the dynasty's reign from 960 to 1279.[3] Historiographic themes hold significant importance in the biji text of the Song dynasty. Therefore, they serve as crucial resources for the study of Song history. Many works of which adopting an "item-by-item style and stipulated no further rules for the size, structure, or mutual relations of these items", and continued to flourish during the later dynasties up until the end of the 19th century.[1] According to Ronald Egan, the biji as a genre "served as an alternative to the classical commentary and the formal essay" in traditional Chinese letters and allowed writers to record their reflections or scholarly insights freely.[2]
The evolution of the biji genre is reflected in the writing styles and content choices of different authors.[4] For example, during the Tang and Song dynasty, biji literature emphasized natural and social phenomena, highlighting personal emotions, experiences, and reflections on society, while also valuing literary artistry and aesthetic appeal.[4] During this period, scholars created numerous works covering a wide range of topics, including personal life, natural scenery, historical events, and cultural landscapes.
In the Ming and Qing dynasty, biji literature shifted its focus more towards criticism and reflection on social realities, exposing the darker aspects and flaws of society, and reflecting the authors' deep understanding of social conditions and human nature.[4] The works from this period were diverse in form, including essays, historical records, and collections of folk tales, providing educational and thought-provoking insights.[3]
The development of modern biji literature presents new characteristics. With the deepening of literary research, scholars have re-evaluated and studied biji literature, emphasising its artistic and innovative qualities.[5] Modern biji literature places more importance on analysing and evaluating literary forms and techniques, encouraging contemporary writers to integrate modern life experiences and perspectives into their works while inheriting traditional elements, resulting in creative and novel pieces.[5]
As a free-form literary genre, biji literature is an ideal medium for scholars to express their thoughts and record their lives.[4]
Characteristics and Style edit
Biji is a type of text divided into several categories or sections, known as "Juan" in Chinese.[3] Unlike traditional narrative structures that follow a chronological sequence and include clear beginnings, developments, and endings, Biji literature emphasises personal observations, feelings, and reflections.[4] It often records genuine insights and experiences in daily life through the author's perspective and voice, narrating fragmented segments.[4] This form is characterised by its high flexibility and informality, representing a form of literature that is creative and expressive.[4]
Traditional literary genres such as poetry, rhapsody, prose, and lyric poetry usually have specific themes and formal requirements. In contrast, biji are often fragmented and episodic, lacking continuous narration or a unified theme, and are not constrained by formal literary structures.[4]
In some instances, the various sections within a biji article may not have explicit headings or rules for classification. Readers, however, will discover an implicit organisational structure through attentive reading. Authors of biji mostly jot down relatively incoherent descriptions and reflections during their leisure time, with each section possibly lacking clear titles and instead being indicated by numerical markers. These sections or categories typically consist of numerous brief annotations, subsequently arranged and categorised based on thematic relevance.
Influence and Legacy edit
As a literary form, biji occupies an important position in Chinese literature, capturing segments of Chinese society, culture, and history across different periods. It emphasizes an informal style and subjective reflection, providing a platform for authors to express their thoughts and emotions freely.
Authors of biji are usually intellectuals, academics or literati who are deeply engaged in pressing societal, political, and cultural issues of their time, thus providing a platform for critical reflection, social commentary, and intellectual debate. By introducing innovative narrative and writing techniques, such as essays and travelogues, biji integrates vivid scenes with profound reflections and has become a source of inspiration for contemporary intellectuals and writers.
Notable works edit
- Miscellaneous Morsels from Youyang (酉陽雜俎 Yǒuyáng Zázǔ), by Duan Chengshi, Tang dynasty
- Dream Pool Essays (夢溪筆談 Mèngxī Bǐtán) by Shen Kua, Song dynasty
- Notebooks from the Rong Study (容齋隨筆 Róngzhāi Suíbǐ) by Hong Mai, Song dynasty
- Little Notes on the Nature of Things (物理小識 Wùlǐ Xiǎoshí) by Fang Yizhi, Ming dynasty
- Notes of the Thatched Abode of Close Observations (閱微草堂筆記 Yuèwēi Cǎotáng Bǐjì) by Ji Yun, Qing dynasty
- A New Account of the Tales of the World (世说新语 Shìshuō Xīnyü) by Liu Yiqing, Northern and Southern dynasty
- Baopuzi (抱朴子 Bàopǔzǐ) by Ge Hong, Eastern Jin dynasty
- Soushen Ji (搜神记 Sōushén Jì) by Gan Bao, Eastern Jin dynasty
- Taiping Guangji (太平广记 Tàipíng Guǎngjì), compiled by Li Fang et al., Song dynasty
- Yingchuang Yicao (萤窗异草 Yíngchuāng Yìcǎo) by Qu Dajun, Qing dynasty
- Qingteng Shuwu Biji (青藤书屋笔记 Qīngténg Shūwū Bǐjì) by Wang Shizhen, Ming dynasty
- Little Notes on the Nature of Things (物理小识 Wùlǐ Xiǎoshí) by Fang Yizhi, Ming dynasty
- Strange Stories from a Chinese Studio (聊斋志异 Liáozhāi Zhìyì) by Pu Songling, Qing dynasty
- Zi Bu Yu (子不语 Zǐ Bù Yǔ) by Yuan Mei, Qing dynasty
Criticism and Studies edit
Modern scholars have conducted in-depth research on the biji literature during the Ming and Qing dynasties, considering it to hold a significant importance position in the history of Chinese literature and have a profound influence on later literary works. At the same time, they also re-interpret and evaluate the artistic achievements of biji literature from the perspective of literary criticism. According to Liu (2010), some critics have pointed out that biji may be subject to the limitations of the narrator’s positions, biases, and experiences, thus potentially carrying subjective undertones, leading to a lack of objectivity and comprehensiveness in the works, and failing to fully reflect the true aspects of society, culture, and history. In addition, biji works are often presented in a fragmented form, lacking the coherence and integrity of works. Compared with traditional literary forms, biji may be relatively simple in terms of literary skills and artistry, potentially lacking depth in the works. Due to their emphasis on realism and documentation, they may sacrifice literary imagination and creativity.
See also edit
References edit
- ^ a b Zuo, Ya (2018). Shen Gua's Empiricism. Harvard University Asia Center. pp. 173–174. ISBN 978-0-674-98711-1.
- ^ a b Qian, Zhongshu (1998). "Introduction". Limited Views: Essays on Ideas and Letters. Translated by Ronald, Egan. Harvard University Asia Center. p. 12. ISBN 978-0-674-53411-7.
- ^ a b c d e Theobald, Ulrich. "biji 筆記 (www.chinaknowledge.de)". www.chinaknowledge.de. Retrieved 2024-05-08.
- ^ a b c d e f g h Denecke, Wiebke; Li, Wai-yee; Tian, Xiaofei (2017). The Oxford Handbook of Classical Chinese Literature (1000 BCE-900 CE). Oxford University Press. ISBN 978-0-19-935659-1.
- ^ a b Drayton, Dave (2013-10-30). "Staying alive: Contemporary English application of biji". TEXT. 17 (2): 1–9. doi:10.52086/001c.27609.
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