Songs are a kind of short, rhyming composition. It is a form of artistic creation combining literature, music, and even dance which can be sung. The difference between songs and poems in ancient China is that the former could be made into music and sung, whereas the latter could not. In a broad sense, the term includes children’s ballads and folk ballads. In a narrow sense, songs and ballads are different. Songs have a fixed melody and musical accompaniment, while ballads do not. Songs were created mostly by folk musicians, such as “A Slow Song” of the Han Dynasty and the folk song “Song of the Chile” during the Northern Dynasties. A small number of songs, however, were written by members of the literati, like “Ode to the Great Wind” by Liu Bang (256 or 247-195 BC) and “The Midnight Melody of the Land of Wu” by Li Bai (701-762). Songs are one of the early forms of ancient Chinese poetic art and were generally classified as yuefu (乐府) poetry in ancient China. In modern times, they are called poetic songs as a part of poetry.
Shi (诗) is a major genre of ancient Chinese literature, the earliest literary form that emerged in China. Observing the requirements of a certain rhythm, rules of rhyming, number of characters, and type of verses, and using concise language and rich imagination, it reflects social life and conveys thoughts and emotions. Shi and wen (文) are two principal forms of ancient Chinese literature. Shi, as referred to by the ancient Chinese, consists of the older type of poetry and the latter type of poetry. It generally does not include ci (词 lyric) and qu (曲 melody), which appeared as literary genres after the Tang Dynasty. The older type of shi is also called gufeng (古风), meaning ancient style, which is a general appellation for all kinds of poetic forms produced prior to the latter type of shi, except the style employed in the odes of Chu. With relatively few restrictions in rules and forms, shi is not constrained by any antithetical arrangement or a fixed tone pattern, and its rhyme is fairly free. In addition, the length of a piece is not limited. A verse may have four, six, seven, or a mixed number of Chinese characters. The latter type of shi is also called gelüshi (格律诗), meaning poetry with fixed patterns. Its number of characters, rhyming, tone pattern, and antithetical arrangement are all strictly fixed. A poem of this type may contain four lines (known as jue 绝), each with five or seven characters, or eight lines (known as lü 律), each with five or seven characters. Occasionally, it is much longer than normal, expanding to one and a half dozen lines, which is referred to as pailü (排律). The difference between shi, and ci and qu is that the former is not set to music, while the latter may be set to music and sung. Shi has existed as a literary form for more than 2, 000 years in China. Ancient Chinese used shi to connect humans with nature, voice aspirations, and give expression to emotions. It embodied the spirit and aesthetic pursuits of literature and art in ancient China, which is very different from the West, which only sees poetry as a category of literature. In ancient China, Confucian thought played an important guiding role in poetic creation, while Daoist and Buddhist thoughts had a profound influence on the theory of poetry’s artistic conception. Since The Book of Songs was China’s earliest collection of poems, later generations also used shi to refer to The Book of Songs in particular.
Ci (词) originated in the Tang and the Five Dynasties, and developed to maturity as a new literary form in the Song Dynasty. Also known as “lyric with a melody,” “yuefu (乐府) poetry” or “long and short verses,” ci developed from poetry. Its main feature is that it is set to music and sung. Each piece of ci has a name for its tune. There are strict requirements for the number of lines and the number of characters as well as tone pattern and rhyming in different tunes. In terms of length, ci is divided into short lyrics, medium lyrics, and long lyrics. In terms of musical system, a piece of ci is usually divided into two stanzas of que (阕) or pian (片), as ancient Chinese called them. Occasionally, it consists of three or four stanzas, or just one. Thus, the music can be played once or many times. In terms of style, ci falls into the graceful and restrained school and the bold and unconstrained school. The former is delicate and sentimental, often describing family life and love, while the latter is bold and free, often expressing one’s vision about major social issues like the fate of the nation. Many literati and scholars of the Song Dynasty composed ci lyrics, which played a significant part in promoting its development. Today, ci is generally not set to music and sung. Rather, it is a literary form composed in accordance with the requirements of a music tune.
Qu (曲) is a literary form that came into being later than poetry and ci (词). It generally refers to the northern- and southern-style melodies created in the Song and Jin dynasties. Northern melodies were composed mostly with tunes in northern China and performed in northern dialect, while southern melodies had southern tunes and southern dialect. Since qu reached its peak in the Yuan Dynasty, it is generally known as Yuan qu or Yuan opera. Qu is similar to ci in form but is more flexible in sentence structure, and colloquial language is used. There are two main types of qu: one is northern zaju (杂剧) opera and southern chuanqi (传奇) opera; such qu is known as xiqu (戏曲) or juqu (剧曲). The other type is sanqu (散曲) or lyric songs, also known as qingqu (清曲). As with other forms of poetry, sanqu describes a scene, a sentiment or an event and can be sung, but it has no spoken parts or instructions for performers’ movements and expressions. Generally speaking, the old-style opera is much more accomplished and influential than sanqu. The Yuan period was a golden age in the development of Chinese opera. There are more than 80 known playwrights from that time. Guan Hanqing, Ma Zhiyuan (1251?-1321?), Bai Pu (1226-1306?), and Zheng Guangzu (?- 1324?) represent different styles from different stages of the Yuan opera, and they are recognized as the four leading Yuan opera writers. Yuan opera has distinctive plots and artistic appeal. Together with Tang and Song poetry and Ming and Qing fiction, it marks an important milestone in the historical development of Chinese literature.
Ci (词 a form of poetry with long or short verses which can be set to music and sung) and qu (曲 a form of rhyming compositions which can be set to music and sung) are a combined appellation for two kinds of literary styles. In Complete Library of the Four Branches of Literature, they are listed at the very end of the “Collections” section (Qu is a sub-genre and is not listed in the table of contents). This is because according to the literary views of ancient scholars, poetry and essays were the only accepted tradition to express important ideas. To write in the form of ci (lyric) and qu (melody) was only seen as a minor skill showing a person’s talent. Sometimes, the combined appellation ciqu also refers to traditional opera and genres of performances featuring speaking and singing.