QU

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INTRODUCTION

The Chinese are known for their adherence to rules. They garner a deep respect for authority, which is perhaps also a result of the strictness of their governments. In poetry, it is no different. In most cases, there are many strict rules to follow. Still, though, even the Chinese crave some freedom here and there. Qu is a lyrical poetry form that permits for such freedom to exist. Let us take a closer look. 

WHAT IS QU?

Qu is a form of Classical Chinese lyrical poetry that emerged as a distinctive genre in Chinese literature during the Yuan dynasty. The words are written in one of several set tone patterns, based upon the tunes of various songs. In other words, there are lines of varying lengths set according to specific, fixed patterns of rhyme and tone of conventional musical pieces. (2, 3)

The word qu denotes "tune" or "song. It permitted greater expressive freedom by blending poetic narrative with musical performance to convey emotions directly and colloquially. (3)

This form encompasses sanqu (散曲), or "dispersed songs," which include single-stanza arias (xiaoling, 小令) and multi-aria suites known as santao (散套), serving as a bridge between elite literature and popular entertainment. (3)

HOW IT ALL BEGAN 

The origins of qu trace back to precursors in the Jurchen Jin dynasty. It gradually transitioned from Shi (regulated verse) to Song dynasty ci-lyrics, integrating folk songs, rustic oral traditions, and dramatic elements, before fully maturing into song-based compositions under Mongol rule during the Yuan era. (3)

DIFFERENT VARIATIONS, FORMS 

Within qu poetry, key variations include xiaoling (小令, short songs) and santao (散套, song suites). Xiaoling consists of individual, standalone lyrics set to single tune patterns. Typically, it is of one tune with 3 to 20 lines, featuring irregular syllable counts per line. On the other hand, santao refers to loosely structured or scattered suites of multiple tunes, allowing creative flexibility. It is usually made of longer sequences of 2 to 30 or more linked xiaoling under a single rhyme and mode. Then there is taqu (套曲), which denotes unified song suites or sets integrated into dramatic works like zaju plays. Also regionally, we can further diversify qu nomenclature, primarily through beiqu (北曲, northern qu) and nanqu (南曲, southern qu). (3)

CHARACTERISTICS OF QU

At the core of Qu's structure are tune patterns known as qupai (曲牌), which serve as fixed melodic frameworks dictating line lengths, rhymes, and tonal schemes within specific musical modes. It is known for its flexible syllable counts, typically ranging from 3 to 7 per line (with variations up to 9). Central to qu's tonal patterns is the use of ping-ze (level-deflected) distinctions. Ping tones provide even, flowing cadences. Ze tones (rising, falling, or entering), on the other hand, introduce contrast and emphasis. (3)

Musically, qu is intrinsically linked to qupai melodies. They are predefined patterns derived from Tang-Song yanyue (banquet music), folk tunes, and ethnic influences, performed originally as sung forms. These forms were accompanied by instruments like the pipa (lute), zheng (zither), and reed pipes (sheng), often with drum beats for rhythmic drive. (3)

COMMON THEMES

The most central themes are love and separation, often depicting the anguish of parting lovers or the longing of the abandoned. Nature imagery serves as a metaphor for transience and impermanence. Critiques of official corruption appear subtly, manifesting in laments over imperial decay, futile ambitions, and the moral decline of society. Its sanqu form served as a mirror to the social upheavals of the Yuan dynasty under Mongol rule and the growing tensions between Han Chinese and ruling Mongols. (3)

CONCLUSION

Qu is a form of Classical Chinese lyrical poetry, where words are written in one of several set tone patterns, based upon the tunes of various songs. The origins of qu trace back to precursors in the Jurchen Jin dynasty. It gradually transitioned from Shi (regulated verse) to Song dynasty ci-lyrics, integrating folk songs, rustic oral traditions, and dramatic elements, before fully maturing into song-based compositions under Mongol rule during the Yuan era. Within qu poetry, key variations include xiaoling (小令, short songs) and santao (散套, song suites), taqu (套曲), beiqu (北曲, northern qu) and nanqu (南曲, southern qu). 

SOURCES

1. Image was created via Canva.com.

2. Wikipedia. Qu (poetry). Available at https://en.wikipedia.org/wiki/Qu_(poetry) 

3. Grokipedia. Qu (poetry). Available at https://grokipedia.com/page/qu_poetry