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Flirting with the Explicit: Euphemism and Eroticism in the Chinese Lyric

The Chinese lyric, known as 詞 (ci in pinyin, tz’u in WadeGiles), evolved as a popular form of poetic expression in the Tang Dynasty (618–907) and reached its artistic peak in the Song Dynasty (960–1279). It is believed to have originated with the songs and dances composed by singing-girls and courtesans in the entertainment quarters of the great cities, particularly in the multi-cultural Tang capital of Changan, where girls imported from western Asia were bringing a new and exotic quality to the entertainment. Among their patrons were elite scholar-officials who were famed for their literary skills and who prized poetry above all other forms of expression. It could not have been long before these literati were writing their own words to some of the favorite songs. Not surprisingly, many of these lyrics were about the relationships formed with the girls; whereas the original songs were about a variety of subjects, those of the poets were almost exclusively about “boudoir sentiments.” They could be performed, perhaps by one favored courtesan, in situations of intimacy or to an audience of like-minded scholars.