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SOURCE:    Philology. Theory & Practice. Tambov: Gramota, 2024. № 9. P. 3134-3145.
SCIENTIFIC AREA:    Philological Sciences
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https://doi.org/10.30853/phil20240444

“Fu on Whistling” by the Chinese poet Chenggong Sui (231-273)
Semenenko Ivan Ivanovich
Lomonosov Moscow State University
Submitted: 01.08.2024
Abstract. The research aims to determine the main features of the poetics and musical-aesthetic concept of the “Fu on Whistling” by Chenggong Sui, a renowned Chinese poet of the 3rd century CE. This work, considered a classic among Chinese fu on music, is the first and most in-depth exploration of the philosophy of artistic whistling, which played a significant role in classical Chinese culture and literature. The paper examines Chenggong Sui’s biography and literary legacy, provides a categorized translation of the fu with introductory omments and textual annotations, analyzes its poetics in comparison to other fu on music, and identifies the main sources and tenets of the concept of whistling art developed by the author. The scientific novelty of the research lies in the fact that this fu by Chenggong Sui for the first time serves as the subject of a separate and comprehensive study that covers various aspects of its structure and content. The work is also translated into Russian for the first time. As a result of the research, the features of the fu’s poetics are revealed, the archaic-mythological, Daoist, and Confucian sources of the concept of whistling and its main functions are identified: achieving unity with the Dao, moral education, and providing aesthetic pleasure.
Key words and phrases: Чэнгун Суй, топика свиста как ветра и музыки, единство с Дао, гармония инь и ян, красота цзыжань, Chenggong Sui, topoi of whistling as wind and music, unity with the Dao, harmony of yin and yang, beauty of ziran
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