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A Reinterpretation of Tao Yuanming's Thirteen Poems from a Zhuangzian Perspective - Xu Yan & Zhang Quinming
Preface to the New Face of Research on Song Ci
Ye Yangxi 葉 楊曦
Abstract
As one of China’s most emotionally expressive literary genres, the ci 詞, is an inherently musical genre of literature. The ci originated from court banquet music. “Feast and banquet music of the Sui (581–618) and Tang (618–907) periods were influenced mostly by the songs and music from foreign lands.”1 In the late Tang dynasty, poets such as Wen Tingyun 溫庭筠 (812–866) and Wei Zhuang 韋莊 (836–910) were not only busy creating poetry in the traditional sense, they also would create new lyrics for existing melodies. These new lyrics, called ci, at the time were also known as shi yu 詩餘, leftover poems.
Abstract
Over the past century, there have been many accomplishments in the study of the tunes (diao) and prosody (lü) of medieval ci. Research into the ci tunes is relatively mature and that into ci prosody is slightly less developed, although it has been advancing of late and has generated noteworthy results. Nonetheless, compared with the history and theory of ci, the study of ci tunes and prosody is still underdeveloped. The main problems are the lack of systematic and integrated research, insufficient in-depth research, limited interdisciplinary collaboration, and a general under-appreciation of the academic value of ci tunes and prosody as distinct fields of study. From the perspective of the development trends of ci studies, the advent of the big data era will bring the study of ci tunes and prosody and ci-related documentary research into closer collaboration. At the same time, the subfields of returning to the Tang and Song dynasties to trace the origins of the ci tunes and clarifying questions arising from subordinate variations of tunes will also be recognized by more scholars.
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Abstract
Internal repetition in literary works is a common occurrence; however, there are differences in the degree in which it appears. There is a high amount of repetition in the wording, themes, and compositional structure of Liu Yong’s 柳永 ci poetry. When considering the creative process, the reasons for repetitive and similar texts stem from influences pertaining to the predetermined audience, the length of time used in creating a work, and revisions. Nonetheless, the repetition in Liu’s ci poems did not have a negative impact on their circulation as would be expected, perhaps because they were consumed as individual pieces circulated as songs, making it so audiences had no means of comparison. In addition, their existence as “auditory texts” diminished the focus on their wording. Furthermore, the innovation of manci poetry and its transmission among different audiences made it so that people of the Song paid little attention to the textual repetition in Liu’s ci poetry. During the early years in which manci gained prominence, the repetition occurring within Liu’s ci poems may have had a positive influence.
Abstract
The classical Chinese poetry composed in the ci form by Liu Yong 柳永 holds a significant place in the history of “capital literature.” Liu’s ci encompass verses written at the behest of the emperor, lauding the emperor, and also vivid depictions of life in Bianjing 汴京, the capital of the Northern Song dynasty. While Liu’s portrayal of Bianjing may lack novelty in terms of basic themes and content, his structural skills shine through in his creative and charming descriptions of minutia such as the weather and walking. In contrast to poetry and prose from the Han through Tang dynasties, Liu’s ci do not focus on the spatial characteristics of the capital city, but rather emphasizes the passage of time and sensory experiences. This focus suggests a change in his perception of the capital city, transitioning from a representation of authority to an expression of customs and shared enjoyment between the emperor and the people. Through his creation of a discourse system for capital city poetry, Liu profoundly influenced subsequent poets and popular literature. Analyzing Liu’s ci and capital literature through the lens of a discourse system allows us to appreciate the subjectivity and agency of literature as it both originates from the capital city and allows the city to thrive.
Abstract
The literary miscellanies of the Song dynasty offer a rich corpus of material on ci poetry, including comprehensive analyses of three seminal ci poets from the Five Dynasties period and the Song dynasty: Li Yu, Liu Yong, and Su Shi. Li Yu holds the distinction of being the first literati ci poet in Chinese literary history. Liu Yong made significant contributions to the evolution of ci forms and techniques, while Su Shi revolutionized the style of ci and elevated its artistic realm. The literary miscellanies of the Song dynasty offer extensive commentary on these three poets, providing valuable insights into the evolution of ci poetry. In their analyses, the Song literati bifurcated Li Yu’s ci oeuvre into pre- and post-dynastic fall. They expressed sympathy for his ill-fated life, acknowledging his superior literary talents in contrast to his political abilities, and lauded his ci works that articulated “the sorrowful and contemplative tones of a fallen dynasty.” These scholars recognized Li Yu’s contribution in giving voice to the literati through the medium of ci. Liu Yong’s ci received mixed evaluations; while his vulgar style was both criticized and affirmed, his prolific creation of manci and narrative techniques garnered general approval. Regarding Su Shi, the literati commended his elevation of ci’s literary quality and his pioneering of the bold and unconstrained style. They offered nuanced critiques of his musical deficiencies in ci composition and his approach of composing ci as a secondary pursuit. The literary miscellanies also present balanced assessments of the debate between Liu and Su’s respective styles. These discussions are instrumental in laying the foundation for a systematic criticism of Chinese ci poetry.