A Study of Qing Zhen’sechnique of Writing Ci as Rhapsodies
Journal
臺灣大學中國文學研究所碩士論文
Date Issued
2008
Date
2008
Author(s)
Abstract
This thesis will use the idea of “writing ci (詞) as rhapsodies (賦)” to discuss the artistic influences on and innovations of the Zhenqing ci (清真詞) as well as the distinct features of this work in order to look at the linguistic patterns and strategies Zhou Bangyan (周邦彥) uses in his ci. efore discussing the influence of this idea on Zhou’s ci, it will be necessary to discuss what is meant by “writing ci as rhapsodies”, and the general trend towards the “rhapsodification” of the ci genre throughout the Song dynasty. We will see that Zhou’s style of ci builds on the trend towards rhapsodification already begun by authors such as Liu Yong (柳永). While Zhou certainly emulates these earlier writers, he also develops his own distinct style of ci, thus giving the notion of “writing ci as rhapsodies” new meaning and a broader perspective. In Zhou’s ci, both artistic technique and aesthetic feel are articulated through this method of “writing ci as rhapsodies”. Having dealt with the historical context, we will move on to focus on these two aspects, technique and feel, of Zhou’s works.e will show that the creative impulse for the rhapsodification of ci in Zhenqing ci stems from the ease with which the genres of rhapsody and ci meld into one another. This allows Zhou to employ the characteristics of the rhapsody while preserving the aesthetic qualities and linguistic rhythms of the ci. All of this goes to show why the Zhenqing ci has been known as the “father of the wanyue ci” (婉約詞宗) since the Song dynasty. Namely, the work incorporates the strengths of previous writers in the genre to complete the a style that dominated the community of ci writers during the Southern Song dynasty and continued to have influence into the Qing dynasty.
Subjects
Song ci
Zhou Bangyan
Qingzheng ci
“writing ci as rhapsodies”
rhapsodification
Type
thesis
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