20 volumues of CiLu (《詞律》), written and edited by early Qing Dynasty Ci scholar WanShu (萬樹, who also named Hungyou, and known as Huanong) are finished in the year of Kangxi 26 (1687). The whole volume collects 660 kinds of tune (詞調) and more than 1180 kinds of genre (詞體). This makes it the most abundant collection of tune and classification of genre in early Qing. Of studies of CiLu today, from the perspective of writing background and reason, scholars tend to intersect the object through lens of political change during Ming to Qing as well as of the pinpointed response of early Qing Ci literary circle towards Ming Ci literary circle. Moreover, with regard to content of CiLu, scholars tend to decipher the text by interpreting WanShu's self account and introduction, explaining its format and criticizing its good and bad. This shows that research effort towards CiLu has already begun, and, at the same time, has demonstrated its importance to Qing literary circle due to the fact that it has a very close relationship with the era. However, although those external factors raised here are suitable to explain the universal situation of early Qing Ci circle, a target-oriented analysis towards CiLu is absent. Those internal analysis based on content also overly rely on WanShu's self account and introduction yet omit the value of Ci examples, annotations and WanShu's comments. Therefore, in this research, except the parts of introduction and conclusion, the body contains 4 chapters and is divided into former and latter part so as to provide a fresh angle and discourse upon the study of CiLu via an attempt of viewing it from the external to the internal. The first chapter－Introduction－ provides a clean explanation upon the goals, literature review and methodology of the research; the second chapter will review early Qing Ci poetry circle's canonization strategy (尊體策略) to clarify genre integration (破體), genre classification (辨體) and the spectacle of writing trend of the era. It also revaluates the tension among literary parties upon the issue of canonization in early Ching circle so that a new discourse upon the literary status of WanShu's CiLu would be brought forth as the fundamental argument of the thesis. The third chapter will trace traditional influence of CiLu's by reviewing music discussion in Pre-Qin and Han, six times official review of music systems in Song dynasty and Ci lyricists' inhabitation under the influence of Dashengfu (大晟府), and hence, it is analyzed that WanShu's CiLu alludes rules of Ci poetry writing to music theory. Then through the way of music theory, it paves the road to canonization of certain Ci poetry －this also demonstrates how WanShu's CiLu develops its own unique rules of music-lyrics theory (律呂之學) from purely inheriting ancient style (紹述古音) . The forth chapter shifts to the internal textual studies of CiLu. Apart from CiLu's self account and introduction, it tries to explore its inner logic(內在理路): by the unusual phenomenon of juxtaposing LiuYong and ChouBaoyan as well as comparing FangQianli and WuWenyin, it is noted that WanShu's emphasis on comparingly slow reading and parallel proofreading is the inner clue of netting the whole volume as well as the corner stone to his literary pursuit of being "supremely just and grandly noble" (至公大雅). The fifth chapter borrows angles of bibliography and the Cultural History Study of Book to reflect on the material form of Cipu (詞譜)writing, analysing how CiLu differentiates from other common Cipu during the period: it both masters the two facets of visual reading and vocal drill to advocate the practice of Ci poetry writing. This not only solves the problem of writing techniques but also conquers the difficulty of adopting different aesthetics norm. It, hence, echoes CiLu's editing aims which are promotion and canonization of Ci. The sixth chapter is conclusion which induces all the discoveries of this research as well as reflects on the methodology.
|Date of Award||12 Sep 2019|
|Original language||Chinese (Traditional)|
|Supervisor||Hongsheng ZHANG (Supervisor)|
- Ci (Chinese poetry)
- History and criticism