Abstract
Chinese ci-poetry as a different poetic form from shi-poetry has its distinctive aesthetic characteristics and a unique pattern of stylistic innovation. A full understanding of this claim is essential to a historical analysis and evaluation of the theorectical commentaries on ci-poetry from the ancient famous scholars. The famous claim that ci-poetry is but shi-poetry set to music can be investigated from the perspective of "verifying the music from the lyrics," and its legitimacy lies on the one hand in the aesthetic sentiments and the life-disposition complexity in lyrics-music complex and on the other hand in various anthologies, commentaries, reading notes and historical records, despite the lack or loss of music. The poetry-music contradiction provides an internal dynamics to the stylistic innovation of ci-poetry, and a dialectical interrelationship can be found in the attitude towards this contradiction in OuYang Jiong, Su Shi and Li Qingzhao, who were three the representative ci-poets from the Late Tang Dynasty and the Southern Song Dynasty.
First Page
71
Last Page
76
Recommended Citation
Xia, Zhongyi. 2012. "Three Arguments Relating the Study of Ci-Poetry." Theoretical Studies in Literature and Art 32, (4): pp.71-76. https://tsla.researchcommons.org/journal/vol32/iss4/18
