Abstract
This article explores the interpretation history of five–character paralleled metrical poetry in poetic theory. In the Tang dynasty, there had almost no explicit elucidation on this style, except for Yuan Zhen who had adequately elaborated on the creative motivation, and artistic weaknesses and strengths of the style while commending Du Fu’s poems of this style to be the model for they reflected the artistic essence of expansive parallelism. Some Song-dynasty poets had some comments that influenced the theorization of five-character parallel metrical poems. In the Yuan dynasty, anthologies of Tang poetry by Li Cun and Yang Shihong paid attention to five-character paralleled metrical poetry the early and high Tang dynasty, primarily those written by the emperors, cabinet ministers, and in imperial examinations, shifting the emphasis of poetic theory on this style to discern its origin and development. In the Ming dynasty, Gao Bing’s Collected Comments on Tang Poetry clarified two core artistic features of the style proposed by previous generations and greatly enriched the views on the style during the Tang Dynasty, maturing the theory on five-character paralleled metrical poetry. Since then, the Ming and Qing poetics had debated over the origin and variation of this style on the basis of Gao Bing’s work. The article ends with an explanation of the reasons for taking paralleled metrical poetry as the generic name of this style from the perspectives of origin and principle.
Keywords
five-character paralleled metrical poetry, poetic theory, expansive parallelism
First Page
184
Last Page
193
Recommended Citation
Zheng, Jialin. 2022. "An Analysis of the Interpretation Process and Naming Principle on Five-Character Paralleled Metrical Poetry in Poetic Theory." Theoretical Studies in Literature and Art 42, (2): pp.184-193. https://tsla.researchcommons.org/journal/vol42/iss2/19
