Product Code Database
(pronounced ; t=詞), also known as (first=t) and (labels=no), is a type of lyric poetry in the tradition of Classical Chinese poetry that also draws upon folk traditions. , also known as "song lyrics," use various derived from a base set of fixed pattern forms, using fixed-rhythm, fixed-tone, and line-lengths varying according that of the model examples. The rhythmic and tonal pattern of the are based upon certain, definitive musical song tunes (), and in many cases the name of the musical tune is given in the title of a piece, in a form such as "after (the tune of)...."
Typically, the number of characters in each line and the arrangement of tonal language were determined by one of around 800 set patterns, each associated with a particular title, called (詞牌]]). Originally, they were written to be sung to a tune of that title, with a set rhythm, rhyme, and tempo. Therefore, the title may have nothing to do with its content. Indeed, several often shared the same title. The titles did not refer to the content, but rather their shared rhythmic and tonal patterns. Some have a "subtitle" or a commentary, sometimes as long as a paragraph, indicating the content. Sometimes, for the sake of clarity, a is listed under its title, followed by its first line.
The form developed during the late Tang dynasty. Although the contributions of Li Bai (701–762) are fraught with historical doubt, certainly the Tang poet Wen Tingyun (812–870) was a great master of the , writing it in its distinct and mature form.A. R. Davis, lxvii One of the more notable practitioners and developers of this form was Li Houzhu of the Southern Tang dynasty, during the Five Dynasties and Ten Kingdoms period, subsequent to Tang. Before the form was formalized by the scholarly, it's antecedents had grown up in a setting of popular music. Serindian influences were particularly important in this regard; with the influence of Kucha drum dance tunes being the most important.Edward S. Schafer 1963, 52 Much of the process of importing Serindian influence into Classical Chinese poetry was mediated through the short-lived state of Western Liang (555–587). Western Liang was basically a city-state centered on the city known in Tang times as Liangzhou. In Western Liang a musical hybrid of Chinese and Kuchean traditions developed, and became popularized throughout the Tang culture, from the people to even the emperor Xuanzong (reigned 713–756).Edward S. Schafer 1963, 52 This was part of a larger movement: "...of all the specialists of ambiguous social status who were sent to China by a foreign government, the most popular and influential were the musicians―instrumentalists, singers, and dancers―and the instruments and musical modes that they brought with them....For many centuries, the music of the West had had its admirers in China, but under the Sui dynasty emperors there was a great vogue for it, which continued into T'ang times."Edward S. Schafer 1963, 50–51 Foreign music (in terms of performers, instruments, musical modes, and songs) was brought to China, often as a result of wars of conquest or as a type of "tribute" and this music found a place in informal settings at the imperial court to other less reputable settings.Edward S. Schafer 1963, 50–51 Ci poetry largely developed during the late Tang from the music made in popular settings such as houses of pleasure and from the inclusion of romantic and erotic themes of late Tang poets such as Li Shangyin.A. C. Graham 1977, 141–142David Hinton 2008, 308
However, the form of Classical Chinese poetry is especially associated with the Song poetry, during which it was indeed a popular poetic form. A revival of the poetry form occurred during the end of the Ming dynasty and the beginning of the Qing dynasty which was characterized by an exploration of the emotions connected with romantic love together with its secularization, often in a context of a brief poetic story narrative within a poem or a linked group of poems in an application of the form of short story tales to poetry.Zhang, 76–80
If the appears in one stanza, it is called . The largest majority is with two stanzas or in identical or nearly identical patterns. There also are rare cases of and , for three and four , respectively. In terms of style, can also be classified as either or .
The four tones of Middle Chinese were first described by Shen Yue around AD 500. They were the "level" (), "rising" (), "departing" (), and "entering" () tones. The level is classified as ; all three other tones (rising, departing and entering) are classified as oblique . So, in any cipai, the formation of Ci, each Chinese character in Ci will be required in detailed tones with , shown using 平 and 仄.
For example, choosing the , the Tone pattern of each character in this cipai is following:
The following is a poem based on Jiang Chengzi.
Su Shi, 蘇軾,《江城子·十年生死兩茫茫》
In the title of this cí, is the name of . Su Shi was married when he was 19, and his wife was 16. His wife died when she was only 27. Because of his government duties, Su Shi moved to many different places in China, all far away from his hometown. One night in early 1075, about 10 years after her death, Su Shi dreamed of his wife, then composed this famous cí.
|
|
