Wandering among the Seven Treasure Pagodas---A Study of Wu Wenying's Ci Poetry

Author: Tian Yuqi
Publisher:
Publish Date: 2004-08-01
Features: Wu Wenying was an outstanding lyric poet of the Song Dynasty, whose works were uniquely creative and deeply influential. In the modern era, there was once a situation where nearly half the scholars studied his style. Wu Wenying and The Dreams of the Chamber of Dreams (Mengchuan Ci) are also known as difficult to analyze. The author faced these challenges boldly, daringly employing stylistic theory and statistical methods to statistically analyze the word choice, sentence structure, rhetoric, allusions, and the selection rate of poetic forms and tonal patterns in Wu's lyrics. Comparisons are made with other lyric poets to explore the similarities and differences. The author offers novel insights into the stylistic features and origins of Wu's lyrics, employing innovative research methods. In the analysis of Wu's life and works, the author often presents personal interpretations and insights. The systematic and detailed of Wu's status and influence over the following centuries also reflects the evolution of lyric criticism in China. The book is primarily divided into four chapters, with a conclusion and appendices.
Chapter 1 explores several issues related to Wu Wenying's life and creative works, including his life experiences, his relationship with Shi Zhai, and the psychological themes of fear and dreams in his lyrics.
Chapter 2 analyzes the artistic style of Wu Wenying's lyrics. Drawing on the theory of stylistics, this chapter dissects the "Seven Treasures Pavilion" to analyze the lexical, grammatical, rhetorical, allusive, and structural styles of Wu's lyrics. It specifically explains the characteristics and origins of his lyrical style—such as being substantial, dense, and profound—and contrasts it with the traditional works of lyrical poets.
Chapter 3 examines the melodic and rhythmic features of Wu Wenying's lyrics. Although his lyrics are meticulous in wording, they remain highly singable. His lyrics often create new tonal patterns and variations, with tonal patterns and poetic forms generally harmonious with their emotional expressions. Among the poetic forms Wu used, there are numerous lyrical forms traditionally considered lyrical, as well as bold forms favored by poets like Su Shi and Xin Qiji, reflecting the richness of his aesthetic sensibilities and the influence of bold poetic traditions on his creativity.
Chapter 4 reviews the status and influence of Wu Wenying's lyrics from the late Song Dynasty to the modern era, including their circulation, contemporary evaluations, and their impact on later poetic creations. The reception history of Wu Wenying's lyrics over the centuries also reflects the state of lyric criticism in China, offering both lessons for and points for reflection.
The conclusion attempts to provide a comprehensive evaluation of the creative style, origins, and significance of Wu Wenying's lyrics. The appendices primarily include a "List of Wu Wenying's Lyric Works" and a "Biographical Sketch of Wu Wenying's Associates." These supplements complement the main arguments, with the "List of Wu Wenying's Lyric Works" offering textual and tonal analyses, as well as corrections to the time and place of his creative works.