Tang and Five Dynasties Ci

Author: Wu Weidong
Publisher:
Publish Date: 2003-09-01
Features: Ci poetry is a new form of verse that emerged in the Tang and Five Dynasties periods, designed to accompany music and singing. It originated during the Sui and Tang dynasties, gradually gaining popularity among scholars in the mid-Tang period, and flourished in the late Tang and Five Dynasties, reaching its peak in the Song Dynasty. During the Tang and Five Dynasties, it was generally referred to as "qu," "quzi," or "quzi ci." Later, it came to be called "ci," or "yuefu." It was also known as "jintiluofu," "shiyu," or "chuanzhangju." These alternative names first appeared in Song Dynasty literature. Ci originated from folk culture and was a product of urban economic development, closely related to the emerging folk music, music from ethnic minorities, and foreign music of the time. Many ancient scholars believed that ci originated from yuefu poetry and Tang Dynasty jintipoetry. This was because both were composed of relatively regular five- or seven-character lines, and when set to music, the number of characters in the verse had to be adjusted according to the length and rhythm of the melody, resulting in chuanzhangju (variable-length lines). Zhu Xi and Hu Yin of the Song Dynasty both held this view. However, this is only a partial explanation. Most ancient yuefu and jintipoetry that could be sung were written first and then set to music, whereas ci was created by filling words into pre-existing melodies, with fixed patterns for the length and structure of the lines. Moreover, the practice of filling words to music appeared even before the Sui and Tang dynasties. During the Southern Dynasties period, Emperor Wu of Liang had seven "Jiangnan Nong" melodies, while Shen Yue had four, and Xiao Gang had three, all with identical forms. These can be considered the precursors of ci. Another distinction between ci and yuefu lies in the fact that ci was paired with emerging music. During the Sui and Tang dynasties, music from ethnic minorities and foreign regions was widely introduced into the Central Plains. It not only flourished among the common people but also entered the upper class and imperial courts, while traditional music gradually declined. This music featured complex and varied melodies, naturally requiring lyrics with alternating rhythms and expressive tones to complement them. Thus, the true sense of ci emerged. Tang Dynasty quzi ci first became popular among the common people. The discovery of Dunhuang quzi ci serves as evidence. The trend of scholars composing ci began in the mid-Tang period. It is said that the imperial collection "Yunyao Ji Zaquzi" included works by Emperor Xuanzong of Tang. It is also believed that Li Bai composed over ten ci poems, earning him the title of the "founder of ci." After Emperor Shaozong, more scholars began composing ci. Early examples include Zhang Zhihe's "Yugexu" (also known as "Yufu Ci"), which was widely sung and even adapted in Japan. During the Dali period, Dai Shulun and Wei Yingwu created famous works like "Tiaoxiao Ling," while Wang Jian later composed imperial songs such as "Tiaoxiao Ling," "Gongzhong San Tai," and "Jiangnan San Tai." Liu Yuxi and Bai Juyi were particularly influential in promoting the art of ci. The popularity of ci reached its peak in the late Tang period, with an increase in the number of quzi and greater artistic maturity. Wen Tingyun is the most representative figure. Other notable ci composers include Du Mu, Duan Chengshi, Zhang Xifu, Zheng Fu, Huangfu Song, Sikongtu, Han Wo, and Li Yeh (Emperor Zhaozong of Tang). During the Five Dynasties and Ten Kingdoms period, ci flourished alongside female performers, leading to abnormal development. A large number of works emerged, surpassing those of poetry and prose at the time. However, due to frequent wars in the Central Plains, there were fewer ci scholars. Li Cunxu of Later Tang could compose quzi ci himself, and He Ning was known as "Quzi Gong." The center of the ci world during the Five Dynasties was Western Shu and Southern Tang. These regions were relatively stable, with developed economies and cultures. The late ruler of Former Shu, Wang Yan, and the late ruler of Later Shu, Meng Chang, were both fond of ci. Western Shu attracted many scholars and ci composers. The ci works selected for this book are all outstanding examples from the Tang and Five Dynasties periods. The annotations are based on extensive research and are striving for accuracy. The critical comments reflect the compiler's insights and reflections, aiming for conciseness while avoiding overshadowing the main content. Occasionally, the annotations include insightful interpretations from past and contemporary scholars, but due to space constraints, they cannot be individually cited. This is specially noted.