文章内容

A BRIEF STUDY IN THE STRUCTURAL THEORY OF CI POEM

By Shi Yidui Zhang Ronghui Chem Shanshan(Translated)

　　Wang Guowei's World Theory in his Remarks on Lyrics in the World of Men has opened a new pages in China's history of Ci Poem study. His contribution to Ci Poem study should be fully affirmed. But due to the influences of the then society, way of thinking, culture and the limitation of Wang's itself theory,. Wang has left behind him a "sequelae" for the modern Ci Poem study. For instance, since 1949, there have appeared deviations when the critics evaluated Ci Poem with the criteria of the heroic style (hao fang) and the graceful style (wan yue). And there are question arising from the "Appreciation Craze" now. All these have got to do with Wang's theory directly or indirectly. I have thought of their relations very much. This paper intends to make a brief judgment on the Natural color Theory, World Theory, Style Theory found in the history of Ci Poem study, basing on the discussion about the chorusing of different approaches to Ci Poem study, this, giving further explanation to the Ci Poem's Structural Theory and how the theory contributes to Ci Poem study. I wish it would arouse your interests.

1. FROM THE NATURAL COLOR THEORY TO THE WORLD THEORY, THE SCOPE OF CI POEM STUDY BECOMES　WIDER, BUT THE WORLD THEORY IS STILL NOT THE THEORY OF CI POEM ITSELF:

　　Wang Guowei was very proud of his World Theory and once claimed:
　　Yan Cang Lang's Remarks on Poetry says, in the high period of the Tang, all the poets paid their utmost attention to a flash of inspiration, which like a sleeping antelope, is nowhere to be found because of leaving no traces to be found. The finess of it therefore is like something so exquisite and wrought thing that can not be grasped totally. Their poems are just sound high in the air, color in the expression of images, the moon in the water, figure in the mirror. They end in terms of words but not in terms of meaning. Both Canglang's inspiration and Ruanting's charm of spiritually touched the surface. It would be better to use the word "world" to show the nature of the Ci Poem.¹
　　In my work InterDretation and Notes to the Ci Poems of the World of Men (To be published). I have explained the merits of Wang's Theory comparedwith the precious dynasties inspiration Theory and Charm of inspiration Theory. Here I would focus on what the World Theory has inherited from the previous theories of the Ci Poem criticism and what the theory has transcended.
　　Among the various Ci Poem criticism before Wang there was a central subject. That is the Natural Color Theory, which has always been a problem of common concern for the Ci Poem writers as well as the Ci Poem critics during the past dynasties. It has been a vexed question on the history of Ci Poem study. Li Qingzhao's Being-a-Unique One Theory was a striking example of the Natural Color Theory as well as concrete criteria of criticism. ² It is a landmark in the history of Ci Poem study in China. But up till now, no definite standards and systemic proofs have been given to the intentions and extensions of the Theory and the basis for it as a criteria of the Ci Poem criticism.
　　From the general controversies over the Natural Color Theory, two main aspects can be tracked: one with an emphasis on sense not on explanation by words, in a word, on feeling and the lingering appeal beyond words; the other with a stress on the rules and forms of classical poetic compositions, seeking information form each word. These two methods represent two different aesthetic standards and form two modes of criticism. For instance, there have Iong been two opposite views on Su Shi as well as on his works.
　　One is that Su's Ci Poem was not in accordance with the tune and his Ci Poem could not be sung. "His Ci Poem were only poems with Iong and short sentences." ³. The other view is that Su's Ci Poem, "unconstrained, could be sung and Su didn't like to make changes to fit the tonal patterns and rhyme schemes." ⁴ The focus of the controversy seems to be whether Su's Ci Poem was strictly in accordance with the tone or not, but virtually it is about the Ci Poem's orthodox and non-orthodox theory about which people still have an unclear mind. According to the explanation of the Zhedong and Changzhou schools during the Qing Dynasty, the concrete requirements of the Natural Color Theory were imposed on creation and being in accord with the tune. And since then a series of discussions have been launched about which is the fundamental and which is the incidental to creation or being in accord with the tune.
　　From then on, the meaning of the Natural Color Theory has gradually become obvious. Though creation and being in accord with the tune like two edges of a sword, can be used as criteria of the Ci Poem criticism, they may also go to extremes, resulting inevitably in some faults. For example, from the Implication Theory to the Entrustment Theory, too much emphasis was paid to the external part of the Ci Poem, thus giving a strained interpretation or framing up a forced charge. From the neatness and variation of the Southern SongDynasty's Ci Poem, to the Ci Poem of Jiang Kui and Zhang Yan which were read as unique of people laid much emphasis on elegance and purity, which might easily lead to emptiness and ostentation. These two deviations have repeatedly led astray the traditional Natural Color Theory. Wang Pengyun, Zheng Wenchuo, Zhu Zumou, Kuang Zhouyi, the four great critics in the Qing Dynasty took a compromise way with the scheme as the means. "That was to take Zhang Gaowen's Implication Theory as the basis, with reference to Ling Cizhong's and Ge Shunqing's Rhyme and Pattern Theory, and further to develop it." These four critics formed a new school, the Gui (Guangxi) School, ⁵ and corrected the errors of the Zhe and Chang schools. They had pushed China's old Ci Poem study to a new peak. However, because their ultimate aim was to follow Wu Wenyin, and they had inherited the disadvantages form the previous study such as the obscure creation and the reserved rhymes and patterns, the four great poets never succeeded in getting rid of the Natural Color Theory's predicament.
　　Wang Guowei's World Theory inherited the essence of the traditional theories: the endless meaning, blended with the western philosophy "the world is my mind". Wang not only corrected the faults or deviations of the inspiration Theory and the Charm of Spirit Theory, but also broke through the traditional Natural Color Theory's limitation. The breakthrough can be seen from the following three aspects:
　　First, the Natural Color Theory advocated the view of being similar or not similar, which held that the Ci Poem was like neither poetry nor Qu. The special quality of the Ci Poem, so mysterious and could not be seen or felt. The World Theory viewed the Ci Poem with depth and breadth, saying: "Poetry has a broad scope while the Ci Poem describes things form the angle of depth." According to this theory, the Ci Poem's special quality can be summarized with the words "properly gracious".
　　Second, the Natural Color Theory took either creation or harmony of pattem and rhyme as the fundamental with a narrow way subject to the restraint of various schools or factions. Its position of reasoning was more or less deviated. The World Theory regarded the world as a representation of "me" and took "trueness" as the standard of judgment. This theory had a wider field of vision and a more reasonable position.
　　Third, the Natural Color Theory had a great indefiniteness. It tended to be one-sided when it came to some concrete cases. So, the critics tended to keep away from the difficult part when they studied Ci Poem. For example, "the people in modern times learn Ci Poem starting form the Southern Song Dynastythan the Northern Song Dynasty. They think the Southern Song Ci Poem is easier to learn. Those Southern- Song- Dynasty Ci Poem followers model after either Jiang Kui or Wu Wen Yin, whose works are thought easy to learn while Xin Qiji was not. Xin Qiji's Ci Poem was bold, unrestrained, and amusing. And ir was these characteristics that Xin Qiji's followers think easy to learn, but Xin Qiji's good qualities are difficult to learn"(Chapter 42 from Wang Guowie's Remarks on Ci Poems in the World of Men. The above saying is a kind of fraud resulted from one-sided understanding of "Natural Color". The World Theory stressed the primary meaning and started with the "feature and gesture"(Qixiang),daring to open new conceptions. In this way, it could usually lead to excellence. Taking Xin Qiji as example Wang Guowei pointed out: "The best part in Xin's ies in its feeling and soul. Take the "feature and gesture" (QiXiang) as the creteria for comment: it has "stretched lar beyond the horizon and soared up to the sky high."　　 How could the ignorant young followers be successful imitating him?" (Source as above). Wang pointed out a higher approach for Ci Poem researchers.
　　Under the guidelines of the World Theory, Wang Guowei, with a few Ci poems surpassed his predecessors in the creation of new world. As he had said: "Though the number of my Ci Poem is less than 100 pieces, yet only one or two can be my match since the Southern Song Dynasty Of this, I am very confident. Although my works are not as good as those by the great Ci Poem writers in the Five-Dynasty an Northern Song Dynasty, their works also have something inferior to mine." ⁶ Wang Guowei transcended his predecessors in the way that he" succeeded in creating new meaning world" (From Ci Poems of the World of Men) This shows the success of the World Theory.
　　Wang Guowei's World Theory and his work Ci Poems of the World of Men brought a new element to the modern world of Ci Poem and opened up a new page in China's history of Ci Poem study, which should be celebrated. But it should be remembered that Wang's theory also had serious errors. In the foreword of my work Intemretation and Notes to the Remarks on Ci Poems in the World of Men. I said: "Wang Guowei viewed the Ci Poem from the angle of the World Theory often mislead to the outside of Ci Poem from where he sought extrication. At this point, Wang unconsciously went to the opposite side of his own theory, embracing his rivals at the next crossroads. The original aim that Wang advocated the World Theory was to correct the faults of Bi and Xing Theroy and Entrustment Theory, but the result was that he himself inevitably made same strained interpretation in some aspects, which could not be accepted by Ci Poem writers." I also pointed out, "Wang Guowei opposed to Bi and Xing Theory and Entrustment Theory, onesidedly stressed the artistio nonseperateness while opposed to seperateness and negated completely the tra-ditional ways of artistic expression. So Wang's theory went against the rules of the development of the artistic creation." This was a great limitation of the World Theory. Wang's theory itself was only a general one on poetry criticism, not Ci Poem's theory of itself. It only dealt with the common matters of the poetry creation and criticism when it came to standards to determine the existence of the "world" and the ways to create the "world". As to such special subjects as the door to Ci Poem study and the Ci Poem's structural approach, those problems of Ci Poem itself, Wang didn't touch upon or at most expressed a mere dabbler's opinions, letting the problem of the Ci Poem's special qualities unsolved. So the side-effect on the modem Ci Poem study brought about by Wang's World Theory could not be ignored.

II. NEITHER THE WORLD THEORY NOR THE STYLE THEORY COULD WALK OUT OF THE IMPASSE IN THE CI POEM STUDY. BOTH OF THEM LAY STRESS EITHER ON THE APPRECIATION AND CRITICISM OF THE CI POEM'S EXTERNAL CHARACTERISTICS OR ON THE AESTHETIC JUDGMENT OF SOME KIND OF PHENOMENA IN THE CI POEM STUDY.

　　The first and second manuscripts of Wang Guowei's Ci Poems of the World of Men and the 64 articles of his handwriting edition of Notes & Comment on Ci Poems in the World were published in the late Qing Dynasty. It was an important transitional period from the late Qing to the early Republic of China. During this period, the influence of the view "return to the past" dominated the Ci Poem world. Wang Guowei's World Theory and his philosophic Ci Poem didn't exert substantive influence on the Ci Poem creation until the May 4th New Culture Movement in 1919.
　　In my work A General Survey 0f the Ci Poems of the Recent 100 Yeam⁷, I divided those Ci Poem writers of that period (1919-1940s) into three schools: Liberation, Sticking to Rules, and New Wine with OId Bottles. Each of the three schools had its own theories and contribution in the Ci Poem world. Among the three, the Liberation School was the most active in carrying out Wang Guowei's theory and the next was the New Wine School.
　　In the 1920s, Hu Shi praised the Liberation School in selections from Ci Poetry ⁸, saying: "These poets (Wang Anshi, Su Shi and Xin Qiji) were talents. They wrote new poems in the form of the Ci Poem, not caring about whether the poems could be sung or not, whether the poems were rhymed or not" (Form Preface to selections from Ci Poetry) In the same time, Hu denounced those "Ci Poem craftsmen" (Shi Dazu, Wu Wenying, Zhang Yan and so on) saying that they "Sought the harmony of the tonal patterns and rhyme schemes at thecost of the Ci Poem's contents." "This kind of Ci Poem without artistic conception and touching while only rhyme schemes and tonal patterns had no literary value."(idea) Hu Shi stressed the content and disparaged the tonal patterns and rhyme schemes. His leading idea was quite similar to Wang Guowie's "artistic world is the most important thing for Ci Poem.(Remarks on Ci Poems in the World of Men)" Both of them almost had the same view on some concrete problems, such as how to describe objects and use allusions in Ci Poetry. Hu Shi's theory and practice could be regarded as a further development of Wang Gouwei's World Theory.
　　In the 1930s, Hu Yunyi developed Hu Shi's theory into the Style Theory in his A Brief History of the Chinese Ci Poem⁹ and Outlines of the History of the Chinese Ci Poem ¹⁰. Hu Yunyi said in his discussion of the changes in the Ci Poem's styles:
　　During the more than 200 years from the very beginning of Ci Poem to the time of Liu Yong, the style of the Ci Poem remained mostly the same with a little change. It was known that the Ci Poem was about Iove affairs and took grace as its utmost purpose. The Ci Poem writers wrote only about Iove between men and women and their charming and gentle postures. Though Li Yu (the last emperor of the Five-Dynasty) had some works about grief, his Ci Poem had not jumped out of the scope of sadness, charm and grace. Liu Yong expanded the short Ci Poetry into Iong Ci Poetry, but his works were about nothing except Iove affairs. Over these 200 years, all the works of Ci Poem were tireless because they were all about Iove. At the time of Ouyang Xiu in the Northern Song Dynasty, expressive Ci Poem on special subject appeared: still sad, graceful, and charming with the style of the Five-Dynasty. It was not until the period of Su Shi that the Ci Poem style made a substantial change: heroic and unrestrained, solemn and stirring, and bleak and elegant. ¹¹
　　He also said: Over the more than 200 years before Su Shi, the Ci Poem had always been morbid, gentle, and feminine. It was Su Shi who changed this style into a healthy, robust, and male one. Such a new style in the world of Ci Poem was hard to bear for the then Ci Poem writers, who mocked and regarded Su Shi's Ci Poem as a "Wild school" saying that Su's Ci Poem "though had the best craftsmanship, is not real Ci Poems". Actually, Su's Ci Poem was the most natural one belonging to the Natural Color Ci poems. ¹²
　　During the 1920s and 1930s. Hu Shi and Hu Yunyi established the Style Theory. The origin of the two Hu's theory could be dated back as early as Song Dynasty. Hu Yin could be regarded as their earliest ancestor, while Wang Guowei was their nearest predecessor.¹³ The two Hu's theory was not popular in the early century when it was born. It was several decades later and at presentthat the theory has been considered as scripture.
　　During the Anti-Japanese War in the 1930s and 1940s. the New wine School also absorbed some good points of Wang Guowei's theory. This school advocated that the Ci Poem should express new contents and ideas with old forms.
　　Sticking to Rules School was so varied with a large group of different followers. But in general, it sticked to the doctrine of the Natural Color Theory.
　　As I have already introduced the contribution of the Liberation, Sticking to Rules, and the New Wine schools to the world of Ci Poem in my A General Su rvey of the Ci Poems in Recent 100 Years, here I don't want to say more about it.
　　Since 1949, Wang Gouwei's World Theory and Hu Shi's and Hu Yunyi's theories have been fully developed. Their theories developed so rapidly and repeatedly stirred up great upsurges, some of which were hard to imagine 40 years ago. The world of Ci Poem study has made great achievements and flourished during the second forty years compared with the first forty years of this century. But with the influence of all kinds of ideas emerged two kinds of deviations in the course of Ci Poem study during the second forty years. For example, during the ¹⁷ years before the "Cultural Revolution", people took political criticism as artistic criticism due to the emphasis on ideology and underestimation of art and the stress on unrestrained style while disdaining the graceful and charming style. The second deviation was the rehabilitation or reevaluation after the "Cultural Revolution", which in a way was still a kind of political criticism not artistic criticism. These two kinds of deviations lead to the same result: they were just the reproduction of Hu Shi's theory: content first and form second. With the first deviation, people have had many experiences and have been hurt deeply by it, but they usually ignored the second. In fact, both of them had gone far away from Ci Poem study itself because of the then social and political struggles.
　　The style Theory has been replaced by the World Theory over the two 40 years. Actually, the Style Theory can also be used to review Ci Poem. "Style is the man ." Style Theory, compared with some other theories like the Natural Color and World, is more concrete and sensible, judging from its content. It can reflect Ci Poem's specialties more vividly. A great amount of experience has been accumulated in the study of Ci Poem styles. It should be admitted that the Style Theory itself is above criticism. The problem is that people take it as the sole criterion of criticism. And this may easily be deviated. For instance, during the 1930s. Hu Yunyi divided the Style Theory into two sorts: feminineand male. In his Selections from Ci Poems from the Song Dynasty ¹⁴ compiled after 1949. Hu Yunyi divided the Ci Poem writers of the Song Dynasty into two schools: the bold and unrestrained one headed by Su Shi and Xin Qiji and the charming and graceful school led by Yan Shu, Ouyang Xiu, Zhou Bangyan, and Jiang Kui. This way of binary division was very popular at that time and has become a fixed model of criticism for the Ci Poem study since 1949. In fact, it was an error which appeared in the course of carrying out the Style Theory. It was from this mistake that the deviated trend showed up: political criticism in place of artistic criticism. At the same time, the so-called Style Theory tended to establish its position (line of reasoning)from the outside of the Ci Poem because it did not make deeper and more detailed research into the Ci Poem and only used the prefixed modes of criticism. That is to say the Style Theory kept going around the periphery of the Ci Poem writers and their works, discussing too much the social backgrounds and life stories of the poets while ignoring the Ci Poem's own fundamentais. It is an another erroneous tendency emerged in the course of practicing the Style Theory. From this tendency originated the research methods of the vulgar sociology.
　　In the 1980s, with more refiection and deeper research work done, Ci Poem scholars have gradually rectified deviations prevailed during the past three decades (1949s-1966s), and wiped out the influence of the research approaches in the vulgar sociology. The Style Theory has developed from dualism to pluralism. Great attention has been paid to the Ci Poem writers and their works belonging to different styles and various schools in the history of the Ci Poem. The critics have made comparative study of the varied styles from an aesthetic angle. The 1980s Style Theory, different from the previous one, is a great achievement in the Ci Poem study. However, like the World Theory, the New Style Theory still can not bring Ci Poem scholars out of the erroneous zone, because it ends to lay emphasis on the appreciation and criticism of the Ci Poem's external characteristics and because it can't probe the whole course and the detailed methods of the Ci Poem's creation from the Ci Poem's deep structure when it makes an aesthetic judgment on some kind of phenomena of the Ci Poem study.
　　In resent years, an appreciation craze has appeared, large number of "Appreciation Dictionaries" have occupied the book market. It's really a good thing. After many writers' and editors' elaborate work, many Appreciation Dictionaries, in which are many wonderful and excellent writings, came out and has been well received. That is also a great contribution to popularize Ci Poetry. However, most articles comment Ci Poem only in its "style" aspect, not going beyond the general "reading and appreciation". Some of them, failed to deal with the crux of the matter, talk from appreciation to appreciation unrestrainedly.Some, from text to text and following a set routine, rarely have new opinions. Such kind "appreciation" is lengthy and tedious and consequently has harmed the reputation of "Style Theory" in certain degree.

III "STRUCTURAL THEORY" IS THE FOUNDATION TO SET UP THE ONTOLOGICAL THEORY ABOUT CI POEM

　　The study of Ci Poem in the New Period (starting from 1976) has passed the "re-appraising" stage and entered "reflection and probing" stage. At present it is brewing a new breakthrough and development. How to cross the threshold of studying Ci Poem? It is ah old question. But it seems necessary to have further discussion as the debate on renewing concepts and approaches accrued. The preceding text has a sketchy description on the varying theories appeared in the history of Ci Poem study, i.e., Natural Color, World and Style theories.
　　Now we shall Iook over some other approaches:
　　First, the macroscopic research
　　In 1985 when the term "approach" was quite all over the country, people in the circle of classical literature, including those engaged in Ci Poem study, were interested in macroscopic research. For instance, some people put the problems about Ci Poem in the Iong period of history to have a comprehensive examination, or compared the Ci Poem study with other related subjects which were taken as its references. These useful attempts have now been gradually understood and have produced some effects. That is a gratifying achievement of Ci Poem Study in the New Period. Nevertheless some people's views on macroscopic research and their concrete work are still left to be discussed. Some consider that the bigger the research subject is the more macroscopic it is and like to have a vast panorama over all the research objects and their history of development. The result is like to give students a review of all the lessons in one period of class at the end of a term —— only to enumerate the phenomenon and describe the process, but nothing is new. Some people, on the other hand, overstress the reference, thinking the more references the subject takes, the more macroscopic it is and the more modern ideais it contains. The result is that they fail to solve any problem, though their research paper has hundreds of pages. These are the two tendencies appeared in the macroscopic research. Of these two tendencies, the first is only macro, not having a point of view; while the second overshadows the leading role and follows the same old road —— to have external research instead of the internal one. Both tendencies are harmful to promote the research work developing in depth. Infact, the so called macroscopic research did not appear only after 1985. It existed when comparing with the microscopic research. Besides, when talking about macroscopic or microscopic research, it depends on what angle the researcher takes to study and deal with problems. The two actually have no old and new, or inferior and superior differences. This is the point that we should attach importance to when choosing a mode of thinking and research approaches.
　　Second, the System Theory studying approach
　　The three theories in natural science, particularly the theory of system, have been introduced to Ci Poem study. It is also a useful attempt. Unfortunately there are few articles dealing about it, and there are still many problems concerning how to apply the approach correctly. For instance, some writers, linking the branch system to the trunk system, systematized the works. They made the analyses of the works, which are originally easy to understand, very mysterious and abstruse. If we take away the big dictions and phrases mongering we can find that the articles talking about but common things. That's one of the reason that their articles were poorly received.
　　For another example, some researchers applied to language symbol system and worked out a set of data to probe the internal world of writers and their way of thinking. Surely, it can be regarded as an effective method. But because some researchers over relayed on the computer, their probe (or so called the decode of "cipher") only explained the meaning of words, not going deep into the inner part of the works. These researchers perhaps went to Iink a series of related mediums up with many references, in attempting to grasp all the profound truth of the works and their deep culture meaning, which still lingered at the outside of the works. That is why some of their pioneering articles are not convincing. So, I think that in choosing the mode of thinking an research method, we should pay much attention to making use of human brain.
　　Doubtless the hope to develop and bring forth new ideals in Ci Poem study in the new period lies in the various attempts made in the "reflection and probing" stage. No matter the attempts succeeded or not, we should advocate such kinds of attempts. The foregoing paragraphs only discuss problems, not the whole situation. Researchers can seek the best choice in the process of continuous probing. The following will mainly discuss the Ci Poem Structure Approach or the Structural Theory, which is also one of the attempts.
　　The Structural Theory is the study on the approach of Ci Poem structure, i.e., to take Ci Poem, the special form of literature, as a style (ora genre), thento analyze the structure of its internal and external forms - the two basic elements of Ci Poem - so as to find out the formation of its structure as well as the writer's aesthetic standards and mode of thinking. This theory focuses on the study of Ci Poem itself, and bases itself upon the inner part of Ci Poem, not the outside. However, we should also consider the relation and limitation of various references to the problems in the Ci Poem study itself. This is my initial understanding of the Structural Approach of Ci Poem.
　　In the history of Ci Poem study there are many attempts that people applied structure approach to Ci Poem study and people have accumulated rich experience. Zhu Zumou and Kuang Zhouyi were two of the masters of Ci Poetry in Qing Dynasty, Zhu was proficient in checking against authoritative test and Kuang was honored as "Doctor of Rhyme". Kuang had a good command of argument and was honored as "great priest". Both had thorough study on the internal and external structure of Ci Poem. Their exposition on Ci Poem basically followed the traditional Natural Color Theory, yet they had further developed it as well. Sticking to Rules school after the May 4th Culture Movement in 1919 inherited Zhu's mantle and made great efforts on checking or carrying forward Kuang's research and explored the way to study Ci Poem - starting from its structure. Sticking to Rules school had ruled the field of Ci Poem study for more than thirty years. Besides checking Ci Poetry, their achievements also included expositions on Ci Poem. Ci Poem Quarterly, published in Shanghai in 30s and Tongsheng (Common Voice), published in 40s in Nanjing became their two important positions. Since 1949, the group was out of keeping with times. Ci Poem study and the study of classical literature as well often met with various attack, not only the so caller "mass criticism" from the "left", but also the challenge of new study from the western world. Researchers were often confused and disoriented and were very difficult to keep the principle part that the art itself should remain. Nevertheless, in the field of Ci Poem study, there are still people who maintained to think on their own and to carry on the research work in their own way. Some of our seniors, such as Xia Chengtao. Long Yusheng, Tang Guizhang. Miao Yue, Wu Shichang, Wan Yunjun attached great importance to the artistic research of Ci Poetry for decades, including the research on the structure approach. They had made good foundation for the theory of Ci Poetry itself. Some young researchers' probe in Ci Poem structure approach in recent years has also inspired us. So, to sum up the achievement of the structure approach will nodoubt further the theory of Ci Poem study. In the following, I'll expound the general structure approach and special structure approach applied in Ci Poem study in Tang and Song dynasties.
　　First, the general strueture approaeh
　　During the Tang and Song dynasties, Ci Poetry was a sort of burgeoning lyric poetry that, accompained with music instruments, could be sung. Being a sort of poetry, i.e., a type or a genre of writing, a Ci Poem must include two elements: tune and words. How were these two components combined into a Ci Poem aroused people's attention just as Ci Poetry emerged. The basic principles to combine tunes and words into Ci Poetry were like Yuan Zhen said: "The tune of the Ci Poem decides words and according the metre of the tune the Ci Poem is sung; And the tune also regularizes the difference of Iong and short sentences and the difference of tones." ¹⁵ That is to say, as a component of Ci Poem the creation of its word must take the tone and tune as their standard —— let the length of Ci Poem sentences and the tones of the words to be harmonious with the metres and temperament of the music. That was the general structure approach of Ci Poem. As Ci Poetry was just in the vogue, most of their writers were musicians, men of letters and singers who were good at deciding the words according the tones and the metres according the tune. It seemed to them that how to compose a Ci Poem was out of question. Judging by a tune, i.e., the music, people can work out a Ci Poem. Different tunes has different norms, thus from the beginning, Ci Poetry had great varieties in their structure. In the light of their expression forms, the structure seemed quite complicated: but their actually creation was quite simple: as Iong as there was a tune, people could compose a poem to a given tune of Ci Poem. However, that was the situation in the early days of Ci Poetry. Due to the division of labour, there appeared the professional lyrics writers and lyrics writing was gradually put on the track of pure literature. Later, as tunes of Ci Poems were Iost, the method that people applied to compose Poem also changed. For example, the five Ci Poems Yufu composed by Zhang Zhihe Zhe the ninth year in Dali (774), the Tang Dynasty, had both words and the tune which later had spread to Japan. Sa Ga Mikado, the originator of Ci Poetry in Japan took Zhang Zhihe's Ci Poetry as his chief source and composed tive Yugezi, after an interval of 49 years. ¹⁶ Up to Song Dynasty, the tune of Yufu was Iost. Su Shi and Huang Tingjian had to recreate and evoived the tune into Zhegutian and Huanxisha. ¹⁷ That tunes of Ci Poetry were Iost brought people difficulties not only in working out words but also in grasping the structure approach of Ci Poetry. Take the agreement of words and tones, sentences and metros for example. There always have different view on whether there should be one word for one note, one sentence for one metre or not. However, many people's repeated practice and the conclusion drawn by Ci Poem writers and scholars who studied CiPoem in past dynasties have demonstrated that the general structure to compose a poem to a given tune of Ci Poem has a certain pattern to follow. This is what happens when tyrics writing has been specialized and their tunes were Iost. In the following I'll explain ¹⁶ with examples.
　　The Introduction to Tunes of Ci Poem states: "A Ci Poem is written to a certain tune with strict tonal patterns and rhyme schemes, in fixed number of lines and words. Only being tally in every detail, can the Ci Poem be in harmony. Otherwise it will sound incongrous and its form will be mixed with others." ¹⁸ This statement had further explained Yuan Zhen's rule to compose Ci Poetry and further stylized the principles —— to have a fixed model: fixed numbers, strict tonal patterns and rhyme schemes. It is the basic method to compose a Ci Poem and the general demands to the later ages writers who compose a poem to a given tune of Ci Poem.
　　To sing a song in accordance with the music, to create a Ci Poem in accordance with its tune. As tunes were last, the only thing can represent the norms of music is the names of tunes and the number of words and lines, rhyme schemes as well as the tonal patterns, that is to compose a Ci Poem to a given tune. Up to now, it is still regarded as a simple but feasible method.
　　Li Yu's My Humble Opinions on Ci Poetry states:" The first stanza of most Ci poetry arranges scenes, the second one deals with pathos, just like Bi (比)and Xing (興) applied by the Book of Poetry. It both parts directly describe things and express the attitude of the writing then belongs to another form of poem-- Fu. ¹⁹ Here, Li deals with the division of a Ci poem, i.e., the writer's specific method to compose a Ci poem.
　　Every Ci Poem has several sections, indicating that a Ci Poem is a whole music piece composed by several music phases. The division of a Ci Poem is also the division of the music, which is called "interim". The division of double tunes Ci Poem in particular, has gradually stylized. The pattern that Li Yu talked about was applied at the beginning of Ci Poem. But it was Liu Yong who practiced that over and over again and made it a fixed pattern. Later Ci Poem writers applied to this pattern and added some variations. My work The Research on the Relation of Ci Poem and Music ²⁰ has already expound this pattern, in which I have pointed that this pattern is the practice of traditional techniques of Fu (賦), Bi ( 比) and Xing ( 興 ) in poetry. That is to say, to apply the devision method to compose Ci Poem, in fact, has broken through the boundary of Ci Poem and poetry.
　　Third, apart from following the patterns, tunes of Ci Poem provided and the pattern to divide Ci Poems. Ci Poem writers and Ci Poem scholars attached great attention to the key positions of tunes —— to stress these key positions so as to express the characters of each tune. This is another method that must not be neglected when composing a Ci Poem.
　　What is called the key positions of tunes usually indicate the beginning, ending and start of a new section. Different tunes have particular demands to these positions in tones of words and sentence pattern and creation. I have already expounded that in details in Chapter 8 of my work Research on the Relation of Ci Poem and Music. Besides, how to decide the key positions depends on specific pattern of each tune. Take the tune Hexinlang for example. Its key positions not only includes the beginning, ending and start of a new section, but also includes the 6th line at the middle of the two sections respectively. This line must have its own tune and its special rhyme. ²¹
　　That is the sum up of our ancestors' experience. Generally speaking, the patterns composing Ci Poem provided by various kinds of books about Ci Poem tunes, are quite particular on the key positions. Still there are careless omission and errors. For instance, Zhang Zhihe's Yufu used the character" 不" (being falling tone instead of entering tone) as the 5th words, in the ending line of each section as its wonder. Sa Ga Mikado imitated him, used the character "帶" (dai, the falling tone). Both applied to the same technique, in accordance with the norms of the tune. ²² Their works have proved that, but all the books about tunes of Ci Poetry I have read never mentioned it. Take Xijiangyue for another example. It's ending should use the falling tone. This is that "the last word decides the tune" means is. It is the outstanding feature of the tonal pattern of a form of Ci Poem, which can rhyme on any tones. But some Ci Poem scholars and books of tunes concerned often made some mistakes.²³
　　In my opinion, as Ci Poem tunes have been Iost, it is an major way to compose Ci Poem or to probe the best structure approach by means of the key positions specific pattern in a Ci Poem, so as to seek its satisfied sound result. It is just as the statement goes "Today, to seek the likeness of the sound, we have to rely on the words." ²⁴
　　The above text lays particular emphasis on rhyme, i.e., the external form, which is the basic knowledge in composing Ci Poem though it mostly belongs to the rudimental knowledge. People who compose or study Ci Poems today must have a good grasp or it.
　　Second, special structure approach
　　Special structure approach is named in comparison with general structure approach. The emphasis of studying special structure approach lays in the internal form, that is the mode of thinking in depth and method that can fully express writers' character. Ci Poetry composed in this mode and methods is not only purely an external language pattern, but a sort of "meaningful form" that can embody the "whole person", that is a sort of specially created Ci Poetry. Just as Belinsky, Vissarion said: "Only rightness, terseness and smoothness can be regarded as merits of language, which can be attained by a most mediocre person through his hard working by following the prescribed order. However, the style is the talent itself, thinking itself. Style is the perceptible thinking or the projective thinking; Style is the man. Style, like personality and desposition, is forever unique."²⁵
　　What I'll discuss is just the style that creates this kind of originality, i.e., the special approach--the artistic advance and betterment on the base having grasped the general structure approach. Belinsky also said: "How many great or at least outstanding writers there are in the world, there will be so many styles." ²⁶ The statement also suits to the Tang and Song Ci Poetry. In the following I'll discuss the Ci Poetry of Liu Yong, Zhou Bangyan and Xin Qiji.
　　First, "Tuntian approach" or "Tuntian style"
　　Wu Shichang once classified Liu's and Zhou's Ci Poetry into two types --- "to trim off the wicks by the western window" type and "memory of a face and a blossoming peach" type. I think what he said is quite right. Here I'll first view the type "to trim off wicks by the western window", a special pattern that Liu Yong applied. The pattern includes two sides: the passage of time and change of space. The specific approach is: "starting from present to imagine what will be the present talked about in the future time" or "to imagine the future scene that people recall the present. ²⁷ This is the passing of time and the change of space indicted a way of expression that imagines the other party from outside. So, Liu Yong's Ci Poem that describes feeling will become quite clear and simple if we understand the relation of the time and space, though it seems complicated and tactful. For example, the beginning of his Yin jiaxing describes the scene "to pass pavilions when waving a whip" on Road in Chang'an -- that is the scene of present and on our side; then he depicts "Miss the beauty in Fengcheng;" to "the beauty's cheek wet with tears;" this is the scene from present to past, recalling the scene of parting; at the beginning of the new section the writer imagines the situation of the other part from our side -- after the parting she must feel dull and could not fall asleep, yearning for my return day andnight; and finally imagines the reunion in the future; when "laying together on a pillow inside her bed-curtain"--- they will recall the present scene of Iove sickness to one another. That is a representative work of Liu Yong's "To trim off the wicks by the western window" type. The structure approach of it is the same as Li Shangying's Written on a Rainy Night to My Wife in the North. Most of Liu's Ci Poems describing feelings were composed in this pattern. Surely, some have particular attention to the passage of time, mainly showing the situations of present past and future; some to the space, showing various poses of my part and the other part. But, on the whole, the structure approach of Liu's Ci Poem has become a fixed pattern. ²⁸ The Ci Poem composed by this approach have forrned a certain pattern, too. That's "Tuntian approach" or "Tuntian style".
　　The rise of "Tuntian approach" and "Tuntian style" in the history of Ci Poem was not by chance. That was the inevitable outcome of social development and the evolution of Ci Poetry. That is to say from the Tang dynasty, FiveDynasty to the middle of Northern Song Dynasty, the former Ci Poem, both the style and structure approach could not meet the needs to reflect the complicated real social life. Liu Yong failed to achieve his ambition in officialdom, but he gained rich experience in Iove affairs. So his Ci Poems describing feelings can excellently express untold Iovesickness in time aspect and deep and various Iovesickness in space aspect as well. Therefore, we can say, "Tuntian approach" and "Tuntian style" is the embodiment of the whole Liu Yong's personality. The writers Ci Poem later whose poems expressing feelings all folIowed Liu Yong's example. For instance, Wu Shichang regarded Zhou Bangyan's Ruilongyin as the model of "memory of a tace and a blossoming peach" type. The figure and the story it depicts have reached the acme of perfection, which also have benefited from Liu Yong's rime space structure rule. ²⁹
　　Certainly, "to trim off wicks by the western window" type and "memory of a tace and a blossoming peach" type have differences in their specific structure approach. Nevertheless, "the origin of Zhou's Ci Poetry is all from Liu, and his description of feelings totally belongs to "Tuntian approach" ³⁰ which has also proved the relation of the two.
　　Second, "Qingzhen's specialty" and "Qingzhen style"
　　My work Narrating and Elaborating³¹ has expounded that Zhou Bangyan inherited and developed Liu Yong's Ci Poetry creation, in terms of the descriptive approach to deal with pathos, i.e., narrating in details. Here, I'll discuss Zhou Banyan's special technique to compose "Qingzhen style" Ci Poetry, that is "Qingzhen specialty." On commenting Qingzhen Ci Poetry, our ancestors paidparticular attention to its "norms" (or techniques), but the so called "norms" mainly stress the technique of "choosing right words to convey the meanings", seldom dealing with its structure approach. ³²
　　Although Zhou Ji took Zhou Bangyan as the best model, he only touched on his norms very briefly. Zhou Ji said:" Nobody was superior to Qingzhen. When elaborating, others would make the work more shallow, while Qingzhen would make it more profound". ³³ It is quite to the point to comment Qingzhen by his elaborating. However, it is a pity he didn't take any particular work to make it more clear. With regard to Zhou Bangyan's creative practice, I think what is called elaborating is actually the special technique to compose Ci Poem. Speaking more concretely, it is to insert a story in the processing depicting scene and feelings in a Ci Poem. That is to say, in the process of describing scene and pathos, the Ci Poem writer adds a "third part"--- figure and story, so as to create the special style of Ci Poetry- "Qingzhen style".
　　To this Wu Shichang once had a brilliant exposition. He said that Zhou Bangyan added stories to scenes, thus making the lifeless things more lively, and living things reach a new state. Zhou Ji called this approach "elaborating". That means to take the story as the key part and combine the scene and pathos together thus new state would come out naturally. Then to elaborate once more and its lively and graceful nature would show out completely. So he said: "The more he elaborated the more profound the Ci Poem would be." ³³ That is the special technique that Zhou Bangyan applied.
　　There are records to tell a story in Ci Poetry in history. For example, Sun Guangxian's eight Huanxisha and five Buddhist Dancem, all had stories in them. ³⁴ But it was Zhou Bangyan who consciously took a technique to compose Ci Poetry. His Shaonianyou, which cleverly outlined a Iove story in the process to describe the scene and pathos, is the representative work that applied the elaborating technique. It goes: "When gathering morning clouds drizzled, it was just the beginning of spring inside my chamber. Willows wept and flowers cried: Roads were muddy all over, and swallows flew slowly outside.4
　　Now, the sun is bright, the chamber Iooks splendid and spring is on the peach branches. Yet, it is not as good as the past: although rain pattering on the roof of my chamber, the hidden bitterness were shared by us two."
　　The first section of it describes the scene of the past; the second depicts the present and compares the present with the past, so as to express the inner feelings. Judging by its arrangement of time and space, it still belongs to Liu Yong type. But between the description of scene and feelings, it is also spicedwith stories, so the profoundness and meaningfulness it produced is quite different. That is to say, Ci Poetry dealing with pathos before Zhou Bangyan, including Liu Yong's, generally dealt with describing scene and feelings, few dealt with elaborating stories. Even if some names were mentioned in some Ci Poems, such as Niangniang and Chongchong, they have no concrete plots and facts. The contents of such kind of Ci Poetry are usually insubstantial and the picture they composed are rather flat. The stories Zhou Bangyan outlined are completely different. Take Shaouianyou for instance. This Ci Poem shows not only the progress of the story, but also the experience -- today the sun is bright, the chamber is splendid and the two formally live together; it is not as good as the past-- willows wept, flowers cried, hidden bitterness was shared by the two. That is really full of meaning. Consequently such kind of Ci Poetry are perceptive and projective. ³⁵ which is a big leap and great break through to the Ci Poetry of Liu Yong, and those of the Tang Dynasty, Five Dynasty and Song Dynasty.
　　Here, I must point out that the stories Zhou Bangyan outlined in Ci Poem are not all his own experience. Some originated from poems of his ancestors or even from history books. We should believe but should not believe them completely. For example Ruilongyin tells a story: he visits a former Iover; time, space, figures, events, all are there. It seems the story is quite true.
　　But when comparing it with Cui Hu's Written at Nanzhuang Village Near the Capital, we can find out it may not be true. ³⁶ Take Jielianhuan for another example. It tells a Iove story. Some people regard it as a tragedy of "an infatuated man met an ungrateful woman". ³⁷ In fact, this story is originated from the story to undo a chain of rings in Strategy of the Warring States; it is perhaps not true neither. Zhou Bangyan was a learned scholar. His "quoting directions to draw forth the similar, praising the present after reckoning the past, or showing purpose by borrowed words, all have their origins". ³⁸
　　This kind of Ci Poetry that tells stories maybe is just a game playing with words.　　　　　　　　　　 Nevertheless, Zhou Bangyan could depict the story in his Ci Poem, no matter how true they are, a unified entity, with no ground for blame. That's the sign of "profoundness" that Qinzhen Ci Poem attained, and the reflection that the more it is elaborated the more profound it would be. It can not be neglected when reading Qingzhen Ci Poem.
　　Third, "Jiaxuan excellency" and "Jiaxuan style".
　　Xin Qiji was an important Ci Poem writer in Song dynasty, not only the number of his works is the largest among Song Ci Poem writers, but also hisvariety of works are regarded as the best by their "unusualness". His "fitness", i.e., "Jiaxuan's excellency" is really difficult to grasp. Ci Poem writers and Ci Poem scholars in the past ages were vexed by that. However, if we start from its structure approach to find out its norms of formation: we can get a fairly thorough understanding of his "excellency". My article On Jiaxuan's Style ³⁹ has generalized all Xin's Ci Poems into three categories: heroic, charming and leisurely words, and had a preliminary analysis on their structure approaches. I think the changes of the structure of "Jiaxuan style" is not" without beginning and end, and not observing the former rules" ⁴⁰ but has a certain norm to follow. That is -- being good at combining many groups, each containing two contradictory things, into a remarkable unified entity. For example, his The Heroic Military Days in His Prim of Life (Zhegutian) recalls the things happened in his youth and recounts the feelings in his heart; it simply chooses the "strategy to put down rebellion army" and "the book to plant trees", these two unrelated things, one is extremely" big" and the other extremely "small', and connects them with one person. Contrasted by the two things, the figure's experience it revealed was quite unusual, but on the other hand the ending was fine. This kind of unity of contradictions suppresses the moving and stirring feelings in the hero's heart, but in fact it is very difficult to suppress. Therefore the feeling and thinking the Ci Poem expressed is quite turbulence. Another example A Youth Gallops Ahead with Spear in His Hand (Niannujiao) depicts the struggle in the real society and the big affair of the rise and fall of a nation, which is very serious subject. But the writer took them as playing shuanglu ( a kind of gambling game in ancient China). One is extremely serious, the other extremely ridiculous. The two ingeniously put on one chessboard. The purpose of such combination is to highlight the mixed feeling of the hero who gallops ahead with spear in his hand and is engaged in meetings of minds after getting down the horse. In Xin's Ci Poetry, there are many more such examples. Generally speaking, his combinations of opposites in a contradiction include small and big, positive and negative, serious and ridiculous, as well as strength and grace, still and energetic and so on. As a result all his Ci Poetry are such kind unusual unity that is full of contradictions. This is "Jiaxuan's excellency", and the reason that Xin Qiji's Ci Poetry developed a school of his own among Ci Poetry of the Song Dynasty.
　　Like Liu Yong and Zhou Bangyan, it also had certain social basis and Ci Poem history development basis for Xin Qiji to apply this special structure approach to form" Jiaxuan style". Xin Qiji was born at the time when Song Dynasty was declining and attained little success, though he was as talented as Guan Zhong and Le Yi. He "failed to gire his talent a full play; his dedication and resentment had no place to vent out" ⁴¹ his hard Iot itself was full of contradictions. Apart from that, he was an official who won no trust of the imperialcourt. "He was afraid that hardly had his words finished when misfortune fell upon him." ⁴² It is another reason that forced him to apply special approach to air out" his depressed and bored feelings." It is also an important reason that Xin's Ci Poem formed. On the other hand, judging by the evolvement of Ci Poetry, after the imperial court moved to the South, the original Ci Poem that expressing feelings could not meet the need of the time, neither its structure not its approach of expression. To transform the Ci Poem structure and change its approach of expression became the new task for Ci Poem writers in the Southern Song Dynasty, Xin Qiji, with his great boldness of vision and his wide knowledge and super talent, took poems, writings and dissertations as Ci Poetry and created new Ci Poem structure by applied many fold combining ways. That is another important reason of the formation of Xin's Ci Poem. So, there is some ground to regard Xin Qiji's creation as the embodiment of the highest achievement of Song Ci Poem.
　　The above text are examples of special structure approaches of Liu Yong, Zhou Bangyan and Xin Qiji, the three key schools that represent Song Ci Poem. The practice of the three schools has proved that what is called special structure approach is not purely external skills and methods, but the approach that closely connected with the internal factors: the writer's personalities, his boldness of vision and field of vision, the mode of thinking and so on. Therefore, in order to examine the regular pattern of Ci Poetry, we must start from this point.
　　In a word, everyone has his or her own experience in choosing the approach to study Ci Poetry, no rigid uniformity should be sought. The purposes of my paper are that: first, I hope the research work start from the internal of Ci Poem instead of the external of it, so as to strengthen the theoretical structure of Ci Poem study; second, to lead the research work more practical and make it more projective and perceptive, thus helping Ci Poem writers and persons who study Ci Poetry cross the threshold. However, because of the limitation of my iearning, most part of this paper discusses but examples. It needs more research work in order to further induce and sum up so as to realize the distillation in theory, that is to say to further probe the norms of its formation in the aspect of structure approach and to systemize the related patterns and approaches, thus making them more perfect and more scientific. I sincerely hope my colleagues oblige me with your valuable comments.
　　First draft in June 15, 1989
　　Notes
　　1. Chapter 9 from Wang Guowei's Remarks on Ci Poems in the World of Men, Page 194 from the combined edition of Huifeng's Remarks on Ci Poems in the World of Men, The first edition, April, 1960, the people's Literary Publishing House.
　　2. In reference to my work On Li Qingzhao's Ci Poetry and Her Ci Poem's Style published on the 4th issue of China's Classic Literature Criticism Series.
　　3. Lie Qingzhao's On Ci Poem, Chapter 33, Volume 2 of Hu Zai's Collection of Yu Yin at Zhaoxi.
　　4. By Zhao Yidao from Volume 175 of On the Ci Poems in the Past Dynasties, Shanghai Bookstore,　　 the first edition, October, 1985
　　5. In reference to Cai Songyun's Notes and Comments on Ci Poem. From Keting's Poetry (Appendix), China Book Bureau, letterpress printing edition, 1948
　　6. From page 21, Volume 15 of Jingan's Posthumous Writings, Commercial Press, 1940s edition
　　7. Published in Literary Review, fifth issue, 1989
　　8. Shanghai Commercial Press, first published edition in the year of 1927
　　9. Shanghai Mainland Press, first edition published in June, 1933
　　10. Shanghai Beixing Press, first edition published in September, 1933
　　11. Pages 139-140 from An Outline History of the Chinese Ci Poems
　　12. Page 140 from An Outline History of the Chinese Ci Poems
　　13. According to the Hu Schoors theory in Wu Zizang's Comments on Ci Poem, the modern Ci Poem reviewers from Hu Shi to Hu Yunyi, took boldness and unrestrained, grace and charm as criteria of criticism. "Whenever they reviewed the Ci Poem, they praised Su shi and Xing Qiuji and criticized Liu Yong and Zhou Bangyan." This is because Hu Yin was the earliest ancestor of the two Hus' school. In reference to my workA Brief Biography of Wu Shichang,published on the fifth issue of the magazine Jinyang Review, 1985
　　14. The first edition, in February, 1962 from China Book Bureau
　　15. Yuan Zhen Preface to OId Subjects of Yuefu, Collections of Yuanshi Changaing, vol, 23, edition of A Series of Books of Sibu.
　　16. See Kkan Dagi Yitsiro Chinese Literature in Japan, first volume of The History of Composing Ci Poem, published by Niken Publish House, Tokyo, Japan, in May, 1967
　　17. Zhang Deying Profound Meaning of Ci Poem (the 5th vol.): "Refined Yuefu Ci Poetry in Song Dynasty has pointed our that the tune has Iost in Song Dynasty. So Huang Luzhi evolved it into Zhegutian, Su Zizhan and Xu Shichuan then again evolved it into Huanxisha." ( from Tang Guizhang Collection of Notes and Comments on Ci Poem)
　　Su Shi Preface to Huanxisha: "The words of Zhang Zhihe's Yufu are so elegant that I hate its tune is Iost. So I added some words thus I could sing it to the tune of Huanxisa." (from Donpo Notes on Yufu Poems.) published by Shanghai Commercial Press, edition of January 1963
　　18. From Collection of Tunes of Ci Poems Made by Imperial Order, published by China Book Store in Beijing, in March, 1983.
　　19. From Collection of Notes and Comments on Ci Poem.
　　20. See pp. 236 --237, from Research on the Relation of Ci Poem and Music, published by the Chinese Social Science Publish House, July, 1985.
　　21. See Chapter 14, Section 2, Research on the Relation of Ci Poem and Music.
　　22. See The Oriain to Compose Ci Poem.
　　23. Shen Yifu states in his A Guide to Yuefu: Xijiangyue should rhyme in first tone at its beginning. The second and fourth lines should rhyme in third and fourth tones. For instance, if the first tone rhyme in dong, the third and fourth tones should be dong and dóng. Long Yusheng's Rhyme of Tang and Song Ci Poetry is in the light of this rule and takes Liu Yong's jue and liao (third tone) as fixed tones. Both are not quite correct. See my article Comments on the Ci Poem Books Published After the Liberation from Literary Heritage, 3rdissue of 1984
　　24. Tang Xian Notes and Comments on Futang Ci Poetry_ from Collection of Notes and Comments of Ci Poetry.
　　25. Belinsky 0n Literature, P233, published by Shanghai New Literature and Arts Publish House, the first edition in 1958.
　　26. idem
　　27. See Wu Shichang The Rules of Ci Poem, carried in Luo Yingshi's Academic Papers. the 2nd vol., to be published by the China Federation of literary and Art Circles Publish House.
　　28. Xu Yanxiao has pointed out: Yuhudie, Xuemeixiang. Bashengganzhou. and other Liu Yong's Ci poems are similar in their structure. See Comments on Ci Poetry from Collection of Notes and Comments on Ci Poem.
　　29. Wu Shichang pointed out: "The first section depicts the scene of present, the second recalls the things happened in the past and the third returns to the present again, and depits the situation that quietly progressed, so as to show the writer's sad feelings", from Rules of Ci.
　　30. Cai Songyun Keting's Notes and Comments on Ci Poem.
　　31. Carried on Hong Kong Pa Kung Pao, May 18, 1987.
　　32. Shen Yifu A Guide to Yuefu: "To compose Ci Poetry, one should take Qingzhen as example: It has norms to choose right words and to convey meanings, and often origins of Tang and Song excellent Ci Poetry, not using unfitting words from some classical and histry books. That is why his Ci Poem was regarded superb."
　　33. See Zhou Bangyan and His Misunderstood Words from Knowledge of Literature and History, 11th issue, 1986.
　　34. The former narrates a story with an interlude, thus it can be regarded as two stories; the later narrates a related story. See Wu Shichang Reading Ci Poem Needs Imagiation, Knowlege of Literature and History. 1983.
　　35. Idem.
　　36. Wu Schichang once Compared Cui Hu's poem with Zhou Bangyan's Ci Poem and said the first sentence of Cui's is "Liu Lang is back visting his neighbur"; the second is "the pulm blossoms have faded and peach flowers begun to blossom; His Iove is still gentle and elegant with all similing"; and the third is "today, who'll accompany me to drink in the garden and stroll in the east part of the town?" His last sentence is just the three sentences of Zhou's Ci Poem. According to Rules and Norms of Ci Poetry. So, what Zhou accounted in his Ci Poem was just the example of adaption of a Tang poem. (sais by Chen Chengsun)
　　37. See Zhufen Appreciation of Song Ci Poem, page 120, published by Shanghai Classical Book Publish House, first edition, March, 1980.
　　38. Liu Su, Introduction to a Collection of Choice Essavs, according to Zhu Zhumou Boardary Villages's Series.
　　39. Carried in The Chinese Social Science, the 5th issue, 1987.
　　40. Fan Kai Preface of Jiaxuan Ci Poem, according Jiguge handwritten copy of Jiaxuan Ci Poem, photo - offset copy of Hanfenlou.
　　41. Huang Lizhuang Introduction to Comments on Ci Poem according Collection of Notes and Comments on Ci Poem.
　　42. Xin Qiji On Bandits in the Sixth Year of Chuanxi.
The paper was presented at the International Ci Poem Study Congress in Maine, the United States, in July, 1990.
It was carried in the periodical Chinese Literature & Philosophy Research Volume III, in June, 1993.
It was published in the Bing Jian Chai Xi ,li in Cheng Du, in April, 1994 which was a collection of works in commemoration of Professor Miao Yue's 90th birthday and engagernent in teaching for seventy four years.
Proofreading: Zhou Fa Xiang, Yao Ci Yu and Lavit Pun Kirn Ngok