Evidential Study of Ci cover

Evidential Study of Ci

Rating 3.4
Word count
47K words
Chapters
282

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Summary

Ancient music changed in stages. The Meaning of the Local Drinking Ceremony says: the musicians enter and sing three pieces, and the host offers them wine; the reed players enter and play three pieces, and the host offers them wine; they alternate songs and pieces for three rounds, then perform together for three rounds; the musicians announce that the music is complete and then withdraw. This was ancient music and song. Qin burned the Classic of Music, and its thread was cut. After the Six Dynasties, decadent sounds rose daily. Down to the Tang, new strains emerged repeatedly, and ci began there. For customs change in stages, as if something presides over them. Wang Zhongyan's saying that sound changes with feeling expresses this idea.

Editor's review

As a specialized work, Ciyi examines the origins of the ci genre from the perspective of the evolution of ancient music. The author, Zhang Deying, takes the sequence recorded in the Xiang Yin Jiu Yi—the musicians entering and singing three stanzas, the master pouring a libation, the reed-organ players entering for three stanzas, the master pouring a libation, alternating songs for three stanzas, and joint performance for three stanzas—as his point of entry. He notes that after the Qin burning of the classics the tradition of ancient music was severed, that from the Six Dynasties onward decadent tones rose day by day, and that by the Tang dynasty new sounds emerged in succession, marking the beginning of the ci genre; he threads his argument together with Wang Tong's theory that "the emotions alter the sounds." The value of the book lies not in practical guidance on ci prosody and tonal patterns, but in its explanation of the ci within the long-term context of ritual-music institutions and musical change, offering an approach to understanding "why the ci arose in the Tang" that begins with musical institutions. Concise in length and focused in argument, it suits readers interested in the history of ci studies, musical literature, and the relationship between ancient ritual and music; read alongside the original texts of Yueji and Xiang Yin Jiu Yi and relevant works on ci history, its argumentative balance becomes clearer. This edition was printed by Shanghai Jinzhang shuju and may serve as a working base text, though readers should note that its judgments are deductions within a traditional musicological framework and should be regarded with a critical eye.

Who it's for

A good fit for

  • University teachers, students, and researchers studying the origins of the ci genre and the history of ci scholarship
  • Readers interested in the relationship between ancient ritual-music institutions and musical literature
  • Those with some foundation in classical Chinese who enjoy traditional scholarly notes
  • Those seeking early discussions of ci origins for ci studies courses or papers

Not a good fit for

  • Beginners hoping to learn ci prosody and tonal patterns
  • Readers lacking a foundation in classical Chinese who prefer plain-language popular works
  • General enthusiasts looking for anthologies of famous Tang and Song ci and shi for appreciation

Reading tips

  1. First read the relevant passages of the "Xiang Yin Jiu Yi" and "Yueji" chapters of the Liji, then proceed to the main text to understand the institutional background of sung stanzas, reed-organ entries, alternating songs, and joint performance.
  2. Excerpt the thread "ancient music—Qin burning—Six Dynasties decadent tones—rise of ci in the Tang" into a simple table to grasp the layers of the author's argument about gradual change.
  3. Compare with the original passage in Wang Tong's Zhongshuo discussing how "the emotions alter the sounds" to verify the context and intent of the author's citation.
  4. After reading, consult the relevant chapters of a standard history of the ci to compare modern theories of ci origins with the traditional musicological account.

About the publisher

Jinzhang Book Company (Jinzhang Shuju) China · Founded in 1901

Jinzhang Book Company (Jinzhang Shuju) was a private publishing and distribution house in Shanghai during the late Qing and early Republican periods, issuing traditional works by lithographic printing. Judging from the 1,194 titles in the collection, its publishing focused on classical poetry, Eastern philosophy, historical reading, traditional Chinese medical texts, and canonical works, along with books on literary appreciation. Representative titles include the poetry and prose collections of Du Fu and Ouyang Xiu; historical works such as the Book of Han and Zizhi Tongjian; classical texts such as the Book of Documents and Mencius; and specialized and literary classics such as Treatise on Cold Damage and Li Sao. Its author resources cover major figures across the ages, including Du Fu, Ban Gu, Sima Guang, Zhang Zhongjing, Qu Yuan, Ouyang Xiu, and Tang Shenwei, reflecting the house's characteristic reliance on traditional scholarship and medical literature while serving general readers. Public information on its early history and operational details is limited, so no conjecture is offered here.

Contents

  1. 版权信息
  2. 序
  3. ●卷一
  4. 〇古乐递变
  5. 〇意内言外为词
  6. 〇词本楚词
  7. 〇乐府之始
  8. 〇词所自出
  9. 〇词之准的
  10. 〇相和成曲
  11. 〇陈後主艳歌
  12. 〇艳词所本
  13. 〇闲中好所祖
  14. 〇词之句法本於诗
  15. 〇摘曲中语为调名
  16. 〇唐宋词风
  17. 〇沈伯时论作词法
  18. 〇词与风诗意义相近
  19. 〇词名诗馀
  20. 〇词之六至
  21. 〇石刻宋词
  22. 〇粤东石刻词
  23. 〇陈尧佐燕词
  24. 〇张蜕岩词之所自
  25. 〇词有内抱外抱二法
  26. 〇不能舍意论词
  27. 〇词宜情景交炼
  28. 〇康辛词传诵海内
  29. 〇和韵词
  30. 〇宋人用花非花词
  31. 〇词自注所出
  32. 〇词叶短韵
  33. 〇隐括体
  34. 〇福唐体
  35. 〇回文体
  36. 〇明清人仿顾体
  37. 〇杏花天二体
  38. 〇词之句法不同
  39. 〇虞美人体
  40. 〇一萼红体
  41. 〇词有扇对
  42. 〇集诗句入词
  43. 〇词为曲家导源
  44. 〇词必立调
  45. 〇巴渝词
  46. 〇谪仙怨
  47. 〇一点春
  48. 〇忆江南
  49. 〇倾杯曲
  50. 〇调笑令
  51. 〇秋霁
  52. 〇月上海棠与瑶台第一层
  53. 〇醉翁操
  54. 〇忆瑶姬
  55. 〇孟家蝉
  56. 〇归国谣
  57. 〇玉珑璁
  58. 〇钗头凤
  59. 〇小圣乐
  60. 〇呈红
  61. 〇昔昔盐
  62. 〇菩萨蛮
  63. 〇婆罗门引
  64. 〇霓裳羽衣曲
  65. 〇苏幕遮
  66. 〇簇拍
  67. 〇六幺
  68. 〇采云归
  69. 〇犯声
  70. 〇六州
  71. 〇调名音近而异
  72. 〇温飞卿著作
  73. 〇阳春白雪
  74. 〇草堂诗馀
  75. 〇惜香乐府
  76. 〇草窗词
  77. 〇词谱行而词学废
  78. 〇词苑丛谈
  79. 〇词之笺注
  80. 〇词律
  81. 〇词律辨四声句法
  82. 〇词律拾遗
  83. ●卷二
  84. 〇十二律
  85. 〇乐之七调
  86. 〇四旦二十八调
  87. 〇乐律全书
  88. 〇张尔公十二律圆图
  89. 〇五音二变
  90. 〇二变有定律
  91. 〇二变音响
  92. 〇旋宫不始於祖孝孙
  93. 〇旋宫之义
  94. 〇道调宫
  95. 〇十八调
  96. 〇词调接宫调分配
  97. 〇薄媚
  98. 〇衮与赚
  99. 〇叉手笛
  100. 〇羯鼓
  101. 〇宋燕乐入仙吕调
  102. 〇大曲截用
  103. 〇念曲叫曲
  104. 〇杀声
  105. 〇诸宫住字
  106. 〇中管
  107. 〇四上
  108. 〇明曲承宋
  109. ●卷三
  110. 〇词不能舍音韵
  111. 〇音律本於人声
  112. 〇唐宋人制词无韵书
  113. 〇韵书分部
  114. 〇五音法
  115. 〇四声谱
  116. 〇朱竹论词韵
  117. 〇两通法
  118. 〇杨升庵论七音
  119. 〇二合音
  120. 〇词之用字
  121. 〇宋词用双声
  122. 〇词借用诗韵
  123. 〇陶宗仪韵记
  124. 〇词韵略
  125. 〇清词韵
  126. 〇戈氏韵分部
  127. 〇方音之误
  128. 〇以方音叶
  129. 〇借叶
  130. 〇制词宜用宋人韵
  131. 〇北字音叶
  132. 〇词不以复出为禁
  133. 〇词用平侧韵
  134. 〇平侧通叶
  135. 〇四声可变通
  136. 〇上去入作平
  137. 〇以平代侧
  138. 〇以入叶平上去
  139. 〇改入为平
  140. 〇燕归梁无侧韵
  141. 〇用韵借叶
  142. 〇前人喜用三十六字
  143. 〇补缀用字之法
  144. 〇词无衬字
  145. ●卷四
  146. 〇自五代至明之词集
  147. ●卷五
  148. 〇唐昭宗词
  149. 〇唐词三家
  150. 〇元真子渔歌子
  151. 〇张子同泊舟之所
  152. 〇闲中好词
  153. 〇吕仙词
  154. 〇锤辐词
  155. 〇五代时乐府
  156. 〇五代艳词
  157. 〇李後主词
  158. 〇李後主善音律
  159. 〇王衍醉妆词
  160. 〇孟昶玉楼春词
  161. 〇牛松卿词
  162. 〇鹿虔词
  163. 〇黄益之词
  164. 〇尹参卿词
  165. 〇宋名臣大儒工词
  166. 〇词可於史传中参证
  167. 〇词用古书
  168. 〇宋史疏舛
  169. 〇北宋五子
  170. 〇庆制词
  171. 〇词之脱胎
  172. 〇以诗入词
  173. 〇潘逍遥词
  174. 〇寇莱公词
  175. 〇欧公柳词
  176. 〇心字异诂
  177. 〇梅圣俞词
  178. 〇陶词
  179. 〇柳词多本色语
  180. 〇晁无咎词
  181. 〇醮词一体
  182. 〇含笑词
  183. 〇毛泽民词
  184. 〇贾昌朝词
  185. 〇叠字词
  186. 〇制词当别雅郑
  187. 〇苏辛词
  188. 〇徐钅九论苏词
  189. 〇瑶池燕
  190. 〇陈翼论苏词
  191. 〇赤壁讹传
  192. 〇苏词用武侯文
  193. 〇铜阳之续
  194. 〇茗柯评辛词
  195. 〇稼轩词用庄子
  196. 〇稼轩词用韩诗
  197. 〇顾亭林论辛词
  198. 〇稼轩词用欧词格
  199. 〇南宋辛体
  200. 〇刘改之词
  201. 〇叶少蕴词
  202. 〇南宋数子感怀君国
  203. 〇竹山与西麓
  204. 〇南宋人咏梅词
  205. 〇朱希真词
  206. 〇打马
  207. 〇张陆粤游词
  208. 〇陈同甫词
  209. 〇海盐腔
  210. 〇杨补之词
  211. 〇康伯可词
  212. 〇用前人诗词
  213. 〇莫莫休休
  214. 〇曾觌赏月词与吴琚观潮词
  215. 〇丰乐楼词
  216. 〇五粒松
  217. 〇商调蝶恋花
  218. 〇施翠词
  219. 〇双白石
  220. 〇潭州红
  221. 〇白石误引吴都赋
  222. 〇马塍
  223. 〇石林
  224. 〇王圣与词
  225. 〇圣与赋白莲词
  226. 〇登蓬莱阁词
  227. 〇张叔夏用东坡诗序
  228. 〇杨妹子题词
  229. 〇呈磁盘搞人月圆
  230. ●卷六
  231. 〇金主亮词
  232. 〇元虞萨词
  233. 〇元人诗宜入小令
  234. 〇高仲常词
  235. 〇蜕岩词
  236. 〇蜕岩警句
  237. 〇邱长春词
  238. 〇宋元人咏桂词
  239. 〇张小山小令
  240. 〇明铜盘词
  241. 〇张以甯词
  242. 〇黄庄元宵词
  243. 〇王抑庵词
  244. 〇杨升庵词
  245. 〇陈白沙词
  246. 〇汤义仍词
  247. 〇豁堂和尚词
  248. 〇王船山词
  249. 〇吴梅村词
  250. 〇王渔洋词
  251. 〇彭羡门词
  252. 〇汪远孙词
  253. 〇屈翁山词
  254. 〇粤诗四大家
  255. 〇梁汾闽客谣
  256. 〇梁汾寄吴汉槎词
  257. 〇西河词
  258. 〇西河望江南词
  259. 〇丁飞涛词
  260. 〇竹用六朝语
  261. 〇竹用红亭词
  262. 〇竹用玉玲珑词
  263. 〇竹蕃锦集
  264. 〇咏猫词
  265. 〇陈髯
  266. 〇嫩云窝
  267. 〇性容若填词诗
  268. 〇容若与竹词
  269. 〇药名诗词
  270. 〇毛会侯词
  271. 〇词字三李
  272. 〇二马词
  273. 〇洪稚存词
  274. 〇稚存喜用险韵
  275. 〇赵文哲词有所指
  276. 〇赵文哲祝英台近
  277. 〇黄仲则小令
  278. 〇清初三变
  279. 〇评嘉道以还词
  280. 〇张茗柯词
  281. 〇学小山梦窗不可太过
  282. 〇徐湘词

FAQ

Does Ciyi mainly discuss ci prosody and tonal patterns?
No. Judging from the surviving content, it focuses on tracing the rise of the ci through the evolution of ancient music, the loss of musical institutions, and changes in sonic and emotional expression; it belongs to discussions of ci origins and music theory, not to prosodic pattern manuals for composing ci. Those wishing to learn tonal patterns and rhyme schemes should seek out works on ci prosody instead.
What is the "Xiang Yin Jiu Yi" repeatedly mentioned in the book?
The Xiang Yin Jiu Yi is a chapter of the Liji that records the ceremonies and principles of the village drinking rite, including musical procedures such as the musicians entering and singing three stanzas, the reed-organ players entering for three stanzas, alternating songs for three stanzas, and joint performance for three stanzas. The author uses it to explain how ancient songs were organized, as a starting point for deducing changes in musical institutions.
Can someone without a foundation in classical Chinese read this book?
It will be rather difficult. The book consists mainly of classical Chinese discussion and involves classical texts and figures such as the Liji and Wang Tong; without annotation the barrier to understanding is high. It is advisable first to acquire basic classical Chinese reading ability, or to use annotated translations and reference works as aids before tackling the original.
Can the views in the book be cited directly as settled conclusions?
Not advisable. The author deduces the origins of the ci within a traditional musicological framework; this is one school's view, and its argument rests on records of ancient music and theories of changing sonic and emotional expression, differing from modern empirical approaches to ci origins. When citing, one should explain the background of its argument and cross-reference other materials on ci history.

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About the author

张德瀛 Author

Zhang Deying is a scholar of classical Chinese poetry about whose life very little is publicly known; his native place, dates of birth and death, and official career are all unrecorded. Only one work by him is held in the collection, Ci Zheng. Judging from its title and its common classification, the book falls within the field of classical poetry and is likely concerned with the ci genre, possibly discussing its origins, tonal and rhyming rules, authors and works, or broader poetics of the ci. Because no full biography of the author or background to the book's composition is available, its exact structure and scope remain difficult to determine. It can nonetheless be confirmed as Zhang Deying's surviving representative work and the main basis for understanding his approach to ci studies. For general readers the book may serve as an auxiliary introduction to traditional ci scholarship, while researchers would need to consult other sources to assess its scholarly orientation and historical context. Overall, Zhang Deying remains a shadowy figure owing to the scarcity of materials, and his significance is chiefly embodied in Ci Zheng, leaving room for further study.

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