A Brief Discussion of Ci Composition
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Summary
Editor's review
Who it's for
A good fit for
- Beginners learning ci composition who need to understand basic prosodic and tonal norms
- Readers of classical literature seeking to clarify the generic boundaries between ci, shi, and qu
- General readers who wish to build a foundation before reading ci criticism
- Writers of classical-style poetry who need a prosodic reference
Not a good fit for
- Scholars expecting systematic ci history or monographic studies of authors and works
- Readers interested only in appreciation of ci works and not in prosodic technique
- Those who prefer modern vernacular poetry and have no interest in classical prosody
Reading tips
- First read through the section on origins and development to establish an overall grasp of ci's evolution, then move on to the chapters on prosody.
- Keep a common ci register at hand for cross-reference, consulting it whenever terms like modes and tonal patterns arise.
- After each section, select a work in a corresponding ci tune and try marking its tonal patterns to deepen understanding.
- Read alongside works such as Renjian Cihua to compare theoretical emphases and argumentative approaches.
About the publisher
Bashu Publishing House is a publisher centered on collating and publishing classical Chinese cultural texts, with its main publishing areas covering classical literature, Eastern philosophy, ancient poetry, and educational classics. Its library currently holds 1,075 titles, including representative works such as Dream of the Red Chamber, the Preface to the Orchid Pavilion Gathering, Renjian Cihua, and Out to the Frontier, involving authors such as Cao Xueqin, Wang Xizhi, Wang Guowei, Wang Changling, Liu Xie, and Yan Yu. These reflect the publisher's focus on literary classics, poetry criticism, and philosophical readings. Its publishing character lies in working around ancient texts and canonical works, with attention to textual collation and presentation. Public information on its more detailed publishing background and series plans is limited; this introduction is based only on the library's book information.
Contents
- 版权信息
- 序
- 词为诗馀
- 南北声音不同
- 十七宫调
- 今词叶律
- 论四声
- 论阴阳
- 中原音韵论阴阳
- 曲应用词韵
- 沈去矜词韵切当
- 词调之始
- 图谱杜撰
- 自度曲
- 词禁
- 词禁须活着
- 词宜反复吟哦
- 宫调
- 十三调
- 宫声不用
- 今乐不全应古法
- 南北九宫谱
- 引子
- 过曲集曲
- 尾声
- 板眼
- 词注四声
- 碎金词谱
FAQ
Is this book suitable for someone with no foundation learning ci composition?
Does the book mainly discuss ci history or ci composition technique?
What prior knowledge is needed to read this book?
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About the author
Xie Yuanhuai was a Qing-dynasty ci poet and scholar of ci poetics. His life and native place are poorly documented, and reliable details about his career remain difficult to establish. Two works attributed to him survive, both titled Qinci Qianshuo (A Plain Introduction to Ci Composition), and they are classed among classic works of ancient poetry. The book discusses, in accessible language, the tonal and rhyming rules of ci composition and the polishing of diction and phrasing, offering guidance to beginners and showing that the author had a practical grasp of ci writing and its formal conventions. Xie Yuanhuai's writings are valued less for breadth than for their practical, introductory character, and his views on ci prosody remain useful to later students of the form. Given the scarcity of historical records, his biography, associates, and official career are largely unknown, and researchers should rely on the extant works and treat related accounts with caution.
