12.3 Song Lyrics - Completed

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ci 詞*

Back 1

The term is the shortened version of the phrase quzici 曲子詞*, “the lyrics for a melody.” In prose and book titles the genre is commonly referred to as yuefu (in Ouyang Xiu “new style yuefu,” jinti yuefu 近體樂府*), and as shiyu 詩餘* or changduanju 長短句*.

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quzici 曲子詞*

Back 2

the lyrics for a melody

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jinti yuefu 近體樂府*

Back 3

new style yuefu

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shiyu 詩餘* or changduanju 長短句*.

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alternative names for ci 詞

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cidiao 詞調* or cipai 詞牌*

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A set tune pattern. Such tune patterns have a set number of lines, and each line has a predetermined length, in which certain positions require a level or a deflected tone (with other positions open). Certain lines (not necessarily all even numbered lines) require rhyme; and in ci the required rhyme may be either a level or a deflected tone.

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yisheng 倚聲*

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The practice that ci was written to match the melody, and since the melody was a given, a certain degree of latitude in the use of level and deflected tones was permitted.

Front 7

cipu 詞譜*

Back 7

manuals for all acceptable tune patterns

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tian ci 填詞*

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Fills in the lyrics. Since the pattern is given beforehand, one does not write a ci, but rather fill in the lyrics

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dandiao 單調*

Back 9

a tune pattern that has only one stanza

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shuangdiao 雙調*

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two-stanza lyric

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chongdiao 重調*

Back 11

lyrics with two metrically identical stanzas

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changdiao 長調*

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a tune pattern that is more than two stanzas

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pian 片* or que 闋*

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stanza

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huantou 換頭*

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stanzaic transition, having aesthetic interest in the ci

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xiaoling 小令*

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short lyrics with 58-62 characters at the maximum

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manci 慢詞*

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the longer songs of anywhere from 70 to 240 characters.

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daici 代詞*

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"kennings" or conventional metaphors, such as "Jade sprouts" yusun 玉筍 for fingers

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jiaofang 教坊*

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Imperial Music Academy

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shengshi 聲詩*

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isometric lyrics from the Tang identified by modern scholar Ren Bantang 任半塘

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hesheng 和聲*

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additional words that make the text easier to sing

Front 21

Jiaofang ji 教坊記*

Back 21

by Cui Lingqin 崔令欽, a record of the Tang system of Imperial Music Academy and anecdotes related to music and musicians. (NOTE: no definition given in the lecture notes) Melodies in the Imperial Music Academy in the middle of 8th century were preserved in this work.

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beili 北里*

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entertainment quarters in the north of Tang Chang'an, that's why it was called beili.

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Dunhuang 敦煌*

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-A place in Northwestern China where a significant body of poetic literature from 9th to 10th century (oldest material dated back to the 5th century)was recovered.
- the cave was walled up in or shortly after 1035.

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Yunyao ji 雲謠集*

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-A collection of 32 anonymous songs
-dating from early 10th century
-a higher degree of familiarity with elite practice than other pieces found in Dunhuang
-雲謠 is a generic term for popular songs

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cihua 詞話*

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remarks on song lyric

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Zunqian ji 尊前集* (Banquet Collection)
[no asterisk]

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-Earliest edition is late Ming
-very likely a Northern Song anthology of songs
-preserves most of the ci attributed to authors before mid-ninth century

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Huajian ji 花間集* (Among the Flowers)

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-An ci anthology from Chengdu in the Shu Kingdom of Five Dynasties
-a preface dated 940
-representing a practice of composing and transcribing allometric lyrics in 10th century

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biji 筆記*

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[no definition given in this lecture]

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Zhang Zhihe 張志和*
[no asterisk]

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-Author of yufu ci 漁父詞
-from the 2nd half of 8th century

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Huangfu Song 皇甫松*,
[no asterisk]

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-son of the Mid-Tang old style prose stylist Huangfu shi
-author of some quatrain based lyrics such as “Bamboo Branch,” zhuzhi 竹枝*.

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zhuzhi 竹枝* (Bamboo Branch)

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-folksong type
-hemistiches of the seven syllable line are divided by the refrain “o the bamboo branch,” zhuzhi 竹枝, after the four syllable hemistich, and “girls,” nüer 女兒, after the three syllable hemistich.
-example: 木棉花盡 (竹枝) 荔枝垂 (女兒), 千花萬花 (竹枝) 待郎歸 (女兒).

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Wen Tingyun 溫庭筠*

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(798/824?-866?)-One of the two important "Late Tang ci" Lyricists;
-most of his ci works are preserved in huajian ji;
-seems to have been active in Chengdu in the mid-9th century;
-his ci are dense, paratactic, and generally treat boudoir themes; they share much in common with some of his yuefu and with Li Shangyin.

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Wei Zhuang 韋莊*

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(836/842?-910)- One of the two important "Late Tang ci" lyricists;
-works were preserved primarily in Huajian ji;;
-his works come from the period of residence in Shu after Huang Chao Rebellion (875-883);
-his ci are more hypotactic and much less dense; more vernacular”.

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He Ning 和凝*

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(898-955)-the only significant lyricist left in north after Tang's disintegration;
-20 of his lyrics are included in Huajian ji.
-nickname "Lord of Songs" quzi gongzi 曲子公子
-his lyrics are in erotic tradition, like the poem of Han Wo 韓偓* (844?-923) in the Xianglian ji 香奩 集

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Han Wo 韓偓* )

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(844?-923-author of Xianglian ji 香奩 集 (although some argue that He Ning was the author)
-erotic poems

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Ouyang Jiong 歐陽炯*

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(895-971)-wrote a preface for Huajian ji, which is the first theoretical statement on song lyrics

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Feng Yansi 馮延巳*

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(903-960)-a major lyricist in Southern Tang court
-was minister several times in the last years of the dynasty
-has a collection yangchun ji 陽春集

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Li Yu 李煜* or Li houzhu 李後主*

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(937-978; r. 961-975; he was the last Southern Tang ruler)
-second generation of the lyricists in Southern Tang
-has a considerable collection of lyrics and became one of the dominant figures in the ci tradition.
-Nan Tang erzhu ci 南唐二主詞, both father Li Jing (only 5 pieces) and son Li Yu
-an immensely appealing figure in the history of ci: intrinsic quality of his lyrics & the putative relation between his ci and his life
-a sense of authenticity zhen 真: 1st-person voice and vernacular elements

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jingjie 境界*

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-a term that Qing critics borrowed from Buddhism to refer to the "world" created in a piece of literature.
-this term was taken, elaborated and made central by Wang Guowei in Renjian cihua 人間詞話

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Yan Shu 晏殊*

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(991-1055)
-has a collection called zhuyu ci 珠玉詞
-party songs, enjoyable

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Ouyang Xiu 歐陽修*

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-1007-1072
-Liuyi ci 六一詞*，Jinti yuefu 近體樂府* and Zuiweng qinqu waibian 醉翁琴趣外篇
- Ouyang Xiu’s ci are gently erotic and voyeuristic

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Zhang Xian 張先*

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-980-1078
-Anlu ji 安錄集 or Zhang Ziye ci 張子野詞
-His anthology pieces are some of the finest among the Northern Song xiaoling (short song) masters and very much in the Southern Tang style.
-nickname 張三影

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Yan Jidao 晏幾道*

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- born in 1030, son of 晏殊
- Xiaoshan ci 小山詞
- something profoundly retrospective about much of Yan Jidao’s work

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Liu Yong 柳永*

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- 987-1053, also known as Liu Sanbian 柳三變 or Liu qi 柳七
- Yuezhang ji 樂章集
- first lyricist to concentrate on manci (long songs)
- his lyrics seem to have been extremely popular in the entertainment quarter of Bianjing

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chenzi 襯字*

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extrametrical characters

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sanqu 散曲*

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Yuan vernacular songs

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lingzi 令字* or lingci 令詞*

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an introductory word or phrase that governed several clauses, used commonly in Liu Yong's manci.

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Su Shi 蘇軾*

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- 1036-1101
- Dongpo yuefu 東坡樂府
- pioneered an entirely new genre,
- accused of violating the tonal regulation,
- expanding the subject matter of ci

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bense 本色*

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“essential quality,” Su Shi was accused of violating the essential quality of ci

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yi shi wei ci 以詩為詞*

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make ci out of classical poetry, Su Shi was criticized for doing it

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Huang Tingjian 黃庭堅*

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- 1045-1105
- a protege of Su Shi,
- Shangu ci 山谷詞
- experimenting with colloquial usages in some of his ci far beyond the norm of the genre.

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Qin Guan 秦觀*

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- 1049-1100
- a protege of Su Shi,
- Huaihai ci 淮海詞
- wrote extensively in xiaoling form
- His work has the delicacy of sentiment and observation, along with the normative motifs of love and intense emotional states.

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He Zhu 賀鑄*

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- 1052-1125
- Dongshan ci 東山詞
- learned scholar with a famous library
- learned in music,
- the diction was chosen with great care and lines of Tang poetry were often recast in poetry with a new twist

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Zhou Bangyan 周邦彥*

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- 1056-1121
- two versions: Qingzhen ci 清真詞 & Pianyu ji 片玉集
- a scholar of music served in the Music Bureau
- standardizing the tune patterns,
- preserved tunes from the Northern Song that had fallen into disuse
- increase the number of legitimate variations on tunes, designated by terms such as man 慢 and yin 引.
- essentially a writer of manci

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Li Qingzhao 李清照*

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- 1084 to ca.1147
- Shuyu ci 漱玉詞
- a master of the genre
- placed great stress on matching the lyrics perfectly to the tune pattern
- equally well in xiaoling and manci
- Jinshi lu hou xu 金石錄後序 (post-script to her husband’s epigraphic collection)

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Jinshi lu hou xu 金石錄後序*

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the postface to Li Qingzhao's husband’s epigraphic collection

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ci bieshi yijia 詞別是一家*

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Ci is a different sort of thing
- Li Qingzhao's view on ci, in comparison to poetry
- stressing the form’s generic distinction

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haofang 豪放*

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- one of the two styles of ci
- “expansive” or “flamboyant.”
- marked as “masculine” and has a certain theatrical directness and intensity

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wanyue 婉約*

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- one of the two styles of ci
- “delicate sensibility,” with strong feminine associations in contrast to the haofang lyricists.

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danghang 當行*

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specialization, which might be professionalism or a particular passion.

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shishe 詩社*

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- poetry clubs
- began in the late Northern Song and flourished in the Southern Song

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Ciyuan 詞源*

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- by Zhang Yan 張炎*
- early fourteenth century
- technical treatise on the poetics of ci
- with technical issues in music & critical comments

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Zhu Dunru 朱敦儒*
[no asterisk]

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- 1080-1175
- Woodcutter’s Songs, Qiaoge 樵歌

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Lu You 陸游*

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- 1125-1210
- perhaps the most famous classical poet of the Southern Song
- Fangweng ci 放翁詞
- a wide range of topics, but at his best in the free and easy mode of the gentleman as recluse or fisherman.

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Zhang Xiaoxiang 張孝祥*
[no asterisk]

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- 1133-1170
- Yuhu ci 于湖詞

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Xin Qiji 辛棄疾*

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- 1140-1207
- Jiaxuan ci 稼軒詞
- the most prolific writer in the genre during the Song
- followed in the tradition of Su Shi, incorporating the diction not only of classical poetry but also of old style prose into his lyrics.

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Jiang Kui 姜夔*

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- 1155-1221
- Baishi daoren ci 白石道人詞
- immensely influential, both in his own time and in the revival of ci in the Qing.
- his lyrics were praised by Zhang Yan as qingkong 清空

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Shi Dazu 史達祖*
[no asterisk]

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- ca.1160-ca.1210
- Meixi ci 梅溪詞

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Wu Wenying 吳文英*

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- ca.1200-ca.1260
- Mengchuang ci 夢窗詞
- formal precision and a dense figuration make his ci extremely obscure

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Yuan Haowen 元好問*

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- 1190-1257
- gathered Jin traditions of history and literature
- collected Jin poetry in Zhongzhou ji 中州集

Front 71

Zhongzhou ji 中州集*

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- Yuan Haowen’s collection on Jin poetry
- sought to institute a “Northern” tradition to contest Southern dominance

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Zhongzhou yuefu 中州樂府*

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- Yuan Haowen’s collection on Jin ci

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Zhou Mi 周密*

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- 1232-1298
- Caochuang ci 草窗詞

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Wang Yisun 王沂孫*

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- ca.1240-ca.1290
- Huawai ci 花外詞
- worked almost exclusively in yongwu

Front 75

Zhang Yan 張炎*

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- 1238-1320
- Ciyuan 詞源, critical work on ci
- Shanzhong baiyun ci 山中白雲詞, his own ci collection