Ci-poetry Dancing With Early Vernacular Poetry

Ci-poetry plays an important role in the production and development of the theory and the text of early vernacular poetry. It is one of the necessary resources of the construction of early vernacular poetry.This thesis takes Hu Shi's poem and ci activities as an example, consisting of two parts. There are three chapters in Part One. Chapter 1 outlines the process of Hu Shi's ci-poetry research, which is divided into four stages:the embryonic stage, the deepening stage, the mature stage and the stable stage. Chapter 2 discusses Hu Shi's view of ci-poetry, including the origin and essential of ci, the history of ci, and the criticism criterion of ci. In Hu Shi's opinion, ci is a new style of poetry that comes from the poetry evolution. It contains many appraisal standards, such as the vernacular degree of the language, the concentration of feelings, the level of artistic conception and the difference in style. Hu Shi's view of ci-poetry and his poetic view influence each other. Chapter 3 analyses the phenomenon of the poem-writing oath in ci style. It also summarizes the specific context of the way to explore a new poetry style in the old ci style. To Hu Shi, ci-poetry is one of the most reliable materials that used to support the theory of early vernacular poetry. From the discussion on Part One, we can see that Hu Shi's study of ci-poetry not only mostly aims at the construction of the early vernacular poetry, but also inspires the production of vernacular poetry theory.Part Two emphatically introduces a special style of early vernacular poetry——ci-like free poetry,which is defined as:a kind style of early vernacular poetry advocated by Hu Shi, which contains ci-like sentence type (including ci-poetry tunes)and blends modern poetical properties with traditional ones during the movement of vernacular poetry. Part Two is divided into four chapters. Chapter 4 specifically analyses several ci-like free poetry written by Hu Shi, and generalizes seven construction methods and five types of ci-like free poetry. Chapter 5 analyzses the components of ci from ci-like free poetry, introduces the methods of judging the components like ci-like sentence pattern as well as the ci-poetry tune, explores the way of building a poem by these components, and looks for their potential musical beauty. Chapter 6 discusses the characteristics of ci-like free poetry. The main characteristic is to blend modern poetical properties with traditional ones, which basically through adopting the formal parsing method, analyzing the structure form and sentiment rhyme of the poetry. Chapter 7 discusses the historical destiny and the future development value of ci-like free poetry. During 20 years after its appearance, the fate trajectory of Hu Shi's ci-like free poetry showed a "U" shaped curve:from the first recognized as a necessary transition, to be depreciated as ghost-attaching poetry, to finally be called a new development road of free poetry. In Part Two we can learn that ci-like free poetry has built the bridge between traditional poetry and modern vernacular poetry, and itself shows certain aesthetic value and development space. Early vernacular poetry makes use of ci-poetry as its construction resources, which is not only a necessary action to produce vernacular poetry, but also an effective attempt to construct it.