The Study Of Zhang Yan's Ci Poems On Objects

Zhang Yan was known as a member of four master writers at the end of the Southern Song Dynasty. His Ci poems on objects had become a glorious and tragic end in the development of Ci Poetry on objects in the Song Dynasty, for its real life experience, profound tragic implication and exquisite art form. On the basis of former achievements, the paper attempts to give Zhang Yan's Ci poems on objects a comprehensive survey and study. And this paper tries to give his theory and practice a comparative study combining with"Ci Yuan", so as to explore the relationship between his concept of Ci Poetry on objects and creative practice.Based on the previous research in poetry on objects, and combined with the development of Ci, The introduction part gives the definition of Ci Poetry on objects and points out that the scope of this study is limited to 38 Ci poems on objects of Zhang Yan. At the same time, the development of Ci Poetry on objects in the Song Dynasty is briefly recommended in this part.The first chapter mainly tells about the background of Zhang Yan's Ci poems on objects from the following aspects: time, literature world and author. The background of times is composed of four aspects: the demise of country, the control of alien race, the deterioration of scholars'fate and the silently resistance of adherents. From the rich to the poor constitutes the background of life experience. In the transitional age from Song Dynasty to Yuan Dynasty, there are more and more Ci poems on objects in Zhejiang. It's the background of literature world there. This chapter also explains the reasons of the prosperous of Ci poems on objects in this period. Finally this chapter discusses the background of the author, that is, Zhang Yan's attitude is seriously stringent.The second chapter mainly analyses the aesthetic ideal of Zhang Yan's Ci poems on objects from the comparative perspective in theory and practice. Zhang Yan pointed out his aesthetic ideal in his"Ci Yuan". He took the examples of Jiang Kui and Shi Da Zhu to prove it. It can be seen that Shi Da Zhu's three famous Ci poems really represent Zhang Yan's aesthetic ideal, which is that Ci poems on objects should mainly reappear and reproduce the objects. But his practice is different from his theory. There are two aesthetic ideal in his Ci poems on objects. One is that Ci poems on objects should mainly reappear and reproduce the objects. The other is that Ci poems on objects should mainly express author's feeling.The third chapter mainly tells about the emotional connotation of Zhang Yan's Ci poems on objects. In accordance with the degree of the emotional connotation, Zhang Yan's of Ci poems on objects can be divided into two types: One is that describe objects with little sustenance. The other is that express author's feeling, which is seen in the following aspects: his suffering and thought after the demise of country, his Sense of life experience, his noble ambition and his fun of Seclusion.The fourth chapter mainly analyses the way of manifestation in Zhang Yan's Ci poems on objects combined with his theory. Adapt to his aesthetic ideal, the way of observation also has two types: Watching with felling and permeation. This chapter also analyses his techniques of description in the following aspects: the use of the falseness-trueness techniques, the use of indirect description, the innovative use of allusion, precise phraseology, Ci poetry-painting encirclement.The fifth chapter discusses the artistic style and the impact of Zhang Yan's Ci poems on objects. There are two artistic styles, one is pure and scattered and elegant, the other is chilly and profound and roundabout. This chapter points out that the formation of his style is on account of the impact of regional culture and the renaissance of elegant Ci poetry in Southern Song Dynasty. Finally, this chapter discusses the impact of Zhang Yan's Ci poems on objects.