A Study On Change And Succession Of Ci And Qu In Song And Yuan Dynasty

Ci and Qu are two important types in Chinese classical literature. The first one developed to a high level in Song Dynasty, and the second one also reached its heyday when Yuan Dynasty. Both of two are musician literature which use"qupai" to name the work, and they also use lyric with the different length, therefore they are the same basically. When the Ci and Qu were changing and succeeding in Song and Yuan Dynasty, they influenced and melted each other in a complex way. This thesis want to study the progress of the influence in the two types of literature in the aspect of conception, rules and style.This thesis is divided into five chapters except the foreword. The foreword introduce the reason why this topic was selected, meanwhile the importance and novelty of this field of study. Afterwords, this thesis define the two object of study. On one hand, we distinguished the Ci and Qu. The complexity of Qu lead to the illegibility between the two types. Qu should be divided into three kinds and compared with Ci separately. On the other hand, we arrange the change of conception of Ci and Qu on history. The conceptions of these two types of literature were pointed to the same musical literature. Afterwords they were narrowed and fixed and the conception of Ci and Qu today were still formed. In the last part of forewords we summarized the study of predecessor, and analyzed the achievements and some aspect which can be developed.The first chapter discussed the progress of the appearance and development of Ci. There are two important way of establishment of Ci. The first is lyric with sentences in different length formed rules, and another one is the lyric with the sentences in same length change to out of order. After the appearance of Ci, the folk work still maintained the features of free and rustic. In this course it formed some characteristics. For example, the rhythm of sentence became complex, the construction of sentences were fixed, and rhymed freely with dialects. At the same time, scholars’work has some obvious way to be developed. First it break though the traditional sentence construction of regulated verse and grew a create fashion to make word act in concert with music. Second, the scholars’Ci became elegant and got a high position in the literary world.The second chapter dissertated the develop orientation of single musical composition. The melody system of south and north Qu were inherited from folk Ci on the whole and very a few of them were inherited from scholar works. The popular Qu and folk Ci were derived from the same origin, and spread among the undergrowth people with the features of free and vulgar. At the same time, the scholars use the fledged rules of Ci to transform the folk Qu. As a result, the Qu follow the old road of Ci to form its own rules. Further more, the rules of Qu improved the existing rules, and influenced the regulation of Ci conversely. Simultaneously, because of the different common practice and object, Qu maintained some special characteristics.The third chapter compared the Qu Pai (the name of tunes)to related Ci Pai, and reach a conclusion that south and north Qu did not appearance groundlessly, but inherited from Ci and change in aspects of constructions of sentences and end or beginning. This change was not a sudden change, but a continuous, gradually progress in the change from Ci to Qu. The single melody of Qu was the continuance of Ci.The forth chapter arrange the two way of change and succession of Ci and Qu in scholar and folk group apart. There were some kinds of art among the people in south Song Dynasty. For example, Zhugongdiao, Changzhuan, Guzici, Chuanta, Daqu, Faqu, Guchui, Zaju and Yuanben and so on. All of these were bridge from Ci to Qu. First, they push forward the melody of Qu to combine and form a mature system of Taoshu. Second, they used the Ci melody to musical telling, and make the Ci and Qu to a manner of narrate and represent. Third, they integrated Qu to the dance art, performance art and other theatre arts, made Qu look differently from traditional Ci. Overall, these folk arts pushed the change from Ci to Qu. Meanwhile in the scholar group, the music of Ci disappeared and Ci became literature without music. Scholars started to take advantage of folk melody in circulation. The fifth chapter elaborated the reason why the Ci instead of Qu to become the popular musical literature. The use of Ci and Qu in musical telling and opera is the reason basically. Firstly, narrate made the Qu to be combined together to reach a enough length to tell a whole drama stroy. Secondly, narrate made Qu keep vulgar and as a result it can be distinguished from elegant Ci. Thirdly, telling story made Qu more popular. The end of this thesis summarized the course of the change from Ci to Qu in four aspects. First is the change of conception. Second is the melody inheritance from Ci to Qu. Third is the discipline conformation. Forth is the elegance and vulgarity way of Ci and Qu. In all, Qu is a new stage of the development of Ci in new time, with new purpose and merged with various of arts.