An Example Of The Category Of Ancient Chinese Word Studies

The research into the categorization of ancient lyrics poetry in the field of lyrics study is still comparatively weak through these years. Facing the issue of critique of ancient lyrics poetry in its entirety, previous researches concentrated more on a basic few categories like "Qing Kong (??,metaphysically close to nobility and grace)" "Sao Ya (??,patriotic elegance)", "Hao Fang(??,bold and forthright)","Wan Yue(??,demure)" and its in-depth studies.However, the possible areas of studies into ancient lyrics poetry have always been rich and full of potential, and base on an understanding in the logical development of ancient lyrics poetry, this thesis attempts to make a comprehensive and meticulous investigation into a few important or almost unexplored categories, concentrating on the various theories of creation, patterns, and styles categories of lyrics poetry.The categories chosen for the purpose of this research will be typical of the ancient lyrics they represent, and will not delve much into the originality, appreciation, and critique of the lyrics, which is why the thesis is titled "The Paradigm of Ancient China Lyrics Poetry Categorization".Similar to other attempts on categorization in literature, the categorization of lyrics also often uses a logical method of analysis to form its own series of sub-categories. These categorizations usually shares similar traits, and its meaning often interlaced, which lends to a richer categorization from its original state.This also explains why this thesis, when discussing the various categorizations, first did a reverse type semantic restoration, followed by individual dissertations on the high number of sub-categories that appeared in the study of lyrics poetry.The effort to return these sub-categories back to its original state also provides a platform whereby a deeper level of exploration can be done on the contents provision of the original categorizations.The first chapter of "Introduction" will provide general definitions for the formats of lyrics poetry and its categorizations. From the differences between lyrics poetry and poetry itself, this chapter will highlight how lyrics poetry is in a class of its own, and how its format affects the formation of the various categories. The second section of the chapter introduces the current state of lyrics categorization and the traits of its sequentiality; and the third section provides a general insight into the areas of studies related to lyrics categorizations.As lyric is also a form of "sound and tone study", chapter 2 will discuss the musical categorization of it. This chapter centers on the category of "Harmonization(??)”in Tone Harmony(??),and the "Crisp (?)”and "Loud(?)”categories in Tone Soundings (??).Chapter 3 moves into stylistic categorization of lyrics poetry and concentrates on the style of "Wan(?,Gracefully veiled)". Past studies and discussions about "Wan" are plentiful, and this thesis will skip the general explanation, and instead focus on refining its sub-categories, and integrates them with an analysis on the phenomenon of "men writing women styled poems or lyrics", to give a more in-depth study and exploration to the sub-category of "Wan".Chapter 4 will cover the "aesthetics" category. There are generally fewer papers written on the category of "Xiu(?,delicate beauty)", and this chapter will discuss more on some of the sub-categories of "Xiu", like "Pale(??)”,"Graceful(??)”,"Seclusive(??)”,and "Hollow(??)”,especially "Hollow", which generally went unnoticed by previous researchers.The last chapter will use the "Mai(?,Pulse)" sub-category to discuss the category on the "Art of Composition(??)”for lyrics poetry. This chapter will attempt to use the techniques of "parting, joining, sticking, shedding (????)”"twisting(?)”,and "keeping(?)”to hopefully provide a better insight and integration to this more operable and practical aspect of the study of lyrics poetry.