The Study Of Ci-poetry About Mid-Autumn Festival In Qing Dynasty

Ci-poetry about Mid-Autumn Festival in Qing Dynasty is the research object of this paper, at the same time, the comparative study with the ci-poetry about Mid-Autumn Festival in previous generation which is in order to explore the evolutional trajectories of ci-poetry about Mid-Autumn Festival. Except the introduction and conclusion, there are four chapters in this paper. The introduction mainly introduces the current research status in the academia of ci-poetry about Mid-Autumn Festival and the Mid-Autumn Festival’s folk-custom.Chapter one is a summary of ci-poetry about Mid-Autumn Festival. First of all, we need to define the ci-poetry about Mid-Autumn Festival so as to determine the range of study. Then, through the quantitative comparison between ci-poetry about Mid-autumn Festival in Qing Dynasty with ci-poetry about Mid-Autumn Festival in previous generation, it’s not difficult to find that ci-poetry about Mid-Autumn Festival in Qing Dynasty both in ci-poetry’s quantity and in tune’s sum are far more than the total number of the ci-poetry about Mid-Autumn Festival in previous generation. At the same time, the poem’s creation group is also enormous.Chapter two mainly analyzes the subject and content of ci-poetry about Mid-Autumn Festival in Qing Dynasty. Some of these ci-poetries talked effusively about the emotions of missing someone, some described the grand occasion of banquets or celebrations, some expressed the ci-poets’feelings about life or universe, some sadly told the distress because of the misfortune of mountains and rivers or the perish of country, and some of the ci-poetries contained deep feelings of the ci-poets’ through portraying the things around them. Comparing against ci-poetry about Mid-Autumn Festival in previous generation, these ci-poetries not only have inheritance but innovation, which mainly manifest for two points:firstly, ci-poetry about Mid-Autumn Festival in previous generation put particular emphasis on depicting sceneries and expressing emotions, but laid less emphasis on recording the facts. On the contrary, there was an obviously increase in the contents of recording facts in ci-poetry about Mid-Autumn Festival in Qing Dynasty, which could often take effect for mutual demonstration between ci-poetry and history. Secondly, the subject and content of ci-poetry about Mid-Autumn Festival in Qing Dynasty were more plentiful. The ci-poetry which specially describing mooncakes appeared in the descriptive ci-poetry, besides, ci-poetry about Mid-Autumn Festival in Qing Dynasty also added a lot of content which describe customs about the Mid-Autumn Festival.Chapter three specially analyzes the customs which are involved in the ci-poetry about Mid-Autumn Festival in Qing Dynasty, for example, sacrificing to the moon, watching the tide, enjoying the wonderful view of a bunch of moons, bite and sup and some other customs. Thereinto, except for the custom about watching the tide which was familiar in ci-poetry about Mid-Autumn Festival in previous generation, the other customs such as sacrificing to the moon and bite and sup were less mentioned by ci-poetry about Mid-Autumn Festival in previous generation, what’s more, the description of the customs about enjoying the wonderful view of a bunch of moons and "groping for autumn" were peculiar phenomena in ci-poetry about Mid-Autumn Festival in Qing Dynasty. Moreover, through the contrast we can find that the ci-poets in previous generation always regarded the description of customs about Mid-Autumn Festival as a medium to enrich the content of ci-poetry or express feelings rather than a conscious record. But the ci-poets in Qing Dynasty were different, they were intended to increase the function of ci-poetry, therefore, when described these customs they were very conscious and had clear consciousness.Chapter four discusses the inheritance and innovation of ci-poetry about Mid-Autumn Festival in Qing Dynasty on the basis of ci-poetry about Mid-Autumn Festival in previous generation, it is mainly divided into three areas:firstly, image’s inheritance and innovation, which focus on selecting the images about month, south building and Hu Qiu in ci-poetry about Mid-Autumn Festival in Qing Dynasty compared with the previous generation’s, which turns out that ci-poets in Qing Dynasty made great efforts to polish the language. There are 121 different ways to describe moon or moonlight, simultaneously, ci-poets in Qing Dynasty also gave the same images different connotation of the times. For example, the image about Hu Qiu had feelings of homeland and rise and fall which didn’t appear in ci-poetry about Mid-Autumn Festival in previous generation; secondly, the form’s inheritance and innovation, this part puts the key study on group ci-poetry about Mid-Autumn Festival in Qing Dynasty, which indicates that the quantity of each of group ci-poetry is far more than the previous generation’s, and the group ci-poetry about Mid-Autumn Festival in Qing Dynasty were in addition to inheriting the tradition of depicting sceneries and expressing emotions of the previous generation’s, but added the function of reminiscing. Besides, the new form of group ci-poetry about Mid-Autumn Festival in Qing Dynasty which was initiated by Weisong Chen had produced a certain extent influence on the later ci-poets when they created ci-poetry about Mid-Autumn Festival; thirdly, the book specially about ci-poetry about Mid-Autumn Festival-Changhe ci-poetry about Mid-Autumn had appeared in Qing Dynasty, on the one hand, which reflects people in Qing Dynasty paid attention to the Mid-Autumn Festival, on the other hand, which embodied that the activity of changhe was popular in Qing Dynasty.