花間詞에서 柳永詞로의 詞體 變化

Abstract

This paper started by raising objections to treating Hua-jian-ci and Liu-yong-ci as one category, classifying the main Ci-ti among scholars studying the Ci-ti. This is because Hua-jian-ci and Liu-yong-ci were thought to be ci-ti that showed clear differences in many ways. First of all, their differences could be found in terms of the musical aspects represented by the Ci-diao. Hua-jian-ci used a lot of traditional Jiao-fang songs and not many new songs were taken at the time. Also, there were many works per Ci-diao, so they tended to create familiar songs over and over again rather than new songs. On the other hand, Liu-yong-ci used a lot of new music of Song dynasty rather than the previous period, and the number of works per Ci-diao was relatively small. Based on this, Hua-jian-ci shows a tendency to be conservative in terms of music, and Liu-yong-ci shows a progressive aspect. Next, in terms of the structure of the work, Hua-jian-ci is mostly a Xiao-ling of short-length, and is excellent at quickly changing scenes, focusing on scene descriptions. Liu-yong-ci, however, has a large number of long types, and is excellent at expressing emotions using the method of Pu-xu. Therefore, Hua-jian-ci and Liu-yong-ci show almost the opposite characteristics in the structure of the work. In this regard, Hua-jian-ci and Liu-yong-ci are clearly Ci-ti’s with unique personalities. Therefore, it seems inappropriate to discuss the two as a single Ci-ti. As the body changed from Hua-jian-ci to Liu-yong-ci, Tang-song-ci was able to stand tall as a literary style that could represent an era. In addition, the various expressions they developed had a good influence on future poet.