A Study on The Lyrical Song of object of Wu wen-ying

• Main Authors: Pu Yi-nan, 普義南
• Other Authors: Chen Wen-hua
• Format: Others
• Language: zh-TW
• Published: 2002
• Online Access: http://ndltd.ncl.edu.tw/handle/24187280930728303871

碩士 === 淡江大學 === 中國文學系 === 90 === In the object-describing (Yuon Wu) tradition of Sung tsih poetry (Sung Tsih) , a poet could not only exhibit or refine their creative technique, but also subtly express his innermost personal emotion through analogue-usage in chanting about objects. This thesis discusses Wu wen-yin’s object-describing tsih poetry, focusing upon his thinking and artistic aspects in his tsih poems to affirm his works’ artistic value, and thus explicating his significant historical position in the development of tsih poetry’s theory and practice during the transition between the Sung and Yuan Dynasties. Chapter One (Introduction): Taking the basic material as the foundation for the thesis study, this introduction explains the study motive, approach, the definition of the object-describing tsih poetry, and the principle of choosing subjects. Chapter Two (Object-describing Tradition and Object-describing Sung Tsih Poetry) : One’s creative works are usually influenced by the literary trend of his time. Before probing into Wu wen-yin’s object-describing tsih poems, this chapter discusses why he chooses to write a great number of object-describing tsih poems to write, and how the idea “objects and man as one” can become a way for him to express the many aspects of his private emotion and will. With this overview of the object-describing tradition and its development, we can go further in understanding Wu’s object-describing writing and how his writing’s being interpreted could interact with the works. Chapter Three (The Background of Wu wen-ying’s Tsih Poetry Writing) : In Wu wen-ying’s 340 Sung poems, nearly one hundred poems are object-describing tsih poems. In both subjects and spirit, these tsih poems reflect the poet’s indifference to politics and his sincere attitude to pursuit his true love, which closely interacted with his life experience. This chapter discusses the cause and effect of his life experience in terms of his traveling in working for officials and his love trauma. Besides, about the four principles of tsih poetry’s writing that came out of Wu wen-ying and Hsen yi-fu’s discussion, I here adopt the “refinization” (ya-hwa) process of tsih poetry to analyze them in order to evaluate Wu’s object-describing tsih poems. Chapter Four (Interpretation of Wu wen-yings’ Object-describing Tsih Poems) :　 This chapter first induces the subjects of Wu’s object-describing tsih poems, and then analyzes the changes of the works’ subjects and the significance of Wu’s choosing these subjects in terms of the social and cultural phenomenon of his time (The South Sung Dynasty). Furthermore, this chapter analyzes the thinking of Wu’s object-describing tsih poems, categorizing his tsih poems into two types: the pure object-describing tsih poems, and the object-describing tsih poems that subtly convey his private emotions. And then follow the detailed explanation and interpretation of these two types of tsih poems. Chapter Five (The Art of Presentation of Wu wen-ying’s Object-describing Tsih Poems):　 Object-describing writing is a very self-conscious artistic creation, which demands a poet’s great efforts to arrange the relationship between the objects and “I.” This chapter induces Wu wen-ying’s art of expression according to three aspects: the molding of object-&-I image, the arrangement of the structure of his poems and rhetoric techniques, and consequently offers an observation of the interactions between his works and the tsih poetry writing theories during the transition between the Sung and Yuan Dynasties, and of Wu wen-ying’s characteristic poetic expression and his significant position. Chapter Six (Conclusion):　With his writing and rhetoric, Wu wen-ying realized the tsih poetry theories apparent during the Sung and Yuan Dynasties with his discreet object-theme writing. While with his emotion, Wu wen-ying combines love affairs with object-describing writing, creating a new world of love tsih poetry that is poignant and sincere. In terms of artistic expression, Wu wen-ying continues the subtle and glamorous style of the late Tang Dynasty and presents a unique rhetoric which mixes splendor and melancholy. While in terms of the development of the object-describing tsih poetry, Wu wen-ying has deepened the functions of analogue projection in his object-describing writing, which has a profound influence to later works of other poets, such as Supplement of the Collection of Lyrics (Yueh-Fu Bu Ti.)