Ideally speaking, the compilation of Complete Tang and Five Dynasties Shi-Poems could have been done in parallel with that of Complete Tang and Five Dynasties Ci-Poems, so that all the rhymed literature could be collected. However, such an endeavor requires an operational distinction between shi-poem and ci-poem. The common understanding to the distinction between them is built on the musical style or yanlue, but due to the scarcity of music data of Tang and Five Dynasties, it is hard to deny subjectivity and random in practice when distinguishing between shi-poems and ci-poems. The result is that very often shi-poems go into collections of ci-poems. Ci was not generally regarded as a form of poetry different from shi until the middle of Northern Song Dynasty, therefore, if the distinction between shi and ci is based on later ideas or standards, poetry in the Tang and Five Dynasties would be divided into shi and ci. From the perspective of stylistics, the number of lvci (regulated ci-poems) is very limited compared with the huge number of shi, and it is of little significance to compile a separate series of lvci. The paper therefore proposes that ci-poems should be included in Complete Tang Poems and that this may exhibit both respect for history and for Tang poetry as the representative of a literature of its own kind.
Key words
Tang poetry; Complete Tang Poems /
literary form /
the music of ci /
yanlue
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