There were different perspectives of stylistic discrimination in the study of ci rhyme in the Ming and Qing dynasties. From the mid-Ming to the mid-Qing, the objects of differentiation included metrical poetry, qu-poetry or yuefu poetry. Scholars often employed techniques of breaking styles and linking them to other forms, showcasing a blend of differentiation and integration. From the mid- to the late Qing dynasty, the trend gradually returned to the style of ci-poetry, emphasizing the internal exploration of rhyme schemes, and aimed to distinguish styles without disrupting them. These varied perspectives were driven by differing strategies of adherence to style. The evolution of these strategies in Ming and Qing ci rhyme studies can be traced through four phases: “adapting qu to fit musical patterns,” “conducting textual research on rhyme rules,” “tracing origins and interpreting rhymes,” and “returning to ci style.” Correspondingly, the approach to stylistic discrimination evolved through stages of “linking qu to differentiate from poetry,” “linking poetry to differentiate from qu,” “integrating and differentiating yuefu poetry,” and ultimately “discriminating without disruption.” The exploration of the musical attribute of ci rhyme at different levels and in different ways was the intrinsic cause of the different perspectives and strategies in Ming and Qing ci rhyme studies.
Key words
Ming and Qing ci rhyme studies /
stylistic discrimination /
adherence to style /
evolution /
musical attributes
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Footnotes
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Funding
Youth Project of National Social Sciences Fund (20CZW023).
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