Studies On The Patterns Of Long Tunes In Song Dynasty

Taking the nine popular long tones in Song Poems as the object studied, the dissertation extends its horizon on the form of the tunes in introduction, main body and conclusion.In the introduction, the meaning of studying the tunes and forms, the main content and the methodology are pointed out. In the main body, every chapter deals with a tone corresponding with nine tonal patterns respectively, namely Nian Nujiao, Man Jianghong, Qin Yuanchun, He Xinlang, Man Tingfang, Shui Longyin, Mulan Huaman, Mo Yue and Bashen Ganzhou. The study of each tonal patterns is quantificationally carried out from four perspectives, which are Ping and Ze tones, sentence patterns, rhymes and masterpieces, about which the dissertation turns to investigate the discussions in Cilv by Wanshu, King’s CiPu by Wang Yiqing and Rules and Forms of poems in Tang and Song Dynasties by Long Yusheng and points out their shortcomings. The investigation of sentence pattern takes a verse as a unit to measure the sentence pattern and points out that different verses require different sentence patterns. The quantitative investigation of rhymes in different tonal patterns finds that there exist relationship between different tones and rhymes. By combining Lu Guoyao’s contribution on uniform rhymes, the dissertation points that it exists commonly in different areas. On basis of the above investigation, the dissertation analyzes the masterpieces.Chapter 1 is about the tone and form of Nian Nujiao. Different from Cilv and CiPu, the tonal patterns should be:Zhong Ping Zhong Ze, Ze Zhong Zhong Zhong Ze, Zhong Zhong Zhong Ze; Zhong Ze Zhong Ping Ping Ze Ze, Zhong Ze Zhong Ping Zhong Ze; Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ze Ping Ping Ze; Zhong Ping Zhong Ze, Zhong Ping Zhong Ze Ping Ze; Zhong Ze Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Zhong Ping Ping Ze; Zhong Ze Zhong Ping Ping Ze Ze, Zhong Ze Zhong Ping Zhong Ze; Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ze Ping Ping Ping Ze; Zhong Ping Zhong Ze, Zhong Ping Zhong Ze Ping Ze. The investigation into the masterpieces shows that the rhyme pattern applied by Su Shi, Zhou Bangyan, Xing Qiji, Jiang Kui and Wu Wenying have the something in common, like taking the third tone as Ping or fourth as Ping or being replaced by polyphones. In the sentence pattern, the masterpieces share the same characteristics as Four Five (pause), Four (rhyme) Four (pause) Three Six (rhyme) Four Four Five (rhyme) Four Six (rhyme) Six Four Five (rhyme) Seven Six (rhyme) Four Four Five (rhyme) Four Six (rhyme). Antithesis is apt to be applied in the two four-word sentences in the third rhyme of the upper Que and lower Que. The Pattern of Da Jiang Dong Qu by Sushi is unique with great influence; Xing Qiji produced the most poems with the tones and the sentence pattern varied the most, with the antithesis sometimes used in four-word sentences in the third rhyme of the upper Que and lower Que and sometimes not. Both Jiang Kui and Wu Wenying applied antithesis. About the rhyme, Nian Nujiao is most rhymed in the fourth tone while less in lever tone (only in eight poems). The rhyme and the passion agree with each other in the masterpieces.Chapter 2 is about the tone and form of Man Jiang Hong. The tonal patterns is:Zhong Ze Ping Ping, Zhong Zhong Ze, Zhong Ping Zhong Ze; Zhong Zhong Ze, Zhong Ping Zhong Ze, Zhong Ping Zhong Ze; Zhong Ze Zhong Ping Ping Ze Ze, Zhong Ze Zhong Ping Ping Ze Ze; Ze Zhong Ping, Zhong Ze Ze Ping Ping Ping Ping Ze; Zhong Zhong Ze, Ping Zhong Ze; Zhong Zhong Ze, Ping Ping Ze; Zhong Zhong Zhong, Zhong Zhong Zhong Ze Ping Ze; Zhong Ze Zhong Ping Ping Ze Ze, Zhong Ping Zhong Ze Ping Ping Ze; Ze Zhong Zhong, Zhong Ze Ping Ping, Ping Ping Ze. Majority of poems do not agree with the above rules in rhymes. One of Liu Yong’s poems betrays the rules besides replacing level tone with the third tone and level tone with the fourth tone and replacing with polyphonic words; two of Su Shi’s poems and one of Xin Qiji’s do not agree with the rules. The popular sentence pattern is four three (pause) four (rhyme) three (pause) four (rhyme) seven seven (rhyme) three (pause) five three (rhyme) three three (rhyme) three three (rhyme) five four (rhyme) seven seven (rhyme) three (pause) five three (rhyme). The pause go side by side with the words afterwards. In the perspective of masterpieces, the sentence patterns of Liu Yong’s poems are flexible, with words added or subtracted; Su Shi’s diversified; Zhou Bangyan’s serious and scripted; Xin Qiji’s flexible and various, with 34 poems of this type; Jiang Kui’s varies on the sentence pattern, with one poem as Ping tonal pattern; Majority of Wu Wenying’s poems are of elegant pattern, accompanied by antithesis. In the perspective of rhyme, Ze is applied and mainly dominated by vowel rhyme with proportion of 70%, except for minority of Ping tonal pattern. Four of Liu Yong’s poems apply four different rhymes; three poems of five by Su Shi use the vowel rhyme of fourth tone, and one is rhymed with four fourth tone, which is rare. A poem by Zhou Yanbang is rhymed with four fourth tones.32 of Xin Qiji’s poem are rhymed with fourth tone and two with the falling tone; a poem by Jiang Kui is rhymed with level tone; two of Wu Wenying’s are rhymed with level tone and three with the fourth tone.Chapter 3 is about the tone and form of Qin Yuan Chun. The tonal patterns is:Zhong Zhong Zhong Ping, Zhong Zhong Zhong Zhong, Zhong Zhong Zhong Ping; Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ze Ping Ping Zhong Ze Ping; Zhong Ping Ze, Ze Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Zhong Ping Zhong Ze Ping Ping; Zhong Zhong Ze, Zhong Ping Zhong Ze Ping; Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ze Ping Ping Zhong Ze Ping; Ping Zhong Zem Ze Zhong Ping Zhong Ze, Zhong Ze Ping Ping. In the perspective of masterpieces, no poems betray the above rules except a poem by Xin Qiji. In the perspective of sentence pattern, the most frequently used sentence pattern is four four four (rhyme) five four four four (rhyme) four four seven (rhymeI three five four (rhyme) six (rhyme) eight (rhyme) five four four four (rhyme) four four seven (rhyme) three five four (rhyme). In upper Que, the three four-word sentences are initially rhymed with optional antithesis; five-word sentence with secondary rhyme is one four sentence pattern, and four-word sentence should apply antithesis, mainly appearing on the fans; the third rhymed four-word sentence with antithesis is better; the final-rhymed five-word sentence with one four sentence pattern is better, with optional antithesis. The sentence pattern of the upper Que started with the third rhyme is same as the second rhyme. Su Shi, Xin Qiji and Wu Wenying all used antithesis where it should be used in upper Que and lower Que. In the perspective of rhyme, level tone rhyme is used, with majority of the rhymes of Zhi Wei Bu, Jie Lai Bu, Han Xian Bu and minority of Qin Xun Bu, Xiao Hao Bu and Ge Ge Bu. Only 20% of poem initial two words is rhymed, among which, Xin Qiji dominated most with rich used rhymes, and Su Shi and Wu Wenying had two poems respectively. Thus, it is difficult to find how to use the rhymes.Chapter 4 is about the tone and form of Qin Yuan Chun. The tonal patterns is:Zhong Ze PlngPing Ze; Ze Zhong Ping, Zhong Zhong Zhong Zhong, Zhong Ping Zhong Ze; Zhong Ze Zhong Ping Ping Zhong Ze, Zhong Ze Zhong Ping Zhong Ze; Zhong Zhong Ze, Zhong Ping Zhong Ze; Zhong Ze Zhong Ping Ping Zhong Ze, Ze Zhong Ping, Zhong Ze Ping Ping Ze; Zhong Zhong Ze, Zhong Ping Ze; Zhong Ping Zhong Ze Ping Ping Ze; Ze Zhong Ping, Zhong Zhong Zhong Zhong, Zhong Ping Zhong Ze; Zhong Ze Zhong Ping Ping Zhong Ze, Zhong Ze Zhong Ping Zhong Ze; Zhong Zhong Ze Zhong Ping Zhong Ze; Zhong Ze Zhong Ping Ping Zhong Ze, Ze Zhong Ping, Zhong Ze Ping Ping Ze; Zhong Zhong Ze, Zhong Ping Ze. In the perspective of masterpieces, The Baby Swallows Fly Past the Elegant Houses by Su Shi, Coming Across Willow on Road by Xin Qiji are of the kind. The sentence patterns are mainly five (rhyme) three(pause) four four (rhyme) seven six (rhyme) seven (rhyme) seven eight (rhymeI three three (rhyme) seven (rhyme) three (pause) four four (rhyme) seven six (rhyme) three (pause) four (rhyme) seven eight (rhyme) three three (rhyme). The initial rhyme is different in upper Que and lower Que while the sentence patterns after secondary rhyme are the same. The number of words with fourth rhyme in upper Que and low Que is seven. The pause after three words in upper Que is not so obvious as in lower Que. In the perspective of rhyme, Congratulations on Bridegroom is rhymed with Ze and dominated by falling tone with rare fourth tone. There are many mid-rhymes with flexible positions. There are no mid-rhymes in Su Shi’s poems and Wu Wenying’s poems. The Baby Swallows Fly Past the Elegant Houses by Su Shi, is rhymed with the fourth tone and two poems by Wu Wenying with the falling tone. There are a lot of mid rhymes in Xin Qiji’s poems, with the falling tone dominating as many as four. showing the richness and flexibility of applying the mid-rhyme.Chapter 5 is about the tone and form of Man Ting Fang. The tonal patterns is:Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ping Zhong Ze Ping Ping; Zhong Ping Zhong Zem Zhong Ze Ze Ping Ping; Zhong Ze Zhong Ping Zhong Ze, Zhong Zhong Ze Zhong Ze Ping Ping; Ping Ping Zem Zhong Ping Zhong Ze Zhong Ze Ze Ping Ping; Zhong Ping Ping Ze Ze, Zhong Ping Zhong Zem Zhong Ze Ping Ping; Ze Zhong Zhong Zhong Zhong, Zhong Ze Ping Ping; Zhong Ze Zhong Ping Zhong Ze, Zhong Zhong Ze Zhong Ze Ping Ping; Ping Ping Ze, Zhong Ping Zhong Zem Zhong Ze Ze Ping Ping. In the perspective of masterpieces, Shan An Long Chun by Zhou Bang Yan does not agree with the rules. In the perspective of sentence pattern, the majority of poems are four four six (rhyme) four five (rhyme) six three (pause) four (rhyme) three four five (rhyme) five four (rhyme) six three (pause) four (rhyme) three four five (rhyme). The four-word sentence with initial rhyme can apply optional antithesis. Compared with Zhou’s and Xin’s poem, Su’s are more varied in sentence pattern, while Zhou’s are the most regular. In the perspective of rhyme, the fourth tone is only used in a poem and the level tone is used in the rest of poems, with the rhyme distributing every part. Six poem by Su Shi are rhymed by Jing Yang Yun, Ge Ge and Jian Lian Bu, among which five poems used the middle-rhyme. Zhou’s poems are rhymed with Han Xian, Zhen Wen, Jiang Yang and Jielai, of which one is mid-rhymed. Among the four poems by Xin Qiji, three used Zhi Wei Yun Bu and one You Hou Bu and one mid-rhyme.Chapter 6 is about the tone and form of Shui Long Yin. The tonal patterns is:Zhong Ping Zhong Ze Ping Ping, Zhong Zhong Zhong Ze Ping Ping Ze; Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Ping Zhong Ze; Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ping Zhong Ze; Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Zhong Ze, Zhong Ping Ze; Zhong Ze Zhong Ping Zhong Ze; Ze Ping Zhong, Zhong Ping Zhong Ze; Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Ping Zhong Ze; Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ping Ping Ze; Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Ping Ping Ze. In the perspective of masterpieces, Su Shi’s Hanlu Yan Leng Jianxia Lao betrayes the rule. The sentence patterns are mainly six seven(rhyme) four four four (rhyme) four four four (rhyme) five four six (rhyme) (upper Que) six seven (rhyme) four four four (rhyme) four four four (rhyme) five four four (rhyme). Antithesis is optional in four-word sentences in upper Que and lower Que; Four-word sentences dominates the final-rhymed five-word sentence in upper Que and lower Que, and the four-word sentences after it may apply antithesis. The sentence patterns are diversified in Su Shi’s and Xin Qiji’s poems while regular in others’ poems. Six poems by Su Shi and ten Poems by Wu Wenying widely apply antithesis in the secondary rhyme and the third rhyme in upper Que and lower Que; thirteen poems by XinQiji rarely apply antithesis; one poem by Zhou Bangyan applies antithesis in the secondary rhyme and the third rhyme in upper Que and lower Que; one poem by Jiang Kui applies antithesis in the secondary rhyme in upper Que. In the perspective of rhyme, the falling tone is widely used while the fourth tone is rarely used, which suits grief. The words in Zhi Wei Yun Bu is in large number, the rhyme is widely distributed in Xin’s poem and Wu’s Poem while rarely in Zhou’s and Jiang’s, only one poems respectively applying Zhi Wei Yun Bu.Chapter 7 is about the tone and form of Mulan Huaman. The tonal patterns is:Zhong Ping Ping Ze Ze, Zhong Zhong Ze Ze Ping Ping; Ze Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Ping Ping Ze Ping Zhong Ze, Ze Zhong Ping, Zhong Ze Ze Ping; Zhong Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze Ping Ping; Zhong Ping; Zhong Ze Zhong Ping, Ping Zhong Ze Ze Ping Ping; Ze Zhong Zhong Zhong Zhong, Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Zhong Ping Zhong Ping Zhong Ze, Ze Zhong Ping, Zhong Ze Ze Ping Ping Zhong Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze Ping Ping; Zhong Ping Ping Ze Ze, Zhong Zhong Ze Ze Ping Ping; Ze Zhong Ze Ping Ping, Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Ping Ping Ze Ping Zhong Ze, Ze Zhong Ping, Zhong Ze Ze Ping Ping; Zhong Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze Ping Ping; Zhong Ping; Zhong Ze Zhong Ping, Ping Zhong Ze Ze Ping Ping; Ze Zhong Zhong Zhong Zhong, Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Zhong Ping Zhong Ping Zhong Ze, Ze Zhong Ping, Zhong Ze Ze Ping Ping; Zhong Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze Ping Ping. In the perspective of masterpieces, poems by Liu Yong, Xin Qiji and Wu Wenying do not betrayed the rule. The main sentence pattern are five three (pause) three (rhyme) five four four (rhyme) six eight (rhyme) six six (rhyme) seven five (rhyme) five four four (rhyme) two (pause) four three(pause) five (rhyme) six six(rhyme). In the upper Que and lower Que, the secondary rhymed five-word sentence tends to apply one four sentence pattern and two four-word sentences after it take antithesis as positive and antithesis can be freely matched. Antithesis is widely used in secondary rhyme in the upper Que and lower Que in Liu Yong’s poems while rarely in Xin Qiji’s; antithesis is rarely used in secondary rhyme in the upper Que and lower Que in Wu Wenying’s poems. In the perspective of rhymes, the tone tend to apply the first tone rhyme, and the rhyme is widely distributed, with Han Xian Yun and You Hou Yun most. The mid-rhyme is most in lower Que with flexible position. Liu Yong’s poems is rich in mid-rhyme with flexible position, and created the tradition to apply mid-rhyme. The mid-rhyme is mostly used after initially rhymed seven words; mid-rhyme is widely distributed in Wu Wenying’s poems, equal to Liuyong and he wrote with multiple rhymes.Chapter 8 is about the tone and form of Mo Yuer. The tonal patterns is:Ze Ping Ping, Zhong Ping Zhong Ze Zhong Ping Zhong Ze Ping Ze; Zhong Ping Zhong Ze Ping Ping Ze, Zhong Ze Zhong Ping Zhong Ze; Ping Zhong Ze; Zhong Zhong Ze, Zhong Ping Zhong Ze Ping Ping Ze; Zhong Ping Zhong Ze; Ze Zhong Ze Ping Ping, Zhong Ping ZhongZe, Zhong Ze Ze Ping Ping; Ping Zhong Ze, Zhong Ze Zhong Ping Zhong Ze; Zhong Ping Zhong Ze Ping Ze; Zhong PingZhong Ze Ping Ping Ze, Zhong Ze Zhong Ping Zhong Ze; Ping ZhongZe; Zhong Zhong Ze, Zhong Ping Zhong Ze Ping Ping Ze; Zhong Ping Zhong Ze; Ze Zhong Ze Ping Ping, Zhong Ping Zhong Zem Zhong Ze Ze Ping Ping. Of the masterpieces, only three poems by Xin Qiji do not betray the rule while a poem by Jiang Kui betrays. The main sentence patterns are three (pause) four six (rhyme) seven six (rhyme) three (rhyme) five five (rhyme) four (rhyme) five four five (rhyme) three six (rhyme) six (rhyme) seven six (rhyme) three(rhyme) five five four (rhyme) five four five (rhyme). Of Xin Qiji’s and Jiang Kui’s poems, the thrid rhymed ten word uses the smooth sentence patterns, never using the two five-word sentences which are used in most poems; Xin Qiji’s poems vary in final rhyme both in upper Que and lower Que; in Jiang Kui’s poems the final rhymed five-word sentence in the second sentence applies one four sentence pattern as leading part, and the two four-word sentences led apply antithesis. In the perspective of rhyme, falling tone is mostly used and widely exist in Yu Mo Bu and Zhi Wei Bu. There are lots of mid-rhyme flexibly distributed. Three poems by Xin Qiji apply Yu Mo Bu and the poems by Jiang Kui are rhymed by Zhen Wen, Geng Qing and Qin Xun.Chapter 9 is about the tone and form of Basheng Ganzhou. The tonal patterns is:Ze Ping Ping Zhong Ze Ze Ping Ping, Zhong Zhong Ze Ping Ping; Ze Zhong Ping Zhong Ze, Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Zhong Ze Zhong Ping Zhong Ze, Zhong Ze Ze Ping Ping; Zhong Ze Zhong Ping Ze, Zhong Ze Ping Ping; Zhong Ze Zhong Ping Zhong Ze, Ze Zhong Ping Zhong Ze, Zhong Ze Ping Ping; Ze Zhong Ping Zhong Ze, Zhong Ze Ze Ping Ping; Ze Zhong Zhong, Zhong Ping Zhong Ze, Ze Zhong Ping, Zhong Ze Ze Ping Ping; Ping Ping Ze, Zhong Ping Zhong Ze, Zhong Ze Ping Ping; There is no rhyme-derailed phenomena in the masterpieces. The sentence patterns mainly are: three (pause) five five (rhyme) five four four (rhyme) six five (rhyme) five four (rhyme) six five four (rhyme) five five (rhyme) three (pause) four three(pause) five (rhyme) three four four(rhyme). Liu Yong, Su Shi and Wu Wenying(only one poem) applied antithesis in the secondary rhyme in upper Que while Xin Qiji did not. The first five-word in the secondary rhyme applies one four sentence pattern leading sentence. The other sentence patterns are flexible. In the perspective of rhyme, the first tone is used in Basheng Ganzhou, with rhymed part widely distributed. The poems with Zhi Wei Bu and You Hou Bu produce most. It is the same with the masterpieces.The conclusion is drawn as follows:the words and tones were used flexibly in Ping Ze (The fourth tone can be replaced by level tone, and the third tone by polyphone); the statement about the rules in Cilv by Wan Shu and King’s Ci Pu by KangXi has some shortcomings; the rhymes are out of rules in the masterpieces; the sentence patterns unite with regularity and flexibility; different tones tend to have rhymed part; cross-rhyme and uniform rhyme are not just unique in some areas; there is no regularity in the middle of the sentences.