The Research On Ming Ci’ Features And It’s Generative Process

With the research about Ming Ci getting deeper, some basic but challenging topics will be touched. For example, whether there are features of Ming Ci different from Tang Song and Qing Dynasty. If these features do exsit, what are they exactly?And why?With observing the choices of the tunes of Ming Ci, subjects expression and chasing and replying Ci, we can find out that the features do exist. Ming Hongzhi to Jiajing is the sprout period of the distinguishing features.And in late Ming Dynasty of Longqing to Chongzhen, these features begin to concentratively exhibit.First, when it comes to the choices of tunes, people of Ming Dynasty were not satisfied with the modes in Tang or Song Dynasty, so the rate of original modes had raised rapidly. Influenced by the extension from poetry retro movement to the study of Ci, even if followed the tunes of the Tang and Song Dynasty, there were still some new evidences of changing. At the mean time, some poems with old tunes and folk color were very popular because they well suited for the vulgar tunes caused by the whole worldly and common cultural environment of the Ming Dynasty.What’s more, as for the subjects and content, love poetry caught people’s attention again after the Southern Song Ci and Jin-Yuan Ci, and presented a new vulgar and folky look to some degrees with the poetry focus on emotion getting popular in the late Ming Dynasty. The attitude and approach of the aestheticsim of enjoying and separation, the position and the pursuit of aestheticsim, changing the outside appearance and inside temperament,making Ci more entertaining and vulgar with shallow and charming tunes. With the reclusive ideology swaying of the late Ming Dynasty and more popular the garden construction in the southern areas getting, poets’ ideal lifestyle and aestheticism became leisurely, causing more scenery indicating delight of life into Ci and less real emotion feelings. The leisurely Ci growing with the hermit atmosphere, was under the effects of the lifestyle, the ways of thinking, and value pursuit, making breakthroughs about the sad and implied tones by revealing more erotic and leisurely, expressing vulgar, frivolous and superficial elements as well as the pleasant pursuit of aestheticism.The last but not least, on the terms of chasing and replying Ci creation, the relative number has a decrease in the late Ming than the early. It’s a specific manifestation, indicating the independent consciousness of poets in the late Ming Dynasty more or less, more poets took Tang and Five Dynasties Ci, represented by Hua Jian Ji, as an example to learn or imitate when it comes to the choice of the target object of chasing and replying simultaneously. Breaking the view of the history of Ci, which took Ci in Northern Song Dynasty as regular canonical, representing diversified pursuit.The production of the features of Ming Ci was restricted by both outside and inside factors. The inside factor was the need of the revolution of Ci. On one hand, the whole changes of the position of Ci had taken place as Ci one form of the lecture,on the other hand, Ci adjusted and motivated itself to avoid or delay the tend to death by changing the partial characters. The outside factor was determined by two terms, one is the poet’s subjective aesthetic idea, presenting by the view of the history of Ci, the form of Ci, and the thoughts of Ci about eleganceand vulgarity. The second is the penetration from the cultural environment of Ming Dynasty unconsciously influencing the creation. Among all of them, the most powerful influential factor can be listed as follows. First is the changes of poets’ characters and creation attitudes, the second is the penetration and edifying from the erotic and vulgar customs, the third is the reconstruction and squeezing of the interaction between poetry, drama, folk Songs and Ci.