The Criticism On Tz’u Prosody Study Of Late Qing Dynasty

The thesis takes research findings on prosody from experts of Tz’u in late Qing Dynasty as object of study, exploring the background and theory, combing the evolution process and main characteristics, summarizing its achievements and evaluating the success and failure.It is not by accident that Tz’u Prosody Study became prosperous in late Qing Dynasty. During this period, the style of Tz’u of Jiang Kui and Zhang Yan prevailed and the Tz’u circle reached an unprecedented prosperity. In the field of Tz’u research, the concept, attaching importance to style of Tz’u requires musicality accord style of Tz’u, were proved. Besides research field, prosperous of classics, phonology, dramatic promoted the development of the prosody. The study of Tz’u was germinated in Tang and Song Dynasty. And the study of Tz’u poems was rised in Ming Dynasty. In the early and middle period of Qing Dynasty, the study system of Tz’u prosody began to emerge. In late Qing Dynasty, the environment and theory foundation for the rapid development of Tz’u Prosody was provided.The research on Tz’u Prosody in late Qing Dynasty includes two phases. The first phase began with the first year of reign of Emperor Daoguang till the end of19th centuries. During this period, prosody theory was fashionable in Tz’u circle. For Tz’u researcher, finding the combination of lyrics and music inside the style of Tz’u was the most important purpose. They tried to explore the matching rules between poem and musicality from the respects of four-tones, rhymes and five-tunes, in order to achieve rhythm. At the same time, revision and supplement for Ci Lv and study on music of Tz’u were in full swing. With the in-depth study, the Tz’u Prosody became more and more complicated and unrealistic.Among Tz’u researchers of this period, Peng Fenggao and Xie Yuanhuai represent the two trends. Peng Fenggao thinks that the ancient music is linked modern music. He also believes that words and music is integrated. Thus tonality should be dominant for Tz’u prosody. While Xie Yuanhai found the different tonality between poems and musicians by coordinating with musician.At the second phase, began with the late19th centuries till1920, the Tz’u Prosody was established on the base of reflection on success and failure of earlier research. The research object changed from tonality which became more and more difficult to distinguish and practice to rhyme scheme, striving to explore the musicality from style of Tz’u itself.Accordingly, the study of music of Tz’u also gradually faded out. Many Tz’u researchers proposed to replace the instruments by chant to chant the elegance of music, in order to approve the prosody theory. As the reflection of ignoring lyrics by phasing tonality during earlier period, compensation of ignoring tonality in the current period as well, the poems of the four master of late Qing Dynasty with strict rhyme scheme and elegance words were regarded as models in Tz’u circle in late Qing Dynasty.Ci Bi by Chen Rui and Ci Tong by Xu Shaoqi represented such trend and became the pioneer. Ci Bi summarized the sentence style of Tz’u comprehensively and systematically, being called the draft of study of prosody and tone raised by Long Yusheng. Xu Shaoqi represented the concept of natural rhythm from Ci Tong, on the base of Ci Lv Jian Que.