The Study Of The Lexical Rhetoric Of The Twenty-ninth To Four-fourth Dynasties In The Five Dynasties Of The Tang Dynast

Ci originated from Tang andWudaiDynasty,has popular contentsand flexible forms.As one of China's classical metrical verse,the rhythm of Ci also has its important status.Since the Ming and Qing dynasties,more and more scholars are committed to the compilation of Cipu.Outstanding achievements mainly reflected in two books: The Rules and Forms of Ci by Wan Shu in Qing Guangxu years,The collection of tunes of Ci poems of Imperial Collection by Wang Yiqing and the others in Qing Kangxi years.These two books means the completion of collating metrical pattern of Ci.A lot of books reached professional achievements in some respects,but they also have many shortcomings and defects.Such as,wordiness or limited amount of Cipai,incomplete and inaccurate style analysis,inappropriate arrangements,and inconvenient consultation.Besides,the writings of Ci were always on the basis of famous works.Though researchers summed up the style based on multi-dynasties,they were fragmentary and one-sided,especially the lack of systematical studies on Ci poems of Tang and Five dynasties.On the basis of absorbing the previous research findings,this thesis analyses the rhythm of Xiaoling which consist of 29 to 40 words in Quan Tang Wu dai Ci(?????).This paper mainly researches on the Ci poems in the book QuanTangWuDaiCi which edited and supplied by Zeng Shaomin,Cao Jiping,Wang Zhaopeng,Liu Zunming.Meanwhile,we would refer to the collections of certain writers,and extensively draw the latest achievements as well.There are five chapters in this thesis.Chapter one is the introduction,followed by the general view about Ci(?)in Tang and Wudai Dynasty.The third chapter is the concrete analysis of Cipu(??).Then the thesis intends to dissect the thyme of Ci poems within the scope of research.The conclusion will lie on the last part.The current study of four parts:The first part is the introduction.It mainly introduces the topics and significance of the present study,analyses of the current research situation,and the research direction of Ci in Tangand Wudai Dynasty,the insufficiencies of previous studies,and the methods used in this paper.The second chapter mainly introduces the source of Ci in Tangand Wudai Dynasty.And also introduces the changes of Cipu(??)and Cidiao(??)in Song Dynasty.The third part is about the concrete Cipu(??)analysis of the one hundred and fifty-five works including the third section,the forth and fifth section.It systematically sums up the Cipu(??)and provides examples in all.In the forth chapter,the author uses statistical analysis about the rhythm of these works.The author then also compares it with“the two hundred and six rhyme(?????)”and“the sixteen she(???)”in the form of a list,trying to find the features of the rhythm and phonetic of the Tang and Five Dynasties;The last chapter is the conclusion,which summarizes the content of the full text.