Study On Gao Guanguo’s Ci

Gao Guanguo was active in the mid-Southern Song Dynasty,famous for his ci,and has a volume of zhuwu chiyu.From the "self-contained" period in the Southern Song Dynasty to the small people’s interest nowadays,the change of Gao guanguo’s status in the history of ci is worthy of consideration.The body of this paper is divided into four sections,focusing on a comprehensive examination of Gao Guanguo’s ci and their reception through the ages,with a view to accurately grasping the status of Gaoguan’s ci history..The first chapter is an examination of Gao Guanguo’s life and compositions.The first section examines Gao Guanguo’s travels through the combing of existing documents,clarifies the objects of Gao Guanguo’s travels,and analyzes the influence of the traveled ci poets on Gao Guanguo’s works.The second section examines Gao Guanguo’s compositions.The only surviving work by Gao Guanguo is a collection of ci entitled zhuwu chiyu.The differences between the editions are examined,and the position of Gao Guanguo in the different eras is revealed in the postscript and synopsis.In addition,the list analyses the proportion of each subject matter and the reasons for it,showing that lianqing ci and yongwu ci occupy a large part of the zhuwu chiyu,and that the style of association,the tradition of ci that speak of love,and the parochial mentality of the Southern Song all have an impact on the proportion of its subject matter.The second chapter examines the emotional content of zhuwu ci,offering a glimpse into the lyrical landscape of the middle Southern Song Dynasty.The first section explores the unbridled and unrestrained nature of poetry and wine as expressed in zhuwu ci.Gao Guanguo’s indulgence in the arts and the landscape highlights the elegance and spontaneity of the literati.The second section explores the loneliness and desolation of separation and wandering expressed in zhuwu ci.The separation from friends and lovers,living in a foreign country,and wandering without a home all contribute to the sense of loneliness and desolation in zhuwu ci.The third section explores the powerlessness and sadness of succumbing to reality,as expressed in the ci.Gao Guanguo is unable to recover from the fact that his years have easily passed and his work has not yet been accomplished,so he can only express his helplessness and melancholy in his ci.The third chapter explores the aesthetic tendencies of zhuwu ci.In the middle of the Southern Song Dynasty,elegant ci were prevalent,and Gao Guanguo,as a member of the Saoya ci school,strove for elegance in his ci.Whether it is the description of scenery,the portrayal of women,or the creation of a mood,all strive to interpret the understanding of elegance.On this basis,Gao Guanguo sought refinement and newness,blending beautiful scenery and deep emotion in his ci,forming his own unique ’freshness of meaning’.He also continued to explore the subject matter of his yongwu ci,creating new ideas and sometimes bu jing ren dao’s aesthetic creations.The fourth chapter examines the reception of zhuwu ci in later times,in order to provide a clearer position on Gao Guanguo’s place in the history of ci.An analysis of the reception of zhuwu ci in lyric anthologies and lyric criticism over the ages reveals a general convergence in the reception of the two forms.In this way,the reasons for Gao Guanguo’s historical status are explored.The ups and downs of Gao Guanguo’s status are related to the style of the lyrical world,the popularity of its leading figures,and the thickness of the works themselves.