This thesis makes a study on the circulation of collected ci poems by South Song Dynasty ci writers such as Zhu Shuzhen, Zhang Lun, Hou Zhi, Zhao Yanduan, Wang Qianjiu, Chen Renjie, Yao Kuan, Li Liuqian, and so on. At that time, the circulating collected ci poems appeared in ways of either single edition, or mixture edition with poems and prose writings, which is quite different from that of the North Song. With the belief of “poetry solemn, ci vulgar”, writers in the North Song did not mix their poems and essays with ci poems. Writers in the South Song, however, collected their ci poems with poems and essays, which indicates that ci had won equal position in the South Song. The ways of circulation of ci between the North Song and the South Song are also different, oral singing in the former stage, printed edition in the latter stage.

Abstract:Ouyang xiu’s works displayed a kind of strong tragic consciousness, which can be found from his prefaces, epitaphs and memorial poems. The orphanhood in his early life, the work at his mid-life, and the passing away of his friends at his late ages all made his life consciousness heavy. Non-Buddhist and Non-Taoist as he was, sensuous pleasure became his way of relieving anxiety, which explains the motive of his writing plenty of amorous ci poems.

From 1244 to 1249, Wu Mengchuang served as a consultant in Shi Zhaizhi’s official residence.from 1244 to 1246, Shi Zhaizhi took the post of governor in Shaoxing. From 1246 to 1249, he took a post in the capital of Hangzhou. During these two periods, Wu Mengchuang accompanied him. There are altogether 11 cis dedicated to Shi Zhaizhi, Among which six of them are written in Shaoxing and five in Hangzhou. In more detail, five cis were written in 1245, one in 1246, four from 1246 to 1247, and one in 1247.

《云謠集》精選唱詞三十首，錄得十三詞調。其中《天仙子》、《破陣子》、《浣沙溪》、《拋毬樂》、《魚歌子》五調與唐五代傳世作品互有同異，格律不盡一致。《鳳歸雲》、《傾盃樂》、《拜新月》三調，唐五代的傳詞僅見聲詩體，並非長短句的詞體。而《竹枝子》、《洞仙歌》二調亦不同於一般的唐宋調式，獨具自家面貌。此外《內家嬌》、《柳青娘》、《喜秋天》三調唐五代未見，只見於敦煌作品之中。敦煌曲子詞具有調式靈活，韻式流動，句式新變，活用襯字四項特點，當筵嘌唱，格律整齊而又富於變化。《云謠集》不但具備早期詞律的基本元素，更在詞體發展的軌道上顯出超前的地位，突破「詩客曲子詞」的局限，創新體製，表現靈巧。《云謠集》明顯地確立了詞體的概念，各調選錄兩首或四首作品，可供比較。一方面調有定格，格有定句，句有定字，字有定律，顯出詞體的規範。一方面又能配合音樂的旋律節拍，使詞句產生相應的變化，多用領字和襯字，而句式亦流動多姿。其中小令八調，跟中原的詞調互有同異，別開生面；長調五調，更是大放異彩，構成架接唐宋詞之間的橋樑。柳永有《鳳歸雲》二首、《洞仙歌》三首、《傾盃樂》八首、《內家嬌》一首，都是過百字以上的慢詞長調，每首一體，不相重複；僅《拜新月》一調未見，同時亦未見於其他宋詞作者之中。本文勘律探韻，表現《云謠集》的韻律特點，澄清一些詞律概念。

《全宋詞》《全宋詞補輯》受限於當時檢索條件的限制，一些重出詞篇未能予以説明，一些詞作的著作權存在疑問。我們在統計次韻詞目時，無意中發現一些不太爲人注意的互見詞作。經考訂，晏殊與張掄、晏幾道與無名氏、蘇軾與無名氏、黄庭堅與陳瓘、晁端禮與劉過、晁端禮與黄庭堅、陳師道與劉克莊、毛滂與吴則禮、葉夢得與無名氏、曹冠與曹遇、甄龍友與甄良友、張孝祥與胡于、張孝祥與鄧肅、辛棄疾與無名氏與芮輝、馬子嚴與無名氏、張敬齋與張明中、張輯與陸象澤、劉克莊與無名氏、無名氏與黄人傑互見的三十六首詞，應分別爲晏殊、晏幾道、蘇軾、黄庭堅、晁端禮、晁端禮、陳師道、毛滂、葉夢得、曹冠、甄龍友、張孝祥、張孝祥、辛棄疾、馬子嚴、張敬齋、張輯、劉克莊、黄人傑所作。《全宋詞》和《全宋詞補輯》當刪去可考定之僞作。

In the critical work Ci Criticism in Mortal World, Wang Guowei First put forward the Poetic Imagery Theory. Afterwards, Qiao Dazhuang also pointed out that “Combination of time and scene makes Poetic Imagery”. What is highly valued was that he also enlarged this theory with exploration of Zhou Bangyan’s lyrics. His statements on Poetic Imagery were more detailed, profound, and practical when considered as an explanation for writing activities. Qiao Dazhuang even revealed the Techniques of Writing in Northern Song Dynasty: he respectively talked about Harmonization of feeling and scene, Couplet, Connection, Transition which brought a great tension to the poetic imagery of every lyric.

Tune Huanxisha •a Toast to My Wife is one of the Collection of Jiaxuan Ci. In Chronological Annotations on Collection of Jiaxuan Ci originally edited by Mr. Deng Guangming, this lyric is listed in the fifth year of Shaoxi Peroid (1194). In the new edition, however, this lyric is stated written in the 16th year of Chunxi Period (1189). Carefully analyzed its content, materials of Jiaxuan’s family newly discovered, and the epitaph of Xin Jian (Jiaxuan’s descendant), the author tends to believe that the year when this lyric was written is exactly the 6th year of Qingyuan Period.

Qin-guan’s Ci poems are famous for the mad and tactful feelings .but affected by his will, the Buddhism, the Taoism and his friends in literature, Qin-guan sometimes expressed his feelings of detachment in the period of repeated demotes. In Qin-guan’s Ci poems, the feelings of detachment in company with the mad and aggrieved feelings, not only helped bring relief in his affliction and made him comfortable, but also created the soul-nature thereby achieved various aesthetics value and culture value.

Abstract: The handwritten copy of Nan Ci is a big anthology of ci poetry, edited by Xiya Zhuren (Mr. West Hill) in the Ming Dynasty. The original copy is now kept in Hotel Okura, Okura Cultural and Financial Group, Tokyo, Japan. This thesis makes a brief introduction about the outline and main characters of the copy, quotes comments by Qing Dynasty scholars from the copy which have few opportunities to be seen, makes a study about the collection and copy, the editor, the time of copy, and the documental values of Nan Ci. The writer points out that the handwritten copy of Nan Ci is valuable and rare from the perspective of relics, literature or documents.

Unlike other similar history discourses, the discourse of ZHOU Bangyan as “DUFu in Ci Studies” concerned Their Ci’s philosophy system: reflects the enriched aesthetic ideal,and becomes a two-tier system,one WEN Tingyun ,other ZHOU Bangyan.So the discourse of ZHOU Bangyan as “DUFu in Ci Studies” is a structural discourse.

詞本體具有女性化特徵，在不同的歷史時期都會增加新的內涵。太清詞的本體特徵可以概括爲“真淳清雅”，具體表現在太清詞中大量女性形象的塑造、女性化意象的選擇、小語致巧的語言運用及其女性化情感的抒發上。總而言之，從詞本體的角度探析太清詞，可以進一步明確太清詞的詞史地位，開拓出太清詞研究的新領域。

Wen Tingshi’s Notes and Commentaries on Ci-poetry are scattered all over his Notes and diaries. Professor Shi Zhecun have collected Fourteen notes and Commentariesfrom chunchangzi zhiyu,Published in CiXue (The fifth series). Professor Zhu Chongcai have collected Wen Tingshi’s Notes and Commentaries on Ci-poetry too,but his achievements were not all the theory of Ci-poetry.This text show us all the contents about Wen Tingshi’s Notes and Commentaries on Ci-poetry, A total of thirty-seven notes for the researchers need.

Ci Poetry comments in Guangling, which mainly focus on two Ci collection books of Yi Sheng Chu Ji and Guo Chao Ming Jia Shi Yu, can be used to trace back to composition background, composition date and whom to write for etc. Based on Yi Sheng Chu Ji, Ci Poetry comments in Guo Chao Ming Jia Shi Yu made many adjustments in the content and writer’s names. The change of writer’s names in Li Nong Ci, Yan Lu Ci and Yan Bo Ci shouldn’t be simplified as the cult of celebrity. The dynamic change of Ci Poetry comments, from exclusiveness to inclusiveness, can be found in the later Guangling Ci Poetry composition center.

In the past, phases of Ci in Ming Dynasty had been discussed hotly, but there was no final conclusion. Even scholars who are not researching on Ming Ci, were still involved in discussing these phases slightly, because of their attentions on the whole history of Ci literature. Along with the study arisen in the past ten years, the discussion of phases of Ci in Ming Dynasty gradually reached its high tide. In such a positive situation, the author would propose some thinking and methods, like “limited with region’’ and “limited with year”, “phase principle" and "phase reason", “shape division” and “chain division”, etc. In this foundation, proposing new phases of Ci in Ming Dynasty——"six divisions", which will be divided into six times: Transition, Silence, Brewing, Renaissance, Climax and Flourishing.

There are only eighteen of ZhuXi’s Ci poetries,from Shaoxing period to late Qingyuan period ,controy views in a few comments.The content and style is resemble in his poems,clear ,graceful and carefree.We analsis the realm of the Ci poetries for four parts in the essay.One is parting emotion in the scenery,another one is express gloomy mood from the scenery,third is describe objects to convey aspiration,forth is stimulate aspiration by presentable responsory.His Ci poerties is the first in those Philosophers’. Although not he can be fitst-class of Ci poetry alter in South Song Dynasty ,but can be ace.

穩定而親己的個人空間，是安全感和生命價值獲得的重要來源，同時又與自我身份體認和目標定位有密切的關係。唐宋詞的空間建構從一開始就體現出鮮明的性別色彩和身份指向。隨着文人詞的發展，空間本身的身份意義越來越突出：一方面，詞人的現實身份決定了其所表現的空間；另一方面，文學空間也在一定程度上映射出詞人對自己理想身份的認定。當詞人現實身份認同發生危機時，就會對現有空間產生陌生感和排斥情緒，而詞人的身份重構也往往伴隨着空間的再造。

The responsorial activity of the Guangling and NiannuJiao tune in Ci Poetry in the 5th year of Kangxi’s Reign (1666 AD) are regarded as one of the Three Important Responsorial Activities in the early Qing Dynasty. The participants of the responsorial activity were all from the middle and low class, who showed more blazing openness in emotion and profound coherence in theme in their works through their improvisatory manner and collectiveness as a group. Their responsorial activity established a vigorous and robust style that spoke out their mind. Hence, the Ci Style of Jiaxuan took the leadership in the Ci society and played a significant role in the prospering of Ci once again in the Qing Dynasty. In the responsorial activity, Chen Weisong won recognition for himself in the Ci society.

Besides Wu Mengchuang’s seven cis presented to Zhao Yurui, son of Princess Rong, this paper concludes that Wu Mengchuang composed another three cis about Zhao Yurui, pointing out that Wu Mengchuang, in his late years, visited Zhao about the years of Baoyou and left at the early years of Xianchun. After the collapse of the Song Dynasty, Wu Mengchuang still wrote some cis about his visit at Zhao’s.