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1993
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identify
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evolution
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lords.
poetic
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observations
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only
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achievement
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and by
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using
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techniques
Chapter
Chapter
with
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of
also
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natural
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of
previous
importance
his
emotions
imagery
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because
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historical
IV
a
own
time
concludes
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feature
descriptive
interprets
periods
poet
restrained
have
of
and
he
in
nature
framework
which
employs
opens
qijue
events
been
that
while
manner.
thirteen
style.
and
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is
is
those
up
makes
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absent
not
when
his
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of
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of
new
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personae’s
achievement
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emotional
his
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adopting
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way
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poems
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previous
of
works
to
of
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ability
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rich
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chapters.
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use
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emotional
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implications
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use
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convey
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112
this
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the to
Abstract
Bibliography
List
CHAPTER
CHAPTER
CHAPTER
CHAPTER
CHAPTER
of
CONCLUSION
THE
ANALYSIS
THE
BIOGRAPHICAL
Abbreviations
FWE: TWO:
FOUR:
THREE:
ONE:
DEVELOPMENT
CHARACTERISTICS
OF
WANG
SKETCH
OF
CHANGLING’S
TABLE
THE
OF
OF
WANG
QIYAN
WANG
Of
CONTENTS
CHANGLING’S
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CHANGLING
QIJUE
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19
89
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friendship
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Tang
personal
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and
al.,
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century,
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1978),
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information
Zhonghua,
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1976),
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k
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p.
clans
proposing
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Yunxi
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Taiwan:
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suggests
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98.
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26.
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Fu
the
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Cambridge
junwang. 13
life: 17
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as
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on
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1975).
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anthologist
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translated The
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LJ
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Xuancong.
poetic
poem
home
However,
suggests
qi
Taiyuan
his
shiti
poetic
province). by
,
1978),
is
without
the
to
seats
home
Yin
who
in have
from
town
“Farewell
are
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the
Taiyuan
Ebery,
shi
the
theory
native
“in
that
Fan
Xin
is
quoted
points
anthology,
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Xuanzong V. poet poets
Changling
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Wang
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203,
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419.
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p.
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);
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Tokyo: University
Press,
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to
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1986),
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Origin
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*
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back
301.
tunes. 18
be
Hightower, seven-character
rhyme
the
1971), course
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1967),
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*.
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written
century,
stanza
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in
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of
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verses
terms
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form
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,
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origin
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p. composition
of
in
length.” 17
a
69. development.
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See
shi
168.
following,
Topics
the
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de
of
Wang
few
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lines,
Wang
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25 The 24 Revised is
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1941),
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shi
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word
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Guo’s
p.106.
Following
translation
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be
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Translations
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the
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are
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Arthur
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hoping
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moon
juan
1976),
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silk.
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-
1979),
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Taipei:
1986),
man
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Waley
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48,
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title
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River.
Yiwen),
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689.
edited low.
translated
“ng in
ed.,
in
for
524.
by
love
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seven-character
seven-character
tarry
present
the
of
adventure.” 23
the
a
An
the
conciseness,
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Fubao
is
of
prostitute
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will
by
Western
The
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1109;
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Flowering
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second,
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anthologist
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quatrains.
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xi
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27 These
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26 For
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story circle.
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manner.
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yanjiu,”
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boat
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of
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-1i
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palace-style
The
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pp.
written
tradition.
matter,
quatrain
the
the
first
location
folk-songs two
,“
reasons. 26 the
.
first
in
When
which
410-411.
poem
specific
on
Wen
poem
imagery
emphasizes
poem
line
*
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involvement
images
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in
serves
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and
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where pointing
includes
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close
poetry,
analysis
to
description
is
a
zhe
the
of
the
effectively
be
traveller
This
First,
apparent
549-55
as
the
association
poet
the
xuebao
composed
cause
aesthetic
to
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see
a
out
by
its
poem
of poem
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poet
language
its
focuses
Lin
the
adoption
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the
1),
is
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.
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...
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on
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romantic
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considered
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‘
leader close
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the
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objects
focus
over specifies
are
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.,
Gang, in
.
and
folk-song
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any
poetry
also
serious
to
terms
of
The
meaning.
tone
detailed
on
15
“silk”
oral
that
allusions. as
palace-style
the
a
written of
,
romantic
(1966): also
the
palace-style
single
“Nan
is
to
by
of
tradition.
its
purpose.
exist
Yellow
indicated
to
position
theme the
its
known
Lin
and
manufacture,
of
describe
chao
in
objective
descriptive
poem, only
Third,
407-408.
poetry. 27
a
Wenyue,
The concrete.
imagery,
River
specific
and
literary
gongti
as
of
poem in
by
only
and
the
the the
the
the
the
26
its
of in
29 Ding reflection
30 See 28 Lin
reflection,
refers
describe
simile
quite lines.
-(487-55l)
when
composed
seven-character
and
7]L
the
common
Wenyue,
serving
comparing
Wang
to
‘P
However,
The
Written
Similar
Palace-style
Fubao,
celebration
the
the
of
which
at
third
reflection
the
Li,
scent
highly
this
at
before
When
Still
Both
[Its]
Ouan
for
to
candle
)
“Nan
the
Hanyu
line,
exemplifies
quatrains
the the
wind
qijue,
time
a
of
it
layers
of
royal
poetry
royal
the
shape
ornate
rhyming
Han
the
the
chao frets
however,
of
flowers.
the
light.
and
shilü are
blowing
this
the
seventh
spring
banquet”
banquet
Sanguo
of formal
at
gongti
of
has
written
written
the
“Ode
candle
not
flame
a
poem
xue,
the
words
seven-character
two
water
shifts branches
being
The
of
century
candle
occasion. 28
shi
Jin to
p.
as
and
(san
the
major
rhymes
light.
concerning
about
40,
the
the
yanjiu,”
second
are
Nanbei
the
cannot
able
wind
fringes
ii
flame
title
candle
but
in
sweep
focus
items
The shiyan
public
to
at
deflected
and
unusual
suggests,
line
chao
encircle
pp. disturb.
the
to
first
quatrain
Although
of
from of
the
light
the
the
yong
that
flowers
408-409.
reveals
end
occasions.
subject
shi,
line
fair
banks
movement
of
afterwards. 3 °
the
reflection
the
tones,
qushui
of
the
on
p.
It
illustrates
a
lady,
most
reflection
may
flowering the
sets guests
1347.
the
poem
matter:
the
and
a
first,
theme zhong
up we
be
nature
of
bring
feature The
of
on
wittily
crossing
the
compared
an
the
the
the
still
the
the
to
plant.
poet
of
zhu
its
seven
invincible
beauty
description
water
and
the
that
can
second,
the
water
uses
shadows
ying
amidst
Yu
motion
the
The
formal
find, character
Wang
to
can
various
of Jianwu’s
..
on
a
strength
“fragrant”
and
it
image hardly
fragrant
the
however,
upward,
the
by of
El
of occasion: 29
Li
the
light.
a
images
ff(
making
the
third
quatrains
suggests
fair
stop
for
1k
of
fourth
trees, tree.
here
lady
day
the the
the
27
it.
to a
themes
subject stresses writing because
shows most
have
poem.
similar may
allusion, folk reflection
above, which main
branches. trees the humorously reveals
and water,
“sweep
poet
its
song
be
been
of
move
focus
the
of matter
the
perseverance.
rhyming
In
circle,
The
this
they
the
the
due
Among
the
the
most
creates
and
celebrating
of
tradition
derived
general,
strong
guests This
detailed
only
banks
to poem ornate
in
seven-character back
the
personifies
has
extinguish
focuses
these
seven-character
the
this
candle
pattern the
image
an “enemy”
an
and
influence
from
fact
at
and
also
diction
in
of
line.
image
description
quatrains
entertaining
few
public
the
the
on
the
As
forth,
that
bring
flame.
of
the
features
to
the
portraying
seven-character
party
its
the
sixth previous
of
Besides the
that
that
and
seven-character the
events.
reflection
of
reflection
the
little
forth
quatrains
last
exhibit
water
captures
dominant
of
the
of quatrain
travel
the century,
reflection,
theme.
concrete
line
qijue.
the
bits
the
well-designed
this
two
folk-song
the
glistening
a
material
portrays
on
shadows.”
in
of
strong
before
image,
poems.
love
on
a
few
poets This
poetic
the
the
new
the
quatrains
and
quatrain
the
the
affair
closing
poets
similarity glistening
emphasis
light
tradition
object
the
the
aspect
detailed
of
trees.
the
with
form
water.
However,
imagery
this
With
frustration
seventh
and
last
wrote
shed
of
extant,
the
line
with
during
When
of
time
the
the
line
upon
descriptive
upon
confinns
such
reflection the
water
Under
on
to
the
fifth
almost
fair
show
like
century
belong
presents
also
reflection.
however,
trees
the
this
a
and
craftsmanship
this
seven-character
lady,
and
scenic
because
the
water
this
that
period
presents
no
the
expectation
are
poetic
of
sixth other
were
to
manner,
and
allusion
a
theory
this
between
circumstance,
flickering
image,
some
the
vivid
on
As
was
few
of
century.
two
composed
form.
poem
a
and
palace-style
the
the
that
beautiful
of
the
are
sense
appear
employed.
makes
poems
the
of
the
quatrain,
off
the
shadows
on
is
written
five-character
Furthermore, the
the
of
poet
The
light
far
through
style
of
and
light
reflection,
for qijue
no
to
discussed
its the
from
scene
fact
cleverly
and
have
off
poetic
on
which
use
music
which
plight
Their
of
is
may
poet
that
the
the
the the
the the the
28
of
in a
Daxue,
‘ t Sheng
33 The them
Shifengjiqiyanbian Binwang the was
From
character
32 Chen
poetic
five-character five-character
seven-character five-character
works Indeed, this
1983: Although being TV.
Zufen, character
analysis 3 li completely seventh
(reign
The
works
The
limited
comparatively
have
finalized. 32
the
3.
Ziyu
subject
form
6
of
following Tang
Tang
The
Since
1989),
Development
Yixin 18-627)
century,
relevant
in
poem.
those
table
the
of
quatrain
written
disappeared,
the
dramatic
number
the
ren
qijue
occasional
jueju
the
eight-line
ancient
matter
examines
pp.
above, early
jj
I
poets
poets
and
qijue
to
Compared
we
*
five-character
discussion
the
chuyi
small.
121-122.
from
my
(wujue)
do
of
his
can
has
of
(qijue)
change
style
seventh
i1 of
who
of
qijue
shi
we
topic.
not
qijue
the
verse
and
the
courtiers. 33
theme the
2#&Jt-
early
analyzed the
only
qianshi,
see
(wugu)
are
match
qijue
works
tonal
Qijue
to
the
previous
of works,
of
(wulü)
find
times,
century,
that
the
recorded
was
theme
dominant
this
poem
at
patterns
the
in
the
p.
large
that
a
the
one
this
the
we
few
24’ such
20.
subject
During
standard
poetic
century,
can
dominant
fit
continued
the of
time
number Seventh
can
with
qijue
The
theme
in
the
as
the
perhaps
2
subject
see
qijue
works
Wang
618-7
,“Guangmingribao.) 3
largely
this
is
standard
at
subjects
633 following
823
172 tonal
,“
poems
77
it
partially
became
that
least
of
Century
Lun
poetic
period,
was
works
to
12
be
five-character
Bo
in
matter
focused
pattern.
the
dominate
shi
one
the
attributed
extant
not
that
I
tonal
7
form
the
1795
1651
13-756
table
tonal
472 279
of
the
za
based
QTS.
h,
jj
popular
belonged
the
of
celebration
zhu
pattern.
on
Tang
from
Only
of
is
Lu
pattern
love
seventh
Chinese
in
The
celebrating
on
to
a
(Year)
the
Zhaolin
poems,
list
the
court
the
this
poets
until
24’
Qixin
and
statistics
early
to
Chen
of
OTS. of
emperor
the
of
century,
period. 31
poetic
information
consciously the
the
the
who
the
it
public
Tang
palace-style
Yinxin
the
poetic
seventh
fair
(Beijing: Quoted
number
are
“u,
E
are
writing
Tang
public
and
was
411,
events.
.,
based
lady
“Zhenguan
active
Examining
J!s
genre
finds
and
the
from
by opposed
Taizong century.
of
18
Beijing
fl
events.
almost
seven-
on
in
qijue
Shen
five-
after
Jan.
Luo
was
that
the
the
the 29
Press,
close
36 The 35 QTS,
palace.
34 Burton
Carriage”
emperor
gatherings, This
‘L “Snow
occasional its proposed
the
‘P
political
“palace
change
to
4
I.
exact
1969),
In
This
Changan.
juan
The
).36
coming
Watson,
the
the
is
poems
writing
style
2
location
poem
second
function
of
53,
a
Palace
standard
p.
The
The
The
I
It
The
share
[and]
euphemism
+1)
content
did
p.
115.
seems
poetry,”
out
at
Chinese
is
“blue
Fairy
656;
blue
assigned
major
not
by
this
line
Yard,
to of
of
written
of
of
of
bid
Song
public
the
as
know
turned
banner
revised
time
describes
his
banner”
propriety
Carriage
celebrating
which
if
poets,
Composed
farewell
Lyricism
terrace
for
the
topics
residence
Zhiwen
on
in
that
poetry,
poetry
stands
his
the
trees
translation
the
was
nearly
signifies
from
snow
is
the
(zheng
in following
majesty’s
to
occasion
unknown.
(New
*
have
obsessed
the
to
on
specified
departing
near
into
scene
and
the
had
celebrate
all
the
public
.iE.)
the
blossomed
Purple
a
the
York:
of
of
r
into
fallen
Imperial
of
literary
passage:
carriage,
location
of
Tang
and
them
Terrace (c.
with
the
rhyme
According
fellow
an
the
event.
Columbia
imperial
650-7
Palace
in
elegance
Terrace
Zichang,
imperial
describing
bureaucrats,
yard
sport
the
Command”
last
of
schemes.
of
officials. 34
and
13
Palace
is Burton
the
the
night.
early
outings
which
):
to
descending
of
University,
“Purple
(y,
emperor,
outing.
Poems
Spring
this
Spring
women
yard
*)
in
A Watson
were
bureaucrats
(yuan
poem,
and
the
good
Lookout.
of
in
Palace”
this
The
Lookout
since
auspicious
in
Tang literature,
required
morning.
and
zhong
1971),
however,
morning.
example
the
first
states
love.
when
early
(California:
for
played
line
‘iu
(wang
p.
to
the
Instead,
the
emphasizing
occurrences,
xue
131.
the
is
it
morning:
“The
depicts
write
would
nature
the
imperial
emperor
at
chun
ying
social
poem
Fairy
T.C.
their
they
the
zhi
be
tai
30 of
3 8QTS,
p. QTh
jiang
yi
(New
is
by Like
467.
37 Although
Sui quatrains,
time.
Wang
example,
the
the
beauty completing
arrives,
recorded
508.
..L
the
flowers
Dynasty,
latter
Another
Xiao
songbie
it
Haven:
anthologist
Bo
The
of
Many
may
juan
his
4&
wrote
part
the
these
Gang’s
on
as
the
(608-664)
poem
also
banner
three
.k
and
*h
Yale
snow
56, poet
early
lüshi
the
Early
By
I
But
of
first
works
all
had
Z..
have
(c.
the
pp.
thus
Gao
tree.
a
sets
poets
Yu
“Song
look
University,
his
scene,
part
in river
Tang
is
650-676),
known
I
poem
683-684;
been
met
is
Shinan
QTS.
are
works
cannot placed
a ‘)
Bing,
now
of
also earlier
theme
pavilion
of
controversial. gijue
early
he
the
written
is
that
upon
how
the
was
recorded
See
on
cleverly
an
be
at
assigned
probably
1977),
of
autumn
translated
than
the
writers
public
example
Perching
i
that
considered
the
Gao
the
the
another
parting
by
stream’s
1*i
Wang
earliest
ford
bright
Yuan
location.
p.
makes
Bing,
to
occasions. 37
in
(558-638)
subject
I4
wrote
the
129.
have
The
of
trees
a
subject
and
by
Raven”,
Wanching
Bo
strange
moon
earliest
passage
the
Tang
poet
as
an
poet
Stephen
written
most
expresses
hide
matter,
are
qijue.
emphasis
analogy
After
who
has
was
matter,
Xu
shi
recorded
land,
this
the
Tang
of
onward
pin
a
a Jingzong
His
3
See
carried
the
wrote depicting
Owen,
boat their
qijue,
poem
poem
comparing
personal
hui,
upon
poet
“Parting
imperial
the
QTS,
you
fl
wounds
gijue. to
poems
but
but
on
juan
snow.
The
contains
to
(?-689?).
1
propriety
have
juan
leave
the
by
is
according
write
feeling
on
Poetry
garden,
46,
recorded However,
the
the
about
In
emperor’s
thoughts
written
36,
an
on. 38
p.
in
snow
river’s
order
no
Autumn
p. and
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young
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poem
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38
In
of
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quatrain
stanza matter from
allusions. descriptive detailed expression.
showed what obviously fifth
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was
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from concept works
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parallelism.
Yonpc.
born.
that
gijue
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finalized,
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1971),
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century,
woman The
.
craftsmanship
form and
í
include
p.
appeared.
was
and
of and
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o’
194.
this thematic
its
applied reached
LI.
love.
the
thematic is
ill
the
in
also
The poems
..
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scope
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range
the
crucial
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gijue
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its
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and
number basically
i
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apart
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j
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of
Changling
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antithesis
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imitation
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showed
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j fellow
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gijue
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just two 40
p.
5 mis number
Meng p.
4 Among
Zufen,
2 The
of
3 The
these
approximately
his
qijue. 4
predecessors
qijue
1 According
significant his
Changling five
celebrating embracing
Shenyan,
I.
among
Introduction
288.
20.
the
time.
181
character
poems,
total
figure
written
figure
Haoran
seventh
Tang
Wang
During
poets.
of
On
extant
his
number
Li Approximately
Qiao
was
because
formal
the
the
is
to
is
ren
only
contemporaries,
Bai’s
in
in
wrote
Changling
based
THE
SM
4054,
based
poem,
poems. 5
century
other
Because
the
born.
his then-dominant
the
qijue
Zhizhi,
77
of public
Ziyu’s
qijue
last
time. 3
CHARACTERISTICS
seventh
none,
it
on
which
on
hand,
qijue
of
few
shi
not
the decade
and
them
the
is
of
qijue
was
statistics, events.
Since
qian
and
qijue
only 74
written
based
Wang’s
record
In
the
is
number
the
century,
are perhaps
of
triple fact,
only
Wang
shi,
in
efforts
of
the
standards
almost
Wang’s
were
his
on
written
Because
the
by
in the
p.
in
the
qijue
Li
dominant
the
in
figure
qijue
QTS,
CHAPTER
20.
his
but
Wei
the
one
seventh
seventh
written. 1
Bai
QTS,
poet
of
equals
total
time
in
contemporaries constitute
7
also
pioneer
the
of
wrote
of
13-765,
wrote juan
given survive
OF
qijue.
is
juan
number
the
propriety
dominant
poetic
adopt
one
makes
century,
the
century
WANG
143-144,
most
more
THREE
by
In
24
140-143,
See
poets
of
the
total,
today. 2
more
this
Shi
the
qijue
of
form
two
up
productive
Shen
total
than
CHANGLING’S
had
poetic
seven-character
we
Fengyu,
and
literary
such
statics
a
was
approximately
than
pp.
poets
substantial
in
(OTS,
pp.
number
Wang
see
Zufen,
finalized
The
elegant
approximately
1443-1452.
the
as
one
form
1420-1452.
increasing
who
made
environment,
Li
Wang
number
poets
eighth
Changling,
juan
third
Tang
of
Bai
of
wrote
style,
its
proportion
this
by
five-character
writing
Bo,
shi 128,
of
poems,
77,
century
ren
OIJUE
tonal
of
Shi
century
the
popularity
more
de
and
Shen
472.
composed
qijue
qijue
pp.
80
Ziyu,
total
yishu
the
qijue
pattern,
1301.
the
in
than
was
Both
1306-1308),
of
Quanqi,
was
shi
he
poet
number
total.
chengjiu,
see
all
theme
poems
poems
wrote
qianshi,
the
of
Among
seventy
figures
still
by
of
Wang
while
Shen
qijue
The
five
the
his
Du
the
of
of
is
in
is 41
jueju
only
(1980, 7 Comments
6 Compared
impressions
II.
many
can
we
tradition,
throughout
generations
names
craftsmanship
qijue
Changling
features
collections. 6 character
up
Critics’
a
will
be
a
ping
substantial
poetry.
generations
small
reprint,
Wang
Wang
A.
divided
The
among
of
then
as
poem,
zhu
Canonization
Views
his
has
history.
regarding
well
proportion
to poet’s
upon
received
move
The
Changling
Changling
Thus,
poetic
Hong
a
most
in
into
qijue
total
as
proportion most
A
of
because
Wang
writing
success
devotion
his
Equipped
Wang
on
two
the
impressed
Kong:
career.
their
of
his
of
personal
of
to
poets.
large
is
approximately
Changling’s was
categories:
his
his
a
Changling’s
works,
qijue
of
of
poetic
probably
Zhonghua,
discussion
to
of
fellow
entire
his
these
considered
number
with
gijue
readers
the
In innovations.
,
in
qijue
quality.
edited
we
a
the
poetic
entire
literary
two
poets
the
general
first,
is
and
of
shall
works. 7
Qijue
throughout
further
1986),
following,
of
one
earliest
by
ways.
Wang
a
writing.
collection
had
other
the
the
master
Liu
works
first
knowledge
thousand
only
canonization
pp.
characteristics
shown
Baishan
Changling’s
poet’s
poet In
Critical
take
has
303-367. of
the
order
a
we
of
to
poetic
small
poems,
qijue centuries in
made
a
be his
i
of
comments
shall
look
his
to
his
widely
poetry
proportion
qijue,
writing
understand
of
works
him
achievement
poetry
of
J.
Li
at
examine
his
by
Wang’s
Bai’s one
critics’
acknowledged
and
and
are
qijue
can
regarding
the
by
outlined
of
particularly
Fu the
of
aesthetic
eighty
be
contemporary
how
the
works,
Wang
views
qijue gijue
Shousun
fact
found
in
most
the
readers
his
by
qijue
that
in
in
beauty
of
those
Changling’s
and
in
form.
by
qijue
their
recognized
relation
noticeable they
‘
Tang
his
critics
make
second,
of
critics.
critics,
works
poetic
Wang
of
verse
make
later
ren
up his
of
to 42
juan
jicheng
Z
in
critic
Medieval poet
opinion dynasty, made 9 Liu
shi
more Changling
8 Yin his
12 Ye 11 Wang
lOIn that Wang
poems. )
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general, Critical
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opinion
hua
both
4, as
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in Kezhuang
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Hu
Fan,
poems
Xie,
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so
k.
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Changling
in
a
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chubian
&
his
is
The
L
comments
Yinglun
Xin
*
among
(1187-1269)
f)
successor
Shizhen
poets
is
Yuan
China”,
expressed
U,
Yuan
received
in
shi
It
of
fellow
Changling
a
by
and
anthologist
Wenfang
by
his
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critics
the
critics,
pin
successor
For
(reprint,
J’i
are
shi,
Wang
t
whom
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his
‘)O
shi
poetic
pin
anthologist two
.
pp.
(1526-1590),
by
hui,
giyan
k.
countryman. 9
of
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can
£)
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in
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contemporaries.
wai
compare
by
hui,
*
2,
(reprint,
poets
48-49.
calling
poets
notes
further,
his
than
masters
when
4r
and
anthologist
he
be
Shanghai:
anthology
p.
critic
Gao
pian,
jueju,
(1187-1269),
shi
(155
vol.
of
time.
only
98. traced
by
Li
of
in
that
the
Yin
hua,
he
(1529-1590),
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him
juan
Ye
the
1-1602). the
Wang
1,
*
Bai.
Richard
any
focus
Beijing:
Li
of
considers
notes
calls
the
p.
great
Fan,
Xie
back
Bai
following
edited
sixth
(4
the
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Guji,
“the Both
other
4,
Gao
35.
poet
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See
Changling’s
on
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in
(reprint,
and genre.
that
for
Houcun
See Bodman as
century
poets
master
manifests
Bug
Zhonghua,
Qing
accounts
1979),
Gao the
by
poet.
Xiii
was
two
Wang
early
example,
Wang
Hun Quan
Ding
statement: 12
pre-eminent
Ye
(1627-1703),
Wenfang,
gijue
Bing, lists
called
shihua,
of
poets
See
Shanghai:
of
in
pp.
shi
as
Xie
notes
Changling
Yinglin,
was
the
Fubao,
gijue
Tang the
itself
show
orthodox
806
the
“divine
hua
Richard
105,
“Tang
1983),
claims
“the
“the
called
preface,
sixth
p.
for
eighth
that
gijue
gianji
in
works
Tang
the
610.
shi
116.
p.
emperor
masters
Shi
stature
example,
two
Shangwu,
Yuan
shi
works”
the
p.
that
are
610.
century. 8
(1627-1703),
Bodman,
honour
“the
shuo
gijue”J 0
poems
A
caizi
&
so century,
and
199.
pin
to
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master
shi
those
4
of
of
of
the
hui
best
(shen
zhuan,
marks
and
regard
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bian
orthodox
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Wang
wai
poetry”
one
1936),
“Poetics
other
when
xumu
Changling,
similar
throughout
comment
of
174
Critic
Another
of
fame
pin
pian
f
is
for
juan
Li
his
poetry”
Yin
Changling’s
is
poets Yin’s
‘
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the
p.
Bai,
(shi
example,
the
as
gijue ., high
and
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2, observation
pays 3.
,
poet
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critic,
made
in
p.
tianzi
defining
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(4,
and
as
in the
Prosody
).1 poet
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esteem
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A
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Congshu
22.
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to
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Wang
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14 Yin
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literary Wang’s
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masterly
4.)
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Luo,
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gijue
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poetic
Comments passage:
poems
stature
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indicate
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in
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his
and
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rest.
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Richard
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masterpieces
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expresses
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emotional
describes
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the
throughout
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prominent
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critics
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419.
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,
critical
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indeed
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some
said,
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by
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19.
similar
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acknowledgment,
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qijue
canonization
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suggests
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example,
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and
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contemporaries,
the
and
Changling’s
Wang
opinion
works
by
is
also
Prosody
loftier
eye”
not
Wang
throughout
that
as
critic
note
Changling
for
a
comments
“the
is (jing
a
and
single
height”
Changling
characteristic three
expressed
the
Hu
in
gijue
we
emperor
shows
er
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masterly
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piece
and
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feature:
see
hai
(sheng
held
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17 The
16 LiChonghua-t4
15 Hu
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Yunyi
Li
Yinglin,
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Changling’s
Chinese
Shiyong
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The
Hu
p.
Chonghua
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the
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6,
49.
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qijue
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complexity
190,
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p.
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(yourou
difficult
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Among
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poems
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text
110.
about
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describes
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,
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For
poems]
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2(1981):
when
to
the compelling. 15
k
poems,
wanli
women
poems,
of
critics
is
the
the
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(1089-1153),
by
bian,
term
a
their
Wang’s
the
Shi
detailed
Ding
expressing
musical
Changling
fL-’
the
Wang
there
juan that
is there
since
Tangdai density
127-128.
and
(1089-1153)
musical
mipo
thought
jing
Fubao
Wang’s
poems
frontier
6,
are
lyrics
is
discussion
Changling’s
the
Oijue
)
p.
Zhenyi
the
xie
and
shi
his
the
quality. 17
zong
de Tang
(reprint,
117.
is
style
has
xiao
of
zhu
poems
intricacy
admiration
difficult
meticulous
musical
of
shuqing
soldiers,
further
Tang. 16
zhai
that
also
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shao
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lun
of
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are
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the
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shi
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in
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quality,
explains
Hu
geci
“wonderfully
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relation
are
of
his
of
and
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dynasty
the
noticed
notices,
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the
poetry
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the
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.
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difficult
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is
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Lidai
complexity
See
possess
Wang’s
closely
Among
matched
the
accords
aesthetic
critics
is
Hu
1983),
among
winding
following
clear. 18
qijue
shi
Giji,
Yinglin,
a
qijue
related
in
over
the
“leisurely,
11
with
to
Oing
p.
achievements
of
hua
the
and
wonders
1984),
musical
through
works.
1418;
the
Wang’s
statement:
difficult. 19
their to
,“
music,
shi
Shi
xu
centuries.
Wenxue
music,
p.
quoted
hua,
theme,
gentle,
so
tunes”
bian
layers
of
Some
204.
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nei
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21 Hu
22 Shen of
20 Zhong
Changling’s impression
intense these
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Hu
The
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generates
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yuan
spirit
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,
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emotion
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example,
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,
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).22 of
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Columbia).
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bian,
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bie
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shi
admiration
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expressed
(15
cai,
Chinese
critics
Changling’s
eyes
juan
gui
74-1624),
qijue, one
have
juan
.).“21 *
.•
to
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conceptulized
Another
is
most
readers.
reading
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history.
4,
poetry
in
poems
fail
impression.
melodiousness,
in
p.
11,
informing
Changling’s
poems
intense
intriguing
sheds
to
my
116.
critic
p.
examine
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centres
as
view,
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new
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“reaching
and
poems],
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Special
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us “well-hidden
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light
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on
of
comments visualized;
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intricate
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•
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distress”
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success
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explicit.
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remains
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Wang
words
Wang
claim
qijue.
critic
gijue
qing
also
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of 46
the poems
composing century, differences in
established
III.
examine
qijue.
aesthetic limit
we
by he from Wang
terms
inherits
examining
significant The
identify
my
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is
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Wang
also
In
Traditional
their
Wang
of
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predecessors.
research,
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the
my
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by
are
tonal
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dramatically
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relation
opinion,
Changling
his
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differences
qijue.
due
blend
Changling
the
pattern,
predecessors.
and
to Aspect
of
previous
Changling’s
to
of
Wang’s
the
the
in
to
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tradition
I
Wang’s
demonstrates
and
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poetic
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success
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seems
tradition
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Wang
two
adoption
the
consistency
His
explore
genre,
writing and
qijue
centuries
to themes
of
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and
Changling’s
poems
in
have
Wang’s
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the
of
technique in
these
poems
the
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of
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included
sixth
his
share
as
to
propriety
rigid,
characteristics
qijue
critics
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style
well
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and
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similarities
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the
thesis,
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of
as poems
formal
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the
do
poems
light
focus
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own
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comes
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of
style
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explain
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centuries.
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of
with
aspects
the
innovations
qijue
his
century.
Wang’s
ability
regretfully
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from
literary
those
his
writing
what
that
of
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uniqueness.
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both
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qijue
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time.
history
Indeed,
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the
adopt
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style
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the
the
centuries
seventh
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other
qijue
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the
general,
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genre.
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out
In
qijue
hand,
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tradition theme
tradition
order
seventh
musical
century
of
when
Only
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the
his
out
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to 47
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literary
as 23 Ban
24 Lin Changling
25 1n
and popular
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adoption matter jieyu
abandonment
literature
Ban
the
supplanted
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to
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Palace
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younger
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the
poems.
qijue
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palace,
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(32-92),
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literary
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rival,
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noble
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written
Relation
gongti
97
poetry.
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different
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qijue
that
chief
motifs feature
seven
Han
Guo
(reprint,
Zhao
was
of
of of
works
boudoir,
folk-songs
of
time. 24
of
the
Wang’s
by shi
are
the
Maoqian,
genre. 25
favourite
shu
many
poems
of
an
to
Feiyan
both
In
folk-songs.
emotional
of
poets
yanjiu,”
sixth
seven
empress
favourite
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aspect
Beijing:
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Emperor
bu
or
perhaps
her
Wang
poets
sixth
most
recorded century.
ordinary
of
portraying
sixth
qijue
zhu
of
Yuefu
retirement. 23
of
The
of
p.
the
dowager.
the
aspect
century,
of
Changling
celebrated
Zhonghua,
subject.
428.
$ the
the
Cheng
century,
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on
sixth As
,
poet
the
Sixth
shiji,
Of
families,
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then
Emperor
with
earliest
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of
Ban
sixth
common
all
century.
seems
Wang’s
of Century
juan particular
Ban’s
Known
popular
historical
the
it
and
requested gijue
Han
1983),
century,
The
poet
was
commonly
18,
title
abandonment.
poets
to
Cheng
working
Dynasty
edited
qijue
in pieces
tragedy
All
for
pp.
to
considered
take
palace
pp.
subject
the
of
figures,
use
of
of
and
her
to
626-628.
also
3983-3988.
“Agony
for
special
previous
the
are
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be
by
the
subjects
of
women,
literary
was
style
integrate
attributed
allowed
ten
sixth
centred
poems
Lady
traditional
Wang
Lady
one
fashionable
poetry. interest
‘‘
years.
of
century
talents,
of
chapter,
Ban
a
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palace
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share
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Ban
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follow
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29 Fang 28 For unquestionable 27 As
using
from folk-songs,
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century
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objectively
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“The subject
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ving
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the Most
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quality
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Raven”
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qu
the
works
the
*
for
the
are
as
the
Tang
some
Wang
discussion third
by
the
can
trait
folk-song. 27
title
His
a
this
Maiden”
factors
sixth
include
poet
folk-song
Professor
works effects
description
discussed
be
of
day
ren
of
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of
poem
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Changling’s
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his
traced
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century.
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when
)
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listed
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),
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poems,
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and
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poets
2a.
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‘
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written
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royal
chapter.
concrete *),
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see
central
however,
Yeh,
ancient
like
in
ordinary
various
(cai
qijue
category
inherited
works
ornate
features,
Changling
works
the
banquet”
the
imitation
chapter
in
in
in
han
life. 28
Lady
“The
Yuefu
feature
the sixth
poet
descriptive
use
most
include
“Ode
style
from
subjects
Wang
gu
objects
by
sixth
the
2
of
imitates
from
Silk-washing
century. 26
Ban’s
(san
t€
shiji, folk-song
Wang
of
the of
to
a
dramatic
those
qijue.
modern
this
qiyan
sense century,
.
the
Changling themes,
the
ri
Song
into
the
juan
and
manner,
shiyan
Changhing,
story.
qijue the
thesis,
candle
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of
sixth
his
),
themes.
anthologist
Li
Its
“Song
50,
scholar
colloquialisms
In
atmosphere.
jueju
realism.
for
such
stylistic
Bai. 29
written
qijue
Maiden”
yong
another
status
pp.
3(1986):
all
p.
also
light
example,
century
Consciously
734.
of
as
of
10-14.
too,
Fang
poems.
qushui
impressively
This
reflection
zhi
the the
which
imitation
as
Apart
in
qijue
Hong
integrates
does
Perching
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the
16-22.
qijue
Rixi
was
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Wang’s
takes
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as
zhong
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poem
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sixth
As
Mai
well
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on
its
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of of
-
a
a 49
juan
century.
$
sai
32 The theme,
QTS,
31 As
30 m1s
pieces
popular
1067-1075.
Changling’s
experienced
test
such Chinese
seventh
These thematic
subject,
qijue of
integrates
t
the
L
shi,”
subject
46,
)
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juan
as
He
poems
tonal
to
titled
subjects
anthologist
The
Wang
One B.
idea
in
one
pp.
government
although
Hence,
Turks century
integrate
atmosphere
and
may
Changqun
some
Wang’s
96,
Zhongguo
standards pattern.
for
of
the
“Writing for
lOa-lOb.
seven
is
and,
Zheng
Changling
p.
have
the
discussed
include
some
poetry,
and
hardships of
Wang
1034).
because
this
Oijue
major
it
the
as
Gao
“Campaign
been
Wang
Tibet.
through
had
points
Zhenduo
faced
on
indicated
government
wenxue
of
subject best
Zhongguo
Han’s
no
the
Bing
in
achievements
propriety
the
For
also
a
written
by
of
of poetic
qijue
Relation
Changling
long
repeatedly
celebration
out,
test
frontier
Many
careful
a
qijue
He
uses
matter
current
considers
yanjiu,
detailed
Songs”
by
subject
were
poetic
Shen
Changqun
qualities
before
wenxue
subject
recruitment
and
with
many
scholars
to
tonal
into
life.
p.
follows
written
events. 30
those
in
military
elegance
Quanqi
discussion,
of
(1934,
tradition
“Heading
(cong
frontier
Wang
1067.
Wang
the
the
critics
Moreover,
arrangement.
matter
of
social
yanjiu
of
qijue
seventh
the
served
about
this
jun
examinations. 3 ’
the
confrontations
Han
reprint,
Changling.
wrote
themes
seventh
in
discussed
that
outings,
since
genre. 32
to
Since
regulation
4
xing Seventh
literature
see
it
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the
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Although
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Longmen,
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zhou”
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poet
the qijue
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chu
dai
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was
among
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Tang
army
by
seventh
seventh
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de
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writings.
on century.
(Liang
Tang
popular
elaborates
subject was
in
the
Fu
&I the
bian
the
shi
dai
the
1968),
most
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countries, The
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made
dynasty,
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seventh
frontier
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de
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zhou
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sai
Wang
hence
in
was
of
latter
bian
hui,
pp.
shi
the
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the
his
a 50
century,
between possess poetic palace
implication.
verse-genres
traditional celebration tradition.
successfully IV.
elements,
the
characters
with
qijue had
Wang
theme
a
eroticism,
on
great
technique,
lament,
Although
A.
The
While
In
three
they
women.
the
his
The
Changling’s
summary,
qijue
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of
effect
of
most
breaks
into
qijue
major
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also
Emotion
social
The
integrating
and
public
themes
Wang treatment
qijue.
Wang’s
noticeable
upon
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show
standards
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poet
away
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Wang
issues,
events,
Innovation
imitation
world
of
with
Wang
Changling’s
a
explores
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fundamentally
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the
balance focus
of
the
Changling
broader
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innovative
and
Persona
themes,
sixth-century
partings,
and
Changling’s
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propriety
poetic
of
on
in
a
between
restrictions
a
the
inner
a
the
serious
qijue
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application,
serious
theme
and
as
folk-song.
inherits
tradition
Qijue
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the
and
approaches
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feelings,
poetic
share
range
writing.
entertainment
centred
poems’
Central
approach
elegance.
exploration
Genre
and
gatherings,
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their
style.
and
of
into
formality
In
on
frequent
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Theme
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subject
seventh-century
to
Wang
poems.
dramatic
his
his
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to
More
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best
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works,
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emotion
scenes
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matter
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technique
specifically,
serious
example
emotional
Unlike
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effect
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writing.
poems,
or
genre
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in
contemplation.
poetry
with
music,
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the
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manages
of
which
of
perspectives
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persona,
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poems
poets
qijue,
Wang
Because
identification
the
subject
the
the
effect
come
subject
exhibit
tonal
to
of
frontier,
such
qijue
of
Changling
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the
lies
the
of
with
pattern,
works
matter
as
of
are
write in
sixth
sixth other
these
the
the
the
his
by
his
in 51
edited
Taipei:
Standard
33 zhong
troubling the
imagination Centred
essence poetic
Although
poetic
appearance.
often century,
folk-song
implicitly
by
tradition.
persona.
Zhengzhong, The
of
on
who
I.
and
Hong
emotion
this
poetry
R.
the
poet
to
theme
Practice
simply
Miao
can
subjective
one wins northern
second takes chamber borderlands,
spears the At
create separations
personal
alludes
The
In
in is
festive
enables
Han
one
give
his particularly
fact,
(San
are
favour
leave
poetic
feelings
(c.
used
1969),
glance--all
carried
of
give
concubine
Shi
to
written
with
vent
wilderness,
emotion
501),
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his
gatherings
Chung
theme
Wang’s
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theorist
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p.17;
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poems
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expresses
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to
Shi
*
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poems
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court
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Sh’i
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p’in,”
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than
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gijue
a
‘
of
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heart
poetry
regions,
brow,
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flown Chia-ying
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scholar-official
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event
spirit
verse.
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by
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the
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palace,
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(c.
edited
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of with
heart
to
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merely
themes
518)
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express
through
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ever
to
engender
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it
Yeh
topples
clothes
or
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develop
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is
and
spirit
among
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considers
1978),
persona
exiling
returning,
Chinese
skeletons deeply
entertainment
Wang
and
soul.”
involving
who
of
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them
the
subjectivity
of
Wang’s
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p.52.
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ANALYSIS
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career.
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title
Yang
suggests
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143,
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ren As
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605-616),
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poet
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heart.
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when
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transforms
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giving
156.
“Water
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to
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be
Melody”,
1990),
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the century. They
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Watson,
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Such
contradictory
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poems:
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Writing
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first
reflected
detailed
life
Haven: contemporaries.
reality
143,
the
Kong:
topics,
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time,
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compared
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change
described
1960),
persona’s
water-
depicts
sleepless
with
1P
palace”
the
change
world.
all juan
,
fall.
the the
the
p.
67
of a
27 The
China,”
26 jn
2 SQTS, 3169a.
24 Stephen
persona’s
tragic
isolation
autumn, the
relating
and Ban,
all treasure
of Hence,
also
value
night,
sleeplessness
isolation
QIS,
signify
her
fate:
diction
In
“censer”
juan
the
p.
immobility further
and
and
and
is
inner
the
the
Owen,
34.
reinforced
persona
the
old
143, implied
beauty,
“together”
following
the
diction
Her
That
And
She
painted When
world.
concubine’s
parallels
age
and
of
The
bleakness
p.
jade-white
grasps
now
still
the
to
and
1445; associated
and
“Golden
by
“jade
the
great
through
ones
her
lady
carries
poem
(gong
with
the
insomnia,
most
her
the
crown
surroundings.
translated
pillow”
age
for
previous
status.
in
of
her
broom,
face
persona’s
Hall”
of
the
the contrast
importantly,
handkerchiefs,
with
of
the
round
the
prince
)
is
daylight
Chinese
poem,
elucidates
These
is
are
(jin
Lady’s
autumn”. 24
no
same
by
for
three
(Third
also
fan
personal
match
with
dian
feelings
Richard
at
takes
has
The two
written
title,
from
lines.
poetry,
dawn
she
room
the
of
the
the
the
for
items’
static
three
Five) 25
paces
a
)
loss
the
the
progress
items
Bodman,
of
In
inexpressible
the
effect
concubine,
that
The
as
into
p.
Palace
poet
short,
abandonment.
image
is
“for
for
of being
Golden
up
102.
glossy
stretching
also
that
a
imperial
of
quilts
and
presents
a
reflection
of
the
“carrying
short of
“Poetics
“without
written of
are
time.
winter down. 27
Hall
Brilliant
poem
she
Lady
and
melancholy
not
while”
favour.
out
opens, 26
another
is
three
as
Moreover,
only
The
raven
Ban,
transforms
and
colour”
the
of
of
given
“Autumn
Sun.
time,
(zhn
the
for
Prosody
persona
final
precious
These
and
side
mood
clothes.
five
bleakness
implies
contrasting
her
4)
line
the
Hall”(qiu
of the
unappreciated
censers,
into
in
lying
of
in
presence
Lady
in
focuses
cold
Medieval
desertion value
their
QIS.
the
of
awake
of
Ban’s
chill
with
dian
loss
two
the
the
but
on
68 of
persona’s
Shan 28 Ban poem,
29 Zhaoming
describes
Although
fated
in
presents
a
maid the
-
life,
morning.
Gu,
“Song
in
The
This
4,
her
the
the
in
tragic the
Han
first
juan
which
agony
poem
wen
lady’s first
Changxin
of
Until
I
As
I
shu
shall
shall
fate
line
The
Agony”
27
xuan
line
a
approaches
she
at
moments
minor
buzhu,
the
(reprint,
starts
creates
having
sweep
serve
image
of
describes
Palace.
day
Wang’s
3
(yuan
staff
with
juan
in
between
I
fallen
of
a
of Taipei:
.
die.
the
the
strong
member
cleaning
leisure
Lady
Through
97,
poem her
1
ge
East
*W
fl4fl!I
forlorn
from p.
,
desire
Wenhua
the
compiled
Q-t,
Ban’s
Palace,
sense
3986;
is
after
of
imperial
curtains
written
alludes
Lady objective
‘
the
to
t4P4
life
cleaning.
of
(31-34)
translated
4k
retire
tushu,
Changxin.
El
Ban
by
abandonment
as
in
41
to
favour.
to
Xiao
a
a
description
Ban’s
).29
from
Qa
plain
maid,
1975),
the
The
by
Tong
Changxin
the
In
own
and
the
image
showing
p.
this
perspective
in
author.
379.
quiet
prose
of
the
poem,
Lady
“round
*
palace: 28
The
manner,
that
poem.
poem,
(501-53
Ban’s
Chinese
Lady
of
she
fan”
her
mourning
its
cleans
The
actions,
1),
alludes
Ban
daily
allusion
text
edited
second
the
makes
chores
reads,
to
the
her
palace
of
by
Ban’s
poet
line
the
ill-
Li
an
69 as
unappreciated the reflect
referring
a
latter
“the
and comparison The
flying
describes
surpasses ugliness between persona’s
masterfully
historical implying
diction,
abandonment analogy
vehicle
poet
connotations
brilliant
time
means
the
towards
In
The
paradoxical
of
creates
to
to
between
the
of
the
objectively
tragic,
complex
that
the
allusion
the
portray
the
performed
transformation
of
this
“daylight”
sun”
above
dark
beauty.
in
beautiful.
the
the
raven’s
the
emperor.
desolate Wang’s
line,
a
of
as
beauty
round
raven
agony
her
correlation
Changxin
the
to
two
the
well
in
the
daybreak,
Furthermore,
dark transform
in
emotional
fate
relation
term
and
poems,
This
poem
movement
of
fate.
and
the fan
the
with
Hence,
from
colour
abandonment
and
signifies
“zhaoyan
second
palace
Palace
is
compelling
the
is
between the
the
to
now
?1*k,
that
completes
further
reality
state
the
an
lady’s
raven
the
and
the
poet
of
Zhao
objective
from couplet.
her
imperial
poem’s
of
of
solitude
the
abandoned
the
U
uses
the
to
enhanced
beautiful
becomes
a
the
felt
only
irony
Feiyan
raven.
the
beauty
the
fan
the
external
persona.
a
The
by
objective
east,
and
favour,
description
companion.
reflection
of
“dawn” discarded
is
and
Lady
lives,
On
third
of
palace
the
logical
by
made
face.
ordinary
‘Nt 1
carrying
“j
the
the
world
the
Ban.
lady,
Through
since
line
“Zhaoyang
of
description
El
lady’s
clear
lady
surface,
diction
The
of
through
of
.“ the
at
sets
deepens
external
emotion
In
“sun” the
and
the
in
summer’s
The
obvious
first
in
face
short,
the
up
Wang’s
light
objective,
“together”
the
the
the
the
former
is
dian
a
line.
technique
is
a
into
paradoxical
scene
persona’s
last
last
by
a
from inverted
interaction
the
sense
contrast
common
qijue
U
However,
end.
implication
line
line a
poet
word
is
external
the
reflection
(gong
of
may
transformed
i”, of
depicts
when
when
The
morning
cleverly
loneliness
agony
between
implication,
means
euphemism
comparison
of
4).
symbolize
the
while
world
the
sense
the
the
is
a
of
ironic
as
raven
again
puns
both
ugly
This
poet
uses
sun.
the
the
the
an
70
as
by
to of
Maoqian,
32 Zhang Yuefu
3 lj,
30 Burton contemporary
setting
song
and
washing
Indeed,
the
all
men,
poet’s
complexity
tradition.
shiji,
As
of
The
juan
Wang’s
including
Maiden”
Xiang
Watson,
Yuefu
own
the
an
the
motif
143,
imitation
colloquial
poem.
Now,
fate
When The
Who
recognition
them, despair,
of All
attract
The
title
k
in
writing
shiji,
movement.
p.
(wan
the
Chinese
theme.
of hope
Ifl,
as
maiden
is.
poem
lives
1446;
publicly
and
King
poet
unappreciated
juan suggested
and
There
The
of
deprived
Shi
sha
on
expression
of
because,
by
a
starts
The himself,
translated
for
Wu
happiness
the hold
80,
by
Lyricism,
flu
second
ci
folk-song,
the
are
she
The
the
qu
their
agony
pp.
was
first
Qiantang
by
the
two
with
of
yuwen
river
washes
being
Tang
1128-1129.
who
meaning
Burton
all
talents,
line
alive,
couplet
ruler’s
*
five-character
by
beauty
of for
p.
an
the
this
looks
).
the
are
the
115.
themselves
points
men
the
interrogatory
huishi
River?
she
silk.
normal
Watson
poem
it
talented favour,..
unappreciated
author.
simply
“far
palace
This
appears
better
was
wrote
could
out
better
combines
in
consolations
time,
in
quatrains
than
lady..
not
Although
expresses
the
yet of
candidates
some
.Otherwise
the
in
her
than.” 32
line
come
the unappreciated
persona.
flowers.
another
.hung
following
ways
beauty
because
poet
simplicity
to
recorded
out; this
.
the
introduce
of
for
upon
so
portrays
The
she
folk-song
family,
may
colloquial
poem
public
“Quansheng
like
her
passage: 3 °
was
the
first
by
with
of
symbolize
their plight
is
chance
(Taiwan: a
the
office
the
friends,
two diction
doomed
peasant
not
this
own.
qijue,
government
style
persona
sincerely
lines
recorded
title.
and
that
and
the
and
of
girl:
Zhonghua, to
seem
“The
hopeful
*“
she
the
See
agony
imagery
a
freedom
and
moved
life
in
might
to
folk-
Silk-
Guo
is
the
the
be
71
of
of of a
34 QTS,
v.3698
33 Zhao
1973),
implication
theme
the current personal
(cal wreaking King of
the
(gongran apart
an
Yue
objective
narrator’s
girl’s
lian
Fuchai
through
into
p.
(reprint,
Apart
Ye
The
king,
juan
qu
beauty contemplation
vengeance
162.
intriguing
4
to
second
and
of
143,
is
bitter-sweet
Flu. from
..
the
simply
Only Blending
To Lotus
Wu.Y-
the
Shanghai:
with
),
(fi.
vivid
i
p.
either
fact
hinting
key
creating
couplet
40-80),
her
):3’1
1444;
by
upon
leaf
symbolism.
Xi depict
.
description
that
to
the
about
songs
into side
Shi
and
k
emotion
the
at
him
revised
Shangwu,
Roye
the
changes
Wu
complex both
,
the
a
of
silk
creation
the
reveal
scene.
for
maiden
her
Yue
lotus
with
Creek
skirt
situation
the of
translation a
associated
face
(d.
previous
the
a
that
chunqiu
joy
symbolism,
1937),
the
pond,
A
beauty
of
of
B.C.
(First at
focus
the
good
she
the
ambiguity of
intention
present
of
P
lotus
nowhere
470),
freedom
p.
same
is
humiliation. 33
of the
.-
of
of with
.
from
example
coming
187.
the
Two)
Tang
persona.
blossoms.
Wang
while
a
colour is
of
unappreciated
depicting
historical
in
L South.
still
and
is
distracting
Zichang,
this
4k,
near.
is
she
she
Changling
and
regret washing
the
In
line.
juan
seen;
was
The
the
poem
shade; the
beauty
Poems
at
5,
him
Wang’s
washing
third
girl
last
beauty
being
silk.
Congshu
“Song
also
with
in
line
found
line,
of
the
uses
The
unappreciated
clever
turns
Tang
silk.
sets
her
of
the
scene
jicheng
by
Lotus word
his
beauty
the
the
poet
He
,
implication
King
p.
technique
to
two
simple
sent
“publicly”
126.
Plucking”
associates
the
chubian,
and
Goujian
women
by
her
poet’s
then
folk
the
72
of
of to
written
35 Before image
expressing
of
resemblance
to
her
When
metaphor lotus poet
unity
word second “silk picking
“xiang breeze,
of
and plucking
working
unite
meaning, the
surroundings
the
personifies
skirt”,
to
of
for
of
describing
maidens.
“to
one
The
The
Originating
line
providing
the
maidens.
maiden.
the
the
woman
Wang
the
lotus
lady. 35
to
the
poem
two.
the
third
maiden
first
first
further
describe
between
pond,
one
suggest
blossoms,
bewilderment
poet
Changling,
the
couplet by
two
“Luan
line
The
under
By
The
describing the
are
a
In
the
connecting
in
compares
as
vivid
introduces
lotus
the
images
the
the
this
enlarges
maiden’s
merged
big
that
first
the
the
poet
this
ru
beautiful
focuses
plant
implication
is
poem,
plants
comparison
round
*L
sixth
plant
the
line
He
title
used
cleverly
with
of
.N.”
the
the
and
plant
through
the
the
the
associates
Zhizhang
moving
century,
in
the
makes Wang,
and
on
shape
here
the
color
motion
lotus
scene
(literally
maidens
persona
the setting
the
narrator
is
creates
shifts
of
verb
to
to
gijue.
drawn
of
the
way
of
using
blossoms similarity
the
closer
from
avoid
this
the
31’
the
and
the
maiden’s
of
“j
with
the
effect
established
meaning
juxtaposition
for
a
See
when movement
poem’s
colour
the
to
the
pleasant
the the
lotus
redundancy
focus
to
“(literally
her
her.
her.
Guo
voice
persona
maiden
plants
the
of
to
between
(659-744)
witnessing
cheeks,
environment.
leaves
of
the
“to
her
theme
to On
It
Maoqian,
plant,
in
the
intimacy
of
suggests
a
of
enter
to
maiden.
the
entering
the
larger
of
in
an
entering
lotus
a
changes
the
the
which
and
is
the
harmonious
the
skirt.
is first
other
observer,
in
meaning
to
the
lotus
whole
the
Yuefu
enhances
leaves
poet
environment
two
and
disarray”)
the
depict
couplet,
is
“Fu
scene.
the
only
hand,
By
the
according
plant
similar
warm
unity
images,
uses
pond.
pond.
shiji,
with
rong
introducing
depicts
“to
poet
the
pond,
visual
the
the
the
itself
By
between
a
welcome
cut
creates
that
beauty
juan
to
recorded
personified
The
flower
poet
beautiful
“lotus
introducing
which
Because
the
the
to
and
and
imagery.
and
of
50,
persona
the
flower.
is
beauty
the
two of
“,
the
sew”),
the
the
the
may
leaf’
p. thus
includes from
sun
another
to
a
dresses
colour
733.
of scene.
layers
plants
lotus-
lotus-
other
have
verb
be
able
The
of
and
and
and
the
the
the the
73
a a
37 mis
xin
36 QTS,
is
wife
scene the the
humanity,
concluding
images, reinforces
both
suspension
away. 37
presence air.
yuefu
in
the
and
poem
This
the
Implication
juan
By
plants
the
an
ci
sets
following
the
the
of
The
poem
line.
)
is
intriguing
143,
of
poet
meaning
A
As On
A
her
use harmony
recorded
and
the
poet
hundred
white
p.
she
Her
employs
the
apart
of evokes
is narrator.
the
1445,
poem:
portrays
“shi
watches high
again
voice,
plot
home,
through
maidens.
from
in between
.“
thousand
jue
revised
balcony
Yuefu
the
the
through
See
the
the
while
In
a
two far-away
The
contemporary
gold
woman’s
the
major
Guo
this
1
plants.
shiji
The
the
translation
protagonists
Song
flags
confusion
a
his
further
“(literally
saddle,
young
poem,
Maoqian, (First
persona
under
technique
phrase,
use
dust
Thus,
and of
presence
of of
the
woman
the
enhancing
an
rise
pennants
the
folk-song
of
of
Two) 36 implication.
the
“no
Green
outrider
meaning
and
Yuefu
poet
in
the
Joseph
category
toward
Wang
poet
this
where
sets
the
visual
by
evokes
Chamber
bivouac
shiji,
poem:
creates
theme
the
to
plant,
her
Lee,
Changling
“to means
Jianzhang
of
is
the
scene.
harmonious
zither
sense
juan
she
the
“yuefu
Wang
Emperor
of
one
and
a
at
of
sublimity
beautiful
seen”
a
Changyang
91,
only
a-twang
Having
lonely
is
palace.
at
auditory
uses
Changling,
zati
an
p.
the
then”)
(kan
Wu.
1279.
4
imperial
picture
to
wife
picture
same
closed
of
portray
bu
palace.
language
the
a
whose
jian
lotus-plucking
p.
time
of
poem
off
guard of
“
107.
nature
a
*
singing
the
husband
effects
deserted
reveals
in
of
in
T
visual
the
and
the
the
74
in a
from Han
Congshu
40 For
to
39 me
with This
indulging running
This
similar the young
38 The
distant employed
*
solitary chamber pursuits.
placing
the
the portrays
Emperor
of
in
some
portray
I
his
the
first
poet
poem:
dynasty
the
the poem
poem
imperial
(192-232):
or
a
Changyang
line
hero.
“The
line. woman
The
picture
The
line
“The
ten
line:
towards
image
similar
implicitly
Green
imagery
jicheng
a
her
Wu
the
himself
to
splendid
has
Changyang
started
thousand
is
second
in
first
white
(BC
own
The
suggest
white
majestic
“A
of
the
written
policies.
its
of
Tower”
seen
playing
image
the
the
couplet
chubian
poet
206-24
contrasts
white
setting,
long
in poem the
palace
horse
expresses
a
horse
couplet
soldier
imperial
Han
personal
tradition
by
military
loneliness. 40
woman.
imagery
Shen
about
to
tradition
(ging
Palace
horse,
“On
the
sets
the
and
AD)
dynasty,
adorned
was
portray
the
(Shanghai:
with
heading
dramatically
Yue
young
White
the
the
zither.
his
palace,
lou
poet
a
troops,
pleasure.
built
for
in
a
of
of
person
This
the
in
purple-gold
disagreement
time
yuan
which
(441-5
gold
imperial
a
the with
the
and
uses
the
in
Horse”
imposing
lonely
wife.
The
for
Jianzhang”
sense
supposedly
Shangwu,
This
as
frontier
the
Han
poems
saddle”
the
the
who the
13)
most
the
See
the
last
shifts
Qin
It
pleasure.
other,
gold
The
woman,
(baima
Dynasty
image
traditional
of
adopts
Han
battlefield. 38
Guo
saddle”
.‘ should
line
sight
Dynasty
on
of
soldier.
solitude
with
alludes
the
saddle”
seemingly
),
1936),
in
Dynasty,
the
the his
for
maoqian,
relates
OTS,
pian
in
of
the focus
fact
the
see
poems
lonely
folk-song use
See was
think
the
Chinese
theme
See
theme
(246-207
to
extravagance
is
p. reflects
i
Wang
juan
in
San
imperial
to
the
a
further
a
14.
and
s
Yuefu
The
of war,
objective
place
wife.
the
poem
Yuefu
written
two
as
fu
and
143,
)
portrays
serving
Changling’s
theme.
poetic
the
second
wife
a
huangtu
in
BC)
By
protagonists
enhanced
vehicle
shiji,
for
the
hunting
written
of
pp.
the
remote
shiji,
with
juxtaposing
of
of
and
the
title,
imperial
image
imperial
tradition
1445-1446. his It
juan
line
the
a
the
juan can
..-
soldier.
this
sixth
was to
by
palace,
distance
majestic
and
country
ruler
sets
own
by
63,
implicitly
MII
“the
the
be
63,
title
renovated
by
hunting. 39
starts
century,
hunting
the
*
pp.
the
traced
is
poem in
poet
pp.
the
The
and
portraying
rolling
start
commonly
image
his
of
9
appearance
location
instead
his
16-917.
two,
914-915.
creates
,
Cao
the
desolate
criticize
juan hunting
back
“Woes
palace,
with
which
in poem
wife
dust
each
of
Zhi
the
By
75
of
2,
to
of
a
a
a a
Hans
poems.
Vitality
42 QTS, Deyu
Although
41 me
folk-song
beyond
think poem,
readers
criticism live,
skillfully extravagance from
q
without
Frankel,
the
her
former
some
Wang
of
In
My
the
to
juan
poem
through
(reprint,
this
juxtaposing
theme
Lyric
husband.
this
ponder
.R
material
knowledge
suggesting
explicitly
poem
of
Changling’s
suggestions
143,
poem,
“The
She Finely
Suddenly The
(1785-1839),
has
Voice,
the
of
the
Taipei:
their
regrets
an
young
women’s
P.
is
imperial
Development
world
The
effect the
dressed,
not
allegorical
objective
1446;
pp.
stating
of
relationship.
that
seeing
poet
included
Yinwen,
woman
image
letting
the
restrained
see
253-286.
enables
of
Yangyizhai
hunting
suffering:
the
revised
conveys
juxtaposition.
folk-song
she
Wang
his
the
description
content
theme
her
A
of
of
goes
opinion.
of
in
colour
1985),
him
Young
a
trip.
the
man
Fuzhi,
the
style
Han
translation
As
forlorn
his
up
is
to
house,
shihua
theme
which
Yuefu
go
a
p.
of
to
disagreement
and
express
to
of
Wife’s
result,
This
of
Jiangzhai
after
2025.
willows
portray
He
the
using
wife
Wei
the
implicitly
4 is
unaware
shiji,
presents
tower
restraint
based of
titles.
Sorrow 42
‘
critics
external
his
objective
yuefu
thus
Joseph
the
by
its
*-
anti-war
shihua,
one
on
with
subject of
the
4’
pride
reinforces
two
criticizes
have
of
as
her
an
world
day
,
roadside,
Lee,
style
the
a
realities
imagery
analysis
juan
and
longing;
High
different
attitude
in
matter
in
policy
Wang
enables in
spring.
government
Qing
joy
1,
the
which
Literary
and
p.
which
is
by of
of
in
poet’s
shihua
interpretations
4.
that
Changling,
a
Hans Wang
appears
imperial
the
The
the
lady,
has
of
Genre,”
next
corruption. 41
ridicule
two
xubian
latter
Frankel.
the
to
implications while
to
poem
hunting
deliver
folk-song
characters
invite
see
p.
in
*
others
of
of
107.
Ih
on
Pan
See
*
the
the
his
his
76
by a
contemporary lonely
while objective living
of
persona’s
in It phrase
prepares
theme.
world,
with
emotions,
creates
the goes first poet
of
social
reflects
hope
agony,
objective
season
line
portrays
its
up
she
in
young
issues.
“go
As the
Thereafter,
The
an
The
The
Adopting
of
implication
to
solitude.
for
description
depicts
the
should
appearance
objective
noted
which
advancing
using
the
“willow”,
after
of
first
implication
the
imagery,
second
constant
wife,
the
government.
spring.
tower”
concluding
titles”
in
couplet
the
be
a
agony
contrasts
the
The
the
young
the
the
observation
enjoying
of
connotations
ironic
couplet
folk-song
as
their
reinforces
the
wars
to
poem
previous
suggests By
verb the
poet
the of
gives
the
of
poet
wife
political
portraying
the
by
unexpected,
against
with
line.
key
parting,
“regrets”
interweaves intricately
theme
shifts
innocence
suggesting
uses
endlessly
an
theme
at
of
chapter,
the
to
the
that
By
objective
an
of
the
the
other
description
careers.
husband
in youthful
from
using
external
age
along
of
implies
of
the
character.
persona’s
the
presents
evokes
waiting
the
nations,
and
the
freedom
innocent
description the
persona’s
last
objective
the
description
with willow
In
lonely
goes
picture
forlorn
happiness.
imagery.
the
connotation
line,
of
this
a
a
young
inner
and
dramatic
young
the the
character’s
to
from
of
wife
circumstance,
in
the appearance
state
of
war
the
description
outer
with
sorrow.
suddenness,
the
feelings,
of
the
wife.
persona’s
care
On
whose
bride
fact
Through
in
of
the
Tang
criticism
persona
of
world
change
hope
line
the
that
youthfulness
loneliness.
in
Through
a
wasting
The
husband
concrete
was
lady.
the
the
and
three,
of
some
to
many
to
regret
his
in
by
shifts image
poet
promotion
a
conveys
first
of
her
the
the
symbol
observation
showing
her
the
the
the
people
wives
is
feature
cleverly
movements,
in
The
couplet,
character’s
objective
the
“finely
careful
youth
of away
adverb
war
being
his
the
for
persona’s
joined focus
were
to
her
policies
of
concern at
in
persona.
parting.
develops
the
dressed, arrangement
renders
regarding
alone.
“suddenly”,
the
the
response
loneliness,
mood,
left
from
the
personal
nobility.
the
external
war,
image
alone,
of
about
army
poet
The
The
and
the
his
the
she
his
the
77
to a
juan
47 The
46 There
See
title Li
the 44 These
43 Here
45 QTS,
convenience
view, seven his
soldier’s example, opposition of
Changling
Bai,
Yuefu
the
Guo
thoughts
recorded
143,
poems
version
should
in
with
The B.
soldier’s
I
juan
is
Maoqian,
“Campaign
frontier
leave
p.
the
shiji
Wang
The
another
wrote
to
the
1444)
of
second
143,
on
with
in
category
military
be
in
“At
How
The
West
At
Frontier
out
(juan
identification. 44
title
the
frontier
Yuefu
treated
life approximately
life,
adopts
p.
dusk,
the
because
version
dusk,
Yuefu
the
Qiang
QTS
of
can
of
1444;
Songs”
33,
major
on
same
to
away
policy.
second
“Campaign
xianghe
the
Theme
shiji
I
I
I pp.
explore
individually,
policy.
(juan
an
sit
the
shiji,
think
flute’s
climb
in
revised
city,
the
California:
title.
487-488.)
alone
reads,
are
old
theme
the
frontier. 43
In
of
very
143,
juan
of
geci
beacons
nine
recorded
up
melody
Yuefu
his
folk-song
two
various
Since
Wang
in
the
translation Song”
[the
p.
same
famous
33,
in
4LJ
the
poems
poems
(First
one
1444),
the
T.C.
shiji
Wang
these
tower]
p.
Changling
“Moon
autumn are
(cong
aspects
poem
in
grieving
number
487.
In
k
of
theme
on
high
the “Campaign
which
Press,
“Heading
poems
only
of
most
45 . Seven)
alone.”
this Changling’s
jun
is
Yuefu
of
Tang
sea
on
of
also
the
Mountain
reads,
Among
of
given
in
subject.
1969),
is
current
top
wind. 46
do of
her
Zichang
first,
recorded the
recorded
shiji
for
not
these
of
4L
Songs”
before
golden
Han
the
p.
hundred-feet
Wang’s
have
second,
under
All
frontier
folk-song
Gate”
123.
poems,
Frontier”
ft),
in
Dynasty,
of
to (cong
to
a
each
chamber,
Poems
the
sequential
them
be
have
still
QTS,
and
seven
life
written
tune
jun
poem
the
plays.
fourth
towers.
(chu
focus
gijue
composed
as
of
juan
the
poems
poet
of
thousands
Tang
well
is
order,
sai
ping
by
hardship
on
are
is
t
184,
merely
expresses
as
another
114
the
(San
war.
of
recorded
diao
expressing
a
and,
;
p.
the
hardships
group
of
ft),
Rafael,
1876).
for
qu
of
Wang
OTS,
in
miles
same
poet,
my
the
the
for his
78
in of
p.
48 See
See
loneliness
constant homesickness,
which
implies
about the
experiences through enables
between
objective
objective introduces
scene “beacons”
334.
flute
Guo
the
the
and
transforms
The
This
the
the
battle,
Maoqian,
his
the
melody
introduction
description
agonizing
reality
its
associated
and
the
reason
sense
during
poet
natural
war
poem
tension.
the
his narrator.
“hundred-feet
scene
is
of
the to
of
climbing
Yuefu
objective
the
“Who
for
describes
presented
surroundings.
the
detach
parting
solitude
material
of
away!” with
battle.
with
his
With
of
setting
the
The
can
shiji,
the
protagonist’s
the
the
the
up
narrator’s
of
climbing
war
first
ease
further
surroundings fusion
a
in
towers”
the
juan
lovers. 48
title
autumn,
narrator
while
soldier’s
the
scene
line
the
high
This
“Guan
33,
third
of
becomes
setting
one
motion
sitting
and
in
tower
time
of
p.
sorrow--the
from
wind
is
longing
the
line.
Hence,
grieving
487.
the
the
shan
into
thus
signals
alone
first
the
implies
up
his
first
solitary
and
a
a
“Moon
yue”
sense a
reflection
central
by
reality,
the for
brief
line
the
in
line
create
soldier’s
shown
introducing
in
her
his
tower, home.
image
of
economically
hero’s
of
suggests
solitary
Guo
mood
gazing
golden
isolation
the
Mountain
a
of
by
sense
the
Maoqian’s,
of
longing
war,
The
physical
his
“dusk”
of
the
moment
homewards,
second
chamber,
the
the
loneliness.
of
the
first
as
and
persona
Gate”
loneliness.
soldier’s
piece
sketch
the
for
poem,
and
existence
present
three
line
Yuefu
auditory which
home
thousands
of
“autumn”,
is
in
sets
and
In
loneliness.
the
lines
a
music,
weariness
the
shiji,
musical
his
the
and
the
The
the
the
frontier
reflects
second
imagery
depict
context loneliness
character
his
cold
juan
time
of
the
contrast
and
miles
piece
lover
with
poet
The
and
line
war
23,
the
and
the
the
79
of of
51 The Barrier” poetry,
49 QI., 50 In
narrator’s
frontier makes
soldier’s
consistent
of soldier’s
solitary through personal
loneliness,
conclusion
bleakness
homesickness.
QTS,
diction
the
By
p.
Centering
juan
(yan
sorrow
longing
policy
missing
powerlessness
sadness
weariness
107.
poem
of
with
the
the
a
from
men
143,
his
scene
“zhong
If
Yellow The Long
“Jade
of
interaction
the
which
rich
for
inner
we
built
the
her
p.
guan
the
his
lone
thousands
objective
home
1444;
do
clouds
in
with
Gate
“is
lonely
love.
narrator.
poem
up world.
sands,
kept
emotion
not
fortress to
in
the
in
revised
11
Barrier”
comfort
smash
from
of
also
the
Such soldier
the soldiers
on
a
MI).
description
constant
of
hundred
the
The
previous
I
and
a
following
written
the
miles
gaze
change
translation Kroraina
mood
See
war
(yu
his
to
conveys
last
(Fourth
Sea
from
his
at
love’s
wars.
away
QTS,
men
battles
line,
as
and
of
of
far
three
in
forlorn
of
gijue
“jjng
Kokonor
we
home.
sorrow,
away
guan
of
the
the
direction
the
by though
The
juan
from
lonely
lines,
have
never
Seven) 49
poem
i”;
poet’s
previous
Stephen
soldier’s
wife.
inner
is
143,
the
The
pierced
the
the the
heart,
it
darken
shall
11 both
of
critical
moves
soldier,
from
p.
Jade poet
reflective
poet
poet
Instead
MI)
the
Owen,
three
1444.
words go
loneliness,
and
our
the
same
the
Gate
concludes
is
explores
home. 51
abruptly
attitude away
in
thus
lines,
golden
mountain
also
The
of
soldier
in
which
Barrier. 50
title.
reality
continuing
English
from
in
great
written
reinforces
towards
armour-
the
turn
shifts
another
with
to
his
the
and
of
age
poem
his
reveals
mean
wife
Snow
another
hero,
as
his
restrained
of
the
the
love,
aspect
“Goose
the
Chinese
is
focus
then
“after
reveals
implies
imagery
his
agonizing
deep
aspect
which
current
of
agony
in
all.”
Gate
style
and
the the
the
the
80
of
of is
Jade
52 For
There
ambitious
intensified young
of
phrase narrator’s
beholder.
soldier’s the depicts isolation
description poet
scene.
border province,
Gansu
complex
the
length
Gate
gives
a
soldier
are
soldier
“a
province.
The
of
the
The Dealing
The
detailed
weariness
messages
of
inner
hundred
Barrier,
while
China’s
by
of
reality
two
Hence,
vow
geographical
second
first
of
the
phrase
time
the
has
in
If
reality
feelings
layers
with
fortress,
the
from
discussion
couplet
the
we
message
to
worn
see
Moreover,
battles
the interior. 52
the
regarding
couplet
with
“I
the
“mountain
do
first
the
Dai
narrator
in
of
the
adjective
gaze
not
of
out.
setting
location depicts
subject
battles.
but
couplet.
the
have
meaning
of
Shijun
desolation
soldiers.
smash
regarding
is
far
the
The
the
first
also
the
a
By
pierced
has
while
of
away”
commentary
final
matter
objective
“lone”,
poet’s
of
revelation
*
Not
“Jade
Kroraina
his
juxtaposing
Snow”
couplet
This
endured
within
the
*
line:
and
inviting
the Regardless
own
only
our
criticism
of
introduces
poem
1.
building
Gate
in
loneliness
geographical
and a
reality.
into
golden
this
the
loneliness.
“Lun
soldier’s
we
the on
of
from
to
associations
Barrier”
“Jade
such
narrator’s
three
never
the
line.
a
golden
give
of
sheng
up
scene
The
armour”
of
the
the
the
frontier.
towards
weariness
longing
Gate
of
distant
it
shall
the
On
narrator,
endless
voice
“Sea
a was
location
the
armour,
The
Tang
that
touch
eye
Barrier”
the
hardship
with
go
suggests
soldier’s
considered
of
the
locations
first for
Furthermore,
of
is
biansai
home.
signifies
one
reinforces
frontier
Kokonor”
of
a
subjectively
the
frontier
home,
and
and
but
massive
couplet,
realism,
are
hand,
narrator,
of
related the
longing
also
transforms
shi
in
wars
both
this
not
the
in
life.
danger,
de
the
the
is
the
it
yet
but
therefore,
the
it
poem
only
in
located of
symbolism frontier
appears
fanzhan
also
desolate
perceived
for
first
the
enthusiasm
desolate
present
also
Tang his
2(1985):
hardship,
the
the
home
soldier.
is
conveys
couplet,
time.
reflects
dense
in
objective objective
jingshen to
to
life,
not
feelings
Qinghai
frontier
present
is
be
of
be
by
only
77.
thus
with
of
The
and
the
the
the the
the the
an
its
81 a
t
56 This ping
54 See
55 QI,
53 This
perspective.
theme, policy.
the
intricacy their home. 54 neighboring
discloses previous representing
determination
have
soldiers. 53
,“
frontier
zhu,
and
ambition
fought,
Shen
line
comment
deals
The
p.
In
and
mood
both
edited
The
the
1444;
in
policy
Deqian,
the
powerlessness
the
complexity. country
with
On
Chinese and
narrator’s
to
He
lines If
Our
coexistence
The
to
of
following
by
soldiers’
revised
have
the
is
conquer
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how
of
troops
moon
Fu
suggested
share
Tang
Lightning
his
of
a
same
other
Han,
is
Shousun,
glorious
much
China
translation
desperation
not
time,
also
goes
desperate
marching
a
shi
another
poem,
of
of
this
similar
subject
hand,
allow
bie
written
these
the
by
back
hardship
and
General
of
line
victory
p.
cai,
the
soldier
the
the
the
country,
probably
this
meaning.
feeling
26.
two
to
ten matter,
of
suggests
juan modern
Over
as
at
poet,
the
Hun
Han
Tang
of
thousand
line
creates
layers
they
“wan
the
in
time
Dragon
19,
of
the
cavalry
Dynasty,
the
creates
though
this
Zichang,
endless
reflects
may
that,
have
never
See
commentator
ii
part
B
of
of
hardships
a
zheng
order 55
poem
miles
brave,
Chin,
meaning,
QI,
City
also
regardless
4,
to
endured,
an
being
writing
society’s
battles
p.
they
cross
Poems
irony
were
fu
out
implicitly
be
the
energetic,
juan
117.
shang
of
able
interpreted
have
can
gates
Mount
the
Liu
present,
the
on
and
which
148,
without
of
of
suffering
to
never
soldiers’
yet
Tang,
another
wei
Baishan. how
frontier
of
return
his
raises
p.
and
Yin.
Great
to
makes
huan
1444.
many
uncertainty
go
conquering
return. 56
majestic
p.
in
because
home.
the
longing
life,
traditional
home.
125.
Wall
an
See
the
battles
poet’s
opposite
from
poem
Tang
to
image
Continuing
The
of
for
the
about
criticism
Kroraina,
the
a the
folk-song
home
historical
ren
final
rich
time
for
soldiers
frontier
way
A.
going
jueju
these
with
of
line and
.
the
82
of
as a
juan
57 This
General” insinuates
By
By
antagonistic
the
comment. frontier
maps
the
and creates that fortress
existence begins invasions. the
the
a
unreturned
fusing
concept poet Han
stillness.
21,
of
conditional
out
poem
In
the
an
The
the The
is
p.
dynasty
scene,
contemplates
alludes
the
to
a
image
still
the
its “Ten
poem
321.
However,
ancient
historical
first
attitude
title
of
the
is
second
By
depiction
incompetence
the
“ancient”,
soldiers
recorded
the
past.
sentence
thousand
couplet
about “Over
of
with
to
stating
same
unending dynasties,
poet
to
the
couplet,
unlike
framework
The
the
the
an
soldiers
the
echoes
famous
in
as
is
of
that
shifts
which
and objective
current
historical
miles”
moon
a
the
that Border”
time,
commentary the
the
war.
the
fuse
of
category
Qin
the
heading
of
his
alludes
previous
Han
poet
present-day
in
suggests
external
war.
for
place
the
with
long-lasting
The
and
description
focus
the
indicates
background
his
general,
contemplates
Han.
sky
“Qin”
hengchui to
to
Han,
the
and
poems,
first
on
a
the
to world
the
present
is
competent
By
the
people,
the
that
the
the frontier
and
remoteness
military
comments.
Li
of
relating
tragedy
historical
to
is
both
guci
never-returned
poet
same
the
Guang
“Han”
the
the
the
scene
a
solution
the
theme
for
frontier
4
couplets
not
general
current
same
commanders.
moon
endured
the
coordinate
war. 57
-
poem
to
of
continuity
only
Through
objective
build
is
the
from
&
as
to
scene,
of
wars
adopted
in
presents
intricately
frontier,
the
in
by
ancient
(d.
soldiers,
By
this
an
the
the
of
the
with
against
endless
establishing
of
using
while
119
image
scenery
poem
The
the
past
Qin
from
constant
families
times,
each
while
a
Han
B.C.).
to
phrase
a
and
Dynasty,
historical
relating
continuing
reveals
historical
are
of
traditional
the
present,
of
other
in
changelessness
the
the
commentaries.
completes
war.
of
the
folk-songs
a
Yuefu
General
“Lightning
poet
imagery
changeless
the
to
its
the
present
while
The
fact,
tragedy.
the
develop
present
foreign
troops.
theme,
subtly
poet’s
shiji,
poet
poet
but
his
the
Li
83
of
of to
of
59 Ban
58 ”Dragon
conquered
The
appearance
to
writes traditionally
In
IV.
theme encompasses
frustrations
cannot of incompetence
commanders
stature, conditional General” periodic
gained
foreign
the
most
current
Conclusion
emotions
of
from
Gu,
theme.
return
One
From
Through
his
has
of
contemporary
incursions
for
intruders
by
city”
Han
commanders,
fame
of
regarding
his
sentence
of the
an
used
General
his
various
home,
the
of
the
an
of
the
ineffective
works
seventh
shu
Unlike
(long
ancient
event,
for
current
miraculous
poet
juxtaposing
above
most
in
in
buzhu,
and
dealing
in
into
subject
other
Wei
the
general.
cheng
seems
written
themes.
the
this
century
noticeable
most
the
military times
discussion,
current
Qing
North
reinforces
border
poet
juan
poetic
couplet
country
*1
the
to
skill
matter
of
in
no
Shi
two
be
and
*),
centers
Huns
54,
frontier
commanders.
China
his
the
and
longer defense.
particularly
genres.
*
features
Zhecun,
is
the
in
still
pp.
historical
as
we
the
predecessors, folk-song
that
(d.
speed
his
a
spirit
his
Shi
2443-2444.
crushing
has
policy
stopped. 58
see
exist,
tragedy
106
qijue.
the
attention
of
Besides
Tang
Zhecun
A
to
in
of
that
BC)
present
Wang’s
interested
further
spend
military
and
Hence,
observations,
the
the
manner,
His
shi
defeat
unlike in
of
folk-song
intruders
the
suggested,
using
on
who
qijue
the
bai
Han,
a
dynasty,
The
gijue
implication
lot
military
the
exploring
operations. 59
in
at
hua,
first
his
Wang
wrote
of
poems
and
traditional
buried
Huns
are
Dragon
is
manpower
predecessors,
cannot
that
p.
couplet,
lacking
those
their
the
here
commanders.
was
integrates
148.
qijue
nicknamed
embrace
the
theme,
belongs
is
poem
City,
refers
unconventional
the
concerning
be
that
feelings
subject
a
since
The
only
on
capital
stopped,
general
that
and
since
to
to
reveals
both
the
themes
implication
Wang
the
the
the
of
to
him
of
henceforth
matter,
frontier.
of the
the
incompetence
of
suffering sixth
his
headquarters
describe
soldiers
showing
the
“Lightning
Li
Changling
occasional
the
competent
which
personae.
approach
century.
Guang’s
Tartars
he
poet’s
of
their
also
and
still
the
are
the
the 84
feelings inner predecessors,
abandonment.
emotions
enables
Wang
While
of
him
his
to
Changling
employing
characters.
implicitly
turns
include
the
This
the
dramatic
transformation
his
material
opinion
plot
world
on
and
the
from
into
concrete
issues
the
a
vehicle
outer
that
descriptive
evoke
to
world
reflect
the
to
manner
feelings.
reflect
the
complex
of
inner
his 85
popular.
by
he
descriptive romantic
tonal
innovation song description, the
major
qijue.
seventh character
poetic
the
has
Changling’s
time.
himself when
is
his
sixth perspective
been
probably
pattern.
themes.
thematic
predecessors,
gijue
Furthermore,
In
style.
Wang
Qijue
Wang
century,
to
poetry century,
Secondly,
the
esteemed
quatrains
form in
writing
was
the
Hence,
success
evolution
did
qijue
Changling
the Otherwise,
The
Changling
of
periods,
to
seven-character
with
not
since
not
earliest
because the
occasional
the
of
same
as
can
in
widely
the
but
the
take
in
little
qijue
the
his
the
the
form.
of
be
those
best
gijue
he
poet
played
poet
seventh descriptive
qijue
the was
its
qijue
dominant master
use
the
traced
tradition.
also
written,
way
final
enjoys
seven-character
In
of
verse,
is
to
dominant
of
a
in
poems,
transformed
an
due fact, poet
folk-song,
devote
quatrains
allusion.
to
of
century
back
the form
important
Wang
understand
poetic
remained
the
a
to
the
seventh
active
manner
great CHAFFER
CONCLUSION
to
until
his
he
himself
form
aesthetic
poet
was
the
not
was
were
form
integrating
and
success
in
the
them
role
mid-fifth
quatrain
by
century,
the
similar
is
persisted
only
perhaps the
the
Wang
to
seventh
was
written
one
critics
establishment
taste
in
EWE
to qijue
first
celebration
inherited
in
writing
the
of
accommodate
to
Changling’s
to
apart
the
qijue
in
century.
over
the the
writing,
half
their
century,
in
in five-character
the
poetry
gijue
a
earliest
most
the
from
eighth
qijue, of
writing
the
detailed
the
predecessors
of
the
seventh
even of
centuries.
tradition
poetic
From
stressed
productive
although
the
changing
qijue
the
the
poet
eighth
century
his
that,
public
though
manner
modern-style
form
poem,
the
own
techniques
is to
century.
precise
because
with
the
century.
to
fifth
in
consciously
In
qijue.
thematically
occasion.
went
purpose.
gijue
the
examine
terms
few
my
prototype
following
his
century
form
and
through
view,
poets
poets
First
of
The
developed
innovative
of
regulated
At
them,
detailed
was
Wang’s
them
simple,
During
devote
major
of
a
Wang
wrote to
seven
of
from
folk-
time
two
not
all,
the
his
he
in 86
opinion
various
into
distant
allows manner implies
of Changling’s
description
manifests
invite
their
his
Wang’s
contrast
seventh
itself complex poems
predecessors, His
use
and folk-song
the
poems
the
choice of
his
highly
for
material
many
objectivity,
detailed
the
more
The
However,
makes
interpretations.
the
regarding
historical
centuries
or
poems
own
emotion
itself description’s
but
themes
parallelism
poet
of
of
complex
possible
success
complexity
suggestive
accessible.
themes
unique
the
the
also
use
world
in
descriptive
turn
to
his
events
outer
into Wang
uncontrolled
current
of
and
little
and
express
uses
in
interpretations.
emotions
just
descriptive
the the
were
style.
of
a
qijue.
personal,
sake.
celebrating
world, nature,
By
implication
vehicle allusion
Changling
in
character
he
carefully
concrete
as
issues.
similar
focusing
techniques
Wang
strong
alludes
a
The
Unlike
camera
Focusing
and
of
emotional
and
to
emotional
manner.
and
his
imagery
The
to
chosen
mirror
Changling’s
evoked
obscure, and
emotions
created
to, because
the
to
on
previous
personae.
does.
his
are
paradoxical
reflect
enabled
and
objective
public
mainly
emotion,
The
predecessors, mostly
turmoil
the
imagery,
in
intensity
by
thus
a
Yet
subjective
of
his
in
new
emotional
paradoxical
the
poets.
an
occasion.
the
him
on
through
a
transforms
The
poems
qijue
event
based
and
inner
the
description
restrained
way
elements
complex Wang the
makes
to
controlled
Two
poet
complexity
of create
emotional
complex
not
instead
emotion
seems
on
state
his
the
qijue
not
existence
major
His
interweaves
the
only
concrete
traditional
arrangement
emotions
focus
of
manner.
only
of
a
so
poem
to
qijue
of
writing
sense
his
tone
their
of
emotion
themes
exists
objectively
more
often
intensity
simply
creates
his
of
qijue,
of
intriguing
events,
of
poems,
characters.
of
both
his
they
characters.
material
obvious.
by
The
in
a
used
voice
he
realism
of
contemporary
describing
of
presenting
a
combining
poems
the
is
wrote
clear
sense
imply,
the
contrast
human
present
which
the
like
in
and
theme
and
objects,
to
the
in
and
This
key
about
of
Through
those
stresses
express
descriptive
Because
his
invites
his
makes
realism
suffering,
sixth
an
objective
the
past
between
to
but
tradition
contrast
poems.
poems
Wang image
are
Wang
of
spirit
event
also
and
and
his the
the
the
the
his the
of
in 87
emotions.
successfully Changling, concrete theme present,
Changling’s
and
serious
and
In
and
emotion
short,
technique,
Hence,
the
merging
ideas
present
accessible
aesthetic
Wang’s
to
Wang
and
sublime
of
its
the
the
events,
content,
success
distance,
Changling’s
qijue
taste
qijue
imagery,
is
in
he
in
tradition
while
no
qijue
creates
qijue
objectiveness
longer
but
well-structured
embracing
emphasizes
is
also
with
intricate
in
confined
his
blaze
his
ability
own
and
tradition.
and
a
new
subtlety to
twenty-eight
innovative
inexhaustible
subjectiveness,
mere
to
way
apply
Through
entertainment.
and
for
his
craftsmanship
qijue.
profundity
character
unique
messages.
such
result
poetic
an
Focusing
poems
in
expansion
and
from
Since
expressing
technique
spirit.
not
on
Wang
Wang
only
the
of 88
wx
XTS
ow
HI’
ICTCL
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Tang
Xin
Quan
Oinding
Jiu
The
Heyue
Tang
Tang
Tang
Indiana
dpi
Tang
dai
yingling
Quan
keju
shu
shiren
shu
shi
Comnanion
yu
Tang
ji
cong
wenxue
wen
List
Xao
To
of
Traditional
Abbreviations:
Chinese
Literature 89
Jiangzhai Heyue
Han
Deng Danyang
Houcun
II.
Zhongguo
Zhongguo
Zhongguo
Thongguo
Twenty-five The
Shi Encyclopedia
A
I.
Reference
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