The literary and artistic integration of poetry and song discernment and the reconstruction of historical theory

Author: LI Feiyue (Associate Professor, School of Humanities, Tsinghua University)

Summary: The standards of style, singing and melody of poetry and song identification reflect the constituent elements, morphological characteristics and stylistic concepts of songs and poems in different historical periods. "Qu-Word-Poem" is a stylistic evolution from art to literature and from vulgarity to elegance, and "poetry-word-song" evolves from literature to art and from simple to complex, obscuring a richer and more diverse literary and artistic landscape. We should open up the stylistic division between poetry and song according to the basic historical fact that poetry and song are homologous, reflect on the history of text generation, attach importance to the comprehensive artistic characteristics of poetry and song, regard them as different art forms and historical forms of poetry, dialectically understand the symbiotic relationship between them, and thus rethink the occurrence and characteristics of styles such as opera and novels. With the help of the research perspective of lyrics and art, it can promote the reinterpretation of relevant historical propositions and the reconstruction of stylistic genealogy in the perspective of wholeness and long time.

As the highest embodiment of the artistic achievements of classical Chinese poetry, poetry and song were praised as "literature of a generation" at the height of the Tang, Song and Yuan dynasties. The identification of poetry and song has always been a core issue in the study of literary history, which is not only related to the determination of the essential characteristics of poetry, but also related to the origin and generation of songs, as well as the relationship with genres such as music, variations, opera, and novels. In 1998, Hu Ming proposed in the article "Lexical Research in the Past One Hundred Years: Interpretation and Reflection": "Words, up and down and poetry and literature, down and the development of music and drama style vertically, continue the history, or change the plane of thinking, how do the disciplines of poetry, song and drama on the horizontal level enter and exit, connect and infiltrate each other?" The comparative and combined research between them is also a macroscopic ontological rheology history and fusion history. (1) In the past 20 years, although the research on this issue has been less positively promoted, the peripheral research around related issues (such as big songs, sound poems, joint chapters, turning steps, earning words, palace tones, poetry, words, etc.) has opened up the channels for us to study poetry and music, and gradually realized that there is both a "homologous and common body" side and a "tao is not the same" side, as well as a mutual transformation and opposite relationship. In the past, the discernment was mainly carried out in the two plane categories of the one-way evolution of "poetry-word-song" and "poetry-word", "word-song", "music-sound poem", "literature-music", etc. (2) The discussion of many specific issues has become a controversy of concepts and standards, often confined to predetermined positions and caught in an interpretive cycle. Once placed in the three-dimensional vision of "poetry-word-song", they present new forms and performances, not only the existing conceptual standards and interrelationships change accordingly, but even lead to the reinterpretation of related historical propositions and the reconstruction of stylistic genealogy.

I. Criteria for defining poetry and songs and their problems

Conceptual terms about poetry and song are mainly descriptive, referential and exclusive definitions. These definitions generally have a broad and narrow meaning, and the identification of essential characteristics varies according to the concept of the times. "Poetry" developed from the epithet of song and poetry to the specific meaning of the law poem, and (3) the "word" also developed from the general term of the lyric to the specific meaning of the law. (4) Similarly, "sanqu" (5) and "miscellaneous drama" (6) are also denotatory concepts that are constantly being defined. In addition to the common "Tang poems", "Song ci", "Yuan Qu", there are also common literary and artistic categories such as "Tang Ci", "Tang Qu", "Tang Opera", "Song Sheng Poems", "Song Jin Miscellaneous Dramas", "Jin Yuanyuan Ben", "Song and Yuan Poetry", "Yuan Ming Words", and "Lefu", "Music Movement", "Song", "Song Lyrics", "Qu Ci" and other common titles, which greatly increase the complexity and difficulty of the poetry and song identification. In addition, the specific connotations of these concepts are random and intertextual, and often need to be confirmed by returning to specific texts and historical contexts.

As different types of songs and poems, poetry and songs generally have three criteria for distinguishing their bodies, namely, the level of text grammar, such as rhymes, sentence forms, flat tones, four voices, clear clouds, etc.; singing level, such as selected poetry soundtrack, leaning sound filler, overtone harmony, lining cavity, etc.; music level, such as music title, tone, song plate and transposition, transposition, transposition, transposition, inflection, set of songs, etc. At the same time, poetry and music, as a representative style of the Tang, Song and Yuan dynasties, have the standard of the times for the literature of a generation. These four definition criteria all have different problems.

First, the problem of the standard of law. Grammar is gradually formed in the inductive comparison of textual features, and constantly changes with the changes of Chinese (phonology, vocabulary, grammar) and music (Qingle, Yanle, Folk Music). For example, the sound rhyme underwent major changes in the Tang, Song and Yuan dynasties: ping qi went from four voices and two points to one flat three and then to two flat two, and the four voices also continued to appear to go up to the flat, yang to go, three sounds through the leaves, and into the three voices; the rhyme from "Cut Rhyme", "Tang Rhyme" to "Guang Yun", "Ping Shui Rhyme", and then to "Zhongyuan Sound Rhyme", "Hongwu Zheng Rhyme", the division and transfer of rhymes have undergone great changes. The creation of poetry and songs is based on different phonological systems, and the various grammatical notations are constructed according to the phonological comparison and induction, which actually ignores the fact that the basis of language and music has changed. From the perspective of historical activities and things as a whole, the essential difference between poetry and song lies not only in the text rules, but also in different singing methods and musical forms. It is difficult for the grammatical standards to separate the music house, sound poems, lingzi and yuanqu xiaoling in the qiyan style, and the collection of poems and songs will generally be re-collected. For example, the Quan Tang Poems and the Quan Tang Five Generations repeatedly include some song lyrics and vocal poems, which is more common after the independence of the song style. In the "Quanyuan Sanqu", Bai Pu's scattered song [Little Peach Red] was mistakenly written by posterity and included in the "Tianlai Collection" and "Quanjin Yuanzi", and Zhang Kejiu's 15 songs [Renyue Yuan] were included in both "Quanyuan Sanqu" and "QuanjinYuanZi". Jin Yuanren's collection of words is often mixed into tunes, such as Wang Yun's "Qiujian Lefu" has 39 tunes. Zhu Yizun's "Dictionary of Words" advocates strict distinction between songs and songs, but (7) it selects 12 northern songs by composers Feng Zizhen, Bai Wugui, Qiao Ji, Zhang Kejiu, Meng Fang and others. As a specification for filling in words, the "King's Word Notation" not only includes some Tang Dynasty vocal poems and Yuanqu Xiaoling, but also includes a complete set of Tang and Song Songs, while the "Nine Palaces Dacheng" and "Broken Gold Word Notation" are both numerous.

Second, the problem of singing standards. Ren Zhongmin's "Tang Sheng Poems" "began with about 2,000 pieces of Tang poems and Tang Dynasty folk sayings that were indeed sung or had the possibility of singing, and proposed more than 100 tunes used in them", (8) its vocal words include "harmony", "overlapping singing", "sending voices" and so on. After the rise of the word style, there are "virtual sounds", "overtone sounds", and "spreading"; after the rise of the song style, there are "lining words", "lining cavities", and "singing". Shen Kuo's "Mengxi Pen Talk" Yun: "If there is harmony outside the poem, the so-called quye." Ancient music houses have sound and words connected to the book. (9) The reason why Tang poetry presents a regular text form is also because people are familiar with the vocal words of popular topics, which can be beaten according to the song, so in the process of copying, the vocal words with low literary value are partially deposed. The key to the evolution of poetry and song is the relationship between poetry and music, especially the change of vocal words, if the lining cavity and lining of the song are removed, it will generally present a more regular text form. The characteristics of early word styles, such as lining, harmony, indefinite number of words, unevenness, indeterminate leaf rhyme, and aria names, (10) are also the characteristics of early poetry and song styles. Kong Shangren said: "There are no poems after the Tang Dynasty, no words after the Song Dynasty, no poems and words, and no songs and poems and words." ...... The transmission of music, the transmission of its syllables also; the transmission of syllables, the transmission of mouth and ear also. Once the mouth and ear are absolute, the syllables change, and although posterity tries to imitate it, it is due to its literary genre, and its syllables are unknown. (11) "Vocal and Rhetoric Are Mixed" (12) The music or sound poems in the Han, Wei, Sui, and Tang Dynasties are not all qi speech or law, from oral to desk, with the editing specifications of the collection and the inductive construction of the text rules, after the sound words fall off or disappear, they increasingly show a kind of textual regularity.

Third, the problem of music standards. The near-body poems evolved on the basis of the Qi Liang body, and their musical basis was Qing Shang music; the words were generated on the basis of Sui, Tang, and Yan music; and the music was generated on the basis of northern Hu music. A considerable part of the tone or song plate comes from these music, but the origin of the near body poem is classified as Qing Shang music, the origin of the word is classified as Yan music, and the origin of the song is classified as Liaojin Song, all face a common problem, that is, whether the musical source of the poem is single, especially a large number of music titles, tones, and song cards from folk songs or previous generation poetry. The reason why the origin of words comes down to a certain musical genre is because we presuppose the categories of tone and song cards. As Yin Faru said: "All pieces of music that have been matched or filled with lyrics should be called 'tone'; but the general tone or 'word plate' refers to a roughly fixed part of the music that was often used to fill in words in the Tang and Song dynasties, totaling about 870 (including a few gold and yuan tones)." Some tones often have more than one name and one grammar, so there are still some entanglements in the name. (13) "According to the characters" and "with music" are not completely different, the rhythm and melody of the same tune can be ever-changing, and people's variations in long-term practice "can be processed according to the general outline of the same tune, and various variations can be carried out to make it meet the requirements of different contents." (14) It is impossible to make the melody completely subordinate to the tone of the word, "In some cases, the tone of the word has to make the necessary 'concessions' to the melody, and this situation can be regarded as 'music to convey words'." However, in the case of important and crucial words, the melody must be subordinated to the tone as much as possible, which is again a 'sound cavity according to the word'". (15) In modern song creation, in order to meet the needs of melody, rhythm or mode, words should obey the rhythm and fill in the words completely according to the interval, but ancient songs and poems rarely change the lyrics or poems because of singing, and the emergence of a large number of poetry and different texts is often because of the meaning of the text rather than music. Musicians or singers change the composition or singing style of the poet's work, but rarely change the text of the poem because of the music or singing. (16) Therefore, the textual form of classical Chinese poetry usually shows strong stability and consistency.

Fourth, the problem of stylistic victory. According to the division of poetry and songs according to the times, the syllogism of Tang poetry, Song poetry and Yuanqu was produced. The concept of tang dynasty word style has not yet been established, "the word composition system from the early Tang Dynasty to the middle Tang Dynasty is basically in a mixed state with poetry." Conceptually, the poets did not regard these works that were later identified as words independently and as words. When Liu (Yu Xi) and Bai (Ju Yi) compiled their own anthologies, they both compiled these works together with other poems, and did not separate them into a separate volume." (17) With the rise of Song Dynasty lyrics and Yuan Dynasty songwriting, they were independent as a genre and gradually became representatives of a generation of literature. At the same time, the music house, sound poems or song and dance words used for singing were included in the category of words in the Song Dynasty, and the music houses, sound poems, songs, lyrics, and earned words that were sung into the Song Dynasty were included in the category of songs in the Yuan Dynasty. However, the song was not produced as late as the Yuan Dynasty, and the fragment of the earliest surviving Northern Song "Liu Zhiyuan Zhugong Tune" was unearthed in the Black Water City of Western Xia, and the "Music Department" of the Western Xia Chinese text "Miscellaneous Characters" already contained the terms "shadow drama", "miscellaneous drama", "puppet" and so on. (18) The discussion of Tang poetry and Song Poetry and Yuanqu summarizes the poetic achievements of the three eras of Tang, Song and Yuan, and is a representative revelation of the development and evolution of poetry. At the same time, this kind of discourse also creates a kind of confusion and obscuration, that is, the intergenerational and stylistic nature of poetry is confused. In view of the "concept of positive change of dignity and inferiority in lexical research and the stereotype of 'poetry changing into words' fixed as a result", Ren Zhongmin targeted the proposition of 'no words in the Tang Dynasty' and the stylistic evolution clue of 'qu-word-qu'". (19)

Stylistically interpenetrating each other, in addition to the top-down evolution of "taking poetry as words" and "taking words as songs", there are also widespread phenomena of "taking songs as words" (excerpts from Tang and Song dynasties, deskization and literatiization of Ming and Qing legends), and "taking words as poetry" (lefu lyrics becoming close poems, and the regularization of Ming and Qing words). Wang Yi believes that one of the reasons for the decline of mingzi is that the author "uses legendary hands as words", (20) Liu Yupan also believes that it is the result of the rise of the Southern and Northern Qu. Ming Ren "draws close to slow words, does it spontaneously, draws and makes notation, and misleads people. Self-degree of each cavity, go farther and farther away from the ancient", (21) taking the song as a word, the word style is curved, resulting in non-observance of the word law, and the song and song are not divided. Words "on the top is not like poetry, the bottom is not like a song", not like poetry should not be transmitted in writing, not like a song is not suitable for oral transmission, posterity can only take the road of "long and short sentence poems" or "lining of the serif" road. Whether it is the era standard or the stylistic standard that emphasizes the poetry and song, it is easy to ignore or obscure other morphological characteristics while highlighting the characteristics of one aspect of the poetry.

Starting from literary standards and based on texts, it is easy to take the grammatical law as a sign of the distinction between the three; starting from the musical standard, based on songs, it is easy to take music, vocal words and other factors as the symbol of distinction. In an artistic system, the relationships between things are just as important as their ontology. With the expansion of horizons, the definition of poetry and its performance are constantly changing, the originally determined standards appear vague and even uncertain in the new field of view, and the relevance to each other and other things, as part of the whole of things, is gradually enhanced.

Second, the concept and method of poetry and song identification

In the past, the focus of controversy over the identification of poetry and music was different criteria for judging, and the concepts and ways of thinking behind these standards are more worthy of our reflection.

One is essentialist determinism. Influenced by the single origin theory, linear logic and essentialist concept derived from Western scientism in modern times, people believe that the emergence of style has a single definite source or essential characteristic, so a large number of controversial articles on the origin of style have emerged, (22) it is believed that poetry and song are unique styles with essential differences, and this sign is innate and does not agree with each other, which gives rise to some prescriptive or exclusive conceptual definitions. For example, yanle, lexical rhythm or leaning sound are regarded as the essential characteristics of words, which are the root causes of words; exaggerating the decisive role of individual characters or individual documents, ignoring the pertinence and applicability of these views, and forming a set of historical theories that seem to be logically rigorous and complete; in the face of controversial historical materials, they are accustomed to choosing an interpretation that is considered "correct" and discarding the rest, and seeking the so-called final "correct" conclusion based on the influence of possibilities and similarity inferences. But after all, literary and artistic topics are not scientific formulas, and they will not only lead to the emergence of a specific genre by some factor, and this genre will not continue to change along the established path. The generation of style is not a single source, but full of diversity and variability, from the origin (Yan music, music house, sound poetry, folk songs, etc.) to the discernment (the discernment of poetry, the discernment of lyrics) to the regularization (drawing on the inductive construction of poetry, rhyme and ping, etc.), which is the result of the joint participation and action of various factors. Seeking reasons only from the stylistic itself or reducing stylistic evolution to an independent and self-contained line, or even establishing immutable concepts or standards, will produce many conclusions that seem certain but in fact lack universality and consistency. The conceptual logic of essentialism ignores the relativity and diversity of the development and evolution of classical Chinese poetry, exaggerates the certainty and uniqueness of the poetic style, and leads to the evolutionary theory and teleology of stylistic evolution.

The second is the evolutionary theory of linear causation. Tang poetry and Song Poetry Yuanqu embody the evolutionary relationship of poetry from simple to complex, and behind it is the evolutionary thinking of stylistic generation. The study of stylistic origins is generally based on certain salient features. Simple linear causal logic holds that the essential characteristics of a thing arise, develop, and evolve independently. Simplifying the multiple sources and generative factors of things into a path that seems clear and concise actually causes each person to have different determinations of the nature or main characteristics of things and different works that date back to different historical periods. For example, if the word music and the word filling according to the music are the main factors in the generation of word form, the origin of the word will be presumed to be the formation of Sui and Tang Yan music. As to whether this musical genre only produces words or whether words have other sources, let alone care. In fact, the main function of Yan le is to be used for banquet song and dance and big song performance, and the source of the word music can be seen from the composition of the Tang Five Pronouns. The same is true of the origin of near-body poetry and the origin of opera. If we do not take into account the diversity, variability and relativity of the characteristics of poetry and song, we will exaggerate a certain characteristic and ignore their integrity as lyrical art. The origin of poetry and song is the result of the interaction of poetry, music, song and dance and constant discernment, and once established, it will continue to change with language, music and aesthetics. A genre will present different artistic forms and textual characteristics at different historical stages, and we should pay attention to the growth and reshaping of stylistic styles.

At present, many of the discussions on the origin of poetry and song are based on a presupposition that the style is independently conceived and developed, and from the beginning it has a definite and unswerving essential characteristic, which has uniqueness and exclusivity. In fact, whether it is poetry or other genres, there has never been such a definite and unchanging essential feature, only relative era standards or literary divisions. Early words are music-dominated song ontology, and the tone or Yan music can be set as the essential characteristics of the word, while the Song gives way to different lyrics, and the iconic features of the Ming and Qing words are followed by the lattice, and the front and back are broken and mutated, rather than causal or continuously generated. Similarly, the so-called essential characteristics of poetry, such as poetry and song cards, are constantly changing with the development of language, music, and discernment theory. The nature of a thing is determined not only by its ontology or by a certain stage of form, but also by the relationship and historical conception in which it is located. The traditional way of thinking of Chinese literary theory is holistic and systematic, and any analysis or research or characterization that is cut off into parts will face the overall reaction. Extracting poetry and songs from the whole of literature and art and from the long river of history seems clear and unambiguous, but it ignores or obscures their most dynamic interlinking and transformation functions.

The third is bottom-up teleology based on the example of the present and the ancient. Poetry and songs have different definitions, and there are also different criteria for distinguishing each other. This distinction has a common starting point, that is, they belong to different literary categories, which are bottom-up, from the present to the ancient perspective. If we look at poetry and song from a different perspective, from the past to the present, from top to bottom, many of the premises of the discernment are worth revisiting. At the same time that "poetry changes into words, words change into songs", there is also the phenomenon of "songs change into words, and words change into poetry". Poetry, music, and sound poems are all big songs or songs that integrate poetry and dance into a single song or lyrics, and finally evolve into a pure poetic body. On the whole, this is not a question of the order and end of the poem, but of different forms of the same thing. Ren Zhongmin once criticized Wang Guowei's "Song and Yuan Opera Examination" for "negating Tang opera in the form of a yuan plot" Yun: "Wang Kao's idea of advocating Yuanqu, of course, shangyuan opera, in the art of its predecessors, is not hesitant to cut the class, respectively, high and low, want people in consciousness, first look down on Han, such as flat land; then climb to the Tang, such as hills; then climb to the Song, such as rock ravines; and finally look up at the super peak of Jin Yuan, invisibly constituting the consciousness of 'broken generation limit body', leaving behind later histories and their readers in infinity." (23) At the same time that Tang opera became poetry, there were still a large number of songs that were popular in the form of vulgar slang, but they did not enter the field of mainstream literature.

The lyrical forms faced by today's people are mainly asanas and self-contained poetry texts, so the main problem of discernment has become to verify why poetry and songs have embarked on the road of law, and how they have become the current style. This concept and way of thinking has caused a strong historical teleological color in the study, not from the fact as a whole, but from the concept and rules, to deduce why this is so; ignoring the symbiosis and systematization of things, and cutting off the connection and transformation between poetry and song. Taking it as inevitable to construct a genealogy of knowledge, Qian Zhongshu once had a wonderful irony of Yu Yun: "This kind of posthumous recognition of pioneers is like a wild child recognizing his parents, an upstart creating a family tree, or a feudal dynasty's great bureaucrats giving gifts to three generations of ancestors, which is not uncommon in literary history." (24) From the music house, the sound poem to the song word, and then through the joint chapter, the tangling order, the tangle, the earned word, the palace tune, the courtyard word, the miscellaneous drama word, and finally to the southern opera and legend, it seems to be a complete evolutionary chain. But this narrative model of literary history ignores an important question, that is, have there been any organized or structured melodies in history? There are already songs and dances, vocal words, kebai and even role plays in Lefu poems, and Tang Daqu not only has a complex structure but also has song and dance stories and character types. During the Tang, Song, and Yuan dynasties, poetry and music were all related to the big song, and many sound poems, tones, and song cards were plucked from the big song or selected to perform the big song. While the poetry and song enrich and enrich the Tang and Song dynasties, the Tang and Song dynasties, song and dance lyrics and folk songs are also nurturing different forms of poetry and song. From large pieces to pieces, from literary and artistic activities to literary texts, the elements of music, vocals and singing have gradually fallen or fallen off, forming different literary styles.

The singing of poetry and song not only has the "cavity according to the word", but also "the music with the word", and even accompanied by the performative characteristics of "greeting", "harmony", "overlapping singing", "lining cavity" and "singing and dancing stories". Different poems can be concatenated with lyrics, such as "Water Tune Song" "Tang Qu Fan eleven stacks, the first five stacks are songs, and the last six stacks are broken." Its song, the fifth stack of five tones, is the most resentful." (25) The lyrics accompanying the first five stacks are seven absolute four songs and five absolute one songs, and the last six stacks are seven absolute five songs and five absolute one songs. The singing of Tang poems and Song poems is not only music and dance, but also different poems have been concatenated into large times or big songs. For example, the tunes played or sung by "Lotus Dance" are "Double-Headed Lotus Order", "Lotus Picking Order", "Lotus Picking Song Broken", "Fisherman's Pride", "Painting Hall Spring", "River Transmission", etc., which are sung by "Hua Xin" solo or chorused by everyone. (26) As words of song and dance, they can be transformed into each other, or they can be performed in the same big song, earned word or suite.

At the beginning of the 20th century, Wang Guowei, Hu Shi and others based on the evolutionary thesis of the historical view of the "literary generation" theory was almost conclusive, and its influence was far-reaching. We are accustomed to following dynastic narratives, equating the intergenerational and literary nature of poetry and song with stylistics, reducing literature and art to literature and literature to text, and simply starting from concepts and principles rather than historical facts, to seek the so-called "origin of words" or "origin of opera" at the level of concepts or textual grammars, thus ignoring the connection and transformation between them. Equating a solidified genre with the poetic characteristics of an era obscures the richness, diversity and flexibility of literary and artistic creation and performance activities. With the progress of music literature, opera literature, especially folk literature research, literary and artistic genres such as big songs, legal songs, teasing, joint chapters, entanglement orders, turning steps, earning words, palace tunes, courtyard words, and miscellaneous drama words have been incorporated into the narrative of literary history, and the chain of the diachronic evolution of poetry and music has gradually been completed. At the same time, the concept of literary history such as vernacular literature, civic literature, and music literature has strengthened the status of poetry and song as "literature of a generation", and the elite literary model of "qu-word-poem" generated by style has been flipped into a popular literary and artistic model of "poetry-word-qu", which has become the mainstream of literary history writing.

Emerging genres generally undergo an evolution from bottom to top, from folk to literati, from oral to desk, from vulgar to elegant, from freedom to regularity, which brings about the reconstruction of stylistic genealogy. The reconstruction of the stylistic order is also a process of gradual promotion and standardization. In terms of stylistic promotion, there are three common ways. The first is to respect the ancients, such as poetry and ancient folk songs, which have been traced back to the source or ancestor of the undead by poetry and song. The second is to respect elegance and align with the aesthetic standards recognized by the official or literati, such as the quasi-music house, the near-body poetry, the elegant words, the legends, etc., the general literary rules and regulations are elegant, the publication of the sound words, the meaning is subtle, and there is the meaning of the life or the irony. The third is to respect the law, and the text specifications such as the number of words in the chapter, the syntax of the sentence style, and the four voices of the flat and the four voices are becoming more and more detailed. In this way, the poems and songs have successively embarked on the road of literati, desk, elegant and regular.

Existing stylistic history, literary history or literary history, "When discussing stylistic interaction, people are accustomed to basing themselves on one genre and paying attention to the influence of other genres on that genre, such as between songs and songs, often paying attention to how words are affected by songs, or how songs are influenced by words." However, this is a one-way dimension of thinking. 'Interaction' also includes the level of 'synchronic symbiosis', which requires the exploration of stylistic and stylistic integration in the same literary ecological environment to form a dynamic dissipation and mutual integration. This requires opening the boundaries of each genre and dynamically observing it in multiple dimensions. (27) Poetry as art is one thing, poetry as a genre or genre is another, and music or poetry as intergenerational music or poetry has both artistic and stylistic characteristics. It is not that poetry becomes words and words become songs, but that poetry and songs all have a common song source and are named based on different text forms. The binding of style and dynasty has caused people to pay attention to the differences of the three styles but ignore the consistency, pay attention to the transgenition and ignore the homology, and pay attention to the relative and ignore the reciprocity. We should establish a comprehensive stylistic view of dynamic art, starting from the whole and ontology of things, and pay attention to the connection and transformation between them, rather than being trapped in the Chu River and Han realm of Tang poetry and Song poetry.

Third, the homology and mutual transformation of poetry and song

The songs and poems of the Tang Dynasty, the lyrics of the Song Dynasty, and the songs of the Yuan Dynasty are all lyrics sung with music. Although their textual presentation is different, they all have common sources and mechanisms of occurrence, similar morphological characteristics and stylistic functions, as well as similar evolutionary paths and historical positioning.

On the one hand, poetry is a different art form of song and poetry. There were poems and songs in the Tang, Song and Yuan dynasties, and Tang poems, Song poems, and Yuan qu were only the names of songs and poems of different eras. The same poem has both the form of "poetry" and the form of "song". Tang Dynasty songs and poems have the difference between sound poetry and music house, ancient style and near body, Qi Yan and miscellaneous words, and large songs and songs, but they are also called "song words" or "qu words", "poetry and words and songs, in terms of form and function, and oppose, which is a matter after the Song Dynasty, and the Tang is not the same." - This concept must be established." (28) Poetry and songs are distinct at the textual level, but there is no essential difference in singing, especially when sung with the same tune. Song and poetry usually have a poem and a song or a song of multiple poems, such as "Liangzhou Words" can be sung into "Out of the Plug", "Sauvignon Blanc", "Yushu Backyard Flower", etc. have both music and sound poetry, "Yang Willow Branch", "Bamboo Branch", "Yulou Chun" and so on have both poetic style, "Jiangnan Lane", "CaiLian Song" has both music and word style characteristics, and "Treading Ballad Lady", "Lanling King", "Neon Song", "Mai Xiu Liangqi" and so on have both song and dance forms. There are more similarities between the words of the order for the sound poems, the music house, and the music songs, and the words for the big songs, the turning steps, and the sets. The difference between poetry and song is mainly reflected in the level of elegance and folklore. During the Southern Song Dynasty, "those who have paid the song" were all vulgar words, and those elegant words were "no singers". (29) "Its songs, then the Song people's words and the song of Yili Lane, do not ye palace tune, so the shifu rarely pay attention", (30) "The lyrics are becoming more and more elegant, which is gradually contrary to the popular folk music". (31)

Wang Zhuo's "Biji Manzhi" Yun: "Where the big song is the main palace to modulate the introduction, prologue, slow, near, order, Gaidu qu is the norm." (32) Tang and Song poems can be concatenated into songs or selected into large pieces for music and dance, or they can be plucked from large pieces to generate a single sound poem or piece. The song and dance words contained in today's classics that can reflect the form of Tang and Song lyrics, such as "Collection of Cloud Ballads", "Collection of Flowers", "Collection of Movements", "Mengxi Pen Talk", "Biji Manzhi", "Wulin Old Affair", "Song Shi Lezhi", "Goryeo Shi Lezhi", "Shilin Guangji", etc., all have strong endorsement style and suite characteristics. As the name suggests, "Miscellaneous Songs" is a fragmented chapter relative to the "Big Song" or Suite. In the Ming Dynasty, when poetry and songs had already taken shape, from the perspective of lyrics or music houses, they were still regarded as a category, such as Qu You's "Legacy of Music House" arranged the poems, words and songs of Le fu into a collection, showing "a consciousness that does not forget the boundaries of all bodies, or emphasizes the commonality of music", "from other collective examples, it also opened a precedent for Ming Dynasty songs and songs". (33) Song Xiangfeng, a Qing dynasty, said: "Between song and yuan, words and songs are also one. Take the writing as the word, and the sound degree as the song. (34) Liu Xizai also pointed out: "The song and song are inseparable, but the words are in the text, and the song is spoken in the voice", "In fact, the words are the words of the song, and the song is the song of the words". (35) In a narrow sense, Tang poetry is distinctly different from Han Wei Lefu, Song Ci, and Yuanqu; broadly speaking, Tang poetry is also a general term for Tang Dynasty poetry, including Tang Dynasty music houses, sound poems, song lyrics, ballad songs, lyrics, and big songs.

On the other hand, poetry is a different historical form of song and poetry. It is generally believed that poetry and song have a consistent passivity, and the former genre gives birth to the latter style, which is considered to be "words, poems, songs, words". (36) In fact, the songs and poems of the Tang Dynasty, the lyrics of the Song Dynasty, and the songs of the Yuan Dynasty all have common origins and meanings. Zang Maoxun said: "Poetry changes to words, words change to song, and its origin comes from one." (37) The history of the evolution of song and song for more than a thousand years can be described as a process in which the "song" of the free body is constantly generated from the folk, and it is constantly standardized and standardized for the literati, and constantly elegantly transformed into "words" and revered as "poetry". From songs to lyrics to songs and poems, different historical forms are presented, and Liu Xizai proposed: "When there is no song, the word is the song; when there is a song, the song can understand the word." (38) Lu Qian agreed with this, and elaborated: "The song and song are one in nature, and from the point of view of their words, they are called words; in terms of their voices, they are called songs." The song cannot be without words, and the words cannot be separated from the song. The so-called words of the present day have no words of music; and the words of the song are only the songs of the present. It's the song of the present is the word! (39) Based on the concept of the trinity of poetry and song, Yang Enshou of the Qing Dynasty once refuted the saying that "poetry becomes words, words become songs, and the more the body changes, the more humble it is", criticizing that "posterity does not trace the source of the stream, strong branches ... The stricter the boundaries between poetry, words, and songs, the more authenticity is lost." (40) Lu Qian believes that the theories of "shiyu" and "ciyu" are also the result of strong branches: "There are those who cannot enter poetry out of poetry, and those who are not integrated outside the poem, so they are cloud poetry; there are those who cannot be included in words, and they are integrated outside the words, so the cloud words are yu." (41) There are poems and songs in the same era, which are different forms of art; there are poems and songs in different eras, which are different forms of history. If the poetry and music are allowed to evolve in the direction of legalization, the consistency of the textual level will transcend the differences in art forms and become the same literary category.

In the past, we paid more attention to the evolution of styles such as "poetry as words" and "words as songs", but ignored another transformation from poetry to song, from song to word, from song to poetry, and from word to poetry. Selecting poems into music such as selecting poems for big songs, sending tunes to sing poems such as Wang Wei's "Send Yuan Er To Make Anxi" sing into "Weicheng Song", Wang Zhizhuo's "Liangzhou Words" and singing into "Out of the Plug", etc., in this process, the poems are constantly singing and dancing and even with role playing and programs, from the poems to become variations, big songs, teasing, etc., which can be called "from poetry to song". Most of the early song lyrics originated from the excerpts of large songs, such as "Broken Line", "Ganzhouzi", "Water Tune Song Head", etc. are all excerpts of corresponding big songs, which can be called "from song to word". Therefore, Shen Qian's "Miscellaneous Sayings of Filling Words" Yun: "Those who inherit poetry and initiate songs, words are also, the upper cannot be like poetry, and the lower cannot be like songs." However, the poems and songs can be used in the words, and the nobles are lucky. (42) "From song to poem" includes the transformation of the lyrics of the big song and the suite into poetry with the loss of the music, and also includes the lyrics of the qiyan lyrics that enter the music, and they finally lose the lyrics and tunes. "From words to poems" also has two ways, one is to change the tone as the title, including the name of the aria and the other name of the poem, and the other is the loss of harmony, overtone, overlapping and other vocal words, showing a more regular form of near-body poetry. In addition, some of the words often change between poems and songs, and self-composed songs have also appeared in different literary genres such as poetry songs. Rhymes are formed with the help of poetry and rhyme, and the formation of words and rhythms is also influenced by poetic rhythms.

In comparative studies such as the evolution of poetry and song and the "poetry-song" or "poetry-song", the relationship between poetry and song is clearly distinguished. However, in the overall vision of the "poetry-word-song" trinity, the original deterministic conclusions are not certain enough, and the interrelationship begins to become intricate. Horizontally, poetry is a different art form of poetry, and these three different forms of text and lyrics exist in the same era, which can be transformed from each other. Vertically, poetry and song are different historical forms of poetry, "poetry-word-song" is an evolutionary relationship from literature to art, from desk to living, from simple to complex, while "song-word-poem" represents the change from vulgar to elegant, from singer to literati, from music to rhythm. During the Tang, Song and Yuan dynasties, poetry and music not only realized the independence of music, singing literature and art to literary styles, but also influenced and shaped each other. It can be said that in the subsequent poetic history system, without understanding any of the "others" of the three, it is impossible to accurately define its ontological characteristics and related categories. Compared with poetry, the song contains a richer musical and dance factor and artistic information. (43) Poetry and songs have large pieces that jointly nurture them, and picking or selecting poems into music is an important way for poetry and songs to transform each other. With the disintegration of the Great Song, vocal poems, song and dance words, etc. gradually developed into independent literary and artistic forms. The title of the music (music or song poem), the tone, and the song plate were originally the signs of the song, originally the same title, with the title of the key, and later changed the title to the key, and changed the tone into the law. First of all, ""Going Out" does not say goodbye, "Will Enter the Wine" special book listed women", (44) later such as "Bu Operator", "Broken Line", "Queqiao Immortal", "Linjiang Immortal", "Pouring Cup Music" and a large number of other tones in the late Tang Dynasty and Five Dynasties period also gradually lost their original meaning. The so-called "poems" of the Tang Dynasty include the so-called "words" and "songs" of later generations, and the lyrics are originally one. Yao Hua pointed out: "The so-called lyrics and songs today are all the sum of the songs, the special path of the origin of the literary wilderness, and the boundaries of the song and the song... Then the word was born in Quye? Qu was born in the lyrics? Or do words and songs rise together, and they are born to each other? None of them can be determined. (45) Ren Zhongmin even advocated that "there was no distinction between songs and songs in the Tang Dynasty, and Dunhuang songs can be proved", (46) The origin of poetry and song can only be revealed from the perspective of poetic relationship and poetry and song discernment, and cannot be explained in terms of their respective textual characteristics.

There are three main relationships between poetry and music: "by the sound of the word", "by the word of the sound", "by the choice of words and soundtrack". The "words" here are the basis for the later formation of poetry and songs. Without a reference from poetry, the essential characteristics of words cannot be defined. Similarly, without the word "other is one", the characteristics of the poem itself are vague. In the era of oral transmission, poetry and song are based on songs with sound and words as the essence, and the music score or text copy is only a minority, so Ye Gongyun: "The remaining past always advocates the establishment of a song as a body, following the poetry and song, to meet the needs of the times, and open up a new path." Since the founding of the People's Republic of China, songs have become popular, and they have become a large number of songs, and the lyrics have been almost completely ruined. (47) The words "not like poetry on the top and not like the song on the bottom" evolved into poems or songs, and there were phenomena such as the poeticization of Ming and Qing (such as Zhejiang West and Changzhou). Yu Pingbo said: "The works of the Ming people are often 'not divided into songs', or they 'use songs as words' because they are 'vulgar'. However, I would like to say that the Ming Dynasty has not gone far away from ancient times, and there is still ancient meaning. The lyricist also understands that the word is a music rather than a poem, so it is better to make it like a song. (48) Emphasizing the transmission of music and singing is easy to slip to the side of the song; emphasizing literary aesthetics and textual rhythm will also slide to the side of the poetry. You Tong once discussed the transformation cloud of the poem with the word as the joint: "The near tone of the word is the introduction of the song; the slow word is the over-the-top, and there are people with the same name and different tuning, and the posterity increases and loses the ear." Stealing sounds, subtracting words, spreading, whistles, is not hidden as the ancestor of the crime? Taibai's 'whispering', Lotte's 'water flow', this is also filled with poetry. Liu Qi's 'Xiao Feng Remnant Moon', Po Gong's 'Great River East', this is also a song of words. (49) The word form is the intermediate form of the transition and transformation of the poem, and it is also the cornerstone of the study of the relationship between the poem.

The rhythmic characteristics of poetry are gradually formed and conscious. "Poet QuziZi" is Ouyang Jiong's collective name for the five hundred words of the "Huajian Collection", on the one hand, in order to distinguish between the teaching workshop and folk word composition, on the other hand, because its long and short sentences mostly use the Tang Dynasty close-body poetry syntax, not only the common five and seven words are legal sentences, but also the three words, four words, six words and other sentence patterns are also in line with the poetic law. The regularization of poetry and music is based on the norms of official sounds, rhyme books, imperial examinations, and literati singing and harmony. In the process of compiling and assembling the collection, the Vinaya removed the vocal words of the music house, the Vinaya words removed or materialized the harmonic overtones of the vocal poems, and the Vinaya gave up the elements such as lining cavity and whiteness, and invariably embarked on the road of real words, elegance and regularization. The Tang Dynasty's "Poetry Brain", "Poetic Style", "Tang Dynasty New Fixed Poetry Grid", Song Dynasty's "Theory of Words", "Lefu Zhi Fan", "Circle Law Zhou Mei Chengzi", Yuan Ming's "Singing Theory", "Zhongyuan Phonology", "Qu Law", etc., in fact, all played a role in standardizing creation and discernment, guiding the evolution of poetry and music in the direction of textualization and regularization. At the same time, the large number of Ming and Qing lyrics and music scores has strengthened this trend. The compilation of anthologies or collections of words, especially the classification based on the characteristics of the text, naturally leads to a consistent asana of the works. Such as ancient poems, music houses, rhythmic poems, ge poems, orders, quotations, near, slow, small orders, scattered songs, suites, etc., promote the text level of discernment and orthodoxy. Tang poetry has effectively led the way up to lefu, poetry (such as Chen Ziang's "Han Wei wind bone", Du Fu's "don't cut the pseudo-style pro-style elegance"), Song Ci also has the respect of "taking poetry as words" and "don't be a family", and Yuanming opera has also moved towards the desk song and literati opera road of "you may as well break the throat of the world". Without the participation of literati, without desk and classicization, there would be no establishment of stylistic forms, and there would be no generation of literature.

Walter Reid has pointed out that the novel "is not an independent genre with a continuous history, but a 'continuum' of works 'with similar familial characteristics'... What different novels share in common is not certain characteristics, but certain relationships", (50) which also enlightens us that the discernment of poetry and song is better than "devoting itself to finding a similarity and relationship between these forms" rather than finding consistent uniqueness for the textual forms. (51) The morphological evolution of poetry and song from lyrics to grammar is the result of the continuous simplification of artistic elements or the prominence of textual characteristics. Of course, we should also pay attention to the conceptual changes in song and poetry in different periods, that is, "how the concept of a dominant definition is formed, and under what social conditions the concept is redefined and reconcepted." At the same time, under what circumstances will the concept change, or even disappear, and eventually be replaced by a new concept." (52) The connection and transformation between poetry and song reminds us to pay attention to the song characteristics of poetry, the text specification of the song, the literary relationship of words, and their artistic forms and activities in different historical periods.

Fourth, stylistic integration and propositional reinterpretation, historical reconstruction

Stepping out of the literary and historical framework of the Tang and Song poems and Song poetry yuanqu of "literature of a generation", opening up the perspective of poetry and song or the lyrics and artistic research of poetry and song will provide a new horizon for the study of relevant rhymes, and even activate some solidified propositions, triggering the reconstruction of the genealogy of history.

(1) The middle state and variety of poetry and song. In the past, we looked at poetry and songs based on the characteristics of the text, and they were distinct and independent of each other. In recent years, with the progress of research on the intermediate and transitional forms of vocal poems, joint chapters, tangling orders, tangled orders, tangled up, singing and earning, various palace tunes, and variations, large songs, teasing, etc., people have increasingly found that they can not only be chiseled into each other, but even have a multi-faceted and heterogeneous symbiosis relationship. Poetry as a word

The alternate use of the word 栝 and a poem, the suite of poems and texts, the poetry or words used together in the poetry and text, and the transposition, transposition, collection, and set of poems and songs in techniques are all transitional or variety forms of poetry and song. From the Han and Wei music houses to the Song Ci and Yuan Qu, the poetry soundtrack is the tune, and the same tune can connect different poems. Lefu poems and songwriters are titled in tune, from Lefu poems to quasi-music poems, new music houses and near-body poems, and finally return to the mode of combining the famous pieces and the tune of the title. The appearance of the name, word title, word order, and inscription of the word makes the content and the topic re-correspond, and realizes the transformation of the topic. People constantly change their names (homophonic names), such as "Will Enter the Wine" with "Xikong Wine Bottle", "Nian Nu Jiao" with "Chibi Ci", "Xiang Yue", "Yue Yue" and other poetic titles; "Little Sacred Music" and "Into The Double Tone" have "Sudden Rain Hits New Lotus", "Hillside Sheep" has "Su Wu Zhi Festival" and other literary titles. This is also related to the elasticity and variations of traditional music. In ancient times, the same musical title, tone or song card, its variation range is very broad, from tonality, mode to rhythm, melody, will show multiple variations. These variations allow the same poem, word, or piece to have multiple singing and even textual forms, sometimes with differences within them even greater than the differences between poems and songs. From the unity of the tune and the theme of the tune, to the separation of the tune and the substitution of the title, it is the same trend in the evolution of the title of the poem. The use of alternative names or literary titles changed the main identity of the poems.

In the past, we used to use "plucking" to refer to a single piece of music picked from a large song, but "over" or "number of times" as a musical fragment, more often than not, is an exponential or group of songs. "Qin Wang Broken Array Music" has been as many as 52 times, "Neon Dress Feather Song" still exists 36 times in the Song Dynasty, and other "Dading Music", "Long Fei Le", "Qingyun Music", "Water Tune" and so on are also many times. For example, Bai Juyi's "Seven Virtues Dance" in "New Music House" is twice in the "Qin King's Broken Array Music", "Brahman", "Wangyue Brahmin", "Xian Xian yin", "Ziyun Hui", "Moon Temple", "Seeing the Moon Palace", "Playing mid-autumn festival", and the later Jiang Fu's "Neon Clothing In the Middle Sequence First" are suspected to be from the "Neon Dress" big song. According to the statistics of Ren Zhongmin's "Preliminary Investigation of Dunhuang Songs", there are 27 groups and 83 works in the Dunhuang song lyrics that belong to the joint chapter style, (53) such as 4 songs of "Tricking Exercises", 3 songs of "Sauvignon Blanc", 2 songs of "Southern Songzi", "Dingfeng Wave" and "Feng Guiyun", "Ode to Xi Tan", "Good Staying Lady", "Scattered Flower Music" and "Return" are also many joint chapters and have special harmonies. The joint chapters and groups of words allow the word style to transcend the limitations of its own length, and constitute a complex performance system that is not inferior to the suite. Poetry chapters or suites are broken down into multiple pieces due to the needs of anthology compilation. For example, Hongmai's "Ten Thousand Tang Absolute Sentences" splits the sets of lyrics of the great song entered by Gai Jiayun during the reign of Emperor Xuanzong of Tang to supplement the number of five or seven absolutes, and there is also a phenomenon of precipitation of poetry literature in "Quan Tang Poems", "Quan Tang Five Pronouns", "Quan Song Poems", "Quan Song Ci", "Quan Jin Yuan Words", and "Quan Yuan Scattered Songs".

"Su Mu Sha", "Bodhisattva Man", "Bamboo Branch", etc., like "The Ballad Lady" and "Lanling King", are all poetry, music, song, dance and even Kefan movements and role-playing. Although the word count, sentence form, and flatness of the lyrics of the same piece of music may be completely different, the reason for the consistency of physique in the end is not the norm of music or singing, but the unity of the lyric form is achieved through the suite or suite. In the suite or song and dance song, in order to achieve the fastest adaptation of the lyrics of the same tune, the normalization and regularization mechanism of the homophonic words is produced. From a poem, a piece of word, a piece of music to a suite or even a song and dance drama, you can quickly achieve a word-picking soundtrack or fill in the words according to the music. With the loss of music, dance, kebai and other elements, the stylistic independence of sound poems, song lyrics or prose songs has become increasingly prominent. In terms of creation method, it has also changed from the original musical filler words to sample words or grammatical filler words.

We generally tend to examine the generation and evolution of opera from the perspectives of single-piece songs, double-piece words, co-chapters with the same theme, entanglement of different tones of the same title, entanglement of poetry "inter-cycle use", earning words and sets of poetry and literary endowment, the tune of the palaces and the words of the courtyard, a four-fold miscellaneous drama, and the southern opera that breaks through the one-person lead singer. According to the logic of the development of things from simple to complex, this is a clear and self-consistent evolution path. However, if we return to the reality of literary and artistic activities, it is not difficult to find that there are already large numbers of complex structures in the Tang and Song dynasties and song and dance lyrics. The existence and prosperity of Tang Dynasty teasing, legends, variations, and song and dance made it impossible for the song to evolve independently in a vacuum. Tang Wu pronouns have been used in the joint chapter style and question and answer style to tell the story, especially the Dunhuang word is not only used for song and dance, but also for rapping and acting. After the "dark matter" that was not seen in the previous view of literary history, such as variations, ballads, joint chapters, tangling orders, stepping songs, and self-composing, which had not been seen in the previous view of literary history, would be found to have many connections or derivative relationships between poetry and song, and they achieved mutual transformation through these "sub-genres". After these "non-mainstream" mass literature and art in the history of literature surfaced, it not only improved the entire literary and artistic system, but also helped us to re-understand the stylistic characteristics and interrelationships of poetry and music.

(2) The reinterpretation of concepts and propositions related to poetry and song. "Selected poem soundtrack" and "fill in words according to music" are generally important symbols of poetry, but in singing practice, there are both music to convey words and poetry to music, as well as words and lines, and poetry to follow. In composition, you can either rely on the sound to fill in the words, beat the music as a sentence, or compose a poem or send it to the tone. "The reason why oral music in traditional Chinese singing is inseparable from 'according to the sound cavity' is because Chinese is a language with tones, and it is necessary not to 'pass words with music', because its 'music' is difficult to get out of thin air without the tones that are familiar or exposed." (54) Music and poetry do not have a single prescriptiveness in the creation and performance, but show considerable flexibility and diversity through the coordination of music and literature. If the creation and performance of poetry and songs are limited to a path, it is not only inconsistent with the historical facts of the multi-party generation of poem titles, tones, and song cards, but also is not conducive to dissemination and popularity.

Poetry and music have undergone a transformation from oral to desk, from singers and prostitutes to literati, from vulgar to elegant, breaking the evolution mode of stylistic victory and presenting a spiraling trajectory. At the beginning of the Southern Song Dynasty, Wang Zhuo proposed: "Poetry and Lefu (words) are the same, should they be different?" (55) Poetry is of the same origin, and should not distinguish between similarities and differences. Lin Jingxi's "Preface to the Ancient Music House of Hu Ji" also says: "Le Fu, the change of poetry is also." Poetry is affectionate, stops at etiquette, beautifies the vulgarity, and sends it here? Is it not a matter of time before it becomes a house of music, and it is different from poetry? (56) "Lefu" refers to words, and Hu Ji also treats words the same as poetry and ancient music. Returning to the lyrical ontology and artistic basis of historical activities, we cannot only seek the origin of words or opera from the concept itself, but should explore the interactive relationship between poetry and even poetry and dance and the overall literature and art. Wang Guowei 'Opera Kaoyuan' Yun: "Opera composers, it is said that the story is also performed by song and dance." (57) His History of Song and Yuan Opera cuts the maturity time of opera to the Yuan Dynasty. In fact, the tang dynasty conforms to this definition of literary and artistic genres have long appeared, such as the story, characters and performance situation of "Treading Ballad Lady" contained in Cui Lingqin's "Jiaofang Ji": "When people get it: the husband wears a woman's clothes, And Xu Bu enters the song." Each stack, the bystanders, and in unison, the clouds: 'Step on the ballad, and come!' Tread on the mother's bitterness! And come! 'For its steps and songs, it is called 'stepping on the ballad'; for it is unjust, so it is called 'bitterness'. And his husband, he fights, thinking that he is laughing. (58) In the song field, the song and dance are combined into one person, the lyrics are in the form of endorsement, and the role play story is very close to the theatrical form of later generations. Another example is "Su Mu Sha", "Sariputta", "Puyang Girl" in the Tang Dynasty all have theatrical form, "Su Mu Sha" song lyrics not only have five, seven words and four sentences, but also each song with harmony, and even indicate the characters in the play. (59) Although they are short in length, they already have the elements and essence of drama, and the early texts cannot fully represent the system and scale of performing arts activities at that time.

The so-called "songs" of the Tang people include the so-called "words" of later generations, and the so-called "words" of the Yuan people are the so-called "songs" of later generations, and they were all subordinate to the music house or song and poetry. Yuan Shu's "Preface to the Ancient Inscriptions of Lefu" was changed, and he advocated "alluding to ancient titles, piercing the beauty of things", (60) justifying the new titles, which was repeated in later literary history. Li Qingzhao's "Theory of Words" emphasizes that words "don't be one", on the one hand, they must be distinguished from "poems that cannot be read in sentences", and on the other hand, they must also be cut off from the rising vulgar words, slang songs, and even broken bodies. (61) This is similar to the intentions of Wang Zhuo's "Biji Manzhi", Shen Yifu's "Lefu Zhi Fan", Zhang Yan's "Etymology", etc., all of which point to the revelation and manifestation of the uniqueness of the word style and the value of reality. "Tang songs are more beneficial than in previous lives, and those whose voices and deeds are in the present and those whose words are seen in the present day are three out of ten, and the generations are close. There are still many people who have their names in the ancestral music house, three out of ten of its righteous survivors, and ten of its original survivors, and if its sound is not transmitted. (62) When music houses, sound poems, and songs are converted from songs to texts, there are widespread phenomena such as publishing harmonies, overlapping songs, lining cavities, and whites, so they appear more regular. Zhou Deqing's "Zhongyuan Yin Rhyme" was written to standardize the use of rhymes in Northern Qu, and the forty small orders listed at the end of the book were even more intended to set a program for the writing of Northern Qu, advocating that "Lefu" must be "high style, good rhythm, no lining, flat and stable". (63) Since then, Zhu Quan's "Taihe Zhengyin Spectrum" and other Northern Music Scores have been published one after another, accelerating the process of Northern Ququ regularization. The expositions of Wei Liangfu's "Southern Character Introduction", Wang Jide's "Qu Law" and Shen Jing's and others, as well as the appearance of the "Nine Palaces Dacheng" and "Broken Gold Word Notation", are also discerning and emphasizing that song and poetry have the same unique stylistic characteristics and poetic value.

It can be said that Lefu poems, Jiaofang songs, Da Sheng music, courtyard words, book club talents and drama texts are all comprehensive literary and artistic forms of different eras. "Miscellaneous poems", "songs", "small words", "small orders", "scattered songs", etc. are relative to the large songs, song and dance lyrics or suites that are performed as a whole. Great songs such as Qingle, Yanle, Hule and Folk Music provide an inexhaustible source of music for the creation of poetry and music, and poetry and music enrich and develop large songs, which constitute an interactive and symbiotic literary and artistic system through the bond of music cards (music titles, tones). From "Lefu poetry" to "near-body poetry", "Linggong words" to "scholar-doctor words", "Flower Department" to "Yabu", there has been a general change in the path of folk, free body to literati and law. Stability in structure and system is the real stability, and the concepts and propositions related to poetry and song are placed in a comprehensive literary and artistic system for observation, not only the mutual relationship and meaning can be presented, but also the respective boundaries and functions will be more clear.

(3) Reconstruction of the origin of songwriting and its evolutionary history. In the past, poetry and songs were regarded as independent genres, and it was believed that they each had a definite origin. However, from the perspective of the literature and art of poetry and song as a whole, we should not only pay attention to the different characteristics between them, but also pay attention to their same elements, and even symbiotic forms. In the tang dynasty, the symbiotic form of poetry, such as "Nan Gezi", "Huanxi Sha", "Feng Guiyun" and other commonly used tones in Dunhuang Yanle, "all belong to the original sound poems". (64) Theories such as the origin of Zhu Xizi (65) and the difference between Wang Jide's lyrics and songs (66) have had a far-reaching impact on the history of literature. However, in the early word style, it is common for the same tonal name to be matched with the beginning of the five or seven words or the phenomenon of parallel speech, long and short sentences, and even from long and short sentences to qi speech or double tone reduction to a single piece. Qi Yan and ZaYan (long and short sentences) are not two completely different systems, and the Tonal System of the Jiaofang Ji has 65 songs of Qi Yan style, and 16 songs of Qi Yan and Za Yan (long and short sentences) are used together. Tang Dynasty vocal poetry singing widely used overtone, harmony, lining cavity, overlapping singing, etc., indicating that lining words, lining sentences, lining cavities, etc. are not proprietary to the song body. The idea that the origin of words evolved from sound poems to melodic words, from qi yan to long and short sentences, is not accurate. In the lyrics of the Sui and Tang Dynasties, "Qi Yan, Miscellaneous Words, and Parallel at the Same Time, there is no Xuan Yuan at the beginning." Throughout the Tang Dynasty, this situation has not changed. In general understanding, it is believed that before the Middle Tang Dynasty, there were long and short sentences, but the words were universally sung, and the poems gave way, which was not a historical fact." (67)

The formation of the word body law is not a gradual and strict evolution process with rhymes, flat tones, and four sounds. Dunhuang song lyrics created during the Five Dynasties of the Middle and Tang Dynasties, such as "Feng Guiyun", "Tianxian Zi", "Nei Jia Jiao", "Huan Xi Sha", "Liu Qingniang", "Worship the New Moon", "Dong Xian Song", "Broken Array", "Ball Throwing Music", "Fishing Song", "Happy Autumn", etc., are all quite mature legal words. The idea that the word form has evolved from a monotonic minor to a bitonous slow word is also inconsistent with the evolution of a large number of tones. "Nan Gezi" and "Tianxian Zi" are bitonous in Dunhuang words, monotonous in the five generations, and bitonous in Song. "He Manzi" is monotonous in Dunhuang words, and is used in both single and double tones in Tang and Song dynasty words. "Fishing Songzi" is a double tone in the Dunhuang words and the five generations, and there are many monotonous words to Song Zhangyan.

There are 343 titles contained in Tang Cui Lingqin's Jiaofang Ji, of which the same name has 142 songs (including 54 qiyan or phonological styles), 135 song lyrics, 77 song tunes contained in song shi lezhi, 31 tunes of jin yuan palaces, 44 songs of yuanbei qu, 73 songs of song yuanming nanqu, 21 songs of song miscellaneous dramas, 16 songs of Jin yuanyuan ben, 8 songs of Mongolian flute blowing, 46 songs of Japanese Tang music, and 31 songs of Goryeo song music. (68) This fully shows that poetry and music are originally closely related at the musical level and are an orderly overall system. Different types of tunes are not pre- and consequential, but more homologous. These tunes, some of which are used in Southern Song opera to tune the Song Dynasty and tang, and some of which are like "Liu Qingniang" in "Tang Qu, Song Ci, Jin Yuan Zhu Gong Tune, Jin Yuan Ben, Yuan Bei Qu, Qing Folk Qu, Drum Song, Peking Opera Huqin Qu, Southern Gong and Drum Song, and one line of inheritance, all have the name of Liu Qingniang, which is used without quitting." (69) There are more than 400 Beiqu qu cards, and about 170 are active and available. According to Li Changji's statistics, there are 5 song cards that are only related to Tang qu and have nothing to do with Tang song and Zhugong tunes; 32 songs that are the same or related to Tang and Song songs, only 25 songs that are the same as Song songs; and 25 songs that are the same as Tang qu, Song ci and Zhu gong tunes. This phenomenon of synonymity shows that the Song Ci, the Zhugong Tune, and the Northern Qu are all derived from the Tang Qu and converged on the Beiqu, "The literati word system in the Song Ci and the Beiqu are generally a parallel relationship, and only a few Song words are directly used by the Beiqu." If it is to be said that the song is a 'change of words', it can only become a correct proposition if it is clear that the 'song' is a 'change' of the form of folk song words." (70)

The discourse that words originate from poetry, song from words, or words developed on the basis of Qi Yan poems ignores the homology and transformation relationship between them. Just because the textual differences don't necessarily mean they're different at the musical level. In traditional music, the same tune produces various variations according to the content of its expression, including tonality, mode, rhythm and even melody can be freely changed. In modern or Western musical conceptions, they may no longer be seen as the same piece of music. "Now we change the same song slightly, sometimes with a different title, and it is not necessarily regarded as the same song; the previous generation of artists still regarded the form of the tune with greater changes as the same song." (71) The same tune is found in music houses, sound poems, words, songs, etc., which is not necessarily a sequential derivation, but is most likely a homologous relationship. The flow of Tang Qu to Yuan Qu is mainly in the folk, rarely recorded in writing, in a state of dark line, so it is easy to be ignored by people. Words are poetry and songs are words, and in the overall vision of poetry-song symbiosis, they are more likely to be different text forms of the same music system.

Novjoy has pointed out that "most philosophical systems are created or distinguished according to their patterns rather than their constituent components." (72) The same is true of the division of styles, first of all, the similarity of literary categories produces stylistic consistency. Strictly speaking, stylistic style is a pattern rather than an entity or ontological distinction. Breaking the evolution of previous poetry and song from simple to complex, from qi yan to long and short sentences, from single to bitonal, from lingji to slow words, from unspooned words to lined words, from unqualified laws to increasingly strict evolutionary historical views, the opening of poetry and song can not only understand the homologous symbiotic relationship between each other, but also open up many related styles and obtain systematic understanding. As Ren Zhongmin said: "Self-reliance through Qi, Liang Lefu, subjugation of Song Lyrics, Yuanqu, Side Jun, Sui and Tang Dynasty, Faqu and Miscellaneous Lyrics, Vertical and Horizontal, Yong Cover Suddenly Disappear." Seeking the body and use of Yan music literature and art in the Middle Ages of our country, we will face two major historical currents here: one between music houses, poems, words, and songs, and the other between songs, words, music, dance, and drama, each running through and intersecting with each other. The key to this is in poetry. If you plug this trick, then literature and art are separated, and both streams are stagnant; if you can penetrate this pass, you will be consistent with Shen Shu and the source committee will be smooth. ”(73)

In the historical view of the independent origin and development of opera and novels, the poems and songs in them are generally used as embellishments or parasitic styles for novels or dramas. But if we take a top-down perspective on art history, poetry is a key part of understanding the production of opera and fiction. The performance of poetry and song is generally a combination of poetry and dance, and after the performance of roles or sets of songs, it is the generation of opera. In the Tang Dynasty, "Qin King's Broken Array Music" and "Neon Dress Feather Song" have singing, music and dance, and even role playing and storylines, which are already stories performed by song and dance. Northern Song Dynasty Zengbu's "Water Tune Great Song" Yong "Feng Yan Biography", Zhao Lingqi's "Shang Tune Butterfly Love Flower" Yong "Hui Zhen Ji", Zeng Yu's "Lefu Yazi" contained in the "Lefu Yazi", Shi Hao's "

Feng Zhenyin Great Song", Jin Yuan Zhugong tune, etc., are the form of opera of words. Shi Yannian took the tune of "Whispering Neon Song" as a "transmission, recounting the old affairs of Kaiyuan and Tianbao", and Zeng Yannian added the lyrics of "hook team", "dispatch team" and "slogan", (74) has a sufficient song style. Zheng Qian believes that Dong Xixiang "is a work of the period of transformation from word to song, and it is also a work of the southern and northern songs that will be divided into different times", (75) This seeks the most recent connection for the origin of opera. The Tang and Song dynasty opera literature and its research provide us with a new way of thinking about the history of Chinese theater, while also "denying a narrow understanding that Chinese drama must be synthesized when literature, music, dance, etc. have developed to a certain extent." (76)

The Tang legend "literature is prepared for the masses, you can see the history, poetry, and discussion", (77) "You Xian Grotto", "Liu's Biography" uses "Double Swallow", "Ask bee", "Zhangtai Liu", "Yang LiuZhi" and other songs. (78) The "novel" technique of the Song Dynasty "knows the words, reads the poems, speaks the words, and makes the masonry", (79) such as the "Mandarin Duck Society" and the main dialect makes extensive use of Xiao Ling [Shang Tuo Vinegar Gourd] to "less describe the love of the beginning and the end of the Si women", saying that a paragraph is sung, and before singing, there are prompts such as "feng lao song companion, first listen to the style, and then listen to the wu word" (80), which is actually a drum word to tell the story. If we look at it from the top down perspective from the perspective of speaking to the script, especially from the poetry to the poetry and words, the rhymes such as poetry and song in the novel rap are more important than narrative prose. The text form of early novels mainly records the lyrics, while the characters and storylines are presented through images or raps, such as the text composition of Dunhuang's "Descending Demon Disguise" consists of two parts - the image on the front and the rhyme on the back. Luo Zhenyu once pointed out that the Dunhuang ancient scrolls "have more than ten kinds of residual novels, including seven popular rhymes and later generations of singing, or white and singing, and slang and slang, all of which are the oldest of novels." (81)

In the early days, the script was mainly poetry, words, words, variations, and words, and lu xun commented on the "Records of the Three Tibetan Masters of the Great Tang Dynasty" and the "Great Song Xuan and Testament" Yun: "All of them are consistent with the poems, with poems as embellishments in the middle, many slang words, and different from the words, and the near history is not oral, like a novel and no kneading." Qian zeng in the "Xuanhe Testament", and then and "Lantern Flower Mother-in-law" and other fifteen kinds of "words and words" ("Also garden bibliography" ten), with its words and words also ... "Tang Sanzang Master Sutra" three volumes ... Every chapter must have poetry, hence the poetry. (82) This literary and artistic form was still popular until the Ming Dynasty, such as "Jiang Xingge Reunion Pearl Shirt" Yun "Look at the official, then today I say the pearl shirt this set of words", "its body is both music and poetry praise". (83) There are as many as 112 occasions for singing songs in the "Words and Sayings of the Plum in the Golden Bottle", and the content sung covers dramas, Buddhist songs, Taoist sentiments, hundred plays, laughter and music houses and puppet plays, etc., (84) reflects the original form of the novel. "Many novels are rappered, and after a paragraph is told, a paragraph is sung with a song, and when describing a thing or a character, it is also sung, so the characteristics of Chinese novels have the form of 'having poetry as evidence' or 'having words as evidence'." (85) From the perspective of the text form and stylistic function of early novels, the rapping of rhymes such as poetry and songs is relatively more important and fundamental, and the narration of character stories is perfunctory on the basis of rhymes.

The distinctions of poetry and composition are both historical and theoretical, on the one hand, they are derived from the observation of literary facts, and on the other hand, they are derived through theoretical deduction. We want to "understand the literary class in the process of its formation, rather than defining it in a normative or descriptive way." (86) Poetry is not a logical and self-consistent classification, but a "group" or "historical families", which cannot be defined in terms of itself, but also in a historical context and a genealogy of knowledge. With the progress of research on sub-genres such as sound poetry, joint chapters, teasing, transformation, earning words, puppet plays, words, words, and words that have not been paid much attention in the past in recent years, people have increasingly found that there are many intermediate literary and artistic forms between poetry and song, and even between poetry and drama and novels, there are also transitional literary and artistic types such as large songs, palace tones, miscellaneous drama words and variations, poetry, and words. In the framework of the trinity of "poetry-word-song" and in the overall vision of "speaking (rapping)-drama-novel", not only the origin, generation and evolution of poetry and song, but also the essence, form and function need to have new cognition, and even the relevant literary historical model will be rewritten. The study of classical poetry should have a set of concepts, terms, and propositions that belong to the ontology and basis of Chinese literature, not just the application of modern stylistic models or the category of Western literary theory. It is manifested in the division of literature and the definition of concepts, that is, the traditional Chinese way of thinking is more systematic, relative and dynamic. In ancient literature, the concept or category of poetry and song, whether it is a reduction or a definition of the text, is subject to the overall and systematic constraints. The conceptual system of modern disciplines has the advantages of generalization, certainty and consistency, but it often seems to be sufficient when applying specific historical materials and problems. The relevant concepts, terms and propositions of poetry and song are the induction, construction and interpretation made by later generations based on the stylistic characteristics and problem needs of the times in which they live. The distinction between poetry and song and song not only defines the word style, but also makes the poem and song form a relatively stable boundary and norm. It can be said that the characteristics of the word form are gradually confirmed in the comparison with poetry and music, and they establish an opposite, isomorphic and symbiotic relationship in the continuous identification and reconstruction. (87)

When we observe and analyse phenomena that are both opposite and unified in history, we tend to designate them as a simple concept and absolutize them on the basis of existing experience. At this time, it is particularly necessary to have the theoretical consciousness of "overall history" and "long period", examine the origin and generation of styles from the whole and system, and pay attention to the relativity, relevance and flux of different stylistic definitions. Foskamp once pointed out that the literary category is nothing more than a way of distinguishing, "the large and complex literary life that is itself vague, defined by some specific modes of communication, so that it can be understood by scientific research, which are literary categories." (88) This definition coincides with the traditional Chinese concept of "style", which points to the initiative of stylistic generation. Therefore, we should examine the interactive study of poetry and song in a historical context, "explaining the interactive relationship between it and the evolution of social history and culture, as well as the cultural significance and cultural function contained in the changes of each genre itself", "its significance is not only reflected in a more practical and profound and historical original interpretation of the important literary phenomena of this period, but also reflected in the literary research that can activate this period, which is a kind of academic horizon development and the renewal of academic thinking." (89)

In literature and art, the opposite of "wen" is "music", and "art" includes "literature" and "music", which are more comprehensive and advanced forms of things than "literature". The opposition between "literature" and "art" is, on the one hand, the result of the division of modern disciplines, especially the disciplinary nature of language and literature, which focuses on the form of texts and language characteristics; on the other hand, the tradition of classical literature emphasizing literature over art, literary creators are generally literati doctors with higher social status, while music or art practitioners are mainly low-status singers and prostitutes. Poetry and song and the stylistic promotion of opera and novels are often independent of art and embark on the pure literary road of desk or elegance. Based on the position of classical literature or language literature, it is easy to produce the opposition between "main text" and "main art". But from the perspective of history, literary texts are only a fragmented remnant of the artistic whole. Just as archaeology conjugates and restores scattered pottery pieces, it is not only necessary to rely on the shape and texture of the fragments themselves, but also to refer to the strata, era and related artifact information in order to better restore their historical appearance. The reflection of the poetry and song body is also the result of the expansion of horizons, the transformation of angles, and the renewal of methods, which will inevitably detract from the subjectivity and self-sufficiency of literature, but also increase its richness and initiative. Literary studies should have basic disciplinary boundaries, but such boundaries should help to invent rather than limit our understanding and understanding of literature and art in the pre-disciplinary era.

Poetry was once a lyrical art combined with music, and their stylistic evolution reflected a convergence of evolution or metamorphosis, with different morphological characteristics in different historical periods. Poetry of different eras will present the artistic form and historical form of poetry, words and songs, and the difference between poetry and song is the result of its intergenerational and stylistic interaction. The evolution of poetry and song is not an independent growth, nor a pre-set direction and goal, but the result of continuous interaction, reconstruction and definition of various complex factors under existing historical conditions. The history of intergenerational literature provides historical legitimacy for stylistic independence, and stylistic independence reinforces the rationality of intergenerational narratives. Of course, stylistic breakthrough is not to cancel the difference between styles, but to recognize the connection and transformation between different styles, and to avoid letting individual standards or special performances become the premise and starting point of problem research. With the help of the lyrics and artistic research perspectives of poetry and music, pay attention to the historical nature of concepts, the systematicness of style and the critical nature of theory, in order to better explore the essential characteristics and morphological functions of poetry and song in different eras.

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(1) He also believes that "these micro-institutional studies often reveal the real information and joints of the macro-system evolution outside the system, and these, most of these work, our predecessors did not seriously make beautiful achievements." (Hu Ming, "Lexical Research in the Past Hundred Years: Interpretation and Reflection", Literary Heritage, No. 2, 1998)

(2) In modern times, poetry and song criticism mainly examine their textual characteristics and musical backgrounds around elements such as grid, melody, and style, such as Liu Yongji's "Outline of Exploring the Source of Song Song Song And Sound Rhythm", Xia Chengtao's "Evolution of Tang and Song Words", Wang Zhaopeng's "Evolution of Tang and Song Words from the Clutch of Poetry", etc.; the latter such as Wang Guowei's "Song and Yuan Opera Examination", Wang Yi's "History of Song and Song", Ren Zhongmin's "Song and Song Tongyi", Long Yusheng's "Introduction to Song and Song", Lu Qian's "Song and Song Research", and the research of Li Changji, Zhao Yishan, Hu Yuanling and other scholars. The comprehensive identification of poetry and song mainly focuses on the relationship between textual characteristics and poetry, such as Wang Guangqi's "The Law of The Weight of Chinese Poetry and Song", Zheng Qian's "From Poetry to Song", Ye Dejun's "Song Yuanming Rap Literature", Luo Di's "Song music singing" and "Word Composition", Xie Yufeng's "Ten Lectures on Poetry and Music" and other treatises. From the perspective of music literature or opera literature, Zhu Qianzhi's "History of Chinese Music Literature", Liu Yaomin's "Words and Music", Yang Yinliu's "Language and Music", Ren Zhongmin's "Tang ShengShi" and "Tang Teasing", Wang Xiaodun's "Sui and Tang Dynasty Five Dynasties Yanle Miscellaneous Lyrics and Lyrics Research", Liu Chongde's "Yanle New Sayings" and so on. Most of the other treatises titled "poetry and song" are three-body division theory or "poetry-song" and "poetry-song" parallel comparison, which are less holistic or systematic.

(3) "The poems of the Tang Dynasty, or the Tang poems compiled by the Tang and Song dynasties, are still named 'song poems' or 'poems', and there are many things to mention. (Ren Zhongmin: Tang Shengshi (Part 1), Nanjing: Phoenix Publishing House, 2013, p. 14)

(4) For example, Ren Zhongmin's "Dunhuang Song Lyrics Editor-in-Chief" believes: "Take the song Guo Maoqian's "Lefu Poetry Collection" approach, look down along the Six Dynasties Lefu, do not follow the Zhao and Song word industry system upwards; strive to break the consciousness of 'Tang Zi', and stabilize the regulation of the 'Quzi' and 'Great Qu' of the Five Dynasties of Sui and Tang Dynasties." All those who call them 'song words' and 'song words' in the compilation use the word 'word' instead of their simplified word 'word'". (Ren Zhongmin: Editor-in-Chief of Dunhuang Lyrics, Nanjing: Phoenix Publishing House, 2014, "Fan Cases", p. 1) and Loti believes that "taking 'law' as its quality, forming 'law words'" and "'law' is decisive". (Lodi, "The Word" is the "Word" in Its Law: A Discussion on the Origin of the Word, Literary Review, No. 2, 1994)

(5) "Scattered Songs" first appeared in the category of Zhu Youyi's "Chengzhai Lefu" in the early Ming Dynasty, which means scattered and unattended only songs, specifically referring to Xiao Ling, which is the opposite of the number of sets. Wang Jide's "Qu Lu" refers to small orders and sets of "scattered songs", which are opposed to drama songs. Ren Zhongmin's "Study of Scattered Music" separates the scattered music from the opera and makes a clear definition: "Where there is no need to have the song of Kebai, it is called the scattered song", "the number of sets of small orders, the total name is 'scattered music'". (Ren Zhongmin: "Research on Scattered Songs", Nanjing: Phoenix Publishing House, 2013, pp. 7 and 2) Yang Dong believes that scattered songs "specifically refer to the popular lyrics used for oratorios in the form of gold dollars to lower the new tone of the time, and there are basically two styles: small orders and sets." The so-called new sound of the time here first refers to the northern song that was popular in the northern Yellow River Basin during the Jin Yuan period and then spread to the whole country. Later, with the development of history, the scope of the concept expanded, and the Nanqu that was gradually popular in the Yuanming Dynasty was also included." (Yang Dong, A Study on the History of Chinese Sanqu Studies, Beijing: Higher Education Press, 1998, p. 1)

(6) In the "Literature of the Russian-Tibetan Black Water City", the "Book of Mongolian Characters" has "miscellaneous dramas", the "Li Wenrao Anthology" has "miscellaneous drama husbands", and "the miscellaneous dramas of the Tang Dynasty include Bo opera, song and dance drama, miscellaneous tricks, and harmonious dramas". (Liu Xiaoming: History of the Formation of Miscellaneous Dramas, Beijing: Zhonghua Bookstore, 2007, pp. 44-57)

(7) Zhu Yizun: "Dictionary", Beijing: Zhonghua Bookstore, 1975, "Fa Fan", p. 10.

(8) Ren Zhongmin: Tang Shengshi (Part 1), "Always Speaking", p. 1.

(9) Shen Kuo, Hu Daojing Proof: Mengxi Pen on School Permit, Vol. 5, Shanghai: Shanghai Ancient Books Publishing House, 1987, p. 232.

(10) Tang Guizhang: "Dunhuang Tang Ci Proofreading", Chinese Literature, Vol. 1, No. 1, 1944.

(11) Collected Poems of Kong Shangren, vol. 3, Beijing: Zhonghua Bookstore, 1962, p. 463.

(12) Book of Song and Lezhi, Beijing: Zhonghua Bookstore, 1974, p. 667.

(13) Yin Faru, "On the Origin of Words", Journal of Peking University, No. 5, 1964.

(14) Yang Yinliu: Manuscripts of the History of Ancient Chinese Music, Beijing: People's Music Publishing House, 1981, p. 197.

(15) Qin Dexiang, "The Anti-Temporal Pursuit of "Singing words":Discussion with Mr. Luodi", Symphony- Journal of Xi'an Conservatory of Music, No. 3, 2007.

(16) Zhang Yan's "Etymology" contains Zhang Shuyi's voice changing words, and the sound words correspond one by one. In this way, words are not only difficult to compose and sing, but also difficult to popularize. See Li Feiyue, "Changing Words and The Legalization of Word Styles", Literary and Art Studies, No. 2, 2017.

(17) Wang Zhaopeng, "The Evolution of Tang and Song Dynasties from the Clutch of Poetry", Chinese Social Sciences, No. 1, 2005.

(18) See Shi Jinbo, A Preliminary Study of the Western Xia Han Texts (Miscellaneous Characters), Bai Bin et al., eds., Studies in the History of Chinese Ethnicities (II), Beijing: Central Institute for Nationalities Press, 1989, p. 175.

(19) Wang Xiaodun: Preface to Mr. Ren Zhongmin's Collected Writings, Ren Zhongmin: Lexical Studies, Nanjing: Phoenix Publishing House, 2013, p. 4.

(20) Wang Yi: A History of Songwriting, Beijing: Oriental Publishing House, 1996, p. 346.

(21) Liu Yupan: History of Words, Shanghai: Shanghai Ancient Books Publishing House, 2011, p. 151.

(22) In modern times, "the origin of words", "the origin of fu", "the origin of novels", "the origin of opera" and so on have always been hot topics in the academic circles, but due to different visions, positions, angles and methods, few consensus has been reached.

(23) Ren Zhongmin: Tang Teasing (Part 1), Nanjing: Phoenix Publishing House, 2013, p. 48.

(24) Qian Zhongshu: Chinese Poetry and Chinese Painting, Seven Apocrypha, Shanghai: Shanghai Ancient Books Publishing House, 1994, p. 3.

(25) Guo Maoqian: Collected Poems of Lefu, vol. 79, Shanghai: Shanghai Ancient Books Publishing House, 1998, p. 838.

(26) Zhuge Yibing, "Miscellaneous Examinations of "Picking Lotuses": Reading Comprehension of Tang and Song Poetry on the Theme of "Picking Lotuses"", Literary Heritage, No. 5, 2003.

(27) Hu Yuanling, "The Integration of Gao Lian's Words, Songs, and Dramas and Their Research Significance", Literary Heritage, No. 1, 2017.

(28) Ren Zhongmin: "Tang Dynasty Music and Literature Research Fa Fan", written by Cui Lingqin, Ren Zhongmin's Notes: "Jiaofang Notes", Beijing: Zhonghua Bookstore, 1962, pp. 1-2.

(29) Zhang Yan, Cai Zhen Shu Testimony: Etymological Evidence, Volume 2, Beijing: China Bookstore, 1985, pp. 41-42.

(30) Xu Wei: Narrative of Southern Words, edited by the China Academy of Opera: Integration of Treatises on Classical Chinese Opera (III), Beijing: China Drama Publishing House, 1959, p. 239.

(31) Long Yusheng: Selected Words of Famous Artists in the Past Three Hundred Years, Shanghai: Shanghai Ancient Books Publishing House, 1979, "Afterword", p. 225.

(32) Wang Zhuo, Yue Zhen Correction: The Correction of Biji Manzhi, vol. 3, Beijing: People's Literature Publishing House, 2015, p. 69.

(33) Zhang Zhongmou: History of Ming Ci, Beijing: People's Literature Publishing House, 2002, p. 64.

(34) Song Xiangfeng: "The Theory of Lefu Yu", Tang Guizhang, ed., Lexis Series, vol. 3, Beijing: Zhonghua Bookstore, 1986, p. 2498.

(35) Written by Liu Xizai and Yuan Jinhu, Notes on The Annotated Manuscript of the Art Overview, Beijing: Zhonghua Bookstore, 2009, p. 612.

(36) Li Tiaoyuan: "Yucun Qu dialect and self-introduction", edited by the China Academy of Opera: "Integration of Chinese Classical Opera Treatises (VIII)", p. 5.

(37) Wu Yuhua: A Collection of Prefaces to Ancient Chinese Opera, Beijing: China Drama Publishing House, 1990, p. 149.

(38) Written by Liu Xizai, Yuan Jinhu's Note: Notes on the Art Overview, p. 578.

(39) Lu Qian: "Drinking Rainbow Qu Dialect", "Lu QianQu Studies Treatise", Shanghai: Shanghai Bookstore Publishing House, 2013, p. 447.

(40) Yang Enshou: "Words and Words", edited by the China Academy of Opera: "Integration of Treatises on Classical Chinese Opera (IX)", pp. 236-237.

(41) Lu Qian: "Drinking Rainbow Qu Dialect", Lu Qianqu Treatise, p. 447.

(42) Shen Qian: "Miscellaneous Sayings of Filler Words", ed. Tang Guizhang: Series of Words and Phrases, vol. 1, p. 629.

(43) Poetry and music are all historical forms or artistic forms of songs, in order to avoid confusing the "songs" of stylistic literature with the "songs" of musical literature, this article uses the concept of "lyrics" to refer to the latter. Historically, the customary titles of "Lefu Song Lyrics", "Dunhuang Song Lyrics", "Yanle Song Lyrics" and "Chu Ci", "CiFu", "Qu Ci" and so on not only include long and short sentence lyrics and qi yan sheng poems, but also refer to their textual form and artistic functions. This is also the reason why Ren Zhongmin's "Dunhuang Song Lyrics Editor-in-Chief" advocates "taking the Song Guo Maoqian's "Lefu Poetry Collection" approach, looking down along the Six Dynasties Lefu, not following the Zhao and Song Song word industry system upwards", and "using the word 'word' instead of its simplified character 'word'".

(44) Guo Maoqian: Collected Poems of Lefu, vol. 90, p. 955.

(45) Yao Hua: "A Spoonful of Qu Hai", edited by Ren Zhongmin: "New Qu Yuan" (Part 2), Nanjing: Phoenix Publishing House, 2014, p. 441.

(46) Che Xilun, "Ren Zhongmin's Annotation and Editing of the Meaning of Song and Qu", China Social Science Daily, June 26, 2017, 8th edition.

(47) Ye Gongqi: "The Manuscript of the Words of The Distant Emperor", edited by Feng Qian: Compilation of Qing Word Orders, vol. 4, Nanjing: Phoenix Publishing House, 2013, p. 2158.

(48) Yu Pingbo: "Reading Words Occasionally", "On Poetry and Song Miscellaneous Works", Shanghai: Shanghai Ancient Books Publishing House, 1983, p. 499.

(49) You Tong: "Order of Noun Selection", edited by Ren Zhongmin: "New Quyuan" (Part 2), pp. 725-726.

(50) Wallace Martin, Contemporary Narratology, translated by Wu Xiaoming, Beijing: Peking University Press, 2005, p. 34.

(51) Charles E.May,“Introduction to the New Short Story Theories,” in Charles E.May,ed.,The New Short Story Theories,Athens:Ohio University Press,1994,p.xvii.

(52) Li Hongtu, "Conceptual History and The Choice of History", Studies in Historical Theory, No. 1, 2012.

(53) Ren Zhongmin: A Preliminary Study of Dunhuang Qu, Dunhuang Qu Studies, Nanjing: Phoenix Publishing House, 2013, p. 401.

(54) Qin Dexiang, "The Anti-Temporal Pursuit of "Singing words": A Discussion with Mr. Lodi", Symphony - Journal of Xi'an Conservatory of Music, No. 3, 2007.

(55) Wang Zhuo, Yue Zhen Correction: The Correction of Biji Manzhi, vol. 2, p. 26.

(56) Lin Jingxi: The Collected Works of Jishan, vol. 4, The Complete Book of the Four Libraries of Wenyuan Pavilion, Taipei: The Commercial Press, Taiwan, 1986, vol. 1188, p. 747.

(57) "Wang Guowei Opera Papers", Beijing: China Drama Publishing House, 1984, p. 163.

(58) Written by Cui Lingqin, Edited by Ren Zhongmin: Notes on the Teaching Workshop, p. 175.

(59) Ren Zhongmin: Tang Shengshi (Part 2), p. 8.

(60) Yuan Shu( 元稹撰, Ji Qindian School: Yuan Shu Ji), Beijing: Zhonghua Bookstore, 1982, p. 255.

(61) Li Qingzhao, Wang Zhongwen Proofreading Notes: Notes on Li Qingzhao's Collection, Beijing: People's Literature Publishing House, 1979, pp. 194-195.

(62) Wang Zhuo, Yue Zhen Correction: The Correction of Biji Manzhi, vol. 1, p. 9.

(63) Zhou Deqing: "Ten Methods of Zhongyuan Phonology and Composition", edited by the China Academy of Opera: "Integration of Treatises on Classical Chinese Opera (I)", p. 232.

(64) Ren Zhongmin: Tang Shengshi (Part 2), p. 3.

(65) "The ancient music house is only poetry, but there are many overtones in the middle. Later, people were afraid of losing the pan voice, so they added a real word one by one, so they grew short sentences, and this song is. (Li Jingde, ed., Wang Xingxian Dian, Zhuzi Language, vol. 140, Beijing: Zhonghua Bookstore, 1986, p. 3333)

(66) Wang Jide's "Qu Lu on Lining Characters": "Ancient poems have no lining, and the lining characters start from the south and north." (Edited by the China Academy of Opera: Integration of Treatises on Classical Chinese Opera (IV), p. 125)

(67) Written by Cui Lingqin, Edited by Ren Zhongmin: "Notes on the Teaching Workshop", "Benyan", p. 10.

(68) Cui Lingqin, Ren Zhongmin's Notes: Jiaofang Notes, pp. 197-254.

(69) Written by Cui Lingqin, Edited by Ren Zhongmin: "Notes on the Teaching Workshop", "Benyan", p. 15.

(70) Li Changji: The History of Ancient Chinese Scattered Songs, Shanghai: East China Normal University Press, 1991, pp. 21-28.

(71) Yang Yinliu: Manuscripts of the History of Ancient Chinese Music, p. 626.

(72) Novjoy, "The Existence of a Giant Chain: A Study of the History of an Idea", translated by Zhang Chuanyou and Gao Bingjiang, Nanchang: Jiangxi Education Press, 2002, p. 2.

(73) Ren Zhongmin: Tang Shengshi (Part 2), p. 6.

(74) Wang Zhuo, Yue Zhen Correction: The Correction of Biji Manzhi, vol. 3, p. 49.

(75) Zheng Qian, "Dong Xixiang and the Relationship between Words and Southern and Northern Songs", JingWu Cong, ed., Vol. II, Taipei: Taiwan Zhonghua Bookstore, 2015, p. 374.

(76) Wang Xiaodun and Li Changji, "Mr. Ren Zhongmin and the Sanqu Studies and Tang Dynasty Literature and Art Studies He Established", Literary Heritage, No. 6, 1996.

(77) Zhao Yanwei: Yunlu Manhua, Beijing: Zhonghua Bookstore, 1996, p. 135.

(78) Wang Peijiang's Transcription: Novels of the Tang Dynasty, Shanghai: Shanghai Ancient Books Publishing House, 1978, pp. 28-29, 52.

(79) Luo Ye: "Drunken Man's Talk", Shanghai: Classical Literature Publishing House, 1957, p. 5.

(80) Hong Kai: Qingping Shantang Dialect, Shanghai: Shanghai Ancient Books Publishing House, 1987, p. 157.

(81) Luo Zhenyu: "Dunhuang Zero Picking Sequence", "Song Weng's Recent Manuscripts, Ten Kinds of Foreign", Shanghai: Shanghai Ancient Books Publishing House, 2013, p. 25.

(82) Lu Xun: A Historical Outline of the Chinese Novel, Shanghai: Shanghai Ancient Books Publishing House, 2006, pp. 73-74.

(83) Hu Shiying: "Wanchun Miscellaneous Works and Interpretation of Words and Phrases", Hangzhou: Zhejiang Literature and Art Publishing House, 1984, p. 221.

(84) Zhao Yishan et al., A Study of Parasitic Lyrics and Songs in Ming Dynasty Novels, Beijing: The Commercial Press, 2013, p. 296.

(85) Zheng Zhenduo: "The Tradition of Fiction in Classical Chinese Literature", Collected Papers of Zheng Zhenduo's Classical Literature, Shanghai: Shanghai Ancient Books Publishing House, 1984, p. 289.

(86) John Frow,Genre,Oxford:Routledge Press,2005,p.70.

(87) See Li Feiyue, "Morphological Reconstruction under the Invasion of Poetry and Music", Journal of Peking University, No. 5, 2017.

(88) Wilhelm Vosskamp,"Gattungen als literarisch-soziale Institutionen," in Textsortenlehre,Gattungs geschicht,mit Beitr.Von Alexander von Bormann,Hrsg.von Walter Hinck,Heidelberg:Quelle und Meyer,1977,S.29.

(89) Hu Yuanling, "Rethinking the Causal Chain of "Quhua" and "MingZi Decay"", Journal of Chinese Rhyme Literature, No. 1, 2007.

Source: Chinese Social Sciences, No. 1, 2019