| Abstract |
This study probes into the phenomena observed in ci-poetry filled by Taiwanese literati under Qing and Japanese Colonial rule from three perspectives, which are tune patterns (ci pai), rhymes, and sentences. From the perspective of tune patterns, this thesis discovers that when Taiwanese literati filled lyrics in ci, apart from using regular tune patterns with standardized tunes, uncommon ci pai names were also used for same tunes with different titles to create a refreshing atmosphere. They also properly borrowed the literal meaning from ci pai and expressed their feelings (qing) according to the tune names, as if treated them as the themes (ci ti) of ci. From the perspective of rhymes, this thesis discovers that in order to imitate the actuality of rhymes used by Song-ci composers, Taiwanese literati filled ci by referring to the flexible categorization of rhymes by Qing scholars. Taiwanese literati were also used to apply the rhyming rules of shi in ci-filling. From the perspective of ci sentences, this thesis discovers that Taiwanese literati filled lyrics in ci according to the rules elaborated in Tian Ci Tu Shuo (illustrations of ci-filling) by Lai Yi-Bin and Kangxi Emperor imperial commissioned Ci Pu (anthology of music scores in ci-poetry).Yet the sentences filled in a same section of ci were often more flexible. This kind of practice were inherited from the “bold and carefree” (hao fang) school of Song-ci composers.
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