ỐI CHIẾU MỘT SỐ ĐIỆU TỪ TRONG SÁNG TÁC CỦA LÝ THANH CHIẾU VỚI TỪ NHÂN VĂN HỌC TRUNG ĐẠI VIỆT NAM DỰA TRÊN TỪ PHỔ

Abstract

Song Ci (宋词), a significant literary genre in ancient China, reached its zenith during the Song Dynasty and profoundly influenced the Sinosphere, including Vietnam. In Vietnam, the Ci-poetry genre emerged as early as 987 but flourished most prominently during the Nguyễn Dynasty. This study employs typological, poetic criticism, and interdisciplinary research methods, combined with comparative analysis, to examine four renowned Ci-poetry tunes by Li Qingzhao (Ru Meng Ling《如梦令》, Xing Xiang Zi《行香子》, Huan Xi Sha《浣溪沙》, and Sheng Sheng Man《声声慢》) alongside medieval Vietnamese lyrical compositions based on their respective Ci-poetry spectrum (词谱). The research findings demonstrate that the majority of Vietnamese Ci strictly adhered to the prescribed prosodic rules and musical patterns outlined in the Ci-poetry spectrum, while also embracing the poetic techniques of the Huajian School (花间派), Wanyue School (婉约派), emphasizing prosody, romantic sentiment and the harmony between scene and emotion. Some works exhibit minor adaptations to reflect the author’s personal moods while preserving the genre's aesthetic integrity. The results underscore the creative adaptation of Vietnamese literature in assimilating and transforming the Ci-poetry genre, thereby enriching the nation’s literary heritage.