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Tsing Hua Journal of Chinese Studies
ISSN 0577-9170; DOI 10.6503/THJCS


Why the Yong-ming Movement of Tonal Euphony Developed toward Regulatedness within a Poetical Line

Vol. 29 No. 3   6/1999  


Why the Yong-ming Movement of Tonal Euphony Developed toward Regulatedness  within a Poetical Line


Feng-yu Shih









Key words

Yong-ming movement of tonal euphony, Regulatedness, Four tones, Eight maladies, Level and oblique tones


      Based upon a thought, quantitative investigation into the five-character poetry of Lianng, Chen, and Sui dynasties, this study first comes to the conclusion that, in the period in question, the tendency of “regulatedness” (lu haa 律化) basically rose day by day. With the establishment of this conclusion, two complicated problems stand out to be solved. The first is how the stress on the arrangement of the “four tones” (si sheng 四聲), which the Yong-ming 永明movement of tonal euphony originally advocated, shifted into the arrangement of the “level and obli que tones” (ping ze 平仄), which the regulated verse required. The second is how the places of tonal arrangement gradually came to be regularized as the second and the forth characters of a line. The rest of this study provides my answer to these two problems.



Author: Feng-yu Shih
Genre: Article
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