A detailed study of the poetry (shi R#) of Ouyang Xiu (1007-1072). Though Ouyang Xiu was one of the major cultural figures of the northern Song period (960-1126), later generations have rather neglected his poetry. After a brief introduction explaining this neglect, my study begins with a biographical sketch, outlining Ouyang's public career and concentrating on events that may have shaped his development as a poet. Chapter two deals with Ouyang's poems on mountains, one of his most favoured topics. I describe three kinds of mountain poems: dynamic, forceful works; tranquil works; and those which compare different kinds of mountains in an intellectual manner. Frequently domestic or cultural objects — stone screens, calligraphic rubbings, music — provide the inspiration for Ouyang's mountain poetry. Chapters three and four turn from the "cosmic" level of mountains to the "domestic" world, to discover whether other everyday objects exert a similar effect on his imagination. Chapter three deals with activities: poems on tea and wine drinking; eating; sleeping; music and calligraphy. These works tend to jump back and forth between the mundane and the transcendent, as Ouyang traces each subject to its source in the natural world. Chapter four treats the buildings, gardens, pets and plants in Ouyang's immediate environment. Techniques of caricature and witty argumentation increasingly appear in his mature verse. Water is a central figure in Ouyang's mountain poems. Chapter five reverts to the "cosmic" level to discuss Ouyang's poetry on water in its many transformations: storms, snow, reflected moonlight, rivers and the ocean. In his mature works, Ouyang increasingly mixes levels of discourse — prosaic and lyrical, pure and crude — to indicate the complexity of human reaction to outside events. The concluding chapter summarizes the evolution of Ouyang's poetic style. I define wit, noting its centrality in the English poetic tradition. I carefully analyse Ouyang's recorded comments on poetry: he constantly advocates breadth and variety of mood and subject matter, including even laughter and joking, crudity and baseness. I suggest possible influences on his style, especially Mid-Tang poets like Han Yu and Bai Juyi, and his own contemporary, Mei Yaochen. Finally, I yoke together the concept of wit and Ouyang's phrase "competing with Creative Transformation": like the English witty poets, Ouyang transforms harsh realities into ingenious artistic structures, and finds vitality in the midst of suffering and destruction.

A detailed study of the poetry (shi R#) of Ouyang Xiu (1007-1072). Though Ouyang Xiu was one of the major cultural figures of the northern Song period (960-1126), later generations have rather neglected his poetry. After a brief introduction explaining this neglect, my study begins with a biographical sketch, outlining Ouyang's public career and concentrating on events that may have shaped his development as a poet. Chapter two deals with Ouyang's poems on mountains, one of his most favoured topics. I describe three kinds of mountain poems: dynamic, forceful works; tranquil works; and those which compare different kinds of mountains in an intellectual manner. Frequently domestic or cultural objects — stone screens, calligraphic rubbings, music — provide the inspiration for Ouyang's mountain poetry. Chapters three and four turn from the "cosmic" level of mountains to the "domestic" world, to discover whether other everyday objects exert a similar effect on his imagination. Chapter three deals with activities: poems on tea and wine drinking; eating; sleeping; music and calligraphy. These works tend to jump back and forth between the mundane and the transcendent, as Ouyang traces each subject to its source in the natural world. Chapter four treats the buildings, gardens, pets and plants in Ouyang's immediate environment. Techniques of caricature and witty argumentation increasingly appear in his mature verse. Water is a central figure in Ouyang's mountain poems. Chapter five reverts to the "cosmic" level to discuss Ouyang's poetry on water in its many transformations: storms, snow, reflected moonlight, rivers and the ocean. In his mature works, Ouyang increasingly mixes levels of discourse — prosaic and lyrical, pure and crude — to indicate the complexity of human reaction to outside events. The concluding chapter summarizes the evolution of Ouyang's poetic style. I define wit, noting its centrality in the English poetic tradition. I carefully analyse Ouyang's recorded comments on poetry: he constantly advocates breadth and variety of mood and subject matter, including even laughter and joking, crudity and baseness. I suggest possible influences on his style, especially Mid-Tang poets like Han Yu and Bai Juyi, and his own contemporary, Mei Yaochen. Finally, I yoke together the concept of wit and Ouyang's phrase "competing with Creative Transformation": like the English witty poets, Ouyang transforms harsh realities into ingenious artistic structures, and finds vitality in the midst of suffering and destruction. / Arts, Faculty of / Asian Studies, Department of / Graduate

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鄭滋斌. / Thesis (M.A.)--香港中文大學, 1983. / Manuscript (cops. 2 & 3 reprint). / Includes bibliographical references (leaves 721-755). / Zheng Zibin. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1983. / 引言 --- p.1 / Chapter 第一章 --- 歐陽修之五代史記 / Chapter 第一節 --- 釋五代一詞之義 --- p.1 / Chapter 第二節 --- 釋五代史記、五代史、新五代史記、新五代史諸名　 --- p.3 / Chapter 第三節 --- 五代史記之修撰緣起 --- p.8 / Chapter 第四節 --- 五代史記采納史乘考 --- p.52 / Chapter 第五節 --- 五代史記之修撰始末　 --- p.61 / （注文） / Chapter 第二章 --- 歐陽修之古文 / Chapter 第一節 --- 宋初古文三變之迹 --- p.159 / Chapter 第二節 --- 歐公用力古文始末 --- p.177 / Chapter 第三節 --- 歐公文論淵源實踐 --- p.191 / （注文） --- p.217 / Chapter 第三章 --- 五代史記之古文：追踪馬遷 / Chapter 第一節 --- 師馬遷敘事之法 --- p.268 / Chapter 第二節 --- 遺貌取神，入馬遷之奧窔 --- p.337 / （注文） --- p.375 / Chapter 第四章 --- 五代史記之古文：仰師春秋　 --- p.424 / Chapter 第一節 --- 正名定分，以見褒貶 --- p.435 / Chapter 第二節 --- 求情責實，以明禮制 --- p.483 / （注文） --- p.512 / Chapter 第五章 --- 五代史記之紀傳文 / Chapter 第一節 --- 一義貫文 --- p.549 / Chapter 第二節 --- 前後回應 --- p.568 / Chapter 第三節 --- 虛字入神 --- p.575 / Chapter 第四節 --- 事朗意暢 --- p.579 / Chapter 第五節 --- 俚語有態 --- p.587 / （注文） --- p.600 / Chapter 第六章 --- 五代史記之論序文 / Chapter 第一節 --- 歐文搖蕩，寄情於虛字 --- p.621 / Chapter 第二節 --- 歐文容興，究析於篇章 --- p.648 / （注文） / 總論 --- p.697 / （注文） --- p.712 / 書目 --- p.721

Poetry occupies an eminent position in the history of Chinese literature because almost all the traditional men of letters had experience in composing poems. However, it was not until the Sung Dynasty that the criticism of poetry became very popular; this was singled out by the appearance of a number of books called, shih-hua (icons omitted) (remarks on poetry). Since the Sung period on, shih-hua has received both praise and censure. Traditional critics tended to evaluate shih-hua from a practical viewpoint. For example, Wang Shih-han (icons omitted) criticised the content of shih-hua as trivial because it deviated from the subjects of filial piety, trust, and other Confucian merits. On the other hand, Kuo Shao-yu (icons omitted) proclaimed that shih-hua preserved a great deal of worthy materials for the study of poetry. Modern scholars tend to evaluate shih-hua from the aesthetic viewpoint. For instance, Yen Yuan-shu (icons omitted) describes shih-hua as "vague and obscure" and "lacking systematic discourse." Yet other scholars such as Yeh Wei-lien (icons omitted) claim that the shih-hua offers readers a chance to recapture the world of rich imagery in poetic composition. In order to make a more objective judgement between the above two extremely different evaluations of shih-hua, the following issues must first be resolved: the definition of shih-hua which is related to Ou-yang Hsiu's (icons omitted) Liu-i shih-hua (icons omitted) the first book titled shih-hua, what kind of poetic tradition the Liu-i shih-hua inherited, what kind of person its author was, under what kind of literary environment it was produced, what were the contents of the work, and what kind of influence it exerted on the development of the shih-hua genre. Then we may tentatively reach an answer: the practical criticism of poetry only covers one part of the content of shih-hua. To make a complete evaluation of a shih-hua book or the shih-hua genre itself, a critic must take all the issues above into consideration.