This dissertation aims to deal Pei Chu-yi (¥Õ©~©ö¡A772-846), the most important poet in Tang Dynasty, with his influence on the lyric development in Sung Dynasty. With the concept of intertextuality as my methodology, Pei Chu-yi is treated as a pivotal role in my new reading the lyrics composed in Sung Dynasty (960-1279 A.D.). As it will be shown, many lyrics in Sung are highly intertextualized with Pei¡¦s poems, and the works of Huang Ting-jan ¶À®x°í(1045-1105) illustrated the very example in how a poet related himself (including his personal experiences, view of literature, etc.) as a follower to the pioneering poet Pei. Therefore, from the later literary and cultural continuities with Pei, I apply the concept of ¡§intertextuality¡¨ to re-read and re-explore the ideas of ¡§text,¡¨ imitation,¡¨ and even ¡§originality¡¨ during the ancient China. In this ground, ¡§intertextuality¡¨ represents a poet¡¦s personal and historical identities via his own poems. Yet there will be some limits when doing the mentioned ¡§intertextualizing¡¨ readings. As I will illustrate, many political experiences are less ¡§straightforwardly¡¨ put into lyrics as Pei had done in his ¡§Pi-Pa Yin¡¨(µ\µ]¤Þ). In this ground, the idea of ¡§intertextuality¡¨ needs to be subdivided into two types: the general one and the specific one. The former indicates a universal humanity and emotion aroused by misfortune, blame, ideology and conflicting values while the latter shows a poetic (and subjective) identity in a poet¡¦s representing himself via his poems Several contributions can be thereby found in this dissertation. First, lyric poets of Sung Dynasty favored Pei¡¦s works, mainly composed in his exile at Chiang Chu (¦¿¦{). Second, lyric poets of Sung Dynasty found their own ways to release or relive from their political identities through Pei¡¦s poems. Thirdly and finally, we can never feature the lyric poems in Sung Dynasty without Pei¡¦s poetics. With the three main points, I further develop an ¡§affiliative ¡¨ relationship between Pei and lyric poets of Sung Dynasty. With the help of Julia Kristiva¡¦s ¡§chora¡¨ concept, I analyze some key words both used by Pei and his followers so as to display the different semiotics applied in Tang Dynasty and in Sung Dynasty. In my last chapter, I suggest several ways to re-read Pei¡¦s works with literary works in different dynasties (for instance, to intertextualize Pei¡¦s ¡§Chung Hung Ke¡¨(ªø«ëºq) with Pei Pu¡¦s drama ¡§U Tun Yu¡¨(±ï®ä«B) in Yuan Dynasty, with Hung Sheng¡¦s fiction Chung Sheng Dien (ªø¥Í·µ) in Chin Dynasty). With this ¡§intertextual¡¨ research, cross-genre studies will be more valuable and thus significant. Finally, I recommend to develop more literary ¡§affiliations¡¨ between one dynasty and the other. Such comparisons as lyric poets of Sung with Han Yu (Áú·U) or with Du Fu (§ù¨j) will renovate the traditional readings of Tang Poetry (­ð¸Ö) and Sung Lyric (§ºµü).