Among those who interpreted the poetry of Li Shang-Yin in the early Qing Dynasty, Zhu He-Ling was the one that took the lead. He interpreted the poetry of Li Shang-Yin on Qian Qian-Yi¡¦s instructions. It was a time of dynasty changes and literary inquisition, similar to the late Tang Dynasty. The poetry of Li Shang-Yin, poet of the late Tang, was ambiguous and obscure, which provided an opportunity for Zhu who was in the same situation as Li-Shang-Yin to display his commentary ability. Zhu adopted the method of ¡§zhi ren lun shi¡¨ to interpret Li¡¦s poems, which is a method of understanding a person by researching the historical background. After ¡§Explanatory Notes of the Poetry Collection of Li Yi-Shan¡¨ was published, it evoked resonance among readers. Therefore, it is now an important book for studying Li¡¦s poems. If the process of how Zhu finished the book could be understood and the essence and features of the book could be outlined and summarized, it would be beneficial for researching the poet Li Shang-Yin and his poems. This dissertation is composed of five chapters. The first chapter- introduction- contains the purpose and method of the study. The life and characteristics of Zhu and the gist of ¡§Explanatory Notes of the Poetry Collection of Li Yi-Shan¡¨ were also introduced. The second chapter-the historical background of Zhu He-ling¡¦s interpretation of Li Yi-Shan¡¦s poems-indicates that the author wrote and developed the concept of shishi (¸Ö¥v) and bixin (¤ñ¿³) under the influence of the political and social environment and the academic atmosphere at that time. This chapter also discusses the process of how Zhu finished the book and compares the differences in different versions in order to highlight the outcomes of Zhu¡¦s studies. In chapter three-the style and structure of ¡§Explanatory notes of the poetry collection of Li-Yi-Shan¡¨- the style and structure of the explanation, interpretation and quotation in the book were analyzed. By doing this, Zhu¡¦s devotion to interpreting Li¡¦s poems and to preserving predecessors¡¦ works could be easily seen. Chapter four-the contribution and defect of ¡§Explanatory notes of the poetry collection of Li-Yi-Shan¡¨-depicts the contribution and defect of the book for those who study Li Shang-Yin¡¦s poems. Chapter five-conclusion- summarizes the main ideas from chapter two to four in the hope that the whole picture of ¡§Explanatory notes of the poetry collection of Li-Yi-Shan¡¨ could be understood.

Thesis (M.Phil.)--Hong Kong Baptist University, 2001. / Thesis submitted to the Dept. of Religion and Philosophy. Includes bibliographical references (leaves 178-210).

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

University of Macau / Faculty of Education

Dans la Chine du IIIè siècle, les mutations politiques et intellectuelles considérables survenues après l’effondrement des Han favorisent l’éveil d’une conscience inédite de l’individu, ainsi que l’émergence de nouvelles tendances philosophiques (le néo-taoïsme de l’Étude du Mystère) et l’apparition d’une activité artistique en rupture avec la tradition qui s’est imposée durant quatre siècles d’hégémonie confucéenne. La musique, qui occupe une place d’élection dans la vie des lettrés, voit évoluer le statut et la pratique auxquels elle était jusqu’alors confinée, l’outil moralisateur au service de la concorde sociale s’affirmant désormais comme une distraction libre et privée, affranchie de ses finalités politiques et civilisatrices. Notre travail prend pour objet les conceptions de la musique qui ont vu le jour dans ce contexte de l’avènement esthétique et d’une valorisation sans précédent des émotions individuelles. En nous concentrant plus particulièrement sur Ruan Ji 阮籍 (210-263) et Ji Kang 嵇康 (223-262), figures de proue de la pléiade des Sept Sages de la Forêt de Bambous et éminents poètes, philosophes et musiciens, nous avons cherché à étudier la réflexion esthétique qui s’élabore dans leurs écrits autour des questions de l’origine et la nature de la musique, de ses fonctions morales et sociales, de son utilisation politique ou macrobiotique, de ses vertus éthiques ou diététiques, ou encore de son lien aux émotions. L’analyse textuelle est complétée par celle de pratiques ou de gestes musicaux : le sifflement chez Ruan Ji, la cithare chez Ji Kang, qui donnent corps aux discours et illustrent leur mise en œuvre concrète dans la vie de ces auteurs. De sorte que l’esthétique ne se définit plus seulement comme un discours, mais aussi comme un ethos, et que l’effort d’affranchissement de la musique est contemporain d’une d’émancipation des sujets mêmes de l’expérience esthétique. / In third-century China, the huge political and intellectual mutations occurring after the collapse of the Han dynasty result in the awakening of a new self-consciousness of man and the emergence of new philosophical trends (the so called Dark Learning), or also an artistic activity breaking off with four centuries of Confucian orthodoxy. Music, which occupies a privileged position in the life of literati, evolves as well, as far as its traditional status and practice are both concerned. No more considered a tool of moralization for the sake of civilized order or social harmony, it becomes a private and free distraction, emancipated from political or any other pragmatic purpose. The conceptions of music appearing in this context of nascent aesthetics provide the subject matter of our research. Focusing on Ruan Ji 阮籍 (210-263) and Ji Kang 嵇康 (223-262), two leading figures of the well-known literati group “the Seven Sages of the bamboo grove” who were also famous poets, thinkers and musicians, we attempt to examine their aesthetic thought throughout their main writings on music, concerning issues such as the origins and nature of music, its moral or social functions, its political or macrobiotic use, its ethical or dietetic virtues, and also its relation to man’s emotions. The textual analysis is completed by the study of musical practices or gestures (Ruan Ji’s whistling, Ji Kang’s playing the zither), that illustrate the effective application of their ideas in concrete life. Therefore, aesthetics does not only consist in a mere discourse, but becomes a kind of ethos, in which the emancipation of music is inseparable from that of the individual himself, through his aesthetic experience.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese