the+ci

Ci (poetry)
//**Ci**// (simplified Chinese: 词; traditional Chinese: 詞; pinyin: //cí//, interchangeable with 辭) is a kind of lyric Chinese poetry. For speakers of English, the word "ci" is pronounced somewhat like "tsuh". It is also known as //Changduanju// (長短句/长短句 "lines of irregular lengths") and //Shiyu// (詩餘/诗馀 "that which is beside poetry"). Typically the number of characters in each line and the arrangement of tones were determined by one of around 800 set patterns, each associated with a particular title, called //cípái// 詞牌. Originally they were written to be sung to a tune of that title, with set rhythm, rhyme, and tempo. Therefore, the title may have nothing to do with its contents, and it is common for several //ci// to appear to have the same title. Some //ci// would have a "subtitle" (or a commentary, sometimes as long as a paragraph) indicating the contents. Sometimes, for the sake of clarity, a //ci// is listed under its title plus its first line. //Ci// most often express feelings of desire, often in an adopted persona, but the greatest exponents of the form (such as Li Houzhu and Su Shi) used it to address a wide range of topics.

History
Beginning in the Liang Dynasty, the //ci// followed the tradition of the Shi Jing and the //yue fu//: they were lyrics which developed from anonymous popular songs (some of Central Asian origin) into a sophisticated literary genre. The form was further developed in the Tang Dynasty, and was most popular in the Song Dynasty.

Classification
Two main categories of //ci// employed in Song Dynasty were //xiǎolìng// 小令 (the original form since Pre-Song) and //màncí// 慢詞 (starting after Liu Yong), depending on the song being either short and in fast tempo or long and in slow tempo. Later in Ming Dynasty and Qing Dyansties, the //ci//, or rather the //cipai//, are classified for the number of characters it dictates. It's called //xiǎolìng// 小令 if it's no more than 58 characters, //zhōngdiào// 中調 for 59-90, and //chángdiào// 長調 for over 90. If the //ci// appears in one stanza, it's called //dāndiào// 單調, mostly //xiǎolìng// written in Pre-Song era. The largest majority is //shuāngdiào// 雙調 with two stanzas or //qüè// 闋 in identical or nearly identical patterns. There also are rare cases of //sāndié// 三疊 and //sìdié// 四疊, for three and four //qüè//, respectively. In terms of style, //ci// can also be classified as either //wǎnyuē// 婉約 or //háofàng// 豪放.

Cipai
Most //cipai// consist of three characters. The literal meaning of a //cipai// can be rather obscure, making it difficult to translate. Some are taken straight from earlier poems, and some are clearly of Non-Han origin — mostly songs introduced from Central Asia. Some //cipai// have alternative names, usually taken from a famous piece of that very //cipai//. There also are variants of certain //cipai//, indicated by a prefix or a suffix.

Example
In the title of this //ci//, "the Tune of Riverside City" is the //cipai//, followed by the first sentence of the poem. Su Shi got married when he was 19, his wife 16. His wife died when she was only 27. Because of his government duties, Su Shi had moved to many different places in China, all far away from his hometown. One night in early 1075, about 10 years after her death, Su Shi dreamed of his wife, then composed this famous //ci//.
 * To the Tune of Riverside City - For ten years here I wander and there you lie**
 * 「十年生死兩茫茫. 不思量，自難忘. 千里孤墳，無處話淒涼. 縱使相逢應不識，塵滿面、鬢如霜. 夜來幽夢忽還鄉. 小軒窗，正梳妝. 相顧無言，惟有淚千行. 料得年年腸斷處：明月夜，短松岡. 」“For ten years here I wander and there you lie./ I don't think about you often,/ yet how can I forget you!/ With your grave a thousand miles away,/ where can I confide my loneliness?/ Even if we met, could you recognize me,/ with dust all over my face/ and hair like frost?/ Last night I had a dream in which I returned home./ By the window,/ you were combing your hair./ We Looked at each other silently,/ with tears streaming down our cheeks./ There's a place which every year will be my misery：/ the moonlit night,/ the hill of short pines. 「Su Shi, 《江城子·十年生死兩茫茫》，蘇軾」