This dissertation takes He Zhu and his ci-poetry as the research subjects. The author also combines western reception aesthetics theory with reader center to analyze and generalize readers’ reception and reaction in the past, which constructs literary status and artistic value of He Zhu’s ci-poetry in the history. The overall study is divided into six chapters (i.e. 1. introduction; 2. the reception of He Zhu’s ci-poetry; 3-4. the critics of He Zhu’s ci-poetry; 5. the creative reception of He Zhu’s ci-poetry; 6. conclusion).
In the first chapter, the author integrates the previous research outcomes to clarify the research motivations, purposes, methods, ranges, values and limitations. As for the second, in terms of quantitative analysis, the author combines the previous poetic productions with their selections of He Zhu’s ci-poetry to discuss the aesthetic concept and reception attitude toward his ci-poetry.
In the third and the fourth chapter, the author synthesizes the data of He Zhu’s ci-poetry to present the previous ci-poetry critics toward the reception dimensions of He Zhu. In the perspective of association (i.e. one of the literary forms), the author, in the fifth chapter, analyzes the previous ci-poets, whom rhymes, and imitates He Zhu’s ci-poetry, to discuss the resonance works of “Heng Tang Lu” (made by He Zhu). Moreover, the author also compares the rhyme patterns, contents, and artistic styles of He’s ci-poetry imitated by the followers with that of the re-creation and reception.
The author finally summarizes the three dimensions of He’s ci-poetry (i.e. prevalence, critics, and reception), concludes the features and reception level of his productions, and constructs the classic status of “Heng Tang Lu”.