This concept refers to writing ci poems in the same way other poems are written. In the history of the development of ci poems, one school represented by Li Qingzhao (1084-1151?) emphasized that ci poems should mainly express one’s emotions and mood and that the rhythm should be harmonized so that ci poems can be sung. Hence, they criticized the way of writing ci poems just as other poems, which they believed failed to demonstrate the distinctive features and aesthetic requirements of the ci poems genre. Another school represented by Su Shi (1037-1101) refused to be bound by the musical requirements of ci poems, believing that meaning of poems should not be sacrificed for the sake of musical rhythm. Such poets were more flexible in choosing words and their ci poems covered a wide variety of subjects. This expanded the subjects of ci poems and reduced their monotony as works on tender feelings of men and women, thus creating new styles of ci poems. Thus, ci poems were no longer lyrics just for singing and became a poetic form with new features while retaining their musical quality.

Han Yu wrote poems in the same way he wrote essays, and Su Shi composed ci poems in the same way he wrote poems of general styles. This is like the master dancer Lei Dashi in the Imperial Song and Dance Troupe performing dances choreographed for women. Although Han Yu and Su Shi were good writers , what they wrote was incompatible with the original characters of the genres. (Chen Shidao: Houshan’s Understanding of Poetry)

It would be wrong to say that Su Shi composed ci poems just as he wrote poems of general styles. Su Shi himself said that he was not a good singer, so his lyrics might not always suit the singing. (Hu Zi: Sequel to Tiaoxi Hermit’s Remarks on Poetry)