There are thirty-two sentences in the whole poem, and four sentences are explained. It is really amazing that the technique of linking words and connecting thimbles is "ingenious" "Shrike flies at dusk, and the wind blows ebony trees. Under the tree, in front of the door and under the door, there are dew and lotus seeds as clear as water. When I miss Mandy, I look up at Hong Fei. The poem "Hong Fei flies all over the West Island, Wang Lang goes to the brothel" is so interlocking that it is full of emotions and feelings, and it is harmonious and beautiful.
1, the most typical tick in this poem is: "In front of the tree, outside the door is delicate." In this way, the word "door" is connected, and the voice, face and smile are swaying and affectionate.
2, hook sentence noun explanation: the use of continuous connection method, thimble hook, the skill of "ingenious" is really amazing. So interlocking, word for word, not only the voice and emotion are swaying, but also the rhythm is harmonious and beautiful.
The "door" in the previous sentence constitutes the basic component of the hook sentence.
3, the original poem:
Xizhouqu
Miss Mei wants to go to Kau Xizhou and break plum blossoms on the north bank of the Yangtze River.
Thin clothes are as red as apricots and hair as black as crows.
Where is Xixi Jiao? The two oars on board can be placed at the ferry pier of the Kau Xizhou Bridge.
At dusk, Shrike came and the wind blew the black mortar (speaking of butter) tree.
Under the tree is her home, and her emerald hair is exposed in the door.
She opened the door and didn't see her sweetheart. She went out to pick red-violet flowers.
Autumn, autumn Nantang, she is holding a lotus seed, and the lotus grows taller.
With his head down, he fiddled with the lotus seeds in the water, which were as green as the lake.
Hide lotus seeds in your sleeve. Lotus seeds are red and transparent.
Miss my husband, but not yet. She looks up at the swan in the sky.
The sky was full of geese, and she went up to the tower to see her husband.
Although the tower is high, she can't see her husband. She leans against the railing all day.
The railing bent and bent into the distance, and her hands were as bright as jade.
The curtain is so high, rippling like sea water, empty and generally dark green.
If the sea is as long as a dream, then you are sad and I am sad.
If Nanfeng knows how I feel, please blow my dream to Puxi Island.
How to write Xizhou Song in Yuefu of Southern Dynasties? Remember Xia Mei Xizhou, fold plum and send it to Jiangbei.
Thin clothes are as red as apricots and hair as black as crows.
Where is Xixi Jiao? Cross the bridge at the west paddle.
It's getting late, Shrike flies away, and the night wind blows into Sapium sebiferum.
Under the tree is her home, and her emerald hair is exposed in the door.
She opened the door and didn't see her sweetheart. She went out to pick red-violet flowers.
Autumn, autumn Nantang, she is holding a lotus seed, and the lotus grows taller.
With his head down, he fiddled with the lotus seeds in the water, which were as green as the lake.
Hide lotus seeds in your sleeve. Lotus seeds are red and transparent.
Miss my husband, but not yet. She looks up at the swan in the sky.
The sky was full of geese, and she went up to the tower to see her husband.
Although the tower is high, she can't see her husband. She leans against the railing all day.
The railing bent and bent into the distance, and her hands were as bright as jade.
The curtain is so high, rippling like sea water, empty and generally dark green.
If the sea is as long as a dream, then you are sad and I am sad.
Nanfeng knows what I mean and dreamed of Xizhou!
anonymous
Yuefu folk songs in the Southern Dynasties are Yuefu folk songs in the Southern Dynasties, which began and ended in Chen. Today there are over 500 songs. Many of them are Qing Dynasty songs in Guo Maoqian's Yuefu Poetry Collection, and a few are miscellaneous songs and ballads. Among them, there are more than 300 "Wu Ge" and more than 0/00 "Opera".
Where is Xizhou in Xizhou Qu written by Yuefu in the Southern Dynasties now? The place name of Xizhou is unknown. It is a memorial place for men and women in this article.
Characteristics of Yuefu folk songs in Southern Dynasties. Folk songs in the Southern Dynasties reflect love life from many angles and aspects, and the feelings written are extremely real, heartfelt and quite touching.
(1) is mainly lyrical, mainly in the form of five words and four sentences, which changes the long and narrative characteristics of Han Yuefu folk songs. Write a little in each poem, not fussy, lively and implicit. The song at four o'clock in the middle of the night sings that the spring breeze touches the hearts of young men and women, and it is full of naive and natural interest.
He is good at euphemistic and delicate brushwork, good at describing psychological activities and showing the emotional fragments of the protagonist instantly to the fullest. "Xizhou Song" truly depicts the gentle and affectionate heroine image. The whole picture of the poem exudes strong sadness and deep belief, vividly revealing the complex inner world of the heroine.
(3) The language is fresh and natural, using metaphor and symbolism, making full use of the characteristics of Chinese homophony, and adopting a large number of rhetorical devices of argot pun. In reading Quge, "Why bother without Coptis chinensis", the name of medicine "San" is a pun on the "San" of gathering and dispersing, and a pun on the suffering of Acacia and Coptis chinensis.
Please make a concrete analysis of Xizhou Qu by Yuefu in the Southern Dynasties —— A general explanation of Xizhou Qu.
Recalling the plum blossom in Xizhou, folding the plum blossom and sending it to Jiangbei: single shirt apricot red, double-sided crow young color. Where is Xixi Jiao? The two oars on board can be placed at the ferry pier of the Kau Xizhou Bridge. It's getting late, Shrike flies away, and the night wind blows into Sapium sebiferum. Under the tree is her home, and her emerald hair is exposed in the door. She opened the door and didn't see her sweetheart. She went out to pick red-violet flowers. Autumn, autumn Nantang, she is holding a lotus seed, and the lotus grows taller. With his head down, he fiddled with the lotus seeds in the water, which were as green as the lake. Hide lotus seeds in your sleeve. Lotus seeds are red and transparent. Miss my husband, but not yet. She looks up at the swan in the sky. Hongfei is full of Xizhou, and Wang Lang is on the brothel;
You can't see the height of the building, and you will stare all day. Twelve songs dry, hands like jade. The curtain is so high, rippling like sea water, empty and generally dark green. The dream of the sea is very long, and you are worried about me. Nanfeng knew what I meant and dreamed of Xizhou.
This poem "Xizhou Qu" was classified as "Zaqu" in the Yuefu poems compiled by Guo Maoqian, and was considered as "ancient music". New Ode to Yutai was written by Jiang Yan, but it was not published in Song Dynasty. The Selected Poems compiled by people in Ming and Qing Dynasties are either The Golden Ci or considered to be written by Liang Wudi ZSZSZSZ. It is difficult to draw a conclusion on this issue at present. However, in terms of content and style, it is a folk song of the Southern Dynasties, refined and beautiful, and widely read by future generations.
This poem takes four sentences as a section, which is basically four sentences with one rhyme change. Each section is connected by the conjunction method commonly used in folk songs, with beautiful timbre and swaying voice. Shen Deqian said in the source of ancient poetry that it "continues to grow together, connected with calyx, swaying endlessly, showing its artistic characteristics". However, how to correctly understand the content of this poem has long been a controversial issue in academic circles, and there is no unified view so far.
Indeed, this poem is mainly about a young girl, depicting her warm and subtle feelings of missing her lover. However, it is not written in the first person's self-reported tone of the girl, nor is it an objective description of the poet's third person, but in the way of "memory", so the whole poem is written in the tone of male narration. Later, in Du Fu's Moonlit Night, the poet misses his wife for the moon, but assumes that his wife misses herself for the moon, which is exactly the same technique. This is the general idea of the whole poem in artistic conception; If you don't understand it this way, it will become more and more chaotic, and eventually it will become a mess, which will make people read mysteriously and create an impression that they can't understand.
"Remember Xia Mei Xizhou, fold plum and send it to Jiangbei". As Mr. You Guoen said, the word "Mei" in the previous sentence doesn't really mean plum blossom, but probably the girl's first name or surname. When our lyrical host recalls "Mei" in his heart, he certainly wants to visit her in Xizhou. But I don't know why this idea didn't come true, so he had to fold a plum flower (it should be a plum branch) and send it to Jiangbei to express his thoughts on Mei. As can be seen from these two poems, the Western Zhou Dynasty was the place where the woman lived, located on the north bank of the Yangtze River; There is no doubt that this person will live in Jiangnan.
"single shirt apricot red, double-sided crow young color." These two sentences are about a woman's appearance. The poem was not written from head to toe, but only highlighted her two points: first, she was beautiful in an apricot red coat; Second, she has beautiful hair, black and shiny, just like the color of crow chicks, very cute. These two points in his mind are probably the most emotional for him. Such a detailed description of a woman's appearance is of course filtered by this man's aesthetic psychology. Besides, the poem mentioned "Xizhou" and "Jiangbei" at the beginning, and even wrote an article on "Xizhou" because his lover lived there; He wants to go to Xizhou and send him to Jiangbei because Xizhou, Jiangbei and Mei are intertwined in his mind. Therefore, "folding plums to send to Jiangbei" is actually a gift to a woman in Jiangbei, that is, "Mei" with "single shirt, apricot red and double temples". Based on this understanding, we use a colon after the second sentence, which seems more poetic. Mr. Yu Guanying pointed out that these two poems reveal obvious seasonal characteristics, which is quite reasonable. Let's see: when do you wear light clothes? What season is apricot red? What month was the crow born? Isn't it the turn of spring and summer? Therefore, the "time" for this man to "recall plum" should be in spring and summer, because he knows that the plum sent to Jiangbei can only be plum branches.
The above four sentences can be said to be the prelude of the whole poem, from "Where is the Western continent" to "The sea shakes the green". Twenty-four sentences are all the main body of this poem, and they are also the most expressive essence, and they are devoted to men's "memories" of "Mei". Because he wanted to go but couldn't, it was natural to draw out his "memory", which was also in line with his psychology at that time. Here, the poet's interwoven description of Mei's behavior and scenery naturally reflects her warm, innocent and implicit state of mind of missing her lover, and her writing is swaying, giving people a feeling of bright colors and slight feelings.
"Where is Xizhou" and other six sentences describe women step by step from one direction to another. Began to ask the woman where she lives as an introduction, and slowly led to her residence. There is a saying in Wen's "Xizhou Qu" that "the ship shakes two oars and pushes over Shicheng". It can be seen that "crossing the bridge with two oars" means that you can reach the ferry of Xizhou Bridge by shaking the two oars of the ship. On the dock, if it is midsummer, shrike will fly, and the river wind will blow up the black mortar on the mainland, which makes people sad. Mei's home is under the ebony tree. Poetry goes from "crossing the bridge" to "black mortar tree", from tree to door, and then from door to "Mei"-Dai Yupei's woman. This is the only way he used to go to Xizhou to find her, so he was impressed. But after all, he recalled these things, because these things can remind him of "Mei" most.
The following eighteen sentences focus on the strong reaction of "Mei" when "Lang hasn't arrived". Probably they had an appointment, and he was going to see "her" in Xizhou, but when he opened the door, he didn't come, but someone sent a plum. At this time, her mood can be imagined. "Love" churned in her heart, invisible and intangible; If a poet wants to write her abstract feelings, he must resort to figurative modeling, which is a description of Mei's behavior that readers can feel, and all this is his imagination in memory. After reading this, sensitive readers will surely find: How can you go out to pick "red lotus" in June, lower your head to get "lotus seed" in August, and only look up at "Hong Fei" in late autumn? It turns out that it is not uncommon for a story to be broken down into several different occasions and written into a string. Isn't the well-known Mulan poem written "buy horses in the east, saddles in the west, reins in the south and whips in the north"? If you think it is illogical to live, it is not unreasonable to ask the author why he didn't write it all at once, but you should know that those folk poets often focus on the "feelings" of their masters in their poems in this case, and they seem to think it doesn't matter whether it is reasonable to live. Also, let's not forget that what we are talking about here is a lyrical person's memory of his lover. This is not just a memory or a memory, but a leap-forward fit of the information emerging in the memory, which fully conforms to the psychological characteristics of memory. This kind of jumping conjunction can truly reflect a certain mood or state of mind, but it does not necessarily conform to the logic of life. In this case, we only need to contact our own life feelings. Another question is: Why did the lyric master of Xizhou Song imagine Mei picking lotus? There are probably two reasons for this: First, because "Mei" is a girl from a water village, picking lotus is her favorite activity, and the young men and women there are full of poetry and painting. It may be a relief to write that she is frustrated in picking lotus. Then "lotus" and "pity" are homophonic and full of puns. At that time, "pity" meant the same as saying "love" or "lover" today. You see how affectionate her attitude towards "Lotus" is: "Lotus seeds are as clear as water" shows that she regards her love as pure water. Isn't "lotus heart is all red" a symbol that two hearts are in love and completely hot ("red" is a symbol of hot)? "Lotus in the sleeve" also shows that she cherishes "Lotus". These descriptions vividly and euphemistically reveal her inner secrets when she "remembers Lang".
However, this poem does not stop there. "He" further imagined her "looking up" and "looking up to the brothel". There used to be a saying that Hongyan handed a book, and "seeing Hong Fei" meant looking forward to his letter. In fact, at this time, even if she really received his letter, it may not satisfy her, so she imagined that she "went to a brothel." We don't have to worry about whether we live in a brothel or a rich family. Here we just refer to ordinary high-rise buildings in general, with the aim of writing her urgent mood of seeing him. "Looking at Lang" naturally looks through the autumn water, but she still looks at it all day (as can be seen from "All Day Railing Head"). At this time, it was getting late. Did she give up? No (it can prove the saying that "the sky is high with roller blinds and the sea is green"). It turned out that it was through the curtains, and it was getting late, and the line of sight gradually blurred. The "shutter" is just to keep looking down. The curtain rolled up, and all I could see was the "sky" and the vast swaying "sea". He finally didn't come. How about the next one? There is nothing more in the poem, leaving it to the readers to ponder.
There are different interpretations of the sentence "the sky is high and the clouds are light in the rolling shutter door". I think if we can contact Mei's state of mind at that time, the poems are still relatively clear. Today, people in Guangzhou still can't tell the difference between "river" and "sea". For example, crossing the river is called "crossing the sea", and the capsizing of ships in the river is called maritime affairs. Perhaps in the Southern Dynasties, the water towns in the Yangtze River basin were also divided into "river" and "sea". "Shake" describes water waves rippling. "Green" is the color of the river darkening in the evening. Li Daoyuan of the Northern Dynasty once described the river in the form of "green" in the Notes on Water Classics (such as "Green Pond and Waves"), and "shaking green in the air" means "shaking green in the air". Because "he" came from Jiangnan to Jiangbei, he had to go by water. As usual, it is "the boat shakes two oars", so the "sea water" here must refer to the river. Here, the words "self" and "empty" are the most subtle. Du Fu wrote in "Shu Xiang": "Green grass, birds and flowers." This "self" and "emptiness" are obviously taken from Xizhou Qu. On the surface, these two poems of Du Fu seem to describe the scenery of Wuhou Temple, but in fact they express his feelings when he visited Wuhou Temple, and the mystery lies in the words "self" and "emptiness". Originally, "Ying Ji Bicao" and "every leaf of oriole" are beautiful scenery in spring, but this Bicao and Huang Peng have nothing to do with the poets who are infinitely admired at this time. Therefore, Bicao has spring scenery and oriole has a good voice, thus highlighting the piety of the poet who specializes in mourning. We understand the meaning of Du Fu's two poems, and then look at the two sentences of "shutter" in "Xizhou Song", which is not difficult to understand. Originally, the blinds saw high sky, green water and nothing, but she was very indifferent to it. A "self" and an "emptiness" have completely erased the beautiful scenery in front of us. God, you "manage" the height and the sea, but you just "shake" the green. "Zi" means nothing to do with yourself, and "empty" means nothing. Explain that the roller blind is not for enjoying the beautiful scenery, but for continuing to "see Lang".
The last four sentences, such as "the dream of the sea is long", are the end of the whole poem. It is really tearful to write about the situation that the lyric master returns to reality from "memory". The word "seawater" in "seawater dream is leisurely" is only used as a hook for the following sentence, which mainly means "dream is leisurely". "Dream" is not a "dream" of "dreaming", but actually another way of saying "memory" above. The "dreams" and "thoughts" we often talk about today are sometimes like "dreams". In short, the word "dream" here should be understood as the memory of "he" and "she", that is, the imagination of "Mei" in the middle. Since it is a memory and a dream, it may not be true, so the "leisure" and "leisure" we mentioned earlier are the characteristics of memories and dreams. We can't infer what appears in "memory" according to common sense in reality, because "memory" is as leisurely as "dream".
"Jun worries about me", which is the opposite of "I". It can be seen that "Jun" refers to "Mei". "Jun Chou", that is, the memory of "Mei" by lyricists, is an empty writing; "I'm worried, too" is the real feeling aroused by "memory", which is true. This poem also proves once again that the twenty-four sentences in the middle are "memories" of "he" and "she". Imagine that if there is no imagination of "worrying about the country and the people", it will not arouse the mood of "I am also worried". It can be seen that although the author of the poem has far-reaching artistic conception, he still dyed the joints of poetic thinking, that is, he said "memory" first, then "dream" and added "I am worried about you, too." These three places are really the key to uncover the mystery of the artistic conception of this poem.
"The south wind knows what I mean, dreaming of Xizhou". The south wind can blow to Xizhou, which proves that Xizhou is in Jiangbei. And the south wind, like apricot red and crow chicks, is not only available at the turn of spring and summer? It shows that the seasons of lyric masters "remembering plum blossoms" and "folding plum blossoms" are indeed in spring and summer. It can be seen that this poem echoes from beginning to end and is unified before and after.
In other words, the first four sentences of this poem are overtures and the last four sentences are endings, the lyricist told himself. The twenty-four sentences in the middle are the main body of the whole poem, which means that the lyric master imagines that the other person misses him because he misses his lover. He vividly created a beautiful, light, pure and affectionate girl image by describing various situations of "her". (Li Wenchu)
20. Yuefu folk songs in the Southern Dynasties, except Wu Ge and Zaju, are all long lyric poems, which belong to _ _ _ in the Western Zhou Dynasty Song and _ _ _ in Zaju Song. Hello!
Apart from Wu Ge and traditional Chinese opera, Yuefu folk songs in the Southern Dynasties are all long lyric poems, namely "Xizhou Song", which belongs to "miscellaneous songs" in Yuefu Poetry Collection.
If you are satisfied with this answer, please click it as a satisfactory answer.
What are the Yuefu folk songs in the Southern Dynasties? There are nearly 500 Yuefu folk songs in the Southern Dynasties that can be seen today. It is recorded in Yuefu Poems compiled by Guo Maoqian in Song Dynasty, and most of them are classified as "Shang Qing Ge". Only 10 songs (excluding folk songs) such as Xizhou Song, Dongfei Shrike Song and Su Xiaoxiao Song are classified as "miscellaneous songs" respectively. There are two kinds of songs collected in Qing Dynasty: Wu Ge and Western songs. Song Le Shu Zhi: "Wu Ge's zaqu is out of Jiangdong again. Since the Jin and Song Dynasties, it has been slightly broadened. " Poems of Yuefu quoted Records of Ancient and Modern Music: "Western music is different from Jing, Ying, Fan and Deng, but its sound, festival, delivery and harmony are also different." It can be seen that Wushu songs are folk songs in the lower reaches of the Yangtze River with Jianye (now Nanjing) as the center, while Xiqu songs are folk songs in the middle reaches of the Yangtze River and Hanshui River basin. The lyrics of the former are relatively concentrated, especially midnight songs, midnight four seasons songs, Huashan collection and reading songs. The latter has more tunes and less concentrated lyrics.
All kinds of music collected in Yuefu poems are mostly solved by quoting recorded books. For example, The Song of Midnight is quoted from the Records of Le Shu in the Tang Dynasty, which was written by a famous woman in the Jin Dynasty, and The Story of Huashan is quoted from the song The Story of Huashan, which was recorded as a martyr for Hakka women in the Ancient and Modern Music Record. Anecdotal hearsay is interesting, but it is hardly a reliable historical material.
The existing Yuefu folk songs in the Southern Dynasties are often mixed with the works of literati. Because the literati at that time liked to write folk songs, once the author was left behind in the process of circulation, it was easy to be regarded as folk songs. On the other hand, folk songs may be misnamed as literati. For example, in the first three songs of Jasper Song, Yuefu Poetry Collection quoted Yuan Yue as the work of King Runan, but the title was not written by the author. Playing with its tone may be a folk work. The last two poems are not Yuefu poems, the first one was written by Sun Chuo and the second one was written by Liang Wudi. "Collection of Arts and Literature" was also written by Sun Chuo with his first song. Sun Chuo wrote metaphysical poems earlier, so he didn't write such beautiful works. Liang Wudi is the author of a large number of folk songs, and the last two songs in Midnight Song can be found in his works, so this Song of Jasper may also be his draft. Such as this, lack of literature records, has been difficult to test. In addition to these suspicious works, the rest of the folk songs are mostly women, and their identities are mostly businessmen, poor people, boatmen, * * * and so on. , belonging to the lower middle class of urban residents.
Yuefu folk songs in Han Dynasty reflect sharp social contradictions, while Yuefu folk songs in Northern Dynasty show broad social life, while Yuefu folk songs in Southern Dynasty are love songs sung by women in nine cases out of ten. This is naturally not because there were no complaints in the society at that time, but because the purpose of searching and recording folk songs was to satisfy the entertainment of the upper rulers, so the searchers would inevitably reject works that were incompatible with this purpose.
Most of these love songs show the feelings of men and women that do not conform to feudal ethics, that is, the love between formal spouses. They appeared in public in large numbers, which was the result of the relative weakening of feudal ethics control since Wei and Jin Dynasties. Generally speaking, the love expressed in the lyrics is frank and healthy, and the most obvious feature of folk songs is infatuation and naive description: "The night is sleepless, and the moon is burning." I want to hear the scattered cries. I should say yes in the air. "(Midnight Song)" Do you dare to call your name? Don't shout when you are happy. Even after calling Huan Huan, these two vows will not give up. "(Reading Quge) The previous song is about a woman who misses her lover on a bright moon night, as if she heard his call, so she blurted out her promise; After describing love, I repeatedly called my lover and swore to * * * that I would never abandon each other. Another example is Midnight Haruka, which depicts women's melancholy in spring, Huashan Collection, which depicts the pain of parting, Xiangyang Music, which shows the persistence of love, and Elegy, which condemns men's hypocrisy. Especially "Xizhou Song", with five words and 32 sentences, is a rare long song among Yuefu folk songs in the Southern Dynasties. The song describes a woman's yearning for her lover from spring to autumn, from morning till night, with delicate feelings and melodious syllables. It is the most mature and exquisite masterpiece of folk songs in this period.
There are also frivolous works in love songs, even serious enough to be close to obscenity. One reason is that urban residents have their vulgar side, and the other is the social atmosphere at that time. But on the whole, the proportion of such works is not large.
There is also the 18 Divine Comedy in the Qing Dynasty, which are all music songs of Jiangnan people entertaining gods. There are countless gods worshipped, mostly local "miscellaneous ghosts". Modern Xiao Difei's History of Yuefu Literature in the Han, Wei and Six Dynasties once made a brief textual research on the names and geographical names of the "miscellaneous ghosts" in the songs. Some of these songs describe temples and environments, some describe sacrificial scenes, and some describe God's imaginary life. One of the most emotional songs, such as "Bai Ji", wrote: "Live by the river for nothing, attract the river waves, and follow the fish." The second wrote: "Stone is like jade, pillars are as loose as green, and lang Yan is absolutely beautiful, chinese odyssey." Baishi is the name of the mountain near Jianye (now Nanjing), and Baishilang may be the god of this mountain. Another example is "Sister Qingxi": "White water opens the door and is near the bridge. My sister-in-law lives alone. " Qingxi's sister-in-law is said to be the third sister of Jiang, the general of the Three Kingdoms. These two poems both express the meaning of love and joy by praising God, and have the aftertaste of nine songs of Chu.
In addition to love songs and entertainment songs, there are also some folk songs that reflect the economic situation at that time and the beautiful scenery and living atmosphere of Jiangnan water town. For example, the "mulberry picking degree" in Shang Qing Quci describes mulberry picking and sericulture; "Gangneung to Yangzhou" in Song of Proud Farmers and "Off-site" in Governor Huang describe a journey, which shows that water transportation was developed at that time. Another example is "Long Dry Song" included in "Miscellaneous Songs": "Facing the waves, I invite you to go with me, and the boat is not afraid of shaking. If I live in the Yangtze River, it will definitely make Guangling tide. " It vividly depicts a frolic in the wind and waves, and depicts a picture of Jiangnan customs, which is a touching masterpiece. In addition, there are some ballads in Miscellaneous Ballads that reflect politics and people's feelings, such as Nursery Rhymes in Early Wu Dynasty. Although the number of these works is small, they are still very distinctive when mixed with a large number of love songs.
The artistic style of Yuefu folk songs in the Southern Dynasties is very different from the simple Yuefu folk songs in the Han Dynasty and the vigorous Yuefu folk songs in the Northern Dynasties, and it is naturally famous for its freshness, roundness and true colors. The sentence "Generously voicing unvoiced sounds and clearly digging out nature" in "Midnight Song" was originally a compliment to the tune of "Midnight Song", but it might as well be extended to an image summary of the artistic characteristics of Yuefu folk songs in the Southern Dynasties. The formation of this feature is closely related to the economic life, social customs, literary fashion and even geographical conditions at that time. In terms of artistic techniques, the most obvious feature is the use of homophonic puns. For example, "Huang Berry was born in spring and grows day by day" ("Midnight Haruka") refers to Huang Berry's bitter tree heart and people's hearts; "Spring silkworm is susceptible, and silkworm has come back to life" (midnight song), with the homonym of "silkworm" as "illegitimate child"; He used "lotus" to reconcile "pity" and "separation" instead of "hedging" and so on. This kind of argot is also very common in the poems of literati at that time, which is undoubtedly the result of literati drawing lessons from folk literature.
Comparing the works of the previous generation with those of later generations, we can see that Yuefu folk songs in the Southern Dynasties are a connecting link in thought and art.. "Since unhappy, Chui device doesn't open. I can't ignore my head. Powder blowing yellow clothes "(midnight song) reminds people of" Bo Xi "in the Book of Songs; "I don't stop regretting each other when I die" ("Good News Changed to Songs") is in the same strain as Han Yuefu's "Thank You"; "You die for Nong, who live alone! Seeing pity makes you happy, and the coffin opens "(Huashan Ji), who was born in different caves and died in the same cave, can reflect each other with the stories of Liang and Zhu circulating at the same time; "Kill the Long song chicken and bounce off the blackbird" (reading songs) also inspired the artistic conception of "driving the oriole away" in the Tang Dynasty. * * * Similarity does not mean similarity. Yuefu folk songs in the Southern Dynasties absorbed the nutrition of the previous generation and formed a unique style on the basis of their own lives, which influenced the later generations and had a far-reaching impact.
During the Southern Dynasties, many literati liked to write Yuefu songs, among which Xie Lingyun, Bao Zhao, Shen Yue, Wang Rong, Jiang Yan, Wu Jun, Jiang Zong and others had a large number of works, and the emperors included Liang Wudi, Jian Wendi, Yuan Di and Chen Houzhu. Among them, Bao Zhao stood out with outstanding achievements. Most of the works of other writers deliberately imitate ancient times or folk songs, and few are vivid and gorgeous. As for those suburban temple songs and Sheyan songs, it is not enough to talk about them. In a word, the achievements of Yuefu created by literati in the Southern Dynasties cannot be compared with folk songs.
The Content and Characteristics of Yuefu Folk Songs in Southern Dynasties
The content of Yuefu folk songs in the Southern Dynasties;
Yuefu folk songs in the Southern Dynasties originated from Chen. Today there are over 500 songs. Many of them are Qing Dynasty songs in Guo Maoqian's Yuefu Poetry Collection, and a few are miscellaneous songs and ballads. Among them, there are more than 300 "Wu Ge" and more than 0/00 "Opera".
Characteristics of Yuefu folk songs in Southern Dynasties;
The style is fresh and lively, which not only shows the beauty of natural scenery in the south, but also shows the romantic feelings of women in the Southern Dynasties.
The language is fresh and beautiful, and puns are often used, which comes from the unique intelligence of southern women.
The line system is five words and four sentences, and the language is short and affectionate.
What are the two kinds of Yuefu folk songs in the Southern Dynasties? ab blood type
See Yuan Xingpei's History of China Literature, Volume II.
In addition, the first two are categories, and the last two are specific article titles, which can also be judged accordingly.