The social changes in the Wei, Jin, Southern and Northern Dynasties, the changes in academic trends and literary concepts, and the aesthetic pursuit of literature have brought about changes in poetry. In terms of subject matter, there have been poems about eulogies, epic poems, poems about immortals, and metaphysical poems. , palace style poetry, as well as the pastoral poetry created by Tao Yuanming, the landscape poetry created by Xie Lingyun, etc.; in terms of poetry style, the Five Ancients are more colorful, the Seven Ancients have also made significant progress, and there is also the "Yongming Style" as the beginning of rhythm poetry, ancient Chinese poetry Several basic forms of poetry, such as Wulu, Wujue, Qilu, Qijue, etc., all took shape during this period; in terms of rhetoric, the pursuit of beauty became more and more popular. Zao ornaments, parallel couplets, tonal rhythms, and allusions became common The means used.
In addition to literati poetry, the literature of this period also included Yuefu folk songs, poems, novels, literary theories, etc. in the Southern and Northern Dynasties. The Wei, Jin, Southern and Northern Dynasties were also an important stage of development of literature. Confucianism lost its dominance. Its status gradually declined, and metaphysics, Buddhism, and Taoism rose to prosperity, all of which had a greater impact on people's thoughts and literary concepts. Literary creation not only gradually got rid of the bad habit of citing a large number of scriptures, but also paid attention to the free expression of writers' emotions, and also emphasized the free expression of writers' emotions in their works. There are many explorations in the expression form. The literature of this period mainly includes three forms: Ci Fu, parallel prose and prose. Compared with the prose of the two Han Dynasties, prose has obvious changes. It has changed from a rigid and dignified appearance to a clear, simple and clear The creation of poems and poems has also shown a new pattern. The emergence of lyrical poems is an important symbol of this change. Influenced by the ethos of paying attention to duality, rhythm and ornamentation, parallel prose appeared and matured.
< p>The early Wei, Jin, Southern and Northern Dynasties were mainly represented by the Jian'an literature of the three Cao clans (Cao Cao, Cao Zhi and Cao Pi). Its style was melancholy and frustrated, with heroic and passionate devotion to the country. The later Southern and Northern Dynasties were dominated by folk songs, mostly expressed in The love between men and women is expressed beautifully and gracefully.Southern Dynasties folk songs have a unique feature in content, that is, they are almost all love songs.
Seventy-eight out of ten of these love songs were written by women, and some were written by prostitutes and maids. Some also have pornographic elements and a strong powdery air. There are three main reasons for this: First, most of them do not come from rural areas, but are "urban songs" with cities as their origins; second, they are collected by rulers not for the purpose of "observing customs and knowing what is good and what is good". ", but to satisfy their sensual needs; thirdly, the beautiful natural environment and abundant economic conditions in Jiangnan provide the possibility for young men and women, merchants and shipowners, prostitutes and ordinary citizens to have a happy life.
Among the existing Wu Sheng songs, 42 "Midnight Songs", 75 "Midnight Four Seasons Songs", 25 "Huashan Ji" and 89 "Duqu Songs" are the most important. Some write about the desire for love, such as "Midnight Song" (when you first want to meet a man); some write about the joy of acquired love, such as "Reading a Nocturne" (killing a crowing rooster); some write about the pain of lovesickness, such as "Songs at Four O'clock in the Midnight - Winter Song" (Cold Birds Nestle on High Branches); some write about unswerving love, such as "Songs at Four O'clock in the Midnight - Winter Song" (The ice in the abyss is three feet thick), "Huashan Ji" (Huashan Ji) , you will die for your sake); some write about resentment towards a heartless man, such as "Midnight Song" (I often worry about having second thoughts); some write about the depression of an unfree marriage, such as "Reading Nocturnes" (Fei Huan Du Xuan Xuan) ). These poems, with simple and fresh language, sincere and delicate feelings, gorgeous, weak, sad and lingering style, truly reproduce the complex mentality of Jiangnan women on love issues, and are full of rich flavor of life.
Most of the Western songs describe the parting emotions of merchants and merchant wives on boats by the water. Many of them are love poems related to labor. The mood is different from Wu Shengge's boudoir atmosphere, and the style is also more cheerful and lively. Such as "Stone City Music" (more than 100 pieces of canvas), "Mochou Music" (went to Yangzhou after hearing the joy), "Nahetan" (went to Yangzhou after hearing the joy) and "Peng Zhe Dang Geng Mi", "Pull Pu" ( The poems "Green Pus Holding Purple Antler" and "Chaofao Guilan Zhu" are either self-narrative or antiphonal, straightforward or implicit, innocent or pathos, all of which are full of the flavor of life.
Shenxianqu is a folk string song used to entertain the gods, and has the characteristics of love between humans and gods. Some write about the beauty of the male god, showing "the woman pleases the male ghost", such as "White Stone Lang Qu" (stones are like jade); some write about the private life of the goddess, showing "the man pleases the female ghost", such as "Little Girl Qingxi" and so on.
The artistic characteristics of folk songs in the Northern Dynasties are mainly reflected in the following points: first, the genres are diverse, in addition to five-character, there are also four-character, seven-character and mixed-character forms; second, the language is popular and simple , vigorous; third, the expression is straightforward, the style is rough and bold, in sharp contrast to the folk songs of the Southern Dynasties. The unique artistic features and broad and profound ideological content of Northern Song are beyond the reach of Southern Dynasty folk songs.
At that time, there were not many descriptions of festivals in the Central Plains, and there were almost no Spring Festival works. The literature grasped the main context. Unless it was a special study, it stands to reason that no one would specifically ask people to find such works that are not mainstream. The reason is that there are few works; secondly, they have little practical significance and have no academic value. Who asked the poster to do such a meaningless assignment?