Most of all kinds of music collected in Yuefu Poems are solved by citing the recorded books. For example, the Song of Midnight quoted Tang Shu Le Zhi, which was written by a famous woman in the Jin Dynasty, and Huashan Ji quoted the song "Huashan Ji", which was recorded in the Ancient and Modern Music Record, when Song Shaodi was a Hakka woman's martyr. Anecdotal hearsay is quite interesting, but it is hard to be regarded as reliable historical materials.
The existing Yuefu folk songs in the Southern Dynasties are often mixed with the works of literati. Because the literati liked to write folk songs at that time, 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 also misname literati. For example, in the first three songs of Jasper Song, Yuefu Poetry Collection quoted Yueyuan as being written by King Runan, but it was not written by the author under the title, playing with its tone, fearing that it was a folk work. The last two poems were not written by Yuefu Poetry, but the first one was written by Sun Chuo and the second one was written by Liang Wudi. "Art and Literature Gathering" was also written by Sun Chuo with the first song. Sun Chuo's time was earlier, and he mainly wrote metaphysical poems, 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 collection, so this "Jasper Song" may also be his proposed work. Such as this, the lack of literature, has been difficult to test. Apart from these suspicious works, the rest of the folk songs are mostly female, and their identities are mostly businessmen, poor people, boatmen, prostitutes, etc., belonging to the middle and lower classes of urban residents.
The folk songs of Yuefu in the Han Dynasty reflect sharp social contradictions. Yuefu folk songs in the Northern Dynasty show a broad social life, while Yuefu folk songs in the Southern Dynasty belong to love songs sung by women in nine cases out of ten. This is naturally not because there was no voice of resentment in the society at that time, but because the purpose of searching and recording folk songs is to satisfy the entertainment of the upper rulers, the searchers will inevitably reject works that are incompatible with this purpose.
Most of these love songs show the feelings of men and women that are not in accordance with feudal ethics, that is, the love between formal spouses. They appeared openly in large numbers, which is the result of the relative weakening of the control power of feudal ethics 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 the infatuation and naive description: "The night is long and sleepless, and the bright moon is burning." I want to hear the sound of scattered calls, and I should promise in the air. " ("Midnight Song") "Do you dare to call your name? Don't shout words when you are happy. Even after calling Huan Huan, the two vows will not give up. " ("Reading Quge") The previous song wrote that a woman misses her lover in the bright moon night, as if she heard his call, so she blurted out her promise; After a description of love, repeatedly calling for lovers, to * * * swear never to abandon each other. Another example is Midnight Haruka, which depicts women's melancholy in spring, Huashan Ji, which depicts the pain of parting, Xiangyang Music, which shows the persistence of love, and Song of Sorrow, which condemns men's hypocrisy. Especially "Xizhou Qu", with five words and 32 sentences, is a rare long piece 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, which is the most mature and exquisite masterpiece of folk songs in this period.
There are also frivolous works in love songs, which are even serious and close to obscenity. One of the reasons 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 are 18 "Shenxian Songs" in "Qingshang Quci", which are music songs for the people in the south of the Yangtze River to entertain the gods. There are countless gods worshipped, and most of them are local "miscellaneous ghosts." Modern Xiao Difei's History of Yuefu Literature in Han, Wei and Six Dynasties once made a brief textual research on the names and place names of "miscellaneous ghosts" in songs. Some of these songs describe temples and environments, some describe sacrificial scenes, and some describe the imaginary life of God. One of the most emotional ones, such as "Bai Shilang", wrote: "Bai Shilang, who lives near the river, leads Jiang Bo and follows the fish." The second wrote: "The stone is like jade, the column is loose as green, and Lang Yan is unique, which is unique in the world." Baishi is the mountain name near Jianye (now Nanjing), and Baishilang may be the god of this mountain. Another example is "Qingxi Sister-in-law": "Open the door with white water, close to the bridge. My sister-in-law lives alone. " Qingxi's sister-in-law is said to be the third sister of Jiang Ziwen, a general of the Three Kingdoms. These two poems both show the meaning of love and joy by praising God, which has the aftertaste of Nine Songs of the Chu Dynasty.
In addition to love songs and entertaining songs, there are also some folk songs that reflect the economic situation at that time and the beautiful scenery and life atmosphere of the water towns in the south of the Yangtze River. For example, "Mulberry Picking Degree" in "Qing Shang Qu Ci" describes mulberry picking and sericulture; "Jiangling goes to Yangzhou" in "Song of Ao Nong" and "Qiaoke from another place" in "Governor Huang" write a trip, which shows that the water transportation was developed at that time. Another example is the "Long Dry Song" included in the "Miscellaneous Songs": "Against the waves, you are invited, and the boat is not afraid of shaking. When my concubine lives in Yangzi, she will make the Guangling tide. " It is a touching masterpiece to vividly describe a frolic in the wind and waves, and to paint a picture of Jiangnan customs. In addition, there are some ballads in "Miscellaneous Ballads" that reflect politics and people's feelings, such as "Wu Sunhao's Early Nursery Rhyme". Although the number of these works is small, they are still very distinctive mixed in a large number of love songs.
The artistic style of Yuefu folk songs in the Southern Dynasties is quite different from the simplicity of Yuefu folk songs in the Han Dynasty and the vigor of Yuefu folk songs in the Northern Dynasty, and it is known for its freshness, tactfulness and natural qualities. The sentence "Generously uttering voiceless sounds, clearly turning out the nature" in "Midnight Song" originally praised the tune of "Midnight Song", but in fact 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, "the yellow tiller is born in spring, and it grows with the day" ("Midnight Haruka"), which refers to the bitter tree heart of the yellow tiller and refers to the human heart; "Spring silkworms are susceptible, and silkworms have come back to life" (Midnight Song), with "silkworms" homophonic for "illegitimate children"; He used "lotus" to harmonize "pity" and "separation" than "hedge" and so on. This kind of argot is also common in literati's poems at that time, which is undoubtedly the result of literati learning from folk literature.
Compared with the works of the previous generation and future generations, we can see the ideological and artistic connection between Yuefu folk songs in the Southern Dynasties. "Since don't huan, chui device doesn't open. I can't ignore my head. Powder blows the yellow clothes "(midnight song), which reminds people of" Bo Xi "in the Book of Songs; "If you die, you will never stop feeling sorry for each other" ("Happy News Change Songs"), and it is in the same strain as "Shang Xie" by Han Yuefu; "Jun for nong to death, live alone for who! If you are happy when you see pity, the coffin will be opened "("Huashan Ji "), and you will be born in different caves and die in the same cave, which can reflect each other with the stories of Liang and Zhu, which are circulated at the same time; "Killing the long-singing chicken and bouncing off the blackbird" (Reading Quge) has also inspired the artistic conception of "drive the orioles away" in the Tang Dynasty. * * * Similarity does not mean similarity. Yuefu folk songs in the Southern Dynasties absorbed nutrition from the former people, formed a unique style on the basis of their own lives, and thus influenced future generations and had a far-reaching impact.
Many literati in the Southern Dynasties liked to write Yuefu songs, among which Xie Lingyun, Bao Zhao, Shen Yue, Wang Rong, Jiang Yan, Wu Jun, Jiang Zong, and other emperors included Liang Wudi, Jian Wendi, Yuan Di and Chen Houzhu. Among them, Bao Zhao stands out with outstanding achievements. Most of the works of other writers are deliberately imitating ancient times or imitating folk songs, with few fresh and lively ones and many gorgeous ones. As for those suburban temple songs and Yan she 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 equal to those of folk songs.
the content and characteristics of Yuefu folk songs in the Southern Dynasties
The content of Yuefu folk songs in the Southern Dynasties:
Yuefu folk songs in the Southern Dynasties started in Dongwu and died in the past, with more than 5 songs handed down today. Many of them are in Qing Dynasty Songs in Guo Maoqian's Yuefu Poetry Collection, and a few are in Miscellaneous Songs and Miscellaneous Ballads. Among them, there are more than 3 "Wu Ge" and more than 1 "Xiqu".
The characteristics of Yuefu folk songs in the 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 cleverness of southern women.
there are five words and four sentences in the line system, and the words are short and affectionate.