Keywords: Korea; Literature; Poetry; Pop music in a specific area
First, the formation of tunes.
The time adjustment came into being in the Koryo period and was formed at the end of 12. It is the most popular, flexible and memorable Korean poetry form in Korea. The seasonal tune is the abbreviation of "seasonal tune", as the name implies, it is the song of this season. Tune, originally a musical form, is short and pithy, and is deeply loved by people. The tune of the times came into being in the last years of Korea, which has a history of more than 500 years since the Korean dynasty. Although China's poems and western free verse once occupied a part of Korean poetry, and the environment and times have changed, it is really amazing that the current tunes still survive in their own form. It has always been regarded as the pride and pride of the Korean nation. What we are talking about now is actually the lyrics before this music form. Since the beginning of the twentieth century, this name has still been used for the classification of poetry.
Second, the artistic form of tune.
The original song is formally divided into three chapters: the beginning, the middle and the end. Two sentences in each chapter, two bars in each sentence. So a tune consists of three chapters, six sentences and twelve bars. Each part consists of 3-4 words. But it is not static. Among them, the first section of the first sentence of the final chapter generally uses three words, and the last section generally uses more than five words. Each tune consists of three lines, and the third line usually shows obvious syntactic changes, which are reflected by means of theme inversion, contradiction resolution, judgment, command and consternation. For example:
original text
Translation:
Although Mount Tai is high, it still stands in the world.
Not unattainable, unattainable.
It's just that Mount Tai is high before it reaches the top.
Original text:
Translation:
Looking at the castle peak is still there, looking at the running water from a distance is not what it used to be.
Day after day, how can the lost water come back?
People are like running water, leaving here and never coming back.
The above two songs are normal and regular, that is, ordinary "songs", which are called "peacetime songs". In addition, there are two variations of this song: "Yu Shi tune" and "Ci-Shi tune". "Yu Shi Tone" means that the first line or the second line can be lengthened, and all three lines of "Sub-Shi Shuo Tone" can be lengthened. There is no limit to the number of words added in the first two lines, and there are some restrictions in the third line. The feature of Ci Shi Shuo Diao is that the range of materials is wider than that of Pinghua. For example:
Original text:
Translation:
Don't boast of the rapidity of the water in the deep green hills.
Surge into the sea and return to the sky.
The moonlight is clear and empty, why not have a rest?
Thirdly, the theme consciousness and aesthetic characteristics of the tune.
Although poetic tune is the most unique and vital historical literary genre in the history of Korean literature. However, until 1446, before Xun Min Andrew came into being, that is, before the promulgation of Korean characters, in the Korean era, when the knowledge level of ordinary Koreans was not too high, not all citizens could create and appreciate it, but it was only circulated among literati. Therefore, the current music creation class, the late Koryo period and the early Korea period are all centered on the noble literati class, and only in the later period did the common people participate. Therefore, the theme consciousness of the tune of the times can only reflect the values and world outlook of the upper class at first. Therefore, it is inevitable to have the traditional spirit of benevolent people. The so-called spirit of benevolent people and lofty ideals, that is, the spirit of scholars, is the ancestral spirit and loyalty spirit produced from the rural songs or Hualang Road in Silla era. This spirit combined with China's Confucianism formed the code of conduct for Korean intellectuals and noble literati. Under this spiritual requirement, a person must have lofty moral personality and rich knowledge, have the ability to take the lead, be loyal to the superior and patriotism, lead the public to the lower level, and at the same time be a person who dares to take responsibility and integrate knowledge with practice.
The time tunes created by these noble literati with strong sense of mission and distinct elite consciousness directly reflect the world outlook and values of the upper class. In the author's view, The Tune of the Times is no longer a simple expression of feelings or sensory pleasure, but a literary work with the theme of promoting benevolence, righteousness and morality and educating folk customs. Correspondingly, the works of the time tune in this period show aesthetic characteristics consistent with the theme of the works, which are more strict in form and meter.
In the late Korean dynasty, the critical consciousness of the civilian class to reality reached its climax. At present, the enjoyment class of tunes has expanded from the aristocratic literati class to the common people and even the middle and lower class women class, and the content has also changed from ideological and educational to the content that reflects real life. Moreover, it broke through the convention in form, realized the long-term tone of time, and appeared the narrative time tone. Narrative time tone makes the form of time tone become a long narrative tone, and each chapter can be extended indefinitely.
In addition, professional artists began to sing this tune around the 8th century A.D./KLOC-0. At this point, this tune changed from elegant singing by noble scholars to singing by lower-level artists. Due to the creation and singing of professional artists, a large-scale music scene was formed, and time mobilization was compiled, which laid the foundation for the revival of Korean tune in the later period. This period really established the status of national literature and national poetry.
Fourth, the main works and their representatives of this song in each period.
(1) From the end of Korea to the beginning of Korea, the tone of the times mainly reflected the content of expressing Shan Xin and nostalgia. It can reflect the political situation at that time and see the ideological and living conditions of intellectuals in this turbulent period. The main representatives are Yu Zhuo, Li, Yuan Tianxi,, Zheng Mengzhou. For example, Song of Shan Xin by Zheng Mengzhou (1337- 1392) shows the poet's constant loyalty to the Korean dynasty.
I'd rather die a thousand times,
Turn to dust, with or without soul,
Be loyal to you and never change your mind.
At the same time, there are also some trends that reflect the yearning of young married women or blame distant lovers. For example, the following two anonymous songs:
The moon shines on my lover's east window,
Does he sleep alone, or does a woman hold him?
Please tell me clearly that this matter is a matter of life and death.
If you don't blow, the wind and rain will not come.
The road is muddy, and my unfaithful lover may not come.
But when he came to my house, he was flooded for nine years!
(2) The main authors and representative works in the middle period of Korea. Mainly, Meng Sicheng, Li Wei, Li Er, Yin Shandao and Zheng Che. The most famous of them are Zheng Che and Yin Shandao. At that time, Zheng Che was known as the first poet of the "time tune". In his works, we can see flexible words, elegant but not vulgar expressions, concise and humorous writing techniques, which are important components of the "traditional tune". In his previous works of Time Tune, there is no comparable work. Moreover, the image description of his works is very clear, accurate and sharp. For example: