A Comparative Study Of The South In The Late Ming Dynasty, The North Verse

Compared to Tang poetry and Song ci,there is less research on sanqu in the YuanDynasty. Less attention was paid to sanqu in Ming dynasty compared with the sanqu in theYuan Dynasty, It is true that,compared with poetry, fiction and drama, overallachievement of sanqu in the Ming Dynasty did less. It is afraid this is also the main reasonfor research unfrequeted. However,in the Ming Dynasty,it had a wide scope of the sanqucomposers.The amount of sanqu was above10,000.It was also relative diversity of themesand styles.Sanqu carried many era and regional cultures.Therefore,it will has a significantmeaning and value to pay attention to and study on sanqu in the Ming Dynasty.Looking atthe entire bulk of sanqu in the Ming Dynasty, sanqu achieved maximum,and had a distinctage and geographical characteristics in the middle and late Ming Dynasty. And so far theresearch results of sanqu in middle and late Ming Dynasty are very rare.For these reasons,this article intends to select “Comparative Study on the Sanqu in the South and North inmiddle and late Ming Dynasty” as a topic of study.This dissertation uses a variety of research methods,such as mathematical statistics,comparison,and so on.Through the comparative study of the diachronic and synchronic,we will observate the characteristics of inheritance and changes and the performance ofthe respective of group and individual.On the basis of the research,we try to outline thepattern characteristics and similarities and differences of the sanqu in the south and northin middle and late Ming Dynasty. This dissertation is divided into three parts.PartⅠ: introduction.In this part, these questions are analyzed,including researchstatus of the sanqu in middle and late Ming Dynasty, research purpose and significance,research problems,and research methods and basic ideas.PartⅡ: the main part of this paper.It is made up of five chapters.Chapter I:the geographical distribution of the sanqu composers in middle and lateMing Dynasty. This issue is analyzed mainly in two aspects. First,overview of therelationship between regional culture and literature creation through a multidimensional analysis.Second, mainly analysis the distribution characteristics and causes of the northand south sanqu composers, as well as the relationship with the sanqu creation.Chapter II: local rehabilitation of sanqu in the south during Chenghua and Hongzhi.This chapter first outlines the transitional nature and the depressed state of sanqu in theearly Ming Dynasty.Subsequently,this part summarized that sanqu during Chenghua andHongzhi had the regional characteristics of “Southern literature”,and analyzed the internaland external causes of revival of sanqu in the south,such as politics,economics,philosophical and mentality.Then the relationship between local culture and sanqu wasfocused on from the commercial culture, entertainment culture, the natural environmentand human environment. In short, sanqu composers mainly concentrated in Jiangnan areain the period of Chenghua and Hongzhi.This is a continuation of the earlier features.Individual features were prominent of the composers in the south.They did not form thecommunity organizations. Regional culture had a direct or indirect impact on sanqu.It isworthy of recognition that a small amount of sanqu composers is the first to lead sanqurevival in the south.Chapter III: sanqu race wins between south and north in the period of Zhengde andJiajing. This chapter explains the prosperous characteristics and competition performanceof sanqu in the north and south during this period. Here focuses on four regional groups ofthe sanqu composers of Wuzhong,Yangmen,Guanzhong and Shanzuo. The relationshipbetween the situations of composers and the flourish of sanqu in the north.Composers andtheir works are very different in the north and south.ChapterⅣ: sanqu was prosperity in the south and gradually fading in the north duringLongqing and Wanli.First, this part analyzes the degeneration from Zhengde and Jiajing toLongqing and Wanli and the regional features of sanqu in the north and south.Second, theyare concerned as the group objects,including Wuzhong,Shanzuo,Zhebei and Nanjing.XueLundao with his works is addressed as a representative case in the north.It can be seenfrom the above analysis in this section that different cultural fields of the north and southare the important cause of southern flourish and northern fading.The styles of sanqu arerelatively single.A number of factors affect the creation of sanqu,such as writers’ identities, experiences, geographic location,and so on.ChapterⅤ: sanqu was prosperity in the south and depression in the north duringTianqi and Chongzhen.Sanqu as a whole is gradually fading in this period. Wuzhongsanqu and Shanzuo sanqu are concerned in this section.Broadly speaking, groupcharacteristics are weakening and individual features are outstanding in this period.Composers’own factors,such as personal life experiences, creative attitudes, preferencesetc,influenced the creation of sanqu significantly.Part III: conclusion.Sanqu had distinct features of the times during this period.There is a loose and closerelationship between the sanqu composers in the south and north. In the north many of thesanqu composers’ official career was frustrated,and many sanqu composers of southerndidn’t enter politics.After the Jiajing period sanqu composers status overall declined.Thenumber of the female sanqu composers in the south was more than that in thenorth.Regional culture is an important factor that made the differences in the theme andstyle between the north and south.Because Nanjing and Suzhou had the special status andconditions, many southern sanqu composers gathered there.Sanqu tended to eleganceduiring this period,but it shew the custom features. Sanqu lived in non-mainstream statusin the minds of most of the scholars in the Ming Dynasty.