Literary Criticism To Yue-Fu Poetry Of Han Dynasty In Ming Dynasty

The prosperity of the literary criticism to Yue-Fu poetry of Han Dynasty in Ming Dynastywas not by accident. In addition to the rule of literary critical history itself, the demand toclassical court music of sovereign ruler and the preference to Yue-Fu poetry of Han Dynastyof fellows like Li Dongyang made important influences to the tropism of people lived in thattime too.The influences to literary criticism to Yue-Fu poetry of classicism poetics in MingDynasty were shown in two aspects: one was the affirmation to the function of reflectingrealism of Yue-Fu institutions and poetry of Han Dynasty, the other was the high appraisal tothe artistic value of Yue-Fu poetry of Han Dynasty. Rhythm and textual criticism were the twomain types of the criticism categories in the early period. Later the types covered pattern,Xingxiang, Xingji, elegance, composition, frame, style and so on. This development was notonly deep study to Yue-Fu poetry of Han Dynasty, but also regression to poetry art itself. Theforms of literary criticism covered poetry talks writings, comments of florilegium editors,mimetic writings to Han Yue-Fu of Li Dongyang, Wang Shizhen and other people, andevaluations to this phenomenon and writings of commenters.About the origin of Han Yue-Fu, commenters in Ming Dynasty didn’t see Han Yue-Fu asproducts of Yue-Fu institutes in Han Dynasty, but linked up it with chansons in pre-Qin periodand the Book of Poetry. They also had some concrete discussions to Naoge and Jiaosi. Thecommenters had got rid of the overage bondage of rhythm criticism and paid more attentionto all kinds of characteristics of Han Yue-Fu as literary writings. They also discussed thetransformations of Han Yue-Fu on the after ages and explored the reasons of eclipse of HanYue-Fu.Xu Xueyi generalized the frame of Han Yue-Fu to Yidang. The comprehension tosentences frame of Xu Zhenqing was Zhi, which meant natural and unsophisticated. HuYinglin differentiated Naoge and Xianghege when he criticized the sentences frame. Theformer was Jiequ, and the latter was Junjue. Xu Xueyi thought that this special sentencesframe of Naoge was connected with words missing and mixing of music and words. Hu Yinglin highly appraised the integrality of composition of Han Yue-Fu. Zhong Xing and TanYuanchun thought that the beauty of composition was reposing with no end and making nosign. Otherwise, people like Hu Yinglin discussed some immobile writing models such asfinality of Han Yue-Fu.Zhu Chengjue thought that every title of Han Yue-Fu must have a special meaning. XuXueyi considered that the frames of Ge, Xing, Pian and Yin in Han Yue-Fu with fivecharacters were almost the same. Hu Yinglin pointed that Jiaosi used many notional wordsand the more, the better, because Jiaoshi was the heir of Ya and Song. The commenters hadtaken notice of the important character of using coarse language of Han Yue-Fu. In addition,their discovering and appraisal to the narrative of Han Yue-Fu were worthy of our reference.The criticism to the style of Han Yue-Fu was very complex. Zhou Ying thought the stylewas leisured. Wang shizhen considered it was high spirited. Hu Yinglin and Xu Zhenqing’sdefinitions to Naoge were vigorous and powerful. And they used words like nature when theycriticize some writings like peacocks fly to the south and east. Some commenters used wordslike Gaogu about the style because of the background of classicism poetics in Ming Dynasty.The classical value of Han Yue-Fu was established for the commenters’ criticism andmimetic writings. At the same time, some scholars reconsidered it from music, meanings andso on. The criticism of commenters in Ming Dynasty made important effects to that on afterages. Many categories, methods and contents were inherited by scholars in Qing Dynasty.