A Study On The Acceptance Of Southern Dynasty Music Folk Songs By Qi And Liang Literary Man

The folk songs of the Southern Dynasty were mainly produced from from the Eastern Jin dynasty to the Qi and Liang dynasties,and were preserved in the "Collection of Poems of the Music House-Qingshang Qu Rhymes",which were divided into three categories: Wu Sheng songs,Xi Qu songs and Shen Yin songs.The thesis is based on the background of the creation of Southern Dynasty music folk songs,and systematically examines the acceptance of Southern Dynasty music folk songs by the literary man of Qi and Liang in terms of subject matter,artistic expression and literary synthesis,and then reveals the new and changing characteristics of the poetry of the literary man of Qi and Liang and the important influence of folk literature on the creation of the literary man.The introduction systematically discusses the origins,current status,significance and methodological ideas of this research.At present,the study of the ontology and influence of the folk songs of the southern dynasty has been quite in-depth,but there is still room for the systematic study of the acceptance of the folk songs of the southern dynasty by the literary man of Qi and Liang.The first chapter compares the classification and background of the Southern Dynasty music folk songs.The folk songs of the Southern Dynasty were mainly produced from from the Eastern Jin dynasty to the Qi and Liang dynasties.The prosperity of the folk songs of the Southern Dynasty was closely related to the development of literature and society at that time.In terms of literary background,the folk songs of the Southern dynasty went through the development of the Eastern Jin Dynasty and the Liu and Song Dynasties,and became more and more prosperous during the Qi and Liang Dynasties.The literary and ideological environment of Confucianism,Buddhism and Taoism provided the soil for the flourishing of Southern music folk songs.In the social context,the developed economy,the system of literary promotion and the social climate of valuing popular music also provided room for the development of Southern Dynasty music folk songs.The second chapter mainly examines the acceptance of the content of the Southern Dynasty music folk songs by the literary man of Qi and Liang.According to the content of Qi and Liang poems,the literati’s acceptance of Southern music folk songs can be divided into two parts,namely,the inheritance and breakthrough of the image of commoner women in Qi and Liang poems and the feminine features in Qi and Liang aria poems.The poetic contents of the two parts are also carefully interpreted to illustrate their inheritance and change of the commoner female motifs in Southern Dynasty music folk songs.The third chapter focuses on the acceptance of the artistic expression of Southern Dynasty music folk songs by Qi and Liang literary man.Firstly,the four types of imagery that frequently appear in Southern Dynasty music folk songs,namely,Cailian,spring,moon and light,are extracted from the perspective of imagery,and their natural connection with Southern Dynasty music folk songs is analyzed,as well as the ingenious connection between the poems of Qi and Liang literary man and these imagery.Then we analyze the folk songs of the Southern Dynasty in terms of language style and artistic techniques.The main focus is on diction,allusion,meter,pentameter,top-true and harmonic puns,and other aspects of the connection between Qi and Liang poetry and folk songs,and the contribution of folk songs to the new changes in Qi and Liang poetry such as Yongming’s meter.The fourth chapter analyzes the reception of Southern music folk songs in terms of theoretical monographs and general collections of the Southern dynasty.The selected reviews of the Southern Dynasty music folk songs in The Literary Mind and the Carving of Dragons,Shi Pin,Wen Xuan,and New Songs from the Jade Terrace are sorted out.The two monographs,The Literary Mind and the Carving of Dragons and Shi Pin,can be based on their recognition of the natural aesthetic theory,which leads to their recognition of the natural style of folk songs.However,from the large number of poems by Tao Yuanming,Lu Ji,and Pan Yue,it is clear that Wen Xuan is not opposed to folk songs depicting love between a man and a woman,but that it attaches importance to the beauty of diction in addition to the richness of emotion.New Songs from the Jade Terrace focuses on the selection of Qi and Liang poems influenced by folk songs and the folk songs of the Southern Dynasty,which can be seen in the selection of two of Xu Ling’s own poems.