The Acceptations Of Meng Haoran's Works In Song Dynasty And Yuan Dynasty

Insofar as every poet in past experienced a diachronic process of being accepted, this essay aims at examining the historical process in which Meng Haoran's poems are accepted by people of different situations against the background after Tang Dynasty—specifically in Song Dynasty and Yuan Dynasty—so that, through concentrating on the spreading of medium and the extent to which his works are recognized, to show a historical construction of the very image of Meng Haoran.This essay, according to the above task, is divided into three sections: the first section is on the spreading and modifications of versions of his works—The Collected Poems of Meng Haoran has two major versions in Song Dynasty and Yuan Dynasty, that is, the "Song Shu" version and the Yuan version. Of the second section, Meng's poems are considered through the light of poetics. Here eight significant selecting-versions are taken into account by graphically illustrations in order to see, firstly, how Meng's poems are selected; and secondly, to what extent these poems are appraised and to see their diachronic differences. By the same token, this essay collects poetry notes in the two dynasties concerning Meng's works and classifies them into four kinds:discussions and ascriptions about the issue of Meng's being banishment; appreciations of his famous lines; appraisements of the style of his poetry; interpretations of allusions in his poems—all are unfolded around some major points of significance in accepting Meng's poems in the two dynasties. The last section deals with the construction of the image of Meng Haoran in poems in the two dynasties:just as Wang Wei had once been portrayed by artists in Tang Dynasty, Meng Haoran was portrayed, by painters or poets in Song Dynasty, as the uniform image of "singing verses in snow". While taking a comprehensive view on the field of Meng Haoran study, we can find that scholars frequently paying primary attention to parallel study, this essay attempts to expand the study of Meng's acceptation-history—i.e. exploring how the poet was accepted in the process of literature from a diachronic perspective.