A Study Of The Reception Of The Meicun Style In The Late Qing And Early Republican Periods

Based on the systematic compilation of relevant poetic materials and poetic works in the late Qing and early Ming dynasties,this paper examines the emergence,circulation and scope of the term “Meicun style”from the perspectives of communication,hermeneutics and reception aesthetics.It also presents a clear picture of the creation of the “Meicun style” in the late Qing and early Ming dynasties,the evaluation of Wu Meicun and the Meicun style in the late Qing and early Ming dynasties,and the publication of Meicun’s poetry collections,in an attempt to draw a more comprehensive and systematic historical picture of the reception and dissemination of Wu Meicun’s poetry in the late Qing and early Ming dynasties in the past eighty years,and to explore the deeper political and cultural reasons for it,in order to contribute to contemporary research on the “Meicun style”.The paper is divided into three chapters.The discussion is divided into three chapters.The first chapter discusses the definition and circulation of the "Meicun style".For the sake of clarity,this chapter is divided into two sections.The first section is on the transmission of the Meicun style.It outlines the immediate influence of Wu Meicun’s poems and their subsequent spread,and makes clear that the name “Meicun’s style” was already quite common in the mid-Qing Dynasty.The second section defines the style.Since there has been no unified definition of the scope of the poetry of the “Meicun style”,this paper adopts a broader definition of the “Meicun style” to refer to the long narrative poems in seven lines composed by Wu Meicun.Chapter 2: The Reception of “Meicun’s Style” in the Late Qing and Early Republican Periods includes three sections,focusing on the first section on the creation of “Meicun’s Style” in the late Qing and early Republican Periods.This section outlines the overall prosperity of the late Qing and early Ming dynasties,examines the influence of the “Meicun style” from the perspective of literati creation,and divides the “Meicun style” creation in the late Qing and early Ming dynasties into In this section,we analyze the acceptance of Wu’s poetry by the literati in the late Qing Dynasty in terms of form and content,and divide the works into two categories: “the rise and fall of the palace” and“the fate of characters”.The second section is about the evaluation of Wu Meicun and the “Meicun style” in the late Qing and early Republican periods.The literati of the late Qing and early Ming dynasties no longer used the simple criteria of“origin” and “life and death” to judge Wu Meicun a hundred years ago,but mainly focused on the artistic style of his poems.The third section,the poetry of Wu Meicun The third section is the publication of Meicun’s poetry.The engraved version was mainly a reprint of the Qianjia period’s annotated version;the copied version included Cheng Jian Yang’s “Notes on the Collected Poems of Wu Meicun” and some literati copies,and later,during the Xuantong period,the “Meicun Family Collection Manuscript” was discovered,which promoted the dissemination of Meicun’s poems.Chapter 3: Reasons for the revival of the “Meicun style” in the late Qing and early Ming dynasties,this chapter is divided into four sections.The first section is about the continuation of the poetic-historical tradition.In the late Qing Dynasty,as the trend of the world and its application re-emerged,poets shifted the focus of their poetry to describing reality and criticizing current affairs,and consciously created poems with the aesthetic characteristics of “poetry and history” to continue the long-standing tradition of “poetry and history”.The second section is the revival of the spirit of poetics and political education.The poets of the late Qing Dynasty consciously improved the aesthetic function of poetic narrative art while preserving history,creating a subtle,deep and obscure artistic realm,which was also a reflection of the scholar’s sense of worry and the spirit of the world.The third section resonates with the same sorrow of the same generation.The similarity of experiences and emotions made the literati and Wu Meicun become soulmates in the late Qing and early Ming dynasties,and Meicun’s poems also became an alternative medium for conveying the emotions of the literati’s survivors in the early Ming dynasty.The fourth section of the literati is curious about the fun of Shang Yan.The female figures of martyred women,strange women and prostitutes in the chaotic times were particularly attractive to the literati,whose narratives on the subject of women’s fate carried the mentality of traditional literati who were curious and apathetic,and had the literary interest of being still curious and still voluptuous.The fourth section is the aftermath of the Tang-Song poetry controversy.In order to rival the Song school of poetry,some poets of the late Qing Dynasty advocated Tang poetry,which had similarities in artistic style to Meicun’s poems,which were also Zong Tang.Some literati in the late Qing and early Republican periods believed that culture and scholarship determined social and political conditions,so they stood in the position of exclusion and criticized Song poetry,advocated Tang poetry,and favored Tang poets,and regarded Ming poets such as Wu Weiye as the orthodox poets.