Guangdong Wind Study

Yue Feng, which was produced during the late Ming dynasty and early Qing dynasty, is the first folk song medley in China. It was collected and edited by Han official Li Diaoyuan in terms of previous research Yue Feng Xu Jiu by Wu QI, including 53 Chinese ballads,21 Yao songs,29 Lang songs,8 Zhuang songs, and were categorized in 4 volumes. Although there are some work on Yue Feng, there still lack much systematic work on annotates, translations as well as lack of taking Ling Nan Culture into account, which leave blanks for this dissertation.There are 6 chapters in this dissertation, in which we analyze many aspects of histories, nationalities, cultures and languages, and appreciate its art form.In chapter one, we expatiate the distribution of Baiyue, culture traits of Yue minority, and the formation of Zhuang and Dong language in Lingnan. Also, we cast back the causes and results of six immigrations in Lingnan history, and introduce the culture in Xunzhou.In chapter two, we study the causes of producing Yue Feng, the external of which are the mixing of economy, customs, languages and cultures in Lingnan, while the internal is the long-term development of Lingnan folksongs that make it reach the summit naturally, namely Yue Feng.In chapter three, we appreciate the content of Yue Feng, in which there are 111 ballads that reflect the aspects of love, courting, yearning, and being lovelorn. The lyrics are free and plain that set up ardent atmosphere in Southern China. We aim to explicate and revise Yue Feng in respect of annotate, and improper translation.In chapter four, we analyze the art of Yue Feng according to its languages, form, content, and rhetorical skills. The languages in Yue Feng are mainly mixed in two languages, i.e. Han language, which is mainly in Yue dialect, is mostly mixed with Zhuang language or Yao language. Zhuang language mixed with ancient Zhuang charater, Han lyrics are mostly seven-character and four-character, and sporadically begin with three-character. Zhuang songs include impar lyrics and even lyrics, as well as eighth-character put up as twelve-Le Jiaoge style. In respect of rhetorical skills, Yue songs lean to pun skill, while Yao songs and Zhuang songs lean to parallelism and association skill. In terms of phonology, the cadences between Yue songs and Yao songs are different, while the Lang lyrics are rhymed in the middle and the end, namely'middle-end'rhythm. Moreover, the style of these songs are different, namely, gentleness in Yue lyrics, Plainness in Yao lyrics, straightness in Lang lyrics.In chapter five, we study the culture connotations in Yue Feng, i.e. the culture mixing among Han, Zhuang and Yao:the mutual dependence of economy, seeking common ground in customs, and infiltration in education and religions.In chapter 6, we put forward the values and effect of Yue Feng which is the first national folk song medley. It is valuable in literature, ethnology, folklore and linguistics which have attracted many scholars'attention in China. Recently, Scholars from abroad focus on Yue Feng. A Japanese scholar has categorized the Zhuang language unflinchingly. Moreover, Yue Feng changes the tradition of Chinese literature, i.e. restrictedly recording Han literature, and is a new beginning for minority literature.The innovative ideas in this dissertation:systimatically studying the historical background and generated conditions; analyzing the folksongs by Yao people and Zhuang people from Han Ge; revising the errors of interpretation and translation of the volums; further translating the volum precisely in terms of the previous translation; comparing the traits of the folksongs among the three minorities by means of comparative literature.