When The Ming Dynasty And Transfer Songs Interactions

This thesis is divied into two parts:the first part focuses on the trace of the interactions between Sanqu Poems and Folk songs in Ming and Qing Dynasties, the reasons for their interactions and its significance from the macro perspective; while the second part makes a rigorous study of the different aspects of their interaction and its specific expressions. The details are as follows:The first chapter of the first part describes the traces and conditions of interactions between Sanqu Poems and Folk songs in Ming and Qing Dynasties as a whole through the classification, studies and survey on the current related historical chronicles, notes, works and Sanqu Poems theories.Their interactions had four phrases:the starting phrase,the supreme and flourishing stage,the extended period and the faint stage. In different phrases, the tunes, forms, systems and the creations of works used in Sanqu Poems and Folk songs are different. Their influences toward each other in different stages and aspects are unbalanced.The second chapter of the first part studies the social and cultural ethos, official and individual attitudes toward Folk songs and Sanqu, the conditions of Sanqu and Folk songs in Ming and Qing Dynasties, by which this thesis reveals the reasons for different interactions in different developing process.The third chapter of the first part analyzed the significant interactions for their own development through the study of complete process of development. In all, generally speaking, Sanqu and Folk songs impacted each other more or less during their own development, but did not change the final trace of development.The first chapter in the second part researches Sanqu’s influence on Folk song’s tunes, systems and forms.Folk songs in Ming and Qing Dynasties borrowed some tunes from Sanqu’s systems at its beginning of development and made use of them flexibly. Folk songs also learned different forms of Sanqu Poems, Taoqu forms and forms of Fandiao and ways of creations from Fanpu style and Jiming style. Folk songs adopted easy and simple methods to learn forms and physical features then made some changes and popularize them.The second chapter in the second part mainly discussed Folk songs’influence on the concrete works of Sanqu writers and ideas of creations. The impacts on different Sanqu writers, creations and theories are varied. After the deep analysis, it can be found that Li Kaixian, Ding Cai, Liu Xiaozu, Zhu Zaiyu, Feng Menglong, Pu Songling and others had tried to create similar Folk songs works and some of their Sanqu works also were influenced by Folk songs. Li Kaixian and Feng Menglong gathered, arranged and simulated folk songs, which made their notions of creations idiosyncratic. These Sanqu writers promoted the diversity of Sanqu with personal styles and gave energy and vitality to the dying Sanqu.The last chapter in the second part largely analyzes the dual impacts of Sanqu and Folk songs in Ming and Qing Dynasties on the case study of Xidiao, including the combined ways of tunes of Folk songs and Sanqu created by literary men, phrases, words and mood, which were the special production of interactions between Folk songs and Sanqu.