A Study On The Evolution Of Chinese Poetry In The First Half Of The Joseon Dynasty

This dissertation, employing the method of cohort study, aims to study the five groups of Chinese poets and tries to comprehensively discuss the evolution of the style of Chinese poetry from the angle of "the evolution of the style of Chinese poetry in the first half of Joseon Dynasty" combined with the social background, ideological and cultural conditions, and the change of poetic concept of Chinese poetry groups, the law of poetic development within Chinese poetry, the influence of the previous poems of China and Korean Peninsula on Chinese poetry groups in the first half of Joseon Dynasty and so on. On the basis of analyzing the composition of the various stages of poets and the content of their poetic style, it reveals the clear track and cultural meanings of the evolution of the style of Chinese poetry in the first half of Joseon Dynasty. The dissertation is consisted of three parts, including introduction, the main body and conclusion.The introduction, on the basis of making a clear definition of "the first half of Joseon Dynasty", firstly makes an overall overview about the spectacular poetry writing in the first half of Joseon Dynasty, and divides the representative samples of Chinese poets in this period into five groups in order to research on Chinese poetry. In addition, it summarizes the research condition of Chinese poetry by both Chinese and Korean scholars on the poetry of the first half of Joseon Dynasty, makes a brief description of the use of literature and research methods in this dissertation, and elaborates on the purpose and significance of this study. Chapter one describes the evolution of Chinese poetry in the first half of Joseon Dynasty in stages from both the social and political situation and the ideological and cultural conditions. In order to facilitate the discussion in this chapter, it temporarily and roughly divides the first half of Joseon Dynasty into three periods:since the establishment of the Joseon Dynasty to the late 15th century, the 16th century and the first half of the 17th century. The social and political situation and the ideological and cultural conditions in the three different periods show different features, as a result, it influences the literature of the first half of Joseon Dynasty, including Chinese poetry which rooted in this period.Chapter two analyzes the background and specific character of the formation of the multiple-integrated, inclusive style of the Chinese poetry in the early Joseon Dynasty. In terms of Ge-Hing(??), whether it is from the categories or from the art form, it is close to the Ge-Hing in the prosperous time of Tang Dynasty, especially to Li Bai's and Du Fu's Ge-Hing. Apart from that, Bian Jiliang, Liu Fangshan and others directly follow the poems of Li Bai and Du Fu in their specific creation. But their tendencies for arguments, reasoning and allusion, to some extent, show certain similarities with the features of the Song poetry. In addition to that, they also learn from other poets of Tang Dynasty and the previous poets of their own country, and draw nourishment from ancient poetry of Pre-Qin Dynasty of China, especially The Book of Poetry, The Nineteen Ancient Poems, Yue-Fu poems of Han Dynasty (???)and other classic poems, therefore, their Ge-Hing is simple, unsophisticated and rich in meanings.In terms of poetry writing, it overall reflects the main characteristics of the Song poetry and other style of Chinese poetry except Ge-Hing. Firstly, it explains poetry writing except Ge-Hing written by the poets of the early Joseon Dynasty that reflects the main characteristics of the Song poetry in aspect of poetic topics. Their poetic topics can be summarized as political overtones of expressing ambitions and New-Confucianism's overtones of reasoning, which is precisely and accurately the essential characteristics of the Song poetry. Then it studies the ways in which the theme is reflected in specific poems, and analyzes the characteristics of the Song poetry presented from poetic form, syntax, rhyme, words choice, allusions and etc. In addition to creating Ge-Hing with a clear style of the prosperous period of Tang Dynasty, Bian Jiliang, Liu Fangshan and others also have created some Wu-Lv (an eight-line poem with five Chinese characters in a line with a strict tonal pattern and rhyming scheme) and Qi-Jue (a four-line poem with seven Chinese characters in a line and a strict tonal pattern and rhyming scheme) with the style of the prosperous period of Tang Dynasty, whose content is mainly about farewells or scenery. In addition, they learn from The Book of Poetry, Chu-Ci (????), The Nineteen Ancient Poems, Yue-Fu poems of Han Dynasty, the poems of Wei-Jin and the Northern and Southern Dynasties, and they have also created a number of Chinese poetry with similar art style.Chapter three discusses two main schools of poetry, Ci-Zhang School(???)and Dao-Xue School(???),which reflect a style of the Song poetry under the influence of New-Confucianism before and after the mid-15th century to the 17th century separately from four aspects:poetic propositions, the basis on which the poetic school is formed, the aesthetics and the creative models of the poetic school. Specifically, Ci-Zhang School's advocating of a style of the Song poetry can be classified into three categories:the first type is peaceful and elegant, smooth, the second type is magnificent, strange, vigorous, old, and the third category is the combination of the style mentioned above. Although the poems of Dao-xue School occasionally have intense flavor, the dominant style the of Song poetry is natural and plain, and of profound implication.Chapter four elaborates on the heretical poets, such as Jin Shixi, Lin Ti, Yu Wuji and others'alternative style of poetry outside the rule of New-Confucianism between the 15th century and the 16th century. In addition to the relatively strong tendency of the common features of practical criticism, three representatives of the heretical poets'are distinctive. On the basis of taking in advantages of others, Jin Shixi forms his own natural, changing and unique style of poetry; although there are few poems with features of the Song poetry, it will not affect Lin Ti's main theme of Tang Poetry writing, and his poems are fresh, lofty, smooth, natural and of profound implication; the works of Yu Wuji mostly show a tone of the Song poetry, several of his poems are also typical of the atmosphere of the Tang poetry, however, he can completely control the whole writing with great spirit of his contemporary life, therefore, his poems have a vigorous and rich beauty.Chapter five dwells on the background of the rise of the poetic school and the representative poets who advocates a style and features of the Tang poetry. It also outlines the tendency of advocating a style of the Tang poetry in the Chinese poetry writing of civilian poets and women poets which belong to the lower classes.The conclusion makes a summary of the clear track and cultural meanings of the evolution of the style of Chinese poetry in the first half of Joseon Dynasty. The orientation of style of Chinese poetry in the first half of Joseon Dynasty has four aspects of impact on the tendency of the style of Chinese poetry in the latter half of the Joseon Dynasty. Some of the problems in the evolution of the style of Chinese poetry in the first half of Joseon Dynasty with universal significance are also briefly mentioned.