Yuan The Tanabata Poetry

Qixi Poesy, one kind of Jieling Poesy, is a significant type of Chinese ancient poetry. Coming into being in late Han Dynasty and Weijin periods, Qixi Festival didn't die out until the feudal society was overthrown. It developed almost in accord with all the periods of the whole feudal society, climaxing in Song Dynasty. Its customs and the thoughts it reflected typically embodies the connubial ethical relation of the feudal society. That's well the principal intention to take Qixi Poesy as the object of this article.This article is divided into three chapters.Chapter One adopts the clue of time to make clear the development state of Qixi Poesy before Yuan Dynasty. For the sake of discussion, this chapter takes the usual method of dynasty-classification in literacy. The legend of Niulang and Zhinv was the background of Qixi Festival. Section One of this chapter first traces the cultural origin of this legend to explore the ethical values of Chinese people it reflects and its restriction on the development of Qixi Poesy as well as the aesthetic values. In Remote Altair, transcendence is the keynote. This chapter emphasizes the aesthetic feature that it takes affection as the aesthetic standard. There were several major turns in the course of Qixi Poesy's development: the familial literature if six-dynasty period and Gong-style Poesy both helped Qixi Poesy to become a new style; in mid and late Tang Dynasty, Qixi Posy tended to be individualized in creation; from Qianniu and Zhinv, the poem of Dufu on, contemplation and critics were continuously made on the blockage of Qixi. This chapter emphatically discusses that: and it also comments on and analyses the major Qixi poets asn their works, such as Xie Huilian, Dufu, Li Shangyin, Mei Yaochen and Su shi.Chatper Tow discusses the gist thoughts of Qixi Poesy before Yuan Dynasty. According to the aesthetic specialty of Qixi Poesy, this chapter reflects the legend and customs as well as admires the worry of the country and its people. The figures mainly show the cultural connatation of Zhinv and analyzes the characteristic of the Love Goddess' prototype, that of the unity of god and human being. Females' praying for a pair of dab hands, one customs of this festival, reveals the heavy stress of females caused by the feudal marriage and the familial ethics. The reflection on the legend and its customs analyses the corresponding rational critics by some poets due to the crazeabout the festival in Tang and Song Dynasty so as to reveal its dual effect on the Qixi Poesy. The admiration of the worry of the country and its people discusses that this festival led to the poets' worry of the country's rise and fall.Chapter Three discusses the artistic feature of Qixi Poesy, which aims to explore the artistic formation of Qixi Poesy before Yuan Dynasty, being on the basis of the first two chapters. The subject matter of Qixi Poesy is comparatively concentrated, while the Qixi Poesy was of great vitality. In the point of view of originality, this chapter artistically criticizes and analyzes the development of Qixi in four aspects: the open formation of Qixi imago, the passing-on of the figures, the usage of palinode and the selection of prosody. In addition, this chapter simply analyses the style and language of Qixi Poesy.