The Study On Yuefu Pomes Of Jiangnan Nong

Yuefu poems of Jiangnan Nong belonging to Qingshang Lyrics, was recomposed by Martial Emperor of Liang Dynasty from Xiqu songs, which were characterized with rich flavor of Jiangnan style and Palace. Jiangnan Nong,a representative of the six dynasties imperial dynasty culture, has profound effect on the development of the Jiangnan theme poetry and forms a connecting link between the preceding and descendants of the lyrics literature.The current paper consists of three chapters. The first chapter mainly describes the regional culture background. Jiangnan Nong were created in the Six Dynasties, when the prosperity of economy supporting the relatively stable political environment, along with the thriving commerce and the formation of consumption cities, made Wu Sheng and Xiqu became popular among all walks of audience. And the pervasiveness of Wu dialect promoted the change of function of Yuefu institutions, as well as the elegantlization of Qingshang music. The creation of Jiangnan Nong in Liang period is a product of Xiqu folks songs’ refinement and is a part of the music and culture construction.Chapter Two serves as the analysis and interpretation of musical features and lyrics of Jiangnan Nong. Firstly, it was named as Jiangnan Nong, not only due to its entertainment function, but also other three characteristics of “nong”: played by silk and bamboo music instruments, sung by female musicians with repeated echoes in lyrics. Secondly, the definition of harmonic words were analyzed through exploring the relation between Jinagnan Nong harmonic words and the harmonic of Sanzhouge rearranged by Buddhist monk Fayun. The author maintains that Jiangnan Nong harmonic has its own specialty. It stays at the beginning of songs and is called Led Parts, which is different from others that stayed between each sentence and were called Responsory Voice. Thirdly, Jiangnan Nong was discussed from both the perspective of content and artistic style. In Jiangnan Nong, there are rich themes including such four aspects as Jiangnan spring scenery, pretty girl, fairyland excursion and long-life and silk and bamboo music instrument. At the artistic level, writing lyrics in accordance with music makes Jiangnan Nong’s euphemistic sentence structure, clear rhyme, and tone full of Jiangnan ambience. Its writers, Xiaoyan and Shenyue carefully carved with exquisite diction has made Jiangnan Nong possess Literati and noble color. Its euphemism style stands for Royal Literature of Jiangnan ambience.The third chapter discusses the influence of Jiangnan Nong on the later literature. As a turning point of the development of Jiangnan literature, Jiangnan Nong has essential transitional significance. Through analyzing the Lotus gathering in Jiangnan and imitation works on Jiangnan Nong, the present study has probed into the historical analysis of Jiangnan literature and finds that Jiangnan Nong has particular influence on poem, Ci and Opera in later ages such as rich image and words of Jiangnan have led to special Jiangnan emotions; Jiangnan Nong probably is a source of Ci poem in Chinese literature which facilitates Ci a literatue form with the most Jiangnan charm; the impact of “nong” on Yuanming Opera embodied within the permeation of entertainment element of “nong”. From the above three perceptions, the research on Jiangnan Nong bears implication on structure genetics in literary history.