On the inheritance and the transition of Classical Yue Fu in Tang Dynasty:An analysis of the texts in the Anthology of Yue Fu Poetry

• Main Authors: JU-WEI HUNG, 洪如薇
• Other Authors: 李立信
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/44943346621302972474

博士 === 逢甲大學 === 中國文學所 === 98 === Abstract This research is based on the old Yue Fu poetry recorded in the Yue Fu Poetry Anthology in the Tan Dynasty, using the literature related to the poetry, analyzing the inheritance, transition of the poetry, pointing out the achievement of the old Yue Fu poetry in Tan Dynasty and hoping to give a great devotion in this academic field. The research can be divided into two parts: the first portion depicts the development of the melody of the old Yue Fu, the background of the old Yue Fu and the musical characteristics of the old Yue Fu ; the second portion interprets the characteristics of the topic as well as content of thousands of old Yue Fu poetry in Tan Dynasty, and draw tables for them. In the end, the result of these two parts will be combined and the reliable and new ideas will be provided. The first portion of the research is divided into four chapters: chapter one discusses the name of the old Yue Fu poetry in Tan Dynasty. This research defines the old Yue Fu poetry in Tan Dynasty as: “the old Yue Fu poetry in Tan Dynasty adopted from pre-Tan era, whose old melody belongs to the system of the Hua Xia music.” Chapter two and three depict the development of music from the Wei Jin Dynasty to the Sui Tang Dynasty, and the historical data of the type of music. Moreover, the establishment and the abolishment of each dynasty’s governmental agency responsible for the oversight and administration of the development of music is described as a supplementary illustration of how the Xianghe ballad was evolved first into Qing Shang old ballad, then Qing Shang new ballad, and eventually Qing ballad. The diversification and the richness of the ballad culture in Li Tang Dynasty are also addressed. As for chapter four, from age of the Tan Dynasty, the positive and negative data related to the issue of whether the old Yue Fu can be sung or not will be arranged in order to revise and verify Mr. Shiang Jou Wu’s comment on the same issues. The second part is divided into four chapters on the classification of the old Yue Fu poetry and the history as well as the transition of the topics and content in the poetry. In chapter one, the Guchui and Hengchui ballad in Tang Dynasty will be discussed. Chapter two deals with the old Yue Fu of Xianghe ballad and Qingshang music in Tang Dynasty. Chapter three is on the Lyrics of Guqin and Dancing Songs. Chapter four focuses on the change of the Zaqu ballads in Tang Dynasty. Based on the findings of the first and second parts, the author points out that the old melody was just one of the many source materials that inspired the formation of the old Yue Fu in Tang Dynasty; it would be wrong to assume that a rhyme written during Tan would also be a song simple because it has the same title (name) with an old song still popular then. Based on the findings of the study stated above and the comments of the former scholars, the conclusions of the study are as follows: 1. Guo called the Yue Fu poetry in Eastern and Western Han Dynasty as “Gu Tsz”; however, in the Yue Fu Poetry Anthology, “Gu Tsz”refers to any poetry before the Cao Wei Dynasty; the term does not refer to Han ballads exclusively. 2. Qingshang music consists of“Wu Sheng Ballad”, “Xiqu Song”, “Jiang Nan Song”; “Shen Shian Song”, “Shang Yun Song”, “Ya Song” are just subtitles of them. Yet the Chinese scholars mistakenly regard them as six independent categories indexed at the same level. This research corrects the Chinese scholars’ mistake based on the formatting of Yue Fu Poetry Anthology. 3. Three features are found based on Yue Fu Poetry Anthology: Different from “Xiqu Song ” the beginning and ending of the “Wu Sheng Ballad” are called “Sung”. There is no “Sung” sound but “He” sound in “Xiqu Song” that were dance music. The use of both“Sung” and “He” are found only in“Xiqu Song”that are not dance music. But it is difficult to distinguish the order of the “Sung” and “He”. 4. As for the creation background of the Old Yue Fu in Tan Dynasty, there were more songs than dancing songs in the Qing Song in the early part of Tan Dynasty; besides, the melody stressed on the “Qing Shang new ballad”. Moreover, after Tian Bau Yuan Nian, in the ceremony of the Lao Tzu, the song of“Huen Cheng”is played to summon God, while the song of “Tai Yi” is played to send the god away. Thus, the statement— “in Tian Bau Yuan Nian, the ballad in the Temple is for ding shiuan tzung.” — can be corrected. Fifth, this research divided the information of the material for the Tang old Yue Fu can be sung or not into two portions: one is that the old melodies and lyrics before the Tan Dynasty is not the creation of the old Yue Fu Dynasty. Another is that people in Tan Dynasty combine the topic of the old Yue Fu with the melody of the old Yue Fu in Tan Dynasty to sing. Thus, the music performance of the old Yue Fu in Tan Dynasty has three characteristics: First, the old melodies can be sung, people in Tan Dynasty used the old Yue Fu to sing. Second, the old melodies can be sung,people in Tan Dynasty do not use the old Yue Fu to sing. Third, regardless of the existence or nonexistence of the old Yue Fu, people in Tan Dynasty combined the old Yue Fu with the new melody in that time. Last, both the inheritance and transition of the content and topic of the old Yue Fu in Tan Dynasty can be seen. When it comes to name the topic, the old topic is often used. Besides, the contents of the Lyrics of Guqin Songs and Qingshang ballad in Tan Dynasty do not often reveal the subjective emotion of the poet, but the imitation and inheritance of the content. It is because of the feature of the isolation of the melody and the population of “Qing Shang Shin Sheng”. Thus, the ballad is confined to the rule as well as background of music in that time.The above statements are able to be added to explain the old Yue Fu in Tan Dynasty.