Study on Liu Yong’s phenomenon in Northern Song Word Literary

• Main Authors: Yu-ting Hsu, 許玉婷
• Other Authors: none
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/44926531841424726810

碩士 === 東吳大學 === 中國文學系 === 99 === This article aims to study the phenomenon of Liu Yong in Northern Song Word literary, he was popularly accepted by the general public of scholars and non-scholars . Chapter I, "Introduction." Full and clear study motive, related research process and findings. Chapter II, " Basic Conditions of Popularity of Liu Yong’s Word" , This chapter describes the external factors of Liu Yong's popularity. Owing to the misfortune in his pursuance for civic official career, Liu Yong had a sense of pity toward geisha who were at low social status , yet, Liu Yong rather identified himself “as the same kind of miserable people.” It seemed naturally he could not help but having close friendship and love affairs with some geishas. Almost as naturally, geishas’ timely and intensively performing and widely singing Liu Yong’s words had actually promoted the popularity of the author. Meanwhile, it was the rising of a new class of citizens and the booming private sector during the Northern Song Dynasty, Liu Yong’s Word were usually sung by attractive geishas in simple languages and plain meanings, concerted with cheerful music at refined and elegantly decorated gardens, pavilions and other consuming, entertainment settings in brothel… all that seemed to meet the interests and demands of the public and attributed to the “ Liu Yong phenomenon.” Chapter III, " Attacks on Liu Yong by the Conservative Scholars or Moral Guardians." Because of the involvement in “vernacular Word“ with his sensitive literary identity. Liu Yong’s word was accused by the moral guardians as violation to norms or custom; his behaviors were debauchery and there was neither rhyme nor rule in his style etc … This chapter explores the psychological aspect and aesthetic standards of the conservative scholars who encountered the Liu Yong phenomenon. Chapter IV, " More Objective Point of View on Liu Yong." Fortunately, there were numeral literates who appreciated Liu Yong with more objective point of view. Similar to Liu Yong, they recognized poet Bai Ju Yi of Tang Dynasty for his spirit of leisure and simplicity. They also acknowledged Liu Yong for his creativity and talent in "turning the old sound into the new ". based on one's own literature and sociological points of view, there were more and more authors to learn Liu Yong’s style, among them, prominent authors such as Su Shi and Zhou BangYan contributed their efforts in revising Word genre, regardless of its results in either deepening Word genres or diversifying Word styles, Liu Yong is certainly accredited for his influence on the further development of Chinese literature. With more and more favorable or unfavorable expressions; critics and comments from both sides, and the learning of Liu Yong style… "Liu Yong phenomenon" even extended further. Chapter V, "Conclusion." Before Liu Yong, the creativity of Word was almost as quiet as the desert, because of Liu Yong, a new phase of Northern Song Word literary had begun hence.