Han Yuefu is another great collection of ancient folk songs after The Book of Songs, which is different from the romanticism in The Book of Songs and opens a new style of poetic realism. Women's works play an important role in the folk songs of Han Yuefu. It uses popular language to construct works close to life, from miscellaneous words to five words, depicts characters in detail with narrative writing, shapes distinctive characters, completes the story, highlights ideological connotation and pays attention to describing typical details, which opens up a new stage in the development of narrative poetry, which is an important stage in the development of five-word poetry in the history of Chinese poetry.
Mulberry on the Stranger and Peacock Flying Southeast are both folk songs of Han Yuefu, and the latter is the longest narrative poem in ancient China, which is called "double walls of Yuefu" together with Mulan Poetry.
The biggest and most basic artistic feature of folk songs in Han Yuefu is narrative. This feature is determined by the content of "karma". Although we can already see some works with narrative elements in the Book of Songs, such as Meng and Meng. But it is still expressed through the protagonist's talk, and it is still in the form of lyricism, lacking complete characters and plots, and lacking a centralized description of a central event. However, in the folk songs of Han Yuefu, there are works whose stories are told by a third party, and there are characters with certain characters and complete plots, such as Sang Shang and Walking East, especially Peacock Flying Southeast, which we will describe in the next section. The story and drama of poetry are greatly enhanced than the works in The Book of Songs. Therefore, in the history of China literature, the folk songs of Han Yuefu marked a new and more mature stage of narrative poetry development. Its high artistry is mainly manifested in:
(A) through the characters' language and actions to express the character. Some adopt the form of dialogue, such as the dialogue between Luo Fu and the emissary in Mo Shang Sang, and the dialogue between the wife and her husband in East Gate, all of which can show different characters such as wit, courage and kindness. The dialogue between "Going Up the Mountain to Collect Wu" and "Traveling" was also very successful. Compared with the "national style" in the Book of Songs, it is easier to see this new feature of the folk songs of Han Yuefu. In addition to dialogue, some people also use monologues, often using the first person, so that the characters can talk to the readers directly, such as A Walk of Orphans, Poems with Bald Heads and Evil. Han Yuefu folk songs can also pay attention to the characterization of characters' movements and details. For example, Ge Yanxing is suspected of writing "Fu" as "Xie Ke Northwest Lang"; "Woman's Disease" wrote the maternal love of a dying woman with "I don't know how to cry"; "Mo Shang Sang" uses "smoothing moustache" and "scratching one's head" to describe the different expressions of old people and teenagers when they see Luo Fu. A Journey to the Orphan highlights the plight of orphans with a series of life details such as "more lice on the head", "pulling out the tribulus" and "turning over the melon cart". Because of the vivid characters, people can hear their voices and meet their people.
(2) The language is concise, natural and full of emotion. The language of folk songs in Han Yuefu is generally colloquial, but it is also full of feelings and people's love and hate. Even narrative poetry is a combination of narrative and lyric, so it has a strong appeal. Therefore, Lin Ying said: "The songs of Han Yuefu are refined, not polished; But the quality is good, shallow and deep, near and far, invincible in the world! " The first volume of poetry illustrates the characteristics of this language. On the one hand, the folk songs of Han Yuefu are mostly about the people themselves, and the author of the poem is often the hero in the poem; On the other hand, because the author and the characters he describes have the same fate and life experience, narrative and lyricism naturally blend together to achieve "shallow and profound". An orphan's journey is a good example:
Orphans are born, orphans are born, and life is bitter! When parents are away, take a hard car and drive a horse. My parents have left, and my brother and sister-in-law ordered me to go. Jiujiang in the south and Qi and Lu in the east. When the twelfth lunar month comes, I dare not say anything. The head is covered with lice and the face is covered with dust. Big Brother says "cook"! Sister-in-law said "Yima"! When I went to the high school to fetch your royal highness's hall, the orphan cried like rain, which made me go to the hall to fetch water at dusk. If the hand is wrong, there is no fi in the first step. There are many thorns in the cream. Pull out the tribulus, in the intestines, want to be sad. Tears are falling, and the tears are heavy. There is no recovery in winter, and there is no light clothing in summer. Life is not satisfactory, it is better to go underground before it is too late! Spring is pneumatic, and the grass has sprouted. Raise silkworms in March and plant melons in June. It will be a melon car, and it will go home. When the melon car overturned, few people helped me, and many people vomited melon. "I am willing to pay back my brother's sister-in-law's money. I am anxious to return to China alone." Luan Yue: I don't want to send a ruler book, so I stay with my underground parents: elder brother and sister-in-law can't last long!
Song Changbai's "On Liu Ting's Poems" said: "Although the two poems written by sick women and orphans are not correct, their feelings and circumstances are familiar, and their words are vivid. Every time I read it, I feel very prickly. Later generations of sages encountered such a topic, although they tried their best to describe it and read it like chewing wax, they could not help but shed tears and mourn for it. " This statement is quite right. He has not wronged the "late sage", but he has not pointed out that this is a matter of life experience. Walking for Orphans doesn't make an empty cry about orphans' pain, but pays attention to concrete description, which is also a noteworthy feature.
(3) Freedom and diversity of forms. Yuefu folk songs in Han dynasty have no fixed rules and syntax, and their length is arbitrary, which is scattered among the people. Because the Han Dynasty followed the pre-Qin period, although a few still used the ancient four fonts of The Book of Songs, such as crossing the river with Wu Gong and doing good deeds, most of them appeared in a new genre. From now on, it can be called new style poetry. There are two main types of this new style: one is miscellaneous style. Miscellaneous words such as "decline" have appeared in the Book of Songs, but the number is small and the change is not big. Only when the folk songs in Han Yuefu have made great progress, can there be a sentence pattern of one word to two words or even cross. For example, "It's better to go underground early" in The Orphan's Journey is a cross sentence. And "Eighteen cymbals" are all miscellaneous words, and they are unique. The other is five fonts. This is a new creation of Han Yuefu folk songs. Before that, there was no complete five-character poem, but Han Yuefu created a perfect five-character poem as Shang Mo sang. Judging from the two existing works "Autumn Dew" and "Hao Li", there should be a complete seven-character style in Han Yuefu folk songs, but it is a pity that it can't be seen now. There is no doubt that rich and diverse forms help to express complex ideological content.
(4) Romantic color. Most of the folk songs in Han Yuefu are accurate descriptions of realism, but some works are romanticized to varying degrees and use romanticism. Such as the lyric poem "Regret for the Past", the passion like flash floods and high exaggeration are all manifestations of romanticism. In the folk songs of Han Yuefu, the author not only makes the dead appear, such as Battle of the South of the City, but also makes the crow's soul attractive to people, such as Wusheng, and even makes rotten fish cry and write letters, such as Dead Fish Crossing the River and Crying;
When will you regret when a dead fish cries across the river? Be careful when writing books and learning from each other.
All these rich and peculiar fantasies show the romantic features of the works. Li's evaluation of "Eighteen Poems of Han Fu" is as follows: "Its wonderful sentence-making and strange conception are not the same as those of Chu Sao. Odd is whimsical, and clever is clever. " Actually, it's not just the song of cymbals.
Especially noteworthy is "Shang Mo Sang". There is an obvious combination of realism and romanticism from spirit to performance. Qin Luofu, the hero of the poem, is not only a realistic figure from life, but also an ideal image with the democratic spirit of despising power and resisting violence. She embodies the people's good wishes and noble qualities. . When Monkey saw Luo Fu, he brushed the mustache. "。 When the teenager saw Luo Fu, he took off his hat and hung his head. The tiller forgets to plow, and the hoe forgets to hoe. Come to complain, but sit and watch Luo Fu. "The poet pretended to rest through the" walker ",put down his gaze and admiration, and forgot to stroke his beard; "Teenager" took off his hat, tidied up his towel, and tried to tease Luo Fu, hoping to make a cicada's head girl. Those who "plow" and "hoe" by the mulberry forest forget their work; And so on humorous exaggerated description, side contrast, focus on rendering the moving beauty of Luo Fu. This kind of profile description and harmony is wonderful. On the one hand, it adds comedy and optimism to poetry and makes the narrative scene and atmosphere extremely active. More importantly, in this way, we can express our instinctive yearning for beauty by "romance" with the help of humanity who loves beauty instead of Luo Fu's appearance. People have different views on the standard of external beauty, but the poet's writing avoids this "difficult problem" and shows absolute idealized perfection that cannot be described from the void. Obviously, without the organic combination of realism and romanticism, without the mutual penetration of realistic accurate description and romantic exaggeration and fiction, it is impossible to create the outstanding image of Luo Fu. Although this combination is spontaneous and natural, it is still worth learning as a creative experience.