Who can help to find some information about overseas studies of poetry in the Southern and Northern Dynasties? Thank you.

The Southern and Northern Dynasties refer to 170 years from the demise of the Eastern Jin Dynasty to the unification of the Sui Dynasty (420 ~ 589). this

The Southern Dynasties were Song, Qi, Liang and Chen in turn. Since the Northern Wei Dynasty unified North China (439), the Northern Dynasty was divided into the Eastern Wei Dynasty and the Western Wei Dynasty, which were replaced by the Northern Qi Dynasty and the Northern Zhou Dynasty, and finally unified by the Sui Dynasty. This period is an important development stage in the history of China's poetry, especially the literati poetry in the Southern Dynasties, which achieved far more than that in the Northern Dynasties and became a necessary preparation and transitional stage for the overall prosperity of Tang poetry.

The development of literati poetry in the Southern Dynasties can be roughly divided into three stages. The Liu Song period was the first stage. That is to say, in the Eastern Jin Dynasty, landscape poetry gradually became independent from metaphysical poetry, which became a common practice.

There are many reasons for the prosperity of landscape poetry in this period. The first is the reflection of literati advocating seclusion in the mountains. During the Wei and Jin Dynasties, due to social unrest and political darkness, whether in opposition or in opposition, most literati took seclusion as lofty and took mountains as a paradise. So they describe the beauty of mountains and rivers in their poems to express their feelings. Secondly, since the Eastern Jin Dynasty, the social economy in the south has developed greatly. Noble landlords built gardens and villas everywhere and lived a leisurely life. In their metaphysical poems, there are landscape poems, which express Laozi and Zhuangzi's philosophy with the help of natural landscapes. This transformation was led by Yin Zhongwen and Xie Hun in the late Eastern Jin Dynasty and completed by Xie Lingyun. The representative writers are Xie Lingyun, Yan Yanzhi and Bao Zhao, and they are called "Three Masters of Yuanjia". Among them, "talented" Bao Zhao not only created bold and unconstrained poems, but also paved the way for the development and prosperity of seven-character poems and miscellaneous poems. Qi and Liang Dynasties were the second stage, that is, the formation and rise of "Yongming Style". The famous poets at that time, such as Shen Yue and Xie Tiao, applied the achievements of phonology to the field of poetry, and formed Yongming's new style poetry, which emphasized meter and antithesis. The third stage is from the middle period of Liang Dynasty to the end of Chen Dynasty, that is, the prosperous stage of "Palace Poetry" represented by Wen Di Xiao Gang, Liang, etc. "Palace Poetry" mostly describes the life of women and Gong Yan, and its style is light and soft, but it still has certain positive significance in the development of poetry form.

The poems of literati in the Northern Dynasties were far inferior to those in the Southern Dynasties. Later, due to the two-way communication between the north and the south, the poetic circles in the Northern Dynasties changed. Especially after the Northern Dynasties, Yu Xin's poetic style changed from beautiful in the early stage to vigorous, which reflected the initial integration of the poetic styles of the North and the South.

First, Xie Lingyun and landscape poetry

During the Jin and Song Dynasties, the elements describing landscapes in poems gradually increased. For example, Xie Hun's "A Tour of Xi Chi" is relatively light in metaphysical color, and it focuses on depicting landscapes, which is refreshing. In addition, the metaphysical poetry of "standard as virtue" is dull and tasteless, which can no longer meet people's aesthetic requirements. Therefore, when Xie Lingyun wrote a large number of landscape poems to dispel political frustration, they were immediately accepted and imitated by people. As a result, landscape poetry was finally independent from metaphysical poetry, and Xie Lingyun was the first famous poet to establish landscape poetry school.

Xie Lingyun (385-433) was born in Yang Xia, born in Chenjun (now Taikang, Henan Province), and lived in the south of the Jinshi in Huiji (now Shaoxing, Zhejiang Province). He is Xie Xuan's grandson, 18 years old, known as "Xie". Xie Lingyun was born in a famous family, received a good education when he was young, was famous for his talent, and was also keen on politics. After Song Wudi and the rulers established the Song Dynasty, Xie Lingyun's title was reduced to leisure, and he was very dissatisfied. In the third year of Yong (422), he became the magistrate of Yongjia (Wenzhou), so he "wandered around the counties at will" ... he swam in poetry, which made his meaning vague. After his resignation, he lived in seclusion in Ning (now Shangyu, Zhejiang Province) and often went in and out of the deep mountains and valleys to explore the Range Rover. In the eighth year of Yuanjia (43 1), Song Wendi appointed him as Linchuan secretariat. He was impeached and rebelled, exiled to Guangzhou, and immediately killed.

Xie Lingyun's literary achievements are mainly manifested in his successful description of landscape. Most of his landscape poems were written after he became the magistrate of Yongjia. In these poems, he described the natural scenery of Yongjia, Yi Hui, Lipenghu and other places with a high school student's leisure, giving people a refreshing feeling. For example, "White clouds embrace secluded stones, and green tiles are charming and clear" ("After the Early Shu Ning"), the beautiful scenery in the mountains is personified. Clouds and stones depend on each other, and white and green colors are dotted among them, forming a very moving picture with a touch of distant breath. Another example is "Spring Festival Evening" ("Entering the Lake Mouth of Peng Li"), which describes the elegance of late spring, "the wild sand shore is clean, the sky is high and the moon is bright in autumn" ("Chu Yun County"), the vastness of autumn night, "the bright moon shines on the snow, and the north wind is strong and mournful" ("Old Age"), and the cold in winter. These "famous chapters and famous sentences" scattered in various articles are fresh and smooth, and they are really "like flagella at first, natural and lovely" (The Biography of Heather Yan Yanzhi quoted Bao Zhao), which shows that the author has achieved great success in depicting scenery beyond his predecessors. However, although Xie Lingyun's poems are famous, there are few excellent ones. Mainly, some of his poems have to talk about Hyunri (including Buddhism) through mountains and rivers, but their talk about metaphysics often seems dull or pedantic. We can get a glimpse of the basic pattern and style of his landscape poems from his masterpiece "Climbing the Pool upstairs".

Hong Fei is potential and charming, which sounds far away. Clouds are ashamed of Yunfu, and rivers are deep.

It is foolish to talk about morality and wisdom, but it is not responsible for returning farmland. Poor sea, lying crazy empty forest.

The climate of pillow plum season is a glimpse. Listen to the waves with your ears open and look up.

At the beginning of the scene, the wind resistance changed the new yang into the old yin. Spring grass grows in the pond and garden willows become songbirds.

Qi Qi hurt this song, and he felt weak and sad. It is easier to live forever than to live alone.

Holding exercises is not unique to ancient times, and there is no sign of boredom today.

This poem was written in Yongjia. The whole poem first describes the frustration of officialdom, then depicts the spring scenery, and finally writes the desire of seclusion. Among them, the phrase "Spring grass grows in the pond and willow becomes songbirds" can be described as a stroke of genius, which has always been appreciated by future generations. At the end, I wrote about the suffering of loneliness, and suddenly sent myself away with the philosophy of "seclusion and boredom" in Zhouyi. It seems tortuous, but it is actually quite unnatural.

Xie Lingyun's landscape poems have their own artistic characteristics: he regards natural landscape as an independent and objective description object, not as a carrier of subjective feelings. Different from Tao Yuanming's poems, it does not pour the subject's emotion into the scenery it writes, but objectively and meticulously depicts the landscape, striving for realistic modeling. Secondly, in artistic expression, Xie Shi is good at grasping the characteristics of scenery and describing it in detail, especially writing static pictures, which are often expressed by concise and accurate verbs, so it is quiet and vivid, giving people beautiful enjoyment. However, due to the excessive carving of language and the pursuit of novelty, duality and allusions, there are many shortcomings in the whole article. Xie Lingyun's landscape poems usually adopt a three-stage structure of "remembering lines-describing scenery-expressing thoughts", with little change on one side. The front and back parts are often boring, and the valuable part is mainly the middle part of the landscape. Such a structure will inevitably lead to the defects of famous sentences and unnamed articles.

In a word, Xie Lingyun is the first poet to reverse the metaphysical poetry style and create a landscape poetry school. He opened up a new field of poetic expression. Many poets at that time and later generations, such as Xie Huilian, Xie Zhuang, Tang Huixiu, Xie Tiao and Wang Wei in the Tang Dynasty, were deeply influenced by him. At the same time, his style of describing things with extreme images and striving for novelty objectively improved his ability to describe things and his artistic skills in poetry creation, which laid a certain foundation for the formation of the eternal style. In this sense, it makes sense for Zhong Rong to call it "the outstanding poet of Yuanjia" (poem).

Second, Bao Zhao.

Bao Zhao (4 14 ~ 466) was born in the East China Sea (Tancheng, Shandong). He was born "lonely and humble", with little talent and a strong desire for fame and fortune. In his twenties, in order to seek an official position, he once presented poems to Liu Yiqing, king of Linchuan, expressing his ambition and was recognized as an assistant minister of the country. Later, he was appointed as a calligrapher in China, a priest in Moling and so on. In the fifth year of Daming (46 1), he joined the army as the king of Linhai. Later, Liu Zikai was granted the death penalty, and Bao Zhao also died in the disorderly army.

Bao Zhao was politically frustrated all his life, but his works were quite famous at that time, especially his poems. His Yuefu is not only numerous, but also rich in content and vigorous, which is a good inheritance of Jian 'an literary tradition.

An important part of Bao Zhao's poetry is his strong dissatisfaction and indignation at the suppression of talents by the gate system. Such as "quasi-hard to go" sixth:

You can't eat the case, draw your sword and strike the column. When will her husband live and when will Ann hang down her wings? Abandon the office and go home to rest. Going out to say goodbye, dusk is still on the edge. Have a foreplay before going to bed and watch the women weaving in the machine. Since ancient times, sages have been poor, what's more, our generation is lonely and straight!

This poem expresses a poor poet's repressed pain in his official career. Simple language, angry mood. The action of drawing a sword and hitting a column, the call sign of her husband hanging his wings, the yearning for returning home to live in seclusion, and the sigh of poverty and loneliness all show the emotional changes of depression, grief and indignation in one go. Sad but not depressed, disappointed but not depressed, has its own bold and unconstrained style, which embodies the author's mental state of grief, indignation and self-esteem.

Some of Bao Zhao's poems reflect the frontier war and conscription life, and show his desire to make contributions and strong enterprising spirit. Such as "generation from Ji Beimen line":

Feather from the side pavilion, bonfire into Xianyang. Ride on the chariot and spread your arms, and divide your forces to save the north.

Is strong, and Lu array is fine and strong. The son of heaven presses the sword, and the messenger faces each other from a distance.

Goose walking stone path, flying canal file. Little Gu Liu Hans, Kyoka Shuang Hu.

The wind suddenly blew, flying sand and stones. A horse's hair will shrink like a hedgehog, and its horns will not stretch.

See the minister's day in times of crisis, there is chaos in the world, and a loyal person. Give yourself to know the Lord, and death is a national mourning.

At the beginning, the poem plays up the tense atmosphere of enemy invasion, describes the cold and hardships on the way to March in the middle, and finally praises the heroic spirit of the soldiers who died for their country. It is an excellent frontier fortress cold poem.

In addition, the sixth "Antique" describes his farming life, expressing his resentment that he can't display his talents, and also showing his deep sympathy for the people:

In a quiet and secluded place, it is cold and cloudy; The north wind hurts the bones, and the birds are frightened and worried. Give wells and pursue courses at the end of the year. The land rent is sent to Hanguguan, and the animal wood is sent to the forest. The river hasn't opened yet, and the snow in Guanlong is deep. It's a penalty to slap an official, and it's a shame to watch an official invade. I didn't mean to take advantage of Xuan, and Fu Jian is still here today.

The main characteristics of poetry are strong brushwork, full of emotion and complicated syllables. Bao Zhao is good at using free and bold style to pour out his passion like fire, forming a shocking momentum. In addition, he also wrote landscapes and made fantastic and magnificent words, forming an elegant, heroic and fierce artistic style. Du Fu praised "Jun Yibao joined the army" in "Memories of Li Bai in Spring", which is precisely in terms of this style.

Bao Zhao is also a person who vigorously studies and creates Yuefu poems. He absorbed the rich nutrition of folk songs and created a batch of seven-character Yuefu poems with rich content and mature form, which laid a good foundation for the development of seven-character poems later. In the process of learning folk songs, Bao Zhao not only enriched this form with rich contents, but also changed Cao Pi's rhyme from sentence by sentence to every other sentence, and freely changed the rhyme, which opened up a broad road for the development of seven-character poems. Since then, the seven-character style has gradually developed in the poems of literati in the Northern and Southern Dynasties. Wang Kaiyun's "Selected Poems of Eight Dynasties" has 12 volumes to 14 volumes, and specially selected such poems from Qi to Sui, which are called "new style poems". Therefore, later generations also called Yongming style a new style poem. Yongming poets boldly explored and innovated poetry forms, showing valuable innovative spirit.

Third, Xie Tiao and New Poetry.

Xie Tiao (464~499), born in Xuanhui, Chen Jun and Yang Xia (near Taikang, Henan Province), is a relative of Xie Lingyun and is called "Xiao Xie". His great-grandfather was Xie An's younger brother, his ancestors and father were relatives of Liu Song, and his mother was his daughter Princess Great Wall. Xie Jiashi is precious, but he is studious, so he has a good reputation. Therefore, he once lived in Wang Xiao's official residence in Jingling and held an important clerical position in the court. He also served as the satrap of Xuancheng (so later generations often called him Xie Xuancheng), and finally served as the minister of Shangshu. He was framed and killed for refusing to participate in the coup planned by court ministers and Francisco V.

The main achievement of Xie Tiao's poetry is the development of landscape poetry. His works inherited Xie Lingyun and matured. For example, his masterpiece "Going to Three Mountains in the Night and Looking Back to Beijing":

Baxi sees Chang 'an and Heyang sees Jingxian. The sun sets on the towering roof, and the houses in Beijing are not so high and low.

The residual clouds of the sunset are scattered like rosy clouds, and the clear river is as calm as white. Noisy birdsong covers the spring, and all kinds of flowers cover the countryside in the suburbs.

I will stay in the country far from the capital, and I miss the happy party that has stopped. When it's time for Danggui, I'm disappointed and tears fall like snow beads.

Knowing your hometown, who can remain the same?

With natural and fluent language, the poet weaves the endless and beautiful natural landscape into a bright and harmonious picture, so that readers can feel the colors, sounds and breath of spring. And this beautiful scenery, coupled with the poet's homesickness, is profound and implicit, and has a strong artistic appeal. The phrase "misty rain disappears into beautiful scenery, and the river is as quiet as practice" has been passed down from generation to generation. Like Xie Lingyun, Xie Cys also has many famous sentences about scenery. For example, "Heaven knows the boat, and the clouds distinguish the trees" ("From Xinlinpu to Banqiao in Xuancheng County"), "Fish play with new lotus and birds scatter flowers" ("Journey to the East"); And "Looking at the cold city, it is flat and fierce" ("Looking at Xuancheng County") and so on. Fresh and distant, like ink painting, it gives people great beauty.

Xie Tiao studied Xie Lingyun's landscape poems, and described the scenery carefully and realistically. But comparatively speaking, Xie Tiao's landscape poems are more innovative and have formed their own characteristics. This is mainly manifested in the following aspects: first, the landscape in Daxie's poems deviates from the official life, and he often deliberately seeks the landscape to forget the world; The scenery in Xiao Xie's poems is always unified with the expression of the subject's emotion, and the description of temples, pavilions and natural scenery is often integrated with lyricism. Secondly, Daxie's landscape poems, after writing about the scenery, always drag a tail up; Xiao Xie's landscape poems completely got rid of the influence of metaphysical poems and reached a relatively complete artistic realm. Thirdly, unlike the rich, exquisite, elegant and heavy poems written by Daxie, Xiao Xie's poems lack complicated words, forming a natural, plain, fresh and beautiful artistic style. In addition, Xie Wan's poems are harmonious in tone, sonorous in sound, beautiful in words and neat in antithesis, which embodies the basic characteristics of new poetry. His new style poems have a certain influence on the formation of quatrains in Tang Dynasty. Yan Yu's Cang Shi Lang Dialect said: "The poem of Xie Tiao has a whole poem, which looks like the Tang Dynasty." Some famous poets in the Tang Dynasty attached great importance to Xie Tiao's poems, especially Li Bai, and quoted his beautiful sentences many times. Therefore, some people call Li Bai "the first person to thank Xuancheng all his life" (Wang Shizhen's On Poetry), which shows the far-reaching influence of Xie Tiao's poetry.

However, Xie Tian's poems also lack profound social content. His ten poems "Yongle Ming" and two poems "Listening to prostitutes at night" are typical boring banquets. In addition, there are some shortcomings, such as "a good beginning, too many articles at the end" and "sharp and weak".

Fourth, Yu Xin.

Yu Xin (5 13-58 1) was a new savage in Nanyang (now Henan). His life was marked by his 42-year-old mission to the Western Wei Dynasty and his exile to the North, which can be divided into two periods. His early life in the Southern Dynasties coincided with the most stable stage of the founding of the Liang Dynasty. Yu Xin's early poems are mainly about entertaining the monarch, and his thoughts are light and thin. He is an important writer of palace poems. Emperor Liang Yuan was holy for three years (554). He was ordered to go to the Western Wei Dynasty and was detained in Chang 'an. Later, he served in the Northern Zhou Dynasty. He was a general in ancient times and served as a general in the same department. Although respected in his position, he felt very humiliated and painful when he gave in to the enemy country. This experience enabled him to combine the rich heritage of poetry in the Southern Dynasties with the healthy spirit in the northern culture, creating a new style, which to some extent reflected the new trend of the confluence of North and South literature.

Yu Xin's late pottery works express the poet's deep yearning for the motherland and his complex life feelings of forbearing humiliation. Because of the poet's true feelings, many of his poems have no traces of carving. Although many antitheses are used, there is a fresh air in the flow. Among them, the most representative is 27 pieces of Zhun Yong Huai. Such as the 26th song:

Depression is far away, windy and rainy and dusty. Shut the door and drive for nothing, and the city will shadow into the Yellow River.

Autumn wind in Su Wu, cold water to Jing Ke. He who speaks with anger sings in the morning.

The first four sentences describe the scenery in the north, which is desolate and vast; The last four sentences express their concerns. Depressed and tragic. In the poem, three allusions are used to express grief for the motherland: farewell to Su Wu, farewell to Jing Ke and Xiang Yu's suicide. This is the central content of Yu Xin's later poems, which is expressed in many chapters, but in different ways, such as "Guan Yu broke the news, but China's envoy never passed." Hu Jia's tearful song, Qiangdi's heartbroken song (the seventh song "I want to chant my heart") and "I'm still thinking about building water and finally think of Wuchang fish" (the eighth song "Your Highnesses Qin and Yongfeng express their feelings") can be described as expressing their feelings. Sun's poem Yu Xin said: "Who should I talk to when I am painstakingly composing poems?"? "Would you like to be demoted to Xianyang? Unfortunately, many talents have opened their homes and have been thinking about the South all their lives. " It gives a high summary of Yu Xin's mood and poems in his later period. These works describe Guan Ju's homesickness and are the most touching and valuable parts of his poems.

Due to the change of ideological content and the influence of northern culture, the artistic style of Yu Xin's later poems has also undergone fundamental changes, from gorgeous and weak in the early stage to desolate, tragic and vigorous. Poems such as "The clouds are still, the autumn canopy is about to fly", "Light cloud flying, the bright moon moves the bowstring" ("Quasi-Wing Huai") and "Hu Jia is far away from the police at night, and the horse is silent" ("Meeting the soldiers with Zhao Wang in the gorge") are rare in the poems of the Southern Dynasties. Yu Xin is also good at using allusions, which can be appropriate without revealing traces, and has played a role in expanding the capacity of poetry and inspiring readers to associate.

Yu Xin's later poems also developed in meter. Judging from the number of clauses, composition and antithesis of his seven-character new style poems, he has become a unique pioneer of the seven-character rhythmic poems in the Tang Dynasty. Liu Xizai's "Outline of Fine Arts" once said that Yu Xin's "Wu Ye Tiao" was "the seven methods to start the Tang Dynasty".

In a word, Yu Xin is a writer who combines the literary achievements of the Northern and Southern Dynasties. He learned from the rhetoric skills of Qi and Liang literature, such as rhythm and antithesis, accepted the vigorous style of Northern Dynasties literature, developed and enriched the aesthetic mood, and made necessary preparations for the formation of new pottery in Tang Dynasty. Du Fu praised: "Yu Xin's articles are old and successful, and his brushwork is vertical and horizontal." ("Play is a Six-quatrain") is a correct evaluation of Yu Xin's later works.

Five, the Southern and Northern Dynasties folk songs

Following the national style of the Book of Songs and Yuefu folk songs in the Han Dynasty, Yuefu folk songs in the Southern and Northern Dynasties were a group of concentrated oral creations of the people. Due to the long-term confrontation between the North and the South, different political, economic, cultural and national customs have been formed, and the folk songs in the Northern and Southern Dynasties also show different colors and emotional appeal. The beautiful and lingering folk songs in the Southern Dynasties more reflect the sincere and pure love life of the people. The folk songs of the Northern Dynasties are rough and bold, which widely reflect the turbulent social reality and people's living habits in the North. The lyric poem Xizhou Qu in the Southern Dynasties and the narrative poem Mulan Poetry in the Northern Dynasties respectively represent the highest achievements of the Northern and Southern Dynasties.

(1) Folk Songs of Southern Dynasties

Guo Maoqian's Yuefu Poetry and Qing Shang Song preserved most of the folk songs of the Southern Dynasties. There are mainly Wu Ge and traditional Chinese opera. Wu Ge ***326, West District * * 142. Wu Ge is mainly produced in the lower reaches of the Yangtze River, with Jianye as the center. Jianye was the capital of the Eastern Jin Dynasty to the Southern Dynasties. Yuefu authorities collected the folk songs in this area nearby, sorted them out and matched them with music, which is Wushu songs. A considerable part of Wu Sheng's songs come from the countryside, but they are more likely to come from the mouth of ordinary citizens in the city, so most of them have the characteristics of civic literature. Traditional Chinese opera originated in the middle reaches of the Yangtze River and the areas on both sides of the Han River, with Jiangling as the center, and its melody singing method is different from that of Wu Ge. In addition, the era of traditional Chinese opera was slightly later than that of Wu Ge, and it was dominated by Qi and Liang Dynasties.

The content of the existing folk songs in the Southern Dynasties is relatively narrow, mostly love songs, because the folk songs in the Southern Dynasties originated in the middle and lower reaches of the Yangtze River. Here are beautiful mountains and rivers, birds and flowers, beautiful natural scenery, rich products, developed commerce and strong economic conditions. Young men and women will naturally feel nostalgic in such an environment.

Wu Ge's characteristic is gorgeous and weak, and she often shows shy and lingering modality. The most important ones are "Midnight Song", "Midnight Four Seasons Song" and "Reading Songs". There are 42 midnight songs, which are said to have been originally written by a famous lady in the Eastern Jin Dynasty. Their contents or expressions show the desire for love, such as "sleepless night, bright moon." I want to hear scattered cries. I should make a promise in the air. "Or show disgust for ungrateful men, such as" think twice before you see the fruit in front of you. "Dead fish is turbid water, long and affectionate." There are also Songs at Four o'clock in the Midnight and Songs for Reading, all of which express sincere and delicate feelings in fresh and simple language, with gorgeous and soft styles, sad and touching, which truly reproduce the complex mentality of Jiangnan women on love issues and are full of rich life breath.

Traditional Chinese opera is more about the parting feelings of passengers and businessmen on the waterfront boat, reflecting a slightly wider life than Wu Ge and a more straightforward and lively style than Wu Ge. Such as Naha Beach:

Huan Wen went down to Yangzhou and sent him to Jiangjin Bay. I hope I can have a rest. I will repay you in the end!

It is easier to find the pole when it is folded, and it is safer when it is folded. They are all officials, so what is the ending?

Men and women echo! Women's songs convey true feelings and naive wishes; The man's answer reveals unconscious regret and sorrow.

The form of folk songs in the Southern Dynasties is characterized by small structure, mostly five words and four sentences, and fresh and natural language. Just as "Midnight Song" said: "Generously voiced, clear and natural", "I don't know the beauty of songs, but the meaning of words". Beautiful songs are sung casually, without carving or affectation, and the lingering feelings are truly and delicately expressed. The extensive use of puns is a remarkable feature of folk songs in the Southern Dynasties, especially in Wu Ge. Puns can be roughly divided into two categories: one is homonym, such as lotus root for "accidentally", lotus root for "cherish" and silk for "thinking"; The other kind is homophonic, such as propping up a puppet horse with a cloth horse, propping up a boat with a closed door, caring about it, and propping up the boat with the pain of coptis chinensis. The use of these clever puns not only makes the language more lively, but also makes the expression more subtle and euphemistic.

The representative work of folk songs in the Southern Dynasties is the lyric folk song Xizhou Qu polished by literati. The content of this folk song is to write about a young woman's lovesickness, interspersed with the changes of scenery in different seasons and the exquisite description of the heroine's activities, costumes and looks, which is extremely delicate and touching, but tactful and subtle. The whole poem is basically four rhymes, and it uses the rhetorical device of Lian Zhuge to form a tactful melody. This special beauty of phonology has an effect of rest, and it is memorable when combined with the scenes in the poem. This poem is "the most artistic one" among the folk songs in the Southern Dynasties.

(2) Folk songs of the Northern Dynasties

Yuefu folk songs in the Northern Dynasties were mainly preserved in Yuefu Poetry Collection, which was military music produced by northern nationalities for instant performance at that time, so it was called "the music of drums and horns". Most of the folk songs in the Northern Dynasties are works after the Northern Wei Dynasty. With the cultural exchange between the North and the South, songs from the North spread to the South. After Qi and Liang Dynasties, it was often used for court entertainment, but it was preserved by Yuefu organs in the Liang Dynasty, so it was called "the music of drums and horns".

Most of the folk songs in the Northern Dynasties were sung by northern minorities and then translated into Chinese. Therefore, there is a saying in "Yang Liuzhi Song" that "I'm from Lujia, and I don't understand Han children's songs". Some of them were created by northerners directly in Chinese, but it does not rule out that a few of them are works by northern Han people. Therefore, the folk songs of the Northern Dynasties are the cultural achievements jointly created by all ethnic groups in the North.

The number of folk songs in the Northern Dynasties is small, but their contents widely reflect all aspects of social life. The living environment of the northern nationalities, mainly Xianbei people, is different from that of the southerners. Most of the northern region is flat desert and grassland wilderness, so the scene in the poem has the characteristics of vast northern region. Such as "Chile Song":

Chilechuan, under the shady mountain, the sky is like a vault, and the cage covers four fields. The sky is wild, and the wind and grass move to see cattle and sheep.

In just 27 words, it describes the vast grassland scenery, and the realm is magnificent, which can be described as a swan song throughout the ages. Because of the long-term war in the north, people's lives are miserable, so the poems also reflect the bitterness brought by the turmoil. For example:

Poor man, go out with fear of death. In the narrow valley, no bones were collected.

(Song No.4 of Enterprise Metaphor Song)

In Jian 'an poems, there is often a scene of "the corpse is across the narrow valley and the bones are not collected". The Yuefu folk songs in the Northern Dynasties have the same effect as the poems in Jian 'an period in reflecting chaos, and their sad songs make people tremble.

In the folk songs of the Northern Dynasties, there are still many homesick works reflecting exile and exile life, such as "Leading Song":

The water in the mountainous area of Gansu is displaced at the foot of the mountain. Thought I was alone and came to the open field.

Depart from Xincheng in the morning and sleep in Gansu at night. Without saying anything cold, my tongue rolled down my throat.

Long head flowing water, blare sad pharynx. Looking at Qinchuan in the distance, my heart was cut off!

This song profoundly reflects the pain of being displaced and the feeling of missing home. After thousands of years, it still hurts to read.

The nomadic life and long-term state of war of the northern nationalities have cultivated people's brave and resolute character and chivalrous and martial spirit. This spirit is often reflected in poetry. For example:

I bought a new five-foot knife and hung it on the middle beam. The play is performed three times a day by fifteen women.

("Song of the King Langya")

Athletes must be fast horses, and fast horses must be athletes. Toes are yellow dust, so don't be male or female.

("Folding Willow Song")

The songs are full of masculinity, which is in sharp contrast with the folk songs of the Southern Dynasties.

There are many works reflecting the theme of love and marriage in the folk songs of the Northern Dynasties. These folk songs are frank and straightforward, simple and vigorous, which are quite different from the romantic songs of the Southern Dynasties. Such as: "The moon stars fall. Let me know if you want to come! " (Land Drive and Music Control) "Men and women are born in the same place and wish to have two adults" ("Catch the Song"), and their attitude towards men and women's love and marriage is bold and provocative. Reflect the problem of marriage, most women want to get married early, for example, "If an old woman doesn't marry, it's called heaven" (Song of Land Drive Music), and "If an old woman doesn't marry, she has to have grandchildren" (Song of Yang Liuzhi). These songs are straightforward and simple, with no cover and no shyness.

The representative work of Yuefu folk songs in the Northern Dynasties is Mulan Poetry. This poem was originally sung by people in the Northern Dynasties, but it may have been polished by literati in the Sui and Tang Dynasties during its long-term circulation.

Poetry of Mulan has successfully shaped Mulan's immortal artistic image. Mulan is a boudoir girl. When the motherland needed her, she stepped forward to join the army instead of her father, disguised as a man, and galloped on the battlefield for more than ten years, making great contributions. After his triumphant return, he declined the official position and returned home, showing his simple and noble sentiments. She combined her love for her relatives with her love for her motherland. Mulan's image is the embodiment of people's ideal. She embodies the excellent qualities of the Chinese nation, such as diligence, kindness, wit, courage, perseverance and simplicity, and shows women's desire and ideal for equality, independence and liberation.

The artistic features of Mulan Poetry are as follows: first, the description is complex and simple;

Details such as splashing ink, such as the description of pommel horse layout before going out and after returning, thus creating a busy scene and a warm and happy atmosphere. The description on the battlefield is only a few words. Secondly, through the action and atmosphere of the characters, the psychology and character of the characters are portrayed, and narrative and lyric are perfectly combined. In addition, repetition, parallelism, duality, question and answer, as well as the use of overlapping, metaphor, exaggeration and other techniques are all helpful to shape the image of Mulan. Although polished by later scholars, the whole poem is lively and fresh, vigorous and powerful, and still retains the true colors of folk songs. It is worthy of being an excellent poem that has been circulated for thousands of years.