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過意象看馮惟敏散曲的內涵

The Connotation of Feng Weimin Sanqu through Imagery

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초록

Feng Weimin is an outstanding Sanqu writer in the Ming Dynasty. His works are simple and humorous, rich in content, and bold and bold in style. In the process of creation, he used imagery to convey a large number of profound and profound Sanqu works. Feng Weimin faced life head on, replaced his heart with his pen,and fully displayed all aspects of social life. He not only had the literary talent and talent of a poet, but also had universal values and a common people`s perspective that paid attention to pepple`s livelihood and hardships. He wrote a lot of songs that reflected the hardships of farmers` lives, and these songs all wrote about the farmers`living conditions at that time from different angles. This article classifies the images in his works, and divides the images in Feng Weimin's works into two categories: descriptive images and metaphorical images, expounding the thoughts, feelings and connotations expressed in the works from different angles. The descriptive imagery in Feng Weimin's Sanqu not only broadens the category of Qujing, but also further perfects the creation of Sanqu, especially Beiqu. The category of melody continues to expand, the creative style is bold and bold, and the tones are beautiful. He renders his complex and contradictory inner world through simple, natural and natural words and sentences, showing the artistic power of his works. While inheriting the inherent symbolic meaning of the poetry of the past dynasties, the figurative symbolic imagery in his Sanqu is more normalized, popular, and straightforward, and unreservedly reveals the popular and bold expressions in the music. This is Euphemistic poetry can't match. Feng Weimin deserves to be hailed as the most outstanding Sanqu writer in the Ming Dynasty, and his works have high artistic and aesthetic value.

Abstract

Feng Weimin is an outstanding Sanqu writer in the Ming Dynasty. His works are simple and humorous, rich in content, and bold and bold in style. In the process of creation, he used imagery to convey a large number of profound and profound Sanqu works. Feng Weimin faced life head on, replaced his heart with his pen,and fully displayed all aspects of social life. He not only had the literary talent and talent of a poet, but also had universal values and a common people`s perspective that paid attention to pepple`s livelihood and hardships. He wrote a lot of songs that reflected the hardships of farmers` lives, and these songs all wrote about the farmers`living conditions at that time from different angles. This article classifies the images in his works, and divides the images in Feng Weimin's works into two categories: descriptive images and metaphorical images, expounding the thoughts, feelings and connotations expressed in the works from different angles. The descriptive imagery in Feng Weimin's Sanqu not only broadens the category of Qujing, but also further perfects the creation of Sanqu, especially Beiqu. The category of melody continues to expand, the creative style is bold and bold, and the tones are beautiful. He renders his complex and contradictory inner world through simple, natural and natural words and sentences, showing the artistic power of his works. While inheriting the inherent symbolic meaning of the poetry of the past dynasties, the figurative symbolic imagery in his Sanqu is more normalized, popular, and straightforward, and unreservedly reveals the popular and bold expressions in the music. This is Euphemistic poetry can't match. Feng Weimin deserves to be hailed as the most outstanding Sanqu writer in the Ming Dynasty, and his works have high artistic and aesthetic value.

참고문헌 (14)

  1. 馮惟敏, "海浮山堂詞稿", pp.1~298 (2018), 上海古籍出版社
  2. 富金璧, "『詩經新釋』上", pp.250~ (2018), 北京聯合出版公司
  3. 郭茂倩, "樂府詩集", pp.1173~ (2010), 人民文學出版社
  4. 蔣寅, "語象․物象․意象․意境", 文學評論, (3), pp.69~75 (2002)
  5. 李昌集, "中國古代散曲史", pp.642~ (1980), 華東師範大學出版社
  6. 李維楨, "四庫全書存目叢書集", pp.112~ (1997), 齊魯書社
  7. 劉勰, "文心雕龍‧神思", pp.383~ (1984), 天龍出版社
  8. 劉英波, "古本散曲文獻整理與散曲研究的深化——以散曲家馮惟敏的『海浮山堂詞稿』爲例", 山東理工大學學報, (4), pp.51~ (2016)
  9. 任中敏, "『散曲概論』卷二", pp.300~ (1930), 中華書局
  10. 王金安, "馮惟敏作新論", 碩士, pp.2006
  11. 袁行霈, "中國詩歌藝術研究", pp.67~ (1996), 北京大學出版社
  12. 張子良, "唐宋詞選注", pp.253~ (1989), 華正書局
  13. 鄭騫, "『景午叢編』上編", pp.209~ (1971), 台灣中華書局
  14. 周發祥, "西方文論與中國文學", pp.136~ (1997), 江蘇教育出版社

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