Title

The Discourses of “Lamenting for Jiangnan (哀江南)” of Rhapsodies in between Ming and Ching, - Discussion Based on the Clues from Xia Wanchun’s Daai Fu

Author

Yu-yu Cheng

Genre

Article  

Pages

1-36

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Language

Chinese

Key words

Ming-Ching, Daai Fu, Aijiangnan Fu, The Tradition of Chuci

Abstract

       From the stance of “Canonalize”, this article will explore the profile of the rhapsodies at the end of Ming and the beginning of Ching dynasty. Within the interactions between writings and interpretations, I will explain, in the culture that has been settled in a fixed canon, how the scholars and intellectuals soundly utilized the tradition to express themselves and gained support and endorsement from the Traditional way of expression for their own choices. From Xia Wanchun’s Daai Fu imitating Yu-Xin’s Aijiangnan Fu to the whole series of Aijiangnan being seen as a part of Chuci, this tradition raised a wave of discussion at the end of Ming dynasty. From this event reflected in the Chaos, we may know that if the meaning of literary writing influenced the political or social practices and introspections, one of the very important ways is through succeeding the traditional canons to express themselves in their writing styles of imitation, story and metaph or that revitalize the classics. Why is the discourse based on the Chuci and Lisau system so meaningful? That’s because these pieces rebuild and realize the original system of sentiment and aspirations in Chinese culture. These pieces also succeed the ways of expression that accumulated from numerous practice and experiences of the previous generations, including style, vocabulary and biographical stories. Therefore, can ons of Chuci could be the wonderful model for the literati to express themselves at the time of Ming to Ching, and it also continued the traditions to set up a significant cultural spectrogram.