China's traditional poetry has a long history, which has experienced many changes and developed continuously for thousands of years. The traditional poetry with textual research can be traced back to the ancient folk song "Song of Digging the Earth": Do it at sunrise, rest at sunset, dig a well and drink, plow and eat, emperor, what power does it have for me? The earliest collection of poems in the history of China literature, The Book of Songs, appeared in the Zhou Dynasty. It collected 500 years of poems from the early Western Zhou Dynasty to the mid-Spring and Autumn Period, and selected 305 poems. The Book of Songs is divided into three parts: style, elegance and vulgarity, and fu.
The evolution of poetry
China is a country with a long history of poetry creation, which has a history of nearly two thousand years from the oral creation of people in primitive society to the prosperous Tang Dynasty. The genre of poetry has evolved with the development of the times, from simple to complex, from single to multi-body, from relative freedom to heavy meter. In the Tang dynasty, it was a masterpiece with different styles, showing the brilliance of flowers. After that, there was only a change in style, and the genre almost dried up in the Tang Dynasty. Here is only a brief introduction of several poetry genres, from which we can grasp the pulse of poetry development.
The Book of Songs: China's first collection of poems, including 305 poems from the early Western Zhou Dynasty to the mid-Spring and Autumn Period. The Book of Songs is divided into three parts: style, elegance and ode. Wind includes fifteen national styles, elegance is elegance and elegance, and praise is Zhou Song, truffle and praise. Among them, the folk song "Guo Feng" is the essence of The Book of Songs and has become the source of China's literary realism. The Book of Songs mainly adopts three expressive techniques: Fu, Bi and Xing. Meaning is to state the meaning of narrative. Comparison is a metaphor. Xing is to use something else as the beginning of a poem to arouse the words that are sung. Fu, Bi, Xing, Feng, Ya and Song are called "six meanings". The Book of Songs is mostly four words and one sentence in form, which rhymes with other sentences, but it is not rigid, rich in types and miscellaneous in words.
Songs of Chu: A poem written by Chu people represented by Qu Yuan during the Warring States Period. It is a new poetic style after The Book of Songs. When the Han Dynasty became emperor, Liu Xiang sorted out ancient books and edited the works of Qu Yuan, Song Yu and others into a book, named Chu Ci. Since then, "Songs of the South" has become the name of a collection. Songs of the South initiated the romantic style of China literature and formed a new poetic form "Sao Style".
Folk songs of Yuefu in Han Dynasty: folk songs collected by China music institutions. Yuefu Poems compiled by Guo Maoqian in Song Dynasty divided Yuefu poems in Han and Tang Dynasties into twelve categories, while Yuefu folk songs were mainly preserved in three categories: harmony, advocacy and miscellaneous songs, especially harmony songs. These folk songs are rich in social content and high in ideological content, and inherit and carry forward the realistic spirit of The Book of Songs. The greatest artistic feature of Han Yuefu folk songs is narrative, and its main forms are miscellaneous words and five words.
Nineteen ancient poems: First seen in Xiao Tong's Selected Works, the author's name is unknown, and some of them represent the highest artistic achievements of literati's five-character poems, which also marks a new stage of the development and maturity of literati's five-character poems in the Eastern Han Dynasty. Poetry is rich in content and shows strong sentimental feelings, but its artistic achievements are very high, which occupies a very important position in the development of China literature.
Poetry in Han and Wei Dynasties refers to poetry in Jian 'an and Zhengshi periods. It inherits the realistic tradition of folk songs in Han Yuefu, and is called "Jian 'an Style" because of its extraordinary spirit and generous and sad style. Poetry in Han and Wei dynasties pays attention to verve, although it does not talk about phonology, but its syllables are natural. There are no restrictions except that five words and two sentences must rhyme.
Yuefu folk songs in the Southern and Northern Dynasties: Yuefu folk songs in the Southern and Northern Dynasties are another group of concentrated oral creations of the people after Zhou folk songs (The Book of Songs) and Han folk songs, which is another new development in the history of China's poetry. Yuefu folk songs in the Southern Dynasties are mainly composed of "five-tone songs" and "western songs" in Shang Qing's lyrics, mostly love songs, with short genres and mostly five words and four sentences. The folk songs in the Northern Dynasties are mainly "Songs of Liang and Gu" in Yuefu Poems, which are rich in content. Although Beiqu is mainly composed of five words and four sentences, it also creates seven-word and four-sentence quatrains and develops seven-word ancient style and miscellaneous style, which is also beyond the folk songs of the Southern Dynasties. Among them, the lyric poem "Xizhou Qu" in the Southern Dynasty and the narrative poem "Mulan Ci" in the Northern Song Dynasty have given this folk song a rich color, and Mulan Ci is particularly prominent throughout the ages.
The characteristics of Qi Liang's poems are: within a simple sentence, the phonology is different, between two sentences, the weight is different, and the format of "two sentences are connected and four sentences are unique". From Yongming to the early Tang Dynasty, most of his works belong to this kind of Qi Liang style. Although Qi Liang's poems avoid sound diseases and advocate antithesis, the whole poem is not limited in number of sentences, uneven in rhyme, asymmetrical in upper and lower sentences, and inconsistent in upper and lower couplets, unlike the strict form of metrical poems.
Rhyme: or metrical poem, with limited words and fixed position. Generally, there are four rhymes and eight sentences, which are divided into four parts. The first part is called the first part, the second part is called the coordinate part, the third part is called the neck part, and the fourth part is called the tail part. The even relationship between the former sentence and the latter sentence is called "right", that is, even to different, even to different. The hierarchical relationship between front link and back link is called "stickiness". Just flat and sticky, flat and sticky. The second word of the last sentence should be the same as the second word of the previous sentence. Specifically, the third sentence adheres to the second sentence, the fifth sentence to the fourth sentence, and the seventh sentence to the sixth sentence. Metric poems are divided into five words and seven words according to the number of words in each sentence. Five-character metrical poems are referred to as five laws, with five words in each sentence and forty words in the same body. Seven-character metrical poems are referred to as "seven laws", with seven words in each sentence and fifty-six words.
Quatrains: It is half of metrical poems, or the first half of metrical poems, or the second half of metrical poems, or the second half of metrical poems, or the second half of metrical poems, so it is also called small metrical poems, or quatrains and paragraphs. Quatrains are divided into archaic quatrains and metrical quatrains. Ancient quatrains are a kind of classical poetry, which is not bound by metrical poetry. Most of these poems rhyme, but they are not even. Rhyme, like metrical poetry, is limited to flat and even rhymes, and should be adhered to according to the level of metrical poetry.