"Lu Chunqiu? There is such a record in ancient music: "In the spring and autumn music of the past, three people fucked the oxtail and cast their feet with songs." Described the situation of ancestors singing and dancing. "Fuck the oxtail" means holding the oxtail in your hand when singing and dancing, and "swinging your feet" means stepping on your feet, a dance action. Unfortunately, there was no written record of the lyrics of Eight Ques at that time, so I didn't know its details.
With words, oral songs are recorded and become poems.
Here we divide the development of poetry into the following six stages:
(A) The Book of Songs
(2) The Songs of Chu
(C) Poetry of the Han Dynasty
(D) Wei, Jin, Southern and Northern Dynasties poetry
(5) Tang poetry
(VI) Song poetry
(7) After the Song Dynasty ......
(A) The Book of Songs
The Book of Songs is China's first collection of poems, which includes poems from the early Western Zhou Dynasty to the middle of the Spring and Autumn Period (1 122 to 570) for more than 500 years. Before being included in the Confucian classics, it was called "Poetry" or "Poetry 300". After the Han Dynasty, it was called The Book of Songs. All the works in the Book of Songs are the lyrics of chorus. According to the nature of music, the ancients divided the theme of The Book of Songs into three parts: wind, elegance and ode, with a total of 305 songs.
Wind is a folk song with various local colors. The * * * Fifteen-Country Style is a folk song in fifteen regions. Fifteen national styles: including folk songs of,, Yi, Yi, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Chen, Qi, Cao and You. In its era, a few poems were in the late Western Zhou Dynasty, and most of them were in the Eastern Zhou Dynasty.
Ya is a court music song in the middle and late Western Zhou Dynasty, and it is the work of a scholar-bureaucrat. "Elegance" has positive significance. At that time, people regarded the music directly controlled by the dynasty as a positive tone. Jacob is divided into Jedaiah and Xiaoya. "Daya" is the pleasure of the court, 3 1; Xiaoya is a feast, with 74 articles.
Ode is a poem dedicated to the ancestral temple and a song dedicated to the "God of Success". The word "Fu" is the word "Rong", which means "dance capacity" (dance state, dance shape). Fu is divided into three parts: as far as the times are concerned, the oldest is Zhou Fu, and 3 1 is used by Zhou Tianzi; The four poems of truffle were praised by the monarch of Lu, which were produced in the seventh century BC. Wu Fu of Shang Dynasty is a song of descendants of Yin Shang Dynasty, which was produced between the seventh and eighth centuries BC.
Six meanings and four beginnings in The Book of Songs;
"Preface to Mao Poetry" said: "Poetry has six meanings: one is wind, the other is fu, the third is comparison, the fourth is glory, the fifth is elegance and the sixth is ode. There are two different groups in the six meanings of ancient poetry: the content and genre of style, elegance and ode; Fu, Bi and Xing refer to the practice of poetry. And "Zhou Li? Guan Chun? The owner called "six poems", in the same order.
The first national style is Guan Ju, the first is Luming Literature, the first is Wen Wang, and the first is Qing Palace. These four articles are collectively called "Four Beginnings".
Systematically, The Book of Songs is mainly four fonts, short in length, divided into chapters, and repeated from chapter to chapter.
(2) Songs of the South
After the Book of Songs, the poetry circle was silent for 300 years. It was not until the third century BC, at the end of the Warring States period, that a new poetic style with strong colors appeared in the southern Chu State, that is, Songs of the South. The representative writer of Chu Ci is Qu Yuan, a poet of Chu State. 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 of poems.
The beauty of "Songs of the South" has a strong legendary and heroic color, which is magnificent, romantic and thrilling. The beauty of Chu Ci represents a new concept of trial in the Warring States period. The Warring States period is the age of philosophers. Doubt, exploration and thinking were fashionable at that time, and mediocrity, vulgarity and conformity were despised by people. The situation that a hundred schools of thought contend urges people to explore new fields and create works of art with distinctive personalities.
The greatest feature of the form of Songs of Chu is the use of interjection "Xi" and function words "Qi", "Yi", "Yu" and "Er" to coordinate with each other, thus adjusting the rhythm of sentences and making them change neatly.
(C) Poetry of the Han Dynasty
(1) Han Yuefu
Yuefu was originally the name of a music organization established by Emperor Wu of the Han Dynasty. It is responsible for making music and collecting folk songs, which are sorted out and sung at court ceremonies and banquets. Later, the folk songs collected, arranged and sung by Yuefu were collectively called Yuefu poems or Yuefu songs, referred to as Yuefu for short.
Poems of Yuefu compiled by Guo Maoqian, a poet in the Song Dynasty, is one of the most complete collections of Yuefu poems, with a total volume of 100, covering all periods from ancient ballads to new Yuefu poems in the Tang and Five Dynasties. Among them, there are about 40 Han Yuefu songs, which are mainly found in Harmony Songs, Advocacy Songs and Miscellaneous Songs.
"Sad and happy, you never know. It is the characteristic of the content of Han Yuefu. " "From something" means that some things in real life are recited and written for feelings, not feelings. "Things" is an opportunity to trigger poetry, which can be described by poetry or not.
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(2) Nineteen ancient poems
Scholars began to learn to write five-character poems from the Han Dynasty. It is generally believed that the earliest extant five-character poem of literati is "Ode to History" written by Ban Gu in the Eastern Han Dynasty, which tells the story of Ti Ying, the filial daughter of Emperor Wen of the Han Dynasty, pleading not to be a handmaiden. At the end of the Eastern Han Dynasty, some anonymous people wrote 19 five-character poems, which were later included in Zhaoming Wenxuan as Nineteen Ancient Poems. These poems represent the artistic level of literati's five-character poems in the Eastern Han Dynasty, and are called "the crown of five characters" by Liu Xie (Wen Xin Diao Long? Ming poetry "). The content of Nineteen Ancient Poems mainly expresses the wandering man's lost ambition and the feeling of missing his wife, and shows the dissatisfaction and injustice of the middle and lower class scholars at that time.
Appreciation of Nineteen Ancient Poems
(D) Wei, Jin, Southern and Northern Dynasties poetry
Five-character poems flourished in Wei, Jin, Southern and Northern Dynasties. During the Han and Wei Dynasties, seven poets, represented by Kong Rong, Chen Lin, RoyceWong, Xu Gan, Ruan Yu, Angelababy and Serina Liu, made their mark in Jian 'an poetry circles. Later, through the efforts of Ruan Ji, Zuo Si, Tao Yuanming, Bao Zhao, Xie Lingyun and Yu Xin, the creation of five-character poems became more prosperous.
The most accomplished poet in this period was Tao Yuanming (365-427) of the Eastern Jin Dynasty. The content of his poems can be divided into two categories: pastoral poems and poems chanting for the bosom. Pastoral poetry is Tao Yuanming's original creation, and its contents include: pastoral peace and carefree mood; Singing about labor and the friendship established with farmers in labor; Reflects the decline of rural areas and poor life. The content of poems chanting for the bosom is about the contradiction between Tao Yuanming's being an official and hiding, which shows the anguish that his ideal can't be realized and the lofty moral character of not colluding with the rulers, and also exposes the social and political filth at that time in a tortuous way. (The picture on the right shows the statue of Cao Cao, Emperor Wu of Wei)
Wei, Jin, Southern and Northern Dynasties were also the period when seven-character poems were established. The formation of seven-character poems mainly comes from the influence of Chu Ci and folk songs. The earliest successful seven-character poem in China is Cao Pi's Ge Yanxing.
(5) Tang poetry
"What, poetry is in its prime! Its body, then three, four, five words, six, seven, miscellaneous words, Yuefu, Gexing, near-body, quatrains, are all prepared. Its styles are high and low, far and near, thick and light, shallow and deep, large and small, fine and thick, skillful and clumsy, strong and weak, and extremely rich and powerful. Its tone is elegant, muddy, deep, broad, beautiful, leisurely, novel, obscene and extravagant. Even people, emperors, generals, courtiers, cloth clothes, boys, women, women, and hackers are unpredictable. 」
-Hu's Selected Poems, Volume III,
Shanghai Ancient Books Publishing House, 1979, page 163.
The unattainable Tang poetry lies in the grandeur of weather, the transcendence of verve, the depth of artistic conception and the elegance of style. Poetry writing in the Tang Dynasty is to cultivate poetry first. Or just write those things that are suitable for expression in poetry, and strive to show beautiful temperament and pursue beautiful artistic conception. The beauty of Tang poetry is a kind of ethereal beauty, such as flowers in the mirror and water in the moon. It is now, but we can't be together.
As far as genre is concerned, the development of Tang poetry has been very complete, and various forms of genres and styles have also been tried by poets in the Tang Dynasty (as can be seen from Hu's above words).
Therefore, the Tang Dynasty was the golden age in the history of China's poetry development.
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Poetry in the Tang Dynasty (AD 6 18-907) can be divided into four periods: early Tang, prosperous Tang, middle Tang and late Tang.
1. Early Tang Dynasty: the first year of Emperor Gaozu Wu (618)-the first year of Xuanzong (7 12).
The early Tang Dynasty is the gestation period of Tang poetry. At the beginning of this period, the style of poetry mainly followed that of Liang and Chen Gong in Wei and Jin Dynasties. In the early Tang Dynasty, there appeared four outstanding poets, namely, Lu, Yang Jiong, who just changed their poetic style. With their vigorous new poetic style, they wrote down their ideals of making contributions and their feelings of sadness and joy in life, showing a broad social life and major political issues. However, the form of poetry did not change until the reign of Wu Zetian.
At that time, Chen Ziang stood up and advocated "retro" and innovated poetry. He praised the heroic poetic style and realistic content of Han and Wei poems, and resisted and opposed the frivolous habits since Qi and Liang Dynasties. His masterpieces include 38 songs such as Youzhou Tower and Feeling.
2. Prosperous Tang Dynasty: the first year of Xuanzong Kaiyuan (712)-the first year of Daizong Yongtai (675).
The prosperous Tang Dynasty is the golden age of Tang poetry. At that time, outstanding poets were like stars, and two great poets appeared-Li Bai and Du Fu. Besides Li and Du, Gao Shi, Wang Wei and Meng Haoran were also outstanding poets at that time.
Political poems, frontier poems and landscape poems are the three major themes of poetry in the prosperous Tang Dynasty. From the genre of poetry, it can be roughly divided into two schools: one is a frontier poet and the other is an pastoral poet.
The former is famous for writing about frontier fortress scenery and war life, and mostly adopts the form of seven-stone ancient poems and seven-character quatrains. Pastoral poet, hence the name, mainly writes about landscapes and rural life, often in the form of five-character poems. Their works have their own characteristics, and at the same time, they can reflect the social situation and national consciousness at that time, as well as the poet's mood of actively using the world and spending his leisure time. The magnificent spirit, enterprising spirit, open mind, healthy taste and colorful artistic style in these poems have attracted countless readers in later generations and become the unattainable acme of poetry art.
3. Middle Tang Dynasty: the first year of Daizong Dali (766)-the ninth year of Wenzong Taihe (835).
The number of poems in the middle Tang Dynasty is the largest, and so are the schools of poetry. The main poets are Wei, Liu Zongyuan, Han Yu, Meng Jiao, Yuan Zhen and Bai Juyi.
During Zhenyuan and Yuanhe years, a number of writers, such as Bai Juyi, Yuan Zhen, Li Shen, Zhang Ji and Wang Jian, appeared, and the poetry circle flourished again.
At that time, Bai Juyi advocated the "New Yuefu Movement" and advocated that "articles should be written in time, and songs and poems should be written for things", so he wrote many poems that reflected the sufferings of people's livelihood and exposed political abuses in people's language. Bai Juyi's famous long poems include Song of Eternal Sorrow and Pipa. A group of poets, represented by Han Yu, reflect the darkness of reality through personal misfortune and pursue the style of adventure. Li He, who only lived for 27 years, explored Leng Yan's style with illusory images, which made him unique and opened up a new road for poetry in the late Tang Dynasty.
4. Late Tang Dynasty: the first year of Wenzong (836)-the fourth year of Zhao Xuanzong (907)
The late Tang Dynasty is an era when Tang poetry turned from prosperity to decline. Most poets imitate the talents of their predecessors, lack tolerance and have low artistic achievements. The main poets are Du Mu, Li Shangyin and Wen.
Although the poems in the late Tang Dynasty were not as prominent as those in the prosperous and middle Tang Dynasties, they also had their own characteristics. The poet's review of history and helpless pity at that time; Appreciation of life and inner reflection; The desalination of utilitarian purpose and the pursuit of art make their poems full of twilight mood, beautiful and fragrant.
(VI) Song poetry
"(Song Dynasty) take words as poetry, learning as poetry, and discussion as poetry. 」
-Yan Yu
In the Song Dynasty, the poet faced the challenge that the poetry world was extremely difficult to maintain. The Song people borrowed from other genres, wrote poems in prose, pursued the prose of poetry, and took prose as poetry.
(1) Northern Song Dynasty
With the efforts of Mei and Ouyang Xiu, the popular style in the early Northern Song Dynasty was finally eliminated. Mei opposes the gorgeous and hazy style, and advocates plainness, but lacks poetry. Ouyang Xiu "began to correct Kun style, focusing on Qi style, so he spoke more easily and smoothly." Unfortunately, his poetic imagery is not full enough and his literary talent is somewhat lacking. Later, Wang Anshi liked to fiddle with allusions, show learning, discuss and pay attention to text modification in his poems.
Su Shi was the most accomplished poet in the Northern Song Dynasty. His poetry is brilliant and eloquent, and he is good at using metaphors in poetry. He has more than 4000 works in existence.
In the late Northern Song Dynasty, Huang Tingjian put forward some ideas about poetry creation, which was echoed by Chen Shidao and others, and initiated Jiangxi Poetry School. The proposition of this school can be divided into two parts: one is "no words and no place" (see Huang Tingjian's "Answering Hong Ju's Father's Letter"), reading more books and seeking the beauty of poetry from learning. The second is "turning iron into gold" (ibid.) and "replacing bones with fetuses". The so-called "turning stone into gold" is to turn old sayings into fresh words, which is more important than language. The so-called "embryo removal" and "bone replacement" are all copying the poems of predecessors and expressing them from another angle and in another way. From the standpoint of this school, writing poems is nothing more than renovating the poems of the ancients. The author's own temperament has nothing to do with interest. Whether a poem is good or not depends on how clever it is when it is renovated.
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(2) Southern Song Dynasty
Lu You, a patriotic poet in the Southern Song Dynasty, wrote nearly ten thousand poems. He started with studying Jiangxi Poetry School, and after joining the army in middle age, he broke away from the influence of Jiangxi Poetry School and made great achievements. Luyou Society inherited the traditions of masters such as Tao Yuanming, Li Bai, Du Fu and Bai Juyi, and then sought inspiration from his own life to create his own unique style, which can be described as a comprehensive poet. Like Lu You, it was Yang Wanli who first studied Jiangxi Poetry School and later created Jiangxi Poetry School. Yang Wanli is as famous as Lu You, and Yan Yu called him "Yang Chengzhai Style" in Cang Shi Lang Dialect, which shows his great influence at that time. His masterpiece is Taking a Nap in Early Summer.
(7) After the Song Dynasty ......
Although there are "four masters of Yuan Opera" (Yu Ji, Yang Zai, Fan Muheng, Jess), Liu Yin, Wang Mian and others, their achievements are not outstanding.
The debates between Ming and Qing Dynasties mainly focused on the issues of Tang Zong and Zongsong.
The most influential schools of poetry in Ming Dynasty are the former seven schools and the latter seven schools, both of which admire Tang Yin. The first seven sons, headed by Li Mengyang and He Jingming, were mainly engaged in Hongzhi and Zhengde years. The last seven sons between Jiajing and Jiajing lived in the Tang Dynasty and suppressed the Song Dynasty like the first seven sons, but they were more meticulous, but slightly tolerant of the Song Dynasty. The backbone figures are Li Panlong, Wang Shizhen and Xie Zhen. Unfortunately, the poems written by the first seven sons are not as good as those written by the Song Dynasty. As a result, there are three Yuan Gong An (Zong Daozi Boxiu, Hong Daozi Zhonglang, and Zhong Daozi Xiaoxiu) ranked seventh.
From the early Qing Dynasty to the middle Qing Dynasty, the achievements in poetry creation were remarkable, and the poets were also different from the prosperous Tang Dynasty and the two schools. The mainstream is the Tang School, including Gu, Zhu Yizun, Wang Shizhen, Wang Fuzhi and Mao Qiling (author of Poems on the River). There are Huang, Wu Zhizhen (Lu and Wu compiled banknotes).
When we arrived at Gan's home, we expressed our opinions in the dispute over poetry in Tang and Song Dynasties, so we set another goal and set up a banner. At that time, Shen, Yuan and Weng had their own opinions on poetry. Shen de "replaces" (missing words. The original word is the word "for" used by the Ministry of Water Affairs) to promote the style and promote the sound of Tang Dynasty; Yuan Mei put forward the spirit of nature and advocated that poetry should express personal fresh feelings and not be bound by the ancients; Weng Fanggang pays attention to texture and wants to fill the emptiness of verve theory with knowledge and skills. Song poetry prevailed in the end.
Tongguang, which prevailed in Tongzhi and Guangxu years, was represented by Chen, Shen Cengzhi and imitated Jiangxi Poetry School, and exerted an influence on poets. Almost anything can be written in this genre of poetry, whether poetic or not, but poetry is regarded as a tool to show off knowledge. In this way, poetry gradually moves towards non-poetry, and the existence value of poetry is denied.
The New Poetry Movement, which began in the May 4th Movement, abandoned all old things and learned to write in vernacular Chinese from the West. Although it can be said that it is a last resort, it reflects the logical trend of poetry development.