1 What changes have taken place in early Tang poetry?

1, Early Tang Dynasty (6 18-7 12): The early Tang Dynasty was the brewing period of Tang poetry, which lasted about a hundred years. The first 50 years can be said to be the era of court poetry, and the "official style" based on "extraordinary luxury" is the representative of this period. The second half of the early Tang Dynasty is a period of gradually breaking through the old poetic style and establishing the style of Tang poetry. During this period, the literary world was active, and the voice of reforming poetic style was as strong as creative practice. First, the four outstanding poets in the early Tang Dynasty boarded the poetry circle, moved the theme of poetry from the palace to the market, and moved from the Taige to the Jiangshan desert, and their emotional tone became fresh and healthy. Subsequently, Shen Quan and Song initiated a new form of metrical poetry. Finally, Chen Ziang ascended the mountain, denounced Qi Liang and advocated integrity, which opened up a healthy development path for Tang poetry. In a word, although the poetry of the early Tang Dynasty did not completely get rid of the glitz and charm of the Six Dynasties, the reality and ideological content of the poetry still need to be further improved, but it has revealed a new atmosphere.

2. With regard to Moonlit Night on a Spring River, Mr. Wen Yiduo once gave this poem a very high evaluation: "In front of this poem, all admiration is rap and almost blasphemy." He added, "This is a poem among poems, the peak on the peak. Looking back from here, even Liu Xiyi is a process. Needless to say, Lu and his supporting actor Luo are the process.

"Moonlit Night on the Spring River" is not only rich in the color and style of southern folk songs, but also successfully uses the new poetry meter brewed for nearly a hundred years from Qi Liang to the early Tang Dynasty. It is also the first time to explore the combination of long poems and group rhyme in seven-character poems. The perfect combination of the three provided a good model for later poets. This is certainly a peak.

The composition structure of Moonlit Night on a Spring River is mainly neat, which varies with the clutter. Thirty-six lines of poetry, * * * is divided into nine groups, a group of four sentences, a group of three rhymes, and the other group must use another rhyme, like nine quatrains. This is its neat side. Its intricacy is reflected in the level change of nine rhymes. Syntactically, parallelism, antithesis and flowing pairs are widely used, and the cohesion and integration are wonderful, and the article is full of charm. The theme words of spring, river, flower, moon, night and people in the poem are scattered and overlapped, which brings readers into a dazzling and colorful realm.

In this poem, we see that the theme of Jiang Heyue has been repeatedly expanded and deepened. The complex shapes and scenery of Chunjiang, Liujiang, Jiangtian, Jiangbian, Jiang Shui, Jiangtan and Jiangshu, combined with the complex light colors of the bright moon, the lonely moon, the early moon, the setting moon, the moon floor, the moonlight and the spring, night, flowers and people, form a colorful and blurred picture of Chunjiang jathyapple. Poets are not limited to a round of rivers and moons, but run through a complex human emotion. Whether it's the bright early moon, the bright high moon, the blurred lingering of oblique moon and oblique moon, or the wandering of the first month, the clear shadow of the moon in the mirror, the pouring of the moon in the curtain, and the anvil flow of last month, it's all branded with emotion. Writing a bright moon so elegantly and breathtaking is not only a masterpiece handed down from generation to generation, but also a masterpiece. From the Book of Songs to Zhang, in this thousand years, no one has written such a beautiful moon. In the form of poetry, the folk songs of the Southern Dynasties and the melody of Qi Liang, after years of brewing and development, reached Zhang's hands, as if an alchemist suddenly appeared, and the language melody, formal skills and description layout were perfectly integrated. In the early Tang dynasty, when the development of poetry could not find a way forward, the moonlight on the riverside itself was like a bright moon, which lit up the road to the prosperous Tang dynasty and gave birth to the glory of the poetry country. After Zhang, more than a thousand years have passed, and no one has been able to render the moon so vividly. After vicissitudes of life, poetry is immortal and the month remains unchanged.

3. "Both temperament and style are prepared", which is the most important feature of poetry in the prosperous Tang Dynasty. Poetry in the prosperous Tang Dynasty, firstly, inherited the poetic style of Han and Wei Dynasties; They perfected the melody from the Six Dynasties to the early Tang Dynasty.

During the prosperous Tang Dynasty, political prosperity, economic prosperity and social stability promoted the development of culture. Xuanzong of Tang Dynasty strongly advocated "selecting scholars by poetry", which laid the foundation for the development of poetry. The Tang Dynasty empire was full of vitality, vast territory, frequent diplomacy, the intersection of various ideas, cultures and arts, the free development of Confucianism, Taoism and Buddhism, the unprecedented liberation of poets' thoughts and the unprecedented breadth of creative fields. Romanticism, realism, pastoral poetry and frontier fortress military poetry all have their own schools and lead the way.

Wu Qiao, a poet in A Qing, called the poems of the prosperous Tang Dynasty: "Change the ancient customs of the Han and Wei Dynasties into the style of the prosperous Tang Dynasty to restore its elegance, and change the beauty of the Six Dynasties into the beauty of the Six Dynasties to restore its beauty." China's poetry finally reached the peak of China's poetry.