China's poems came into being before the invention of writing, which was gradually formed and developed in people's labor, singing and dancing.
The Book of Songs is a collection of poems from the 11th century BC to the 6th century BC, and it is also the first collection of poems in China, with ***35 pieces. According to different music, it is divided into "wind", "elegance" and "elegance". There are sacrifices to heaven, earth, mountains and rivers, as well as to farmers' gods. "Elegance" can be divided into elegance and elegance, both of which are used for banquet ceremonies. The content is mainly to praise former heroes and satirize current politics. "Wind" is the essence of the Book of Songs, including folk songs in 15 places.
In the 4th century BC, Chu State in the Warring States Period was influenced by northern culture with its own unique cultural foundation. Qu Yuan, a great poet, and Song Yu, who were deeply influenced by him, created a new poetic style of Chu Ci. Qu Yuan's Lisao is an outstanding representative work of Chu Ci.
Chu Ci developed the form of poetry. It broke the four-word form of The Book of Songs from three or four words to five or seven words. In terms of creation methods, Chu Ci absorbed the romantic spirit of myth. It opened the way for China's romantic literary creation.
After the Book of Songs and Chu Ci, a new form of poetry appeared in the Han Dynasty, namely the folk songs of Han Yuefu. Up to now, there are more than 1 folk songs of Han Yuefu, many of which are written in five-character form. Later, the intentional imitation of scripture writers became the main form of poetry in Wei and Jin Dynasties.
The famous chapters in Han Yuefu revealed the war disaster. There are Mo Shang Sang and Yu Lin Lang, which show that women don't admire wealth. Of course, the most famous is the long narrative poem Peacock Flying Southeast. This poem tells a sad love story. Jiao Zhongqing and Liu Lanzhi fell in love deeply, and broke up because of Jiao Mu and Liu Jia's persecution, which led to the human tragedy in where will you go. The most important artistic feature of Han Yuefu folk songs is its narrative. Peacock flying southeast is the highest peak of narrative poetry in Han Yuefu. Most of the folk songs in Han Yuefu use colloquial and simple language to express the characters' characters, so the characters are vivid and sincere. Although most of the folk songs in Han Yuefu are realistic descriptions, many places have different degrees of romanticism, such as the last paragraph of Peacock flying southeast. That is to say, it shows the ingenious combination of romanticism and realism.
Five-character poetry is the main form of China's classical poetry. It took a long time from folk songs to literati writing, and by the end of the Eastern Han Dynasty, the literati's five-character poetry became more and more mature. The symbol of the five-character poetry's maturity was the appearance of Nineteen Ancient Poems. Nineteen Ancient Poems were not the works of one person at a time, but the contents of the poems were mostly about parting, lovesickness and short life. The greatest artistic feature of Nineteen Ancient Poems is to make good use of comparison and interest.
During the Jian 'an period at the end of Han Dynasty, "Three Caos" (Cao Cao, Cao Pi and Cao Zhi) and "Seven Zi" (Kong Rong, Chen Lin, Wang Can, Xu Gan, Ruan Ji, Ying Yun and Liu Zhen) inherited the realistic tradition of folk songs in Han Yuefu, and it became popular. Formed into a unique style called "Jian 'an Style" by later generations. Among the seven poets, Wang Can has the highest achievement, and his masterpiece "Seven Sorrow Poems" is a portrayal of the reality of war at the end of Han Dynasty. Cao Shi and his son are the man of the hour in Jian 'an literary world, among which Cao Zhi has the highest artistic achievement. Cao Zhi's (19-232) poems are full of momentum and strength, with meticulous description, gorgeous words and good use of metaphors, so they have ". As "A White Horse for Wang Biao", representative poems are the key to the transformation from Han Yuefu to five-character poems. Cao Zhi was the representative poet at that time. His poems were influenced by Han Yuefu, but they had more lyrical elements than Han Yuefu.
Ruan Ji (21-263) after Jian 'an era was the representative poet of Zhengshi era, and his Poems of Love was further lyrical. He often expresses his worries about the country, fears disasters and avoids the world with tortuous poems. At the same time with Ruan Ji, Ji Kang (224-263), whose poems are cynical and sharp-edged at the dark reality, basically inherited the tradition of "Jian 'an style".
The poetry creation in the Jin Dynasty gradually embarked on the road of formalism, and the poetry content was vague, inherited and inherited. Zuo Si (about 25-35) is the poet whose works are full of content. His eight Poems of Ode to the Epic are full of thoughts, but these poems are not mainstream after all, and they are becoming less and less. It was not until the end of the Eastern Jin Dynasty that Tao Yuanming brought works close to reality to the poetry world.
Tao Yuanming, who lived in seclusion, took pastoral life as an important creative theme. Therefore, people have always called him an "idyllic poet". At that time, in the era atmosphere of advocating parallel poems and emphasizing form over content, Tao Yuanming inherited the realistic tradition of Yuefu, formed his simple and natural pastoral integration, and created a new realm for classical poetry, and five-character poems were highly developed in his hands.
Xie Lingyun (385-385), who was almost the same as Tao Yuanming, I can put my feelings into it, but some poems are too elaborate, too long to describe, and it is not natural to use allusions and couplets.
The Southern and Northern Dynasties is another period of development in the history of China's poetry, which is manifested in the emergence of another batch of Yuefu folk songs. They not only reflect the new social reality, but also create new artistic forms and styles. The overall characteristics of folk songs in this period are short in length and lyrical than narrative. There are 4 pieces of Yuefu preserved in the Southern Dynasties. Generally, they are short poems of five words and four sentences, almost all of which are love songs. The number of Yuefu in the Northern Dynasties is far less than that in the Southern Dynasties, but its rich content, simple language and vigorous style are far beyond that of Yuefu in the Southern Dynasties. If Yuefu in the Southern Dynasties is a "erotic song" about love, it is a veritable "military music" and "battle song". In genre, Yuefu in the Northern Dynasties Seven-character ancient poems and miscellaneous prose styles were developed. The most famous one in Yuefu in the Northern Dynasties is the long narrative poem Mulan Poetry, which, together with Peacock Flying Southeast, is called the "double gem" in the history of China's poetry.
The most outstanding poet in the Northern and Southern Dynasties was Bao Zhao (about 41-466). Bao Zhao inherited and carried forward the tradition of Yuefu in the Han and Wei Dynasties and created a large number of excellent five-character and seven-character Yuefu poems. It shows personal misfortune and protests against social injustice.
During the Yongming period of the Southern Qi Dynasty, the theory of "temperament" prevailed, and the poetry creation paid attention to harmony in tone. In this way, a new poetic style of "Yongming style" gradually took shape. This new poetic style was the beginning of the appearance of metrical poetry. The famous poet in this period was Xie Tiao (about 464-499). Xie Tiao was famous for his landscape poems. The poetic style is fresh and beautiful. His new style poems have a certain influence on the formation of regular poems and quatrains in the Tang Dynasty.
Poetry developed into the Tang Dynasty and ushered in a highly mature golden age. In the nearly 3 years of the Tang Dynasty, nearly 5, poems were left. There are about fifty or sixty famous poets with unique styles.
Four outstanding poets in the early Tang Dynasty were the main poets in the pioneering period of Tang poetry. These four outstanding poets were Wang Bo (649-676), Yang Jiong (65-693), Lu Zhaolin (637-689) and Luo Binwang (646-684). Their poems. The form of five-character and eight-sentence metrical poems has also been preliminarily shaped by them.
After the "four outstanding poets", Chen Ziang (661-72) clearly put forward that he opposed the poetic style of Qi and Liang Dynasties and advocated "the style of Han and Wei Dynasties". There are 38 poems about feelings, which are his representative works with distinctive innovative spirit.
The prosperous Tang Dynasty was the peak of poetry. In this period, except Li Bai appeared. The other is frontier poets, among whom Gao Shi and Cen Can have achieved the highest achievements, and Wang Changling, Li Jie and Wang Zhihuan are also outstanding frontier poets. Most of Wang Changling's frontier poems express the soldiers' feelings of missing their hometown and making meritorious deeds in Yuefu, and his "Going into the Army" and "Going out to the Frontier" have always been regarded as masterpieces of frontier poems. Li Jie's frontier poems are few in number. One poem "Ancient Meaning" and "an old war-song" are his representative works. Wang Zhihuan is an older frontier poet. One poem "Liangzhou Ci" describes the expeditionary's homesickness, and the other poem "Denghe Quelou" is poetic. Enlightening.
Poetry in the mid-Tang Dynasty is a continuation of poetry in the prosperous Tang Dynasty. The works in this period are mainly about social unrest and people's suffering. Bai Juyi is the most outstanding realistic poet in the mid-Tang Dynasty. He inherited and developed the realistic tradition of The Book of Songs and Han Yuefu, and set off a climax of realistic poetry in literary theory and creation. That is, the New Yuefu Movement. Yuan Zhen, Zhang Ji and Wang Jian are all important poets in this movement. Yuan Zhen (779-831)' s main works are 19 ancient Yuefu poems and 12 New Yuefu poems. No matter in content or form, Yuan poems are very close to Bai Juyi's poems, and their common features are that their language is easy to understand. However, they became the backbone of the new Yuefu movement with their rich creations. Sympathy for the peasants' sufferings is the theme of Zhang Ji's Yuefu poems, especially Wild Old Songs. Although there are not many poems by Li Shen whose style is very similar to the above-mentioned people, two poems of Compassion for Peasants have won him a wide audience.
Besides the new Yuefu movement, there were other poets in this period, namely Han Yu, Meng Jiao, Li He and others. Han Yu (768-824) is a famous essayist. He is good at writing poetry, bringing new language styles and techniques of composition into the poetry world, expanding the field of poetry expression, but at the same time it also brings the atmosphere of writing poetry, stressing talent and learning, and pursuing adventure. Meng Jiao (751-814) and Jia Dao (779-) Hard thinking and tempering are their common characteristics. Liu Yuxi (772-842) is a poet who is interested in creating folk songs. Many of his Poems on Zhuzhi are true and very popular with people. In addition, his regular poems and quatrains are also famous. Liu Zongyuan's poems are as personal as his prose. Jiang Xue, for example, has always been read by people. Li He (79-816) did not follow the path of his predecessors in terms of image, artistic conception and metaphor, and had a unique style in the middle Tang Dynasty, which opened up a new romantic world with strange rise, seclusion, beauty and sadness. Su Xiaoxiao's Tomb, Dream of Heaven and so on all fully reflected his unique style. < P The representative poets are Du Mu and Li Shangyin. Du Mu (83-852) is good at seven-character quatrains. Jiang Nan Chun, Shan Xing, Bo Qinhuai and Guo Hua Qing Palace are his representative works. These poems can be seen in beautiful words and vivid pictures. Li Shangyin (813-852) His seven-character quatrains are also very skillful, among which note on a rainy night to a friend in the north and Chang 'e are famous works.
In the late Tang Dynasty, a group of realistic poets emerged, representing Pi Rixiu, Nie Yizhong and Du Xunhe. Their poems are sharp-edged, pointing to the shortcomings of the times.
Poetry has not developed as brilliantly as in the Tang Dynasty, but it has its own unique style. Paying attention to description, and using prose syntax extensively, the relationship between poetry and music is alienated.
The poems of Su Shi and Huang Tingjian (145-115) best reflect the characteristics of Song Dynasty. Huang Tingjian's poetic style was strange and had a wide influence on Su Shi at that time. Together with Chen Shidao, he created the most influential "Jiangxi Poetry School" in the Song Dynasty. Mei Yaochen (12-115) in the early Song Dynasty In order to lay the foundation of the Song Dynasty, the poems of Ouyang Xiu and Wang Anshi (121-186) played a great role in sweeping away the floating wind of Xikun style. Poems are often full of melancholy and anger. Lu You is a representative figure of this era. At the same time, he is also famous for his "idyllic" poems, including Fan Chengda (1126-1193) and Yang Wanli (1124-126). Wen Tianxiang (1236-1282) is the last great poet in the Southern Song Dynasty. Guo Ling Ding Yang, which holds high the national spirit of preferring to die and unyielding, is his masterpiece.
Ci originated in the Tang Dynasty and flourished in the Song Dynasty. Wen Tingyun (812-87) at the end of the Tang Dynasty was the first dedicated lyricist. His ci was flowery and wrote about women's feelings of parting and lovesickness, which was called "Huajian School" by later generations. Li Yu (937) Yu Meiren, Langtaosha, etc. use appropriate metaphors to visualize feelings, and the language is close to spoken language, but they are beautifully used.
Poets in the early Song Dynasty, such as Yan Shu (991-155) and Ouyang Xiu, all had excellent works, but they still did not break away from the influence of the Huajian School. By Liu Yong, they began to create long-tune slow words, and since then, the scale of words has taken place. The content of reminiscing about the past and hurting the present has entered his ci works. Qin Guan (149-11) and Zhou Bangyan (156-1121), Su Shi's contemporaries, are also excellent ci writers. Qin Guan is good at writing short poems, and his representative works are Huanxisha, Walking on the Sha and Queqiaoxian, which convey sad feelings through lyrical scenery writing. With strict melody, suitable for singing, exquisite words and meticulous description, her representative works include Guo Qin Lou, Man Tingfang, Warrior Lanling, Six Ugliness, etc. Li Qingzhao, a poetess, occupies a very important position in the field of ci poetry in the Song Dynasty with her unique style.
In the early years of the Southern Song Dynasty, she was faced with the crisis of national ruin and family ruin, and her poetry works mostly expressed the writers. Chen Liang, Liu Guo, Liu Kezhuang, Liu Chenweng and others formed the most powerful patriotic ci school after the mid-Southern Song Dynasty.
Jiang Kui (about 1155-1235), a poet in the late Southern Song Dynasty, was the most famous. Most of Jiang's ci poems were poems dedicated to things by Ji You. In his ci works, he mostly lamented the drift of his life experience and the frustration in love. The representative work is "Changting Complaint"