Why is poetry in the early Tang Dynasty the first vibration of Fengshen?

Poetry in the early Tang Dynasty is more suitable for studying from the perspective of literary history than most poems. Reading in isolation, many poems in the early Tang Dynasty appear dull and lifeless. However, when we listen to them in their own time background, we will find that they show unique vitality, from a poem proudly presented at the princess's banquet with perfect antithesis to Chen Ziang's bold debate. Adding this background to reading works requires both knowledge, imaginative action and a strong sense of "what it should have been like at that time". When we really supplement this background in reading, the poems in the early Tang Dynasty are no longer just a footnote in the prosperous Tang Dynasty, but present their own special beauty. In the early Tang Dynasty, the poetic world was basically shrouded in the style of palace poems carved by the Southern Dynasties, and the elegance of the Southern Dynasties did not blend with the rigidity of the Northern Dynasties. Shangguan Yi, who appeared in the late Zhenguan period, represented the highest level of court poets' creation at that time. At that time, Yang Jiong, Lu and Luo, who were called "four outstanding figures in the early Tang Dynasty", truly reflected the spiritual outlook and creative pursuit of this era. In the history of Tang poetry, they are pioneers who dare to reform the poetic style of Qi and Liang Dynasties. First of all, they expanded the theme of poetry, transferred poetry from a narrow palace to a broad market, from a narrow pavilion to a vast river and mountain, and enriched the content of poetry. Secondly, they attach importance to expressing their feelings and complaining, so their poems have a strong momentum and a touching force of generosity and sadness. At the same time, some of Si Jie's poems laid the foundation for the development of five-character poems and made them mature.

A number of famous poets in the early Tang Dynasty, such as Du, Li Qiao, Song and Shen Quanqi. Poets who were at the same time or later than the "four outstanding poets" created poems of "Taige style" such as subtitle, chanting and singing. When they became officials of North Korea. Although it is not much different from the previous palace poems in content, it has made great progress in the research and practice of poetry law and art, and made contributions to the stereotypes of modern poems in the Tang Dynasty. Du, Li Qiao, Su Weidao and Cui Rong are also called "Four Friends of Articles". Of these four people, Du is the most talented poet. Hu Yinglin's poem said, "In the early Tang Dynasty, there was no seven-character law, and five words could not be separated. Du is really the first in the beauty of the two bodies. " It can be seen that Du Fu's contribution to the poetic style is enormous. Su Weidao also promoted the development of metrical poetry. In the early Tang Dynasty, there were two other poets worthy of writing, namely He Zhang. If what he brought to Tang poetry was "character", what Zhang brought to Tang poetry was "image". Chen Ziang was the first poet in the early Tang Dynasty who consciously took it as his duty to restore the style of Han and Wei Dynasties. His poems restored the fine tradition from the Book of Songs to the Han and Wei Dynasties in content and form, inherited and carried forward the spirit of realism and positive romanticism, and abandoned the frivolous style of Qi Liang, which contributed to the integration and creation of the poetic style in the early Tang Dynasty and even the prosperity of poetry in the prosperous Tang Dynasty. No matter from the content or spirit, it is brand-new. It can be said that Chen Ziang's poetry creation opened the climax of poetry creation in the prosperous Tang Dynasty. Zhang, one of the famous "Four Scholars of Wuzhong" in Tang Dynasty, is as famous as He, Zhang Xu and Bao Rong. His most famous work is the famous song "Moonlit Night on the Spring River": the only famous poem left by the Tang Dynasty poet Zhang, which depicts the scenery along the river on a spring night. Known as "a poem covers the whole Tang Dynasty", Wen Yiduo called it: "This is a poem among poems, the peak on the peak."

Chunjiang mosaic moon Zhang Xuruo

Lian Haiping is in the spring tide, and the bright moon on the sea is born in the tide.

I drift with the tide for thousands of miles, and there is no moon by the river.

The river flows around Fangdian, and the moonlight shines on the flower forest like graupel.

Frost flows in the air, you can't fly, but you can't see the white sand on the pavilion.

Jiangtian has no fiber dust at all. Lonely moon wheel in the sky.

Whoever sees the moon at the first sight by the river shines at the beginning of the month.

Life is endless from generation to generation, and Jiang Yue is similar year after year.

I don't know who Jiang Yue is waiting for, but I see the Yangtze River delivering water.

The white clouds have gone, and Qingfeng is at a loss.

Whose boat is flat tonight, where to miss the bright moon building.

Poor Yue Pei came back from upstairs and asked someone to repair the mirror table.

The curtain of the jade pot could not be rolled up, but it was brushed back on the anvil.

At this time, I don't know each other. I hope China will shine on you every month.

Hongyan flies in the sky, and fish Long Qian jumps in the water.

Last night, I dreamed that the idle pool had fallen, and the poor spring had not returned.

In spring, the river flows away, and the pond falls in the moon and the west.

The slanting moon hides the sea fog, and Jieshi Xiaoxiang Road is infinite.

I don't know how many people return home every month, and the moon is full of rivers and trees.

This poem combines real life experience with beautiful images, and the perfect combination of poetry and painting reflects a strong emotional atmosphere, which shows that the creation of the artistic conception of Tang poetry has entered a stage of perfection and made full artistic preparations for the arrival of the climax of Tang poetry.