The main schools of poetry in Tang Dynasty

The development of Tang poetry can be divided into four periods: early Tang, prosperous Tang, middle Tang and late Tang. [1] The early Tang Dynasty was the pioneering period of Tang poetry. In the early Tang Dynasty, the floating poetry style of Qi Liang was inherited, and palace poetry was popular. Wang Ji is a poet who can get rid of the floating poetic style of palace poems. He admired Tao Yuanming's life attitude and poetic style, mainly describing rural scenery and personal rural life, and his poetic style was sparse. "Four outstanding poets in the early Tang Dynasty" refers to four poets: Yang Jiong, Lu and Luo. Their main contribution is to destroy and transform palace poems, formulate five laws and develop seven-character songs. After the "Four Masters", Shen Quan and Song are two poets who shape metrical poems. Chen Ziang was the first writer who raised the banner of poetry innovation in the Tang Dynasty. He praised the ancient poems of Han and Wei dynasties and advocated "the style of Han and Wei dynasties" and "elegance". He took retro as innovation, swept away the floating poetic style of palace poetry, corrected the development direction of Tang poetry, and paved the way for the peak of Tang poetry. [2] Poetry in the prosperous Tang Dynasty represents the highest achievement of Tang poetry. The two schools of poetry in the prosperous Tang Dynasty are the pastoral poetry school represented by Wang Wei and Meng Haoran and the frontier poetry school represented by Gao Shi and Cen Can. Wang Changling, William Wang, Wang Zhihuan, Li Qi, Cui Hao and other important poets of the Frontier Poetry School. Li Bai and Du Fu were two great poets in the prosperous Tang Dynasty, and their poems represented the highest achievements of Tang poetry and even China's classical poetry. Zhang, He, Zhang Xu and Bao Rong are called "Wuzhong Four Scholars". [3] In the early Tang Dynasty, poetry creation was at a low point, and there was a scene of prosperity in the later period. Ten poets who enjoyed great fame in Tang Daizong during the Dali period were collectively called "Ten Talents in Dali Period". Yuan Jie and Gu Kuang in the early middle Tang Dynasty paid attention to reflecting people's livelihood, and they were transitional poets between the new Yuefu advocated by Du Fu and the new Yuefu movement headed by Bai Juyi. In the early middle Tang Dynasty, Liu Changqing and Wei were famous for their landscape poems, and they were another great master after Wang Wei and Meng Haoran. The frontier poems of Lu Lun and Li Yi are the latecomers of Gao Shi and Cen Can. The two major schools of poetry in the middle and late Tang Dynasty were the New Yuefu School and the Han Meng School. In the middle Tang Dynasty, a group of poets, represented by Bai Juyi and Yuan Zhen, consciously carried forward Du Fu's realistic spirit, searched for poetry materials from the source of life, created a large number of Yuefu poems with new themes, used new languages and marked new poems, which set off the New Yuefu Movement. The backbone poets of the New Yuefu Movement are Zhang Ji, Wang Jian and Li Shen. Han Meng Poetry School and New Yuefu Poetry School appeared almost at the same time, represented by Han Yu and Meng Jiao respectively. They flaunt "Chen Yan Wu Qu", admire Gu Zhuo, seek adventure, avoid familiarity in art, and deliberately seek novelty because of difficulties, forming a peculiar style. In addition to the two major schools of poetry, outstanding poets include Liu Yuxi, Liu Zongyuan and Li He. [4] The late Tang Dynasty is the period when the sunset of Tang poetry returns. The overall situation of the poetry world is a strong sentimental atmosphere and a prevailing carving atmosphere. Li Shangyin and Du Mu are very famous poets in the early late Tang Dynasty, and they are called "Little Du Li". They are also the most accomplished poets in the late Tang Dynasty. In the late Tang Dynasty, a group of poets, represented by Pi Rixiu, Nie and Du Xunhe, carried forward the creative spirit of the New Yuefu School in the middle Tang Dynasty and paid attention to reflecting people's livelihood, but their artistic achievements were not high. One of the styles of Song Ci. As a literary style, boldness can be found in Si Kongtu's Twenty-four Poems. Yang Tingzhi interprets boldness as "heroic indulgence". "If I am bold, I can conquer the world, but if I let it go, I can't hold things" (Poem). It can be seen that the bold work is unrestrained and unrestrained. Writers in the Northern Song Dynasty, such as Ouyang Xiu, Wang Anshi, Su Shi and Su Zhe, all used the word "bold" to comment on poetry. Su Shi was the first to talk about Ci with "boldness" (a reply to Chen Jishuang), and he also began to write Ci that broke the traditional style, such as Nian Nujiao and Nostalgia on Red Cliff, which attracted considerable attention. According to Yu Wenbao's Record of Continued Blowing Sword in the Southern Song Dynasty, "Dongpo has a good teacher in Yutang, because he asked,' How is my ci better than Liu's?' Yes, Liu Langzhong said, "In Liu Langzhong's words, only 178 girls clapped their hands with red teeth and sang the waning moon of Yang Liuan Xiaofeng. Bachelor degree, you must be a big shot in Kansai, holding an iron plate and singing the river of no return. "Volkswagen was completely defeated." This story shows the contrast between two different styles of words, and implicitly regards Su Ci as another genre that can compete with Liu Ci. Xu Shizeng's Preface to Stylistics says: "Be bold and bold, and want to be magnificent." Although the number of Su Shi's poems was small, and there were not many people who studied Su Ci at that time, he was naturally respected because of his pioneering spirit. Zhang Yan's etymology compares "grandiose words" to "elegant words". "Yuefu Finger Fan" said: "Modern lyricists don't know the rhythm, so they are bold and unrestrained, so they blame themselves on Dongpo and Jiaxuan sages." This shows that people in the Southern Song Dynasty have clearly regarded Su and Xin as the representatives of the uninhibited school. It will be used in the future. The characteristics of the bold school are, in general, broad creative vision, majestic atmosphere, love to write words with poetic techniques, syntax and typology, wide use of words, many uses and eclectic temperament. However, sometimes it is rude and straightforward, even involving crazy shouting. In the Northern Song Dynasty, Huang Tingjian, Chao, He Zhu and others all had works of this style. Later, due to the great changes of the times, tragic and generous tenors came into being, and Chen, Ye Mengde,,,, and Liu Guo appeared. Xin Qiji became a great master and leader of a generation of bold and unconstrained ci. The school of bold and unconstrained ci not only "stands firm and builds a new style" (the catalogue of Sikuquanshu), but also has a great influence on the ci circle in Song Dynasty. From the Song and Jin Dynasties to the Qing Dynasty, there were always poets who held high the bold banner and made great efforts to study Su and Xin.