The tendency of literary thoughts is embodied in Yang Jiong, Lu and Luo, who reflect the spiritual outlook and creative pursuit of ordinary scholars in the middle and lower classes of society, and are called "four outstanding figures in the early Tang Dynasty". Most of the "four great masters" were born in Zhenguan period of Tang Dynasty. Lu and Luo were born earlier, about ten years older than Wang and Yang. Their creative personalities are all brilliant, but their strengths are also different. Among them, Lu and Luo Shange, Wang and Yang Shan have five laws. However, they all belong to the truly talented and conceited poets among ordinary literati. Their officials are small and talented, with high fame and low status. Their hearts are full of fantasy and passion for fame and fortune, and their heroism is suffocating.
Aesthetic pursuit: oppose exquisite luxury and advocate vigorous character.
During the prosperous Tang Dynasty, the economy reached an unprecedented height and gradually formed a unified multi-ethnic country. Stable politics and prosperous economy provide conditions for the development of Tang Wenhua. The literary thought of this period is embodied in poetry, that is, advocating style, pursuing exquisite poetic realm and pursuing natural beauty. During the years of Kaiyuan and Tianbao in the Tang Dynasty, the economy was prosperous and the national strength was strong, and a large number of talented poets emerged. They "have nothing to do with new sounds and rediscover old styles;" Semi-quality, coquettish; It's too healthy to talk about qi and bones, but it's too healthy to talk about palace merchants. "
Since the early Tang Dynasty, the tight body of rhythmic rhetoric has been integrated with the ancient style of expressing lofty sentiments. Poets' poems and pens are natural, rhythm and lyricism complement each other, qi comes out with rhythm, and emotion comes out with rhyme. As Yin Yun said, "God comes, qi comes, and emotion comes", which has reached the perfect realm of both rhythm and character. This became the symbol of the formation of poetic style in the prosperous Tang Dynasty.
The representative figures are landscape pastoral poets centered on Wang Wei and Meng Haoran. Wang Changling, Zuyong and others created a pure and vigorous poet. Cen Can, Gao Shi and others are famous for frontier poems.
Li Bai is a talented poet bred by the culture of the prosperous Tang Dynasty. His extraordinary conceit and self-confidence, arrogant independent personality, bold and free-spirited bearing and romantic feelings of free creation fully reflect the character and spiritual outlook of the scholars in the prosperous Tang Dynasty.
Wang Wei's master position in the history of Tang poetry is that he expresses his feelings of seclusion with his pastoral poems. He is proficient in music and good at painting. In his poems describing natural landscapes, he created a quiet Ming Xiu poetic scene with "paintings in poems and poems in paintings", which is exquisite and difficult to interpret.
The style of Meng Haoran's landscape poems is natural and simple. Although there are neat even sentences in his poems, such as "there are trees like a row of grass on the horizon, and boats on the river like a full moon" ("Autumn Mountain to Zhang"); "The wind blows the leaves on both sides, and the moon crosses me and sails alone" (a berth in Tonglu to a friend in Yangzhou). But I didn't mean to be a model mountain, just improvise. Throughout his poems, most of them are written in a single line, completed in one breath, without a trace of description; Beauty flows away naturally, diluting leisure, and working without looking for a job.
Gao Shi is an outstanding representative of frontier poems in the prosperous Tang Dynasty, and his poems surpass many contemporary poets in reflecting reality. The combination of the timely and high-spirited spirit of pursuing immortal fame and the cold and sad face of reality makes his poems have a kind of generous and tragic beauty. And Cen Can's "blowing open the petals of ten thousand pear trees" is even more impressive.
The mid-Tang Dynasty was a process from prosperity to decline in the Tang Dynasty.
In the late Tang Xuanzong, he indulged in debauchery and profligacy. Moreover, he is addicted to Taoism and tantra, and rarely asks about state affairs. The imperial power successively fell into the hands of Li and Yang. From the strike of Zhang Jiuling in the 24th year of Kaiyuan to the 11th year of Tianbao, Li's influence was 16. Thirteen years after Tianbao, Yang once again monopolized the power. Li and Yang were tired of prison life in the struggle and cleaning, and state affairs were in chaos. Honest scholars cannot stand in court; And among traitors, they fight with each other; There is also a fierce contradiction between the power phase and the time ambassador of the border town. Within the regime, it has been in a state of disintegration. The extravagance of superiors will intensify the exploitation of the people. Princes and ministers annexed a lot of land, and in the late Tianbao period, a large number of farmers became refugees who lost their land. Behind social prosperity, poverty and injustice are hidden. After the prosperity of Kaiyuan in the Tang Dynasty, great turmoil was brewing, and Xuanzong knew nothing about it. Finally, in the fourteenth year of Tianbao, an Anshi Rebellion broke out which lasted for eight years. In this year, 1 1, heavily armed troops sent troops to An Lushan and attacked Luo, Qi, Qidan and Shiwei soldiers * * * 1.5 million. In May of the following year, Tongguan fell, and Xuanzong hurried to Shu. Where the war passed, the counties were dilapidated, the rooms were empty, and the northern half of China was devastated. From the Anshi Rebellion to Gan Yuan for three years and five years, the national population dropped sharply from 52.88 million to16.99 million, which shows that the war brought great damage to the Tang society.
Poetic thought of respecting reality, vulgarity and perfection: the form expressed in the creative tendency, and the utilitarian poetic proposition, from the poetic creative tendency of respecting reality, vulgarity and perfection, turned to writing trivial things around us.
The representatives of this period are Han Meng Poetry School and later Bai Yuan Poetry School.
Many of Han Yuduo's long poems, such as Return to Pengcheng, Dirty, and Lonely Feelings in a County Village, reveal realistic contradictions, express personal frustrations, and are often written smoothly. The most original and representative works of Han Yu are those poems which are famous for their majestic and strange images.
Liu Yuxi and Liu Zongyuan spent most of their lives in poverty and seclusion, so expressing their inner anguish and sadness and their indomitable spirit in adversity became the main content of their poetry creation.
Bai Yuan Poetry School represented by Bai Juyi and Yuan Zhen. This school of poets paid attention to realism and popularity, and took a completely different creative path from Han Meng's poetry school.
The tendency of realism and popularization in Du Fu's poems was expressed and inherited to varying degrees by Yuan Jie, Gu Kuang and Dai Shulun in the same generation or later generations, but it had a strong echo in Zhenyuan, Yuanhe years.
Since the period of Tang Jingzong and Tang Wenzong, the Tang Empire has obviously declined and overturned.
The hopelessness of state affairs, the failure of ambition and the decline of life experience made the poets in the late Tang Dynasty feel depressed and sad and empty all at once. This kind of melancholy and sadness is reflected in many poems in the late Tang Dynasty, especially in the early days.