Poetry generally includes Tang poetry and Song poetry. Tang poetry and Song Ci are two pearls in the history of Chinese literature. The Tang Dynasty is called the era of poetry, and the Song Dynasty is called the era of Ci. Ci originated from the folk, began in the Tang Dynasty, flourished in the Five Dynasties, and flourished in the Song Dynasty. With the enrichment of material life in the Song Dynasty, people's pursuit of cultural life became more intense. Poets of the Tang Dynasty were mostly tools and playthings for the royal family and its rulers. The poets of the Song Dynasty jumped onto the political stage from being appreciated by others and became the protagonists on the political stage of the Song Dynasty. In the Song Dynasty, all emperors loved words, and all ministers were poets. Politicians Fan Zhongyan, Wang Anshi, Sima Guang, Su Shi, etc. were all famous poets. The female poet Li Qingzhao also became a poet, and her name will last forever. The recognition and admiration of the whole society enabled Song Ci to produce excellent poems one after another and have a long-lasting influence.
The term "Tang Poetry and Song Ci" refers to both Song Ci and Tang poetry. It not only indicates the meaning of "one era has its own literature", but also shows that Song Ci is a major poetry style that is almost comparable to Tang poetry. The Song Dynasty inherited the Tang Dynasty, but as Mr. Lu Xun said, good poems were almost completed by the Tang people. Therefore, it was difficult for the Song people to not fall into the trap of the Tang people in poetry creation. However, the richness left by the Tang people. The literary heritage of the Song Dynasty was not wasted, but they were used more and more flexibly in the poetic form of "ci", which enabled the Ci to achieve unprecedented development in the Song Dynasty
We. When discussing the relationship between Song poetry and Tang poetry, more attention is often paid to the difference between Song poetry and Tang poetry. The difference is indeed primary and important. In the Song poetry section of this book, the author also focuses on the main artistic features of Song poetry (of course). But in this introduction, just as we must first explain the inheritance relationship of Tang poetry from previous generations before discussing the artistic characteristics of Tang poetry, we must also first explain the inheritance of Song poetry from Tang poetry. Relationship.
It can be said with certainty that Song Ci's remarkable achievements would have been absolutely unimaginable if it had not been based on the outstanding achievements and proficiency of Tang poetry. Judging from the lyrics of Dunhuang tunes, before the lyrics came into Wen's hands, apart from the uneven sentence lengths, they were no different from previous folk songs. The same mainly used the simple, plain and straightforward expression method. After the literati in the middle and late Tang Dynasty began to experiment with lyrics, just like the transformation of all folk literature into literati literature, the lyrics also changed unconsciously, gradually taking on a literati and therefore more artistic color (of course, , there will also be negative effects, such as the lack of simplicity and straightforwardness, but this is actually secondary) Bai Juyi and Liu Yuxi, who were the first to experiment with the creation of lyrics, especially Wen Tingyun, Wei Zhuang, etc. who later created a large number of lyrics. They were important poets in the Tang Dynasty, and their joining would inevitably bring their various skills in poetry creation to the creation of lyrics. In addition, almost all lyricists in the Five Dynasties and Song Dynasty were poets, and they wrote at the same time. While writing poems and writing lyrics, the various techniques of Tang poetry will naturally integrate and penetrate into the creation of lyrics, making the creation of lyrics more exquisite. In fact, as long as we slightly analyze the art of Song poetry, we will find that Song poetry is more important than poetry. In terms of the use of imagery, scenery and lyrical techniques, in terms of the creation of the realm of words, and even in the use of language refinement, metonymy, allusions and other techniques, there is an obvious inheritance relationship with Tang poetry, as shown below in Qin Guan's noun "Eight Six". "Zi":
Leaning on the dangerous pavilion, I hate it like a fragrant grass, and the luxuriant leaves are still alive after being shoveled away. After saying goodbye to the green grass outside the willow, I feel sad and secretly surprised when I part ways with the red sleeves by the water.
< p>The endless sky and Pingting, the night moon and a curtain of dreams.The spring breeze is full of tenderness, but the joy gradually follows the flowing water. The sound of the plain strings is broken, the fragrance of the green silk is reduced, and it is worthy of flying flowers. It's late.
It's drizzling and the sky is clear. It's just clearing up, and the oriole crows a few more times. Compared to poetry, this is an authentic word, with its charm, color, and artistic conception. , are all authentic words. But if we taste it carefully, we find that it is inextricably linked to Tang poetry in many aspects. For example, the first sentence of "leaning on the dangerous pavilion" seems to be the poet's original creation, but in fact, climbing high to express feelings and express sorrow are the common writing methods of Tang poets. There are countless such examples, such as Du Fu's "The flowers are near" "Tall buildings hurt the hearts of visitors, and there are so many difficulties to climb here" ("Climbing the Tower"), Du Mu's "The building leans outside the frost tree, mirroring the sky for a moment" ("Wang Qiu in Chang'an"), Li Shangyin's "The Hundred-foot Tower in the High City" , Tingzhou is beyond the green poplar branches" ("Anding City Tower"), Xu Hun's "As soon as I climb the tall building, I am worried for thousands of miles, and the willows are like Tingzhou" (Xianyang City East Tower); even the usage of the word "risk" is also found. It can be concluded that the origins of Tang poetry are such as Du Fu's "On the bank of fine grass and gentle wind, one night boat with dangerous poles", and Li Shangyin's "The wind on the river stirred the waves and moved the cloud roots, and the heavy anchorage on the dangerous poles made the day dusk" ("Gift to Liu Sihu Ben"). The word "grass" is used as a metaphor for "hate", and the word "luxuriant" is used to describe "grass". These are common images and writing methods in Tang poetry; even the phrase "resurrection after all is eradicated" is not completely without reference. , such as Bai Juyi's "The grass on the original grass grows wither every year, the wildfire cannot burn it out, but it grows again in the spring breeze" ("Farewell to the Ancient Grass in Fude"), Meng Haoran's "The forest flowers are swept away, and the grass on the path is still alive." ".
The same goes for "Liu Wai" and "Qing Cong" below. Needless to say, the image of "Liu Wai" is simple. Even if "Liu Wai Qing Cong" is used to imply love and separation, it is not completely unfounded. For example, in Li Shangyin's "Untitled" there is "The spots are only tied to the banks of weeping poplars, where is the good wind in the southwest?" and in Chu Guangxi's "Fishing Bend" there is "The sun is waiting for lovers, and the boats are green on the banks of poplars." Although they are There are major differences between them, but it cannot be said that they are completely unrelated. As for the writing methods of "green Cong" representing chariots and horses, and "red sleeves" representing women, they are also part of the huge metonymy system in Tang poetry. As for the images of "night moon, spring breeze, flying flowers, drizzle, orioles" in the next film, as well as the use of a large number of similar images to exaggerate melancholy, and the hazy artistic conception it creates, they have a direct reference to Tang poetry. . For example, Wei Yingwu's "Cold Food to the Brothers in the Capital" below: "In the rain, the fire is forbidden and the empty room is cold, and the orioles on the river sit alone and listen. I think of my brothers with wine and flowers, and Du Linghan eats green grass." A lot of this kind of imagery is also used to express the story. The artistic conception of exaggerating melancholy is somewhat similar. The words "Pingting, Yilian, Ten Miles of Tenderness" and their combinations should be said to be related to Tang poetry. For example, Du Mu's "Two Farewell Poems" (Part One) contains almost all these images and sentences. Style, the poem is as follows: "Pingping has been curling up for more than thirteen years, and the cardamom branches are in early February. The spring breeze is ten miles away on Yangzhou Road, and it is better to roll up the bead curtain." The author chose the word Qin Guan to illustrate the inheritance relationship between Song poetry and Tang poetry. It has many similarities with Tang poetry and borrows a lot from it. This is actually a common phenomenon in the creation of Song poetry. This is not surprising. Just as Tang poetry innovated and developed on the basis of the huge legacy of previous generations, Song poetry was also created on the basis of the rich heritage of Tang poetry.
When it comes to this kind of inheritance, a question naturally arises here, that is, both Song poetry and Song lyrics have inherited the legacy of Tang poetry, so why is the achievement of Song poetry far lower than that of Tang poetry? Not as good as Song Ci? The reasons may be varied, but one thing is certain, that is, the different styles of poetry and lyrics are one of the important reasons for this difference. In order to better explain this problem, we might as well make a metaphor that may not be very appropriate: the art of creating Tang poetry is like a patent. Song poets used this patent to make the same thing, although they were not completely incompetent. Creation, no innovation, no addition, but what they produced was poetry after all, the same thing. Therefore, as soon as these things were put on the market, people would see similarities, imitations, and plagiarisms, and they would be accused of infringing on Tang Dynasty's patents. . For this reason (of course there are other reasons), Zhengguo hoped that Song poetry would have something of its own, such as argumentation and prose in poetry, but unfortunately, these things are new, but they may be too new. It violates the artistic rules of poetry to some extent. But the poets of the Song Dynasty were different. Although they also inherited the creative art of Tang poetry, what they produced was another kind of thing, which were long and short sentences. Although a discerning person can also see a certain inheritance relationship between them, but This would not be considered a patent infringement. There is a perhaps more extreme phenomenon that can prove this point: there are also many imitations, hints, and even copies of Tang poetry in Song poetry. If this kind of sentiment appears in Song poetry, it will never escape the ridicule. But when it appears in Song poetry, the situation is quite different. Due to the different frameworks and charms of the long and short sentence patterns of the lyrics, it seems to inject new life into the original sentences of the Tang Dynasty. For example, Yan Jidao's "Butterflies in Love with Flowers":
I'm so drunk that I can't remember the West Tower when I wake up. It's so easy to gather and disperse in spring dreams and autumn clouds. It's half moon and I haven't slept much, and I'm painting the screen leisurely to display the green Wushan.
The words in the poem with wine stains on the clothes are always desolate in every line. The red candle is self-pitying and there is no good plan. The night is cold and the sky is weeping for others. In this wonderful poem, don’t talk about imagery, describing the scene and expressing emotions. The use of techniques such as metaphors and metaphors inherits the artistic techniques of Tang poetry. Even literally, there are several lines that are somewhat related to Tang poetry. The last two sentences are almost Du Mu's completed sentences. Du Mu's poem "Farewell": "Sentimental but always seeming ruthless, I can't laugh in front of the bottle. The candle has the heart to say goodbye, and weeps for others until dawn." If only individual sentences are used to compare, Yan Jidao will never escape the book bag. Famous. However, if we look at the overall lyrics, these two lines of Du Mu's poem have been slightly changed and placed in a poem with a completely new structure and charm, but they do not give people a sense of imitation or obsolescence. If we look at this phenomenon from the perspective of systems theory, it is not surprising at all: Ci is a different system for poetry. Even if the same verse enters Ci, it will acquire a new systematic quality. For example, Wang Shizhen of the Ming Dynasty said: "'There are thousands of jackdaws, and the running water surrounds the isolated village.'" Emperor Yang of the Sui Dynasty also wrote a poem. Shaoyou's Ci. Although his words are familiar, he is especially famous for his poetry. "Hu Weiyuan of the Qing Dynasty also said: "Yan Yuanxian's "Zhuyu Ci" is concentrated in "Huanxisha·Spring Hate": "There is no choice but the flowers fall away, and the swallows return as if they have known each other." The ventral couplets in Bengong's seven-character rhyme become a wonderful sentence as soon as they are included in the poem. Scholars must refer to this difference in poetry, and they can also understand the "why" of other poems. What about the sentence "Although you have followed the example", "But when you become a poet, especially when you are a master"? Why does "there is no work in poetry" and "a wonderful sentence becomes a sentence as soon as it is put into words"? This is because Ci is a new system different from poetry. As soon as the same verse enters Ci, it acquires a new system quality. As for the more ingenious and traceless transformation, it can be regarded as a brand-new creation.
The phrase "spring dreams and autumn clouds are so easy to gather and disperse" can be said to be an adaptation of Bai Juyi's "Flowers are not flowers", "it comes like a spring dream in a short time, and goes like autumn clouds without a place to find". However, after using Yan's poem, it is not only more concise, but also has a deeper charm than the original poem due to the changes in sentence structure. This phenomenon occurs a lot in Song poetry, and it can be said that there are countless examples.
Of course, when we say that Song Ci has inherited the legacy of Tang poetry, it does not mean that Song Ci does not have its own creations. Earlier we said that Song Ci inherited the creative art of Tang poetry and produced something new. The "newness" of this new thing is of course something that is not found in Tang poetry. Its biggest novelty is its interweaving long and short sentence patterns with various changes. This sentence pattern breaks the tradition of single words in Tang poetry (and also breaks the tradition of Chinese ancient poetry), and brings great potential to freer, more euphemistic and more charming lyricism. The great convenience and its artistic characteristics of "long speech" are mainly caused by its sentence structure, rhythm and other artistic techniques it brings. Secondly, its "newness" is also reflected in its "poetic remnant" function and the choice of its "poetic remnant" subject matter. This new function and new theme selection, combined with its specific style and sentence structure, brought a series of new things to Song Ci, such as its euphemistic, confiding lyrical charm, delicate and multi-layered description , a more delicate and in-depth grasp of inner life, the art of decoration and coloring, a light and graceful style, etc. This kind of newness has resulted in Song poetry and Tang poetry being very different. Regarding the difference between Song poetry and Tang poetry, Wang Guowei has a concise but precise discussion. He said: "Ci as a form must be carefully cultivated. It can express what the poem cannot express, but it cannot express what the poem can do." The poem has a broad scope and the words are long. "This comment can be said to include the "newness" of Song poetry mentioned by the author above, including its system, its functions, its subject matter characteristics, etc.
Song poetry is different from the prose and argumentative style of ordinary Song poetry. It is good at perfectly combining lyricism and scene description. On the basis of Xiaoling in the Tang and Five Dynasties, many middle and long tunes were developed in the Song Dynasty. In the twists and turns, opening and closing changes, the scenes are closely integrated. Some of them are even better than Tang poetry in their meticulousness, specificity and subtlety. Secondly, Song poetry is good at Bixing. It often uses subtle and meticulous Bixing techniques to express complex and hidden inner feelings through scenery. It often uses the tradition of vanilla beauty to express political emotions, which is deeply touching. Thirdly, Song poetry formed numerous artistic styles. Although Song Ci followed the tradition of the Tang and Five Dynasties and focused on expressing emotions and spirituality, forming the division of "Shizhuang Ci Mei", which was based on euphemism, due to changes in the times and life, the subject matter expanded, artistic personality was valued, and artistic techniques Gradually becoming more diverse, the style of Song poetry not only has gracefulness and boldness, but also has many styles such as sincerity and clarity, lofty aura and majesty, elegance and precision, elegance and freshness, and beauty and danger.
The Tang Dynasty was the golden age for the development of Chinese poetry. Strong national power, an eclectic cultural spirit and rich cultural accumulation have prepared sufficient conditions for the prosperity of Tang poetry. Many great and outstanding poets have pushed the development of Chinese poetry art to its peak. Today, there are more than 3,700 Tang poetry authors available for examination, which means that there are more than 54,000 Tang poems in existence. This is just a part of Tang poetry, but we can already get a rough glimpse of the prosperity of poetry at that time.
In the early Tang Dynasty, poetry creation was still influenced by the poetry style of the Southern Dynasties, with narrow themes and the pursuit of gorgeous words. It was not until the emergence of Wang Bo, Yang Jiong, Lu Zhaolin and King Luo Bin, known as the "Four Heroes", that the scope of poetry was expanded, from Taige to Guanshan and Saimo, showing majestic momentum and open mind. Whether they write about frontier fortresses, travels, or farewells, they all have this kind of emotional outlook. In terms of the style of the poem, the finalization of the five-seven-character rhyme style was completed at this time. Rhymed poetry belongs to modern style poetry, which is relative to ancient style poetry. The ancient style is divided into four, five, seven words and miscellaneous words. There are no restrictions on the plainness and obliqueness, and no parallelism is required. Modern poetry has a certain style of rhythm and rhyme, and also requires antithesis. The shaping of rhyme style has a profound influence on the development of Chinese poetry, and it has become a major style of ancient Chinese poetry.
In the late period of the early Tang Dynasty, two important poets appeared: Chen Ziang and Zhang Ruoxu. Chen Ziang advocates that poetry should have some sustenance. His 38 poems "Gan Yu" are the practice of this idea. But the best poem he wrote is the "Song of Dengyouzhou Terrace": "There are no ancients before, no coming after. Thinking of the long journey of heaven and earth, I shed tears alone." It expresses the sadness of not meeting, but it contains It is self-confidence and ambition, magnificent feelings, and a great sense of loneliness that comes from being ahead of the trend but not being understood. Zhang Ruoxu's "Spring River with Flowers and Moonlight Night" describes the bright and pure beauty of the spring river on a moonlit night. It incorporates strong emotions and profound philosophy, with gentle tones and infinite charm, creating a very perfect artistic conception. The artistic maturity of Chen Ziang and Zhang Ruoxu revealed the message that the poetry of the Tang Dynasty was about to come.
The prosperous Tang Dynasty was the peak of the development of Tang poetry. At this time, the poetry world was full of stars. Wang Wei and Meng Haoran are good at expressing the beauty of mountains, rivers and pastoral areas, and the peaceful and peaceful state of mind where man and nature live in harmony. Wang Wei's landscape poems integrate poetic and painterly sentiments, leading people to a beautiful and clear realm, which is filled with vitality. "Mountain Dwelling in the Dark Autumn": "After the new rain in the empty mountains, the weather is late and autumn comes. The bright moon shines among the pines, and the clear springs flow up the rocks. The bamboos return to the Huannu, and the lotus moves down the fishing boat. The spring fragrance rests at will, and the king and grandson can stay." After the rain The moonlight is mottled among the pine forests, and the spring is flowing. The Huan Sha girl came back noisily from the bamboo forest under the moonlight; the fisherman was leaving the lotus leaves and rowing his boat away. The night in the mountain village is picturesque. He also has some poems, which are quiet and a little Zen-like.
Among the important poets of the Tang Dynasty, he was the one most obviously influenced by Buddhist thought. But he was not a completely reclusive poet. Some of his poems were impassioned, while others showed strong human emotions. The song "Send Yuan Er Envoy to Anxi", because it wrote about people's common feelings when saying farewell affectionately, was later compiled into the Yuefu and became the song "Yangguan Sandie" that was repeatedly sung at the Liyan Festival. Meng Haoran is good at using the most economical pen and ink to write about the beauty of landscapes and countryside. "Passing Through My Old Friend's Village" is about the joy of the Hakka family, the quiet farmhouse, the sincere friendship, and the rich interest in life. "Spring Dawn" writes about the bright, quiet, beautiful and comfortable feeling of spring. The song "Staying on the Jiande River" only uses 20 words to express endless emotional charm: "Moving the boat to Yanzhu, the guests are worried about the new arrival at dusk. The wild sky is low and the trees are low, and the clear moon on the river is close to the people." Dusk Yan A shrouded forest, a shadow of the moon in the water. In this hazy, clear, profound and quiet realm, there is a faint sense of nostalgia. Many of Meng Haoran's poems use extremely frugal words to express multiple realms and emotions. At this time, there were others whose poetry styles were similar to those of Wang Wei and Meng Haoran, including Chang Jian, Chu Guangxi and others.
There were some poets in the prosperous Tang Dynasty who were good at writing about frontier life, such as Wang Changling, Gao Shi, Cen Shen, Zu Yong, etc. Most of them have been to the frontier fortress, experienced the magnificent scenery of the frontier fortress, and yearned for meritorious service at the frontier fortress. In their poems, the majesty of the mountains and rivers of the motherland and the heroic feelings of defending the country are vividly expressed. Wang Changling wrote more than 20 frontier fortress poems, the most famous of which are "Out of the Fortress" and "Joining the Army". His frontier fortress poems have a profound sense of history and a clear and upright style. He also wrote poems on other themes very well, and his seven-character quatrains have extremely high artistic achievements. Gao Shi's poetic style tended to be majestic and generous: "Though I risk my life, I will succeed once. I will draw a picture of the Qilin Pavilion and enter the Mingguang Palace. I will laugh at the scribes, how can I be so poor once? The ancients did not know this way and often became old men." (" From this poem we can feel his heroic temperament. Representatives of frontier poets include Cen Shen. He wrote about the majestic scenery of the frontier fortress and the heroic and unrestrained soldiers. Deserts and hardships have become magnificent pictures full of passion in his paintings.
The person who best reflects the spirit of the Tang Dynasty and represents the high artistic achievements of Tang poetry is the great poet Li Bai. Li Bai is a poet with heroic character, unrestrained emotions, unrestrained and yearning to make achievements. His poems fully express the self-confidence and ambition of the scholars in the prosperous Tang Dynasty. They are full of spirit and idealism. The achievements of his poetry are multifaceted, which greatly enriched the expression skills of ancient poetry and pushed the writing of Yuefu poetry to a new level. His seven-character quatrains and Wang Changling's seven-character quatrains were praised by later generations as the masterpieces of the seven unique works of the Tang Dynasty. His poetry has a distinct artistic personality: explosive lyricism, unpredictable imagination and bright imagery. He wrote the music and songs like flowing clouds and flowing water. When emotions gush out, they are like the water of the Yellow River, rushing thousands of miles and flowing down in one fell swoop. He was born in the prosperous Tang Dynasty and felt the high-spirited spirit of the times. In his later years, he saw with his own eyes the decline of Tang Dynasty society, and there was a huge contrast between ideals and reality. In his poems, there is not only the confidence to establish unparalleled achievements in the world, but also often indignation and criticism of the darkness of the court. He once went to Beijing under an imperial edict to serve in the Imperial Academy, and was appreciated by Emperor Xuanzong of the Tang Dynasty. He thought that the time had come to make contributions and was very proud. Soon after he was slandered by powerful officials and expelled from the court, he realized that the government was actually extremely corrupt. He said that he was "reciting poems and writing poems in the north window, and ten thousand words are not worth a glass of water". He was talented but could not be reused; and he denounced those mediocre people who were proud of the spring breeze, "Hualiu boxing cannot be eaten, and the donkey is proud of singing in the spring breeze." He scolded those mediocre people. The traitor "Dong Long is even worse than a chicken!" Even in a frustrated situation, he never forgets to serve his country. After the Anshi Rebellion, he joined the army twice as proof. His poems are imaginative and fantastic, often thinking about places no one can imagine. The predecessors commented on his poems and said that they were "unfounded". "The Road to Shu is Difficult" and "Sleepwalking Tianmu Yin Leaves Farewell" are all examples. In imagination, there is often an element of exaggeration. When writing about the gray hair caused by sorrow, it is said that "the white hair is three thousand feet"; "The Yellow River falls from the sky and flows through the East China Sea, and thousands of miles are written in the mind." He is an imaginative poet, and his poems often have a strong subjective color. And because of his cheerful and bold personality, his poetic imagery is bright, fresh and colorful. He is a poet of pure genius.
Another great poet at that time was Du Fu, who was called the "Sage of Poetry" by later generations. Du Fu was 11 years younger than Li Bai, and their deep friendship has become a literary legend that has been passed down through the ages. In his youth, Du Fu, like many poets in the prosperous Tang Dynasty, lived a wandering life of "frivolous and frivolous". But his main activity was after the Anshi Rebellion. He was deeply influenced by Confucianism and had the ambition to "serve kings Yao and Shun", but he was poor and miserable throughout his life, so he could emotionally feel the suffering of the people. The Anshi Rebellion brought huge destruction to the society of the Tang Dynasty, and half of China was reduced to ruins. Du Fu was displaced during the war and wrote the poem "Northern Expedition" about the suffering of the people. Many major events in the war, the destruction caused by the war, and the mentality of the people during the war are all very vividly reflected in Du's poems. There was no poet in the Tang Dynasty who reflected the history of the Anshi Rebellion as profoundly and broadly as he did, so his poems are called "history of poetry". Because of his own ups and downs, he was deeply touched by the suffering of the people, and he sang songs, integrating the pain of his family and country with his personal sorrow. "Spring Look", "Climbing the Tower" and "Climbing the Yueyang Tower" are all such poems.
"The soldiers and horses are passing through the north of the mountain, and the tears are streaming down the river", "I feel the flowers splashing with tears, and I hate the other birds and are frightened." There are mixed feelings, which are both the feeling of life experience and the sorrow of family and country. It is difficult to separate them. It was a big change from Tang poetry to Du Fu. The subject matter shifted to writing about current affairs and the lives of the people at the bottom; the writing method used narrative and detailed description, and was lyrical in the narrative and detailed description. In order to facilitate writing about current affairs, he mostly used ancient style, but his higher achievement was rhythmic poetry. Among his more than 1,400 poems, verses account for more than 70%. The achievement of his rhythmic poetry is mainly to broaden the scope of expression and try his best to give full play to the expressive power of the rhythmic poetry, which not only strictly abides by the rules of meter, but also breaks the shackles of meter. It is unpredictable but still adheres to the rules, and it is written superbly. Poems like "Spring Hope" are all examples. Sometimes in order to express an event or the feelings caused by an event more completely, he adopts the form of a group of poems. Writing poems about current affairs was Du Fu's creation. Rhymed poetry, especially Qilu, was highly mature by Du Shi. In terms of artistic techniques and styles, Du Fu is different from Li Bai. Li is full of emotions, while Du is chanting repeatedly; Li is imaginative, Du is realistic; Li is unrestrained and elegant, while Du is depressed. It is generally believed that in the history of the development of Chinese poetry, Du Fu has a comprehensive nature and has a profound influence on the later generations.
In the mid-Tang Dynasty, the development of poetry became diversified, and different schools with clear artistic propositions emerged. Han Yu, Meng Jiao and some poets around them looked for new ways in the face of such high achievements as poetry in the prosperous Tang Dynasty. They pursue strange beauty, emphasize subjectivity, often break the constraints of rhythm and style, and use prose sentences into poetry. Among the poets of this school, Li He was a talented poet with a sensitive soul who only lived 27 years old. In his poems, the colorful world full of youthful joy and the sadness of a lonely life are intertwined with the sense of premature twilight. His poems have strange and rich imaginations, colorful images, and dense combinations. In this school of poetry, his poems have particularly distinctive stylistic features. Another school of poetry at this time was dominated by Bai Juyi and Yuan Zhen. They advocated that poetry should be written for a purpose and should be beneficial to political and religious purposes. Bai Juyi proposed that "articles are written together to suit the time, and songs and poems are written together to suit the event." Both Yuan and Bai wrote new titles called Yuefu, expressing their concern for the country, their criticism of dark phenomena, and their sympathy for the sufferings of the people. Some of Bai Juyi's 50 new Yuefu pieces are well written, such as "The Charcoal Seller" and so on. In terms of artistic expression, Bai Juyi advocated writing in a popular and easy-to-understand way, and his taste was exactly the opposite of that of Han and Meng poetry schools. Bai Juyi wrote a large number of allegorical poems as well as leisure poems. The most artistically successful ones are the long song "Song of Everlasting Sorrow" and "Pipa Song". Famous poets in the Mid-Tang Dynasty include Liu Zongyuan and Liu Yuxi. Their artistic tastes are different from those of Han and Meng, as well as Yuan and Bai, and have their own characteristics.
The poetry of the late Tang Dynasty changed again. The reform spirit of the mid-Tang Dynasty disappeared, and the poets went towards themselves. At this time, a large number of very well-written epic poems appeared, with Du Mu and Xu Hun being the representatives. Du Mu is a great writer of epic poems. His thinking about history is actually his emotion about reality. The sense of history and reality are integrated in the smooth and natural images and the sighs of confusion. "Jiang Nanchun" is a masterpiece of historical poems. The poet with the highest artistic achievement in the late Tang Dynasty was Li Shangyin. The development of Tang poetry reached a peak when the artistic conception creation in the prosperous Tang Dynasty reached a state of pure beauty with exquisite images and no traces to be found. Du Fu moved from realism to mastery, which was another peak. When the poets of the Mid-Tang Dynasty found it difficult to continue their prosperity, they found new ways, either pursuing the strange or pursuing the ordinary, creating a new world and reaching a new peak. At this point in the development of poetry, it is almost at the end of its rope. Li Shangyin came out, and with his profound cultural literacy and amazing talent, he opened up a realm of poetry full of hazy and mysterious beauty that makes people chew and aftertaste, reaching a new peak. He is a poet who is good at expressing the spiritual process, with strong and delicate emotions. His love poems are affectionate, vague, unforgettable and difficult to decipher. In many of his poems (especially untitled poems), the flow of emotions is jumping, the combination of images is illogical, the meaning is hazy but the emotions are palpable, and they can often be interpreted in multiple ways. His artistic skills reached a state of perfection, which greatly expanded the emotional capacity of poetry and made final contributions to the development of Tang poetry.
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