Poets in the Middle Tang Dynasty:
Liu Zongyuan, Meng Jiao, Han Yu, Bai Juyi, Lu Lun, Li He, Li Yi, Liu Yuxi, Jia Dao, Wei, Li Kunyuan, Du Qiuniang, Dai Shulun, Gu Kuang.
Poets in the early Tang Dynasty:
Luo, Lu, Song, Du, Yang Jiong, Shen Quanqi, Wang Ji, Li Shimin.
Poets in Tang Dynasty:
Li Bai, Du Fu, Zhang Jiuling, Wang Wei, Meng Haoran, Huang Fu, Wang Changling, He, Wang Zhihuan, Li Jie, Gu Kuang, Liu Changqing, Gao Shi, Wang Han, Qian Qi, Yun and Chang Jian.
Late Tang poets:
Li Shangyin, Wen, Du Mu, Ma Dai, Du Xunhe.
Characteristics of poetry in the middle Tang Dynasty
Adhering to the realistic spirit of Du Fu's Yuefu poems, Yuan Jie, Qian Xiang, Rong Yu, Dai Shulun and other poets in the middle and early Tang Dynasty continued to denounce court officials and pay attention to people's livelihood.
After Wang Wei and Meng Haoran in the prosperous Tang Dynasty, Liu Changqing and Wei were the main poets of the Middle Tangshan School of Water Poetry.
The tradition of frontier fortress poetry continues, and the representative poets are Li Yi and Lu Lun.
Most of the poems of the ten gifted scholars in Dali are harmoniously adapted works. The basic theme of their poems is to praise the peaceful rise, mountains and rivers and seclusion.
Under the leadership of Bai Juyi, the new Yuefu movement was in full swing in the middle Tang Dynasty. The main poets are Yuan Zhen, Zhang Jia and Jincon.
Han Yu, Yu Jiao, Jia Dao, Lu Tong and others are different. They are proud of the strangeness and strangeness in their poems. However, it has also brought some unhealthy tendencies, such as taking literature as poetry, stressing talent and learning, discussing in succession, and pursuing adventure and novelty.
Besides Bai Yuan School and Han Meng School, Liu Yuxi and Liu Zongyuan were also outstanding poets in the middle Tang Dynasty.
Li He is a creative poet. In the history of China's poetry, he is also a talented poet with a sudden appearance and a unique style.
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On the emotional characteristics of Tang poets from the perspective of Tang legends
Zhenyuan poets in the middle Tang Dynasty have unique emotional characteristics. On the one hand, the literati in this period were eager to reform the disadvantages, revitalize the platform and revitalize the Tang Empire. Therefore, the artistic tradition of satirizing political affairs with poetry was formed. Bai Juyi, Yuan Zhen and others wrote a lot of satirical poems in an attempt to interfere in politics. On the other hand, after the Anshi Rebellion, the empire of the Middle Tang Dynasty went downhill, and the poet was hurt in his heart and stopped singing his ideals. Even through the reform of state affairs, they could not restore the prosperity of the prosperous times. Coupled with the disaster of party struggle in the middle Tang Dynasty, the political enthusiasm of people of insight was doused. Because poets can't realize their life ideal of governing the country and ruling the world by establishing achievements, they gradually turn from pursuing external achievements to pursuing internal emotional experiences, thus producing a large number of works about love. In terms of poetry, there are Song of Eternal Sorrow, Pipa Journey, Mourning for the Dead and so on. And there are a lot of legends describing love in the novel. These romantic novels can reflect the unique emotional characteristics of poets in the middle Tang Dynasty, that is, they pay attention to irrational, immoral and introverted emotional experiences.
First, pay attention to sensibility and reject rationality.
The love between poets in Tang Dynasty novels is often irrational. They do not need to make rational logical value judgments, but directly make certain behaviors through intuition. Because there is no need to think and judge, this perceptual and intuitive feeling can often be formed in an instant and will not change for a long time. This kind of emotion is subjective, a manifestation of subjective emotional consciousness, and an individual emotional expression of the protagonist in the novel, so it is necessary to exclude utilitarian value judgment. This irrational love has the characteristics of blindness and obsession, has nothing to do with utilitarian purposes, and can even sacrifice everything for love.
True love has a perceptual feature, which is manifested as blindness and obsession at first. Blindness means that the protagonist in love is often attracted by a certain feature of the opposite sex, thus ignoring other aspects. The obsession is that the blindness of love develops further, so that you ignore other people's suggestions and go your own way, so that you lose your mind. Many love stories in Tang novels have such blindness and obsession.
The establishment of love in Tang novels is often nothing more than two factors, external talent and attraction. The story that best represents this kind of love is Biography of Huo Xiaoyu. Huo Xiaoyu and Yi Li met for the first time. When they met, they were attracted by both charm and charm;
Yu Nai smiled and whispered, "It's better to meet someone than to be famous. Can talented people be ugly? " When I was born, I even bowed down and said, "My little lady loves talents, but my husband values her. The two blend together and both are beautiful. "
In feudal times, young men and women had no more contact opportunities, and they could only judge love by their first impressions. Sometimes love is more blind and inexplicable. For example, Zheng Zi, the protagonist in The Stone Man Ortiz, admonished, talked about, talked about, talked about, talked about, talked about and talked about.
The stone man avoided in the thick crowd to avoid how. Zheng Zilian pushed forward, stood back, covered her face with a fan and said, "If you know, how can it be similar?" Zheng Zidao: "If you know, why bother?" He said, "What a shame. It's hard to show your face. " Zheng Zidao: "If you think so hard, will you give up?" He said, "If you dare to give up, you are afraid of public opinion and your ears are not good." Zheng Zi swore an oath and his words were sharp. The stone man turned his head and slapped his face. As always, he is gorgeous, saying that Zheng Zi said, "If there is a certain ratio in the world, there is no one, everyone knows it, and there is no blame."
At this time, Zheng Zi knew the identity of the stone man as a fox spirit, not only not afraid, but even actively pursued it, because the stone man was "beautiful as a flower". The love of color trumps everything else, which makes Zheng Zi blindly fall in love with the stone man. Even if Zheng Zi is penniless and powerless, the stone man doesn't care. He is willing to be his mistress, helping Zheng Zi many times, and even "favoring one over the other until death do us part". All this behavior is just out of Zheng Zi's blind affirmation and love for her.
It is precisely because of the blindness and purity of love in Tang novels that we can even sacrifice everything for love, so we can see that the love described in Tang novels is more complicated in nature and more emotional, which is the unique emotional experience of the protagonist.
Second, pay attention to feelings and break through moral constraints.
The perceptual characteristics of love in Tang novels not only exclude rational factors, but also get rid of the shackles of moral concepts. The moral concept advocated by China's traditional Confucianism requires that the expression of emotion should be gentle and sincere, in line with the idea of "being happy but not lascivious, being sad but not hurting", and that emotion should be "righteous and harmonious" and "expression should stop at courtesy and righteousness". In other words, emotions should be restrained by courtesy and righteousness, not excessive. The so-called "joy without lewdness, sorrow without injury" means that happiness is not unrestrained and sadness is not too sad. This is Confucius' view of poetry teaching in The Analects of Confucius. Confucius' view of poetry education certainly has its ideological background of restoring Zhou Li in the Spring and Autumn Period, and is regarded as the official thought of governing the country since then. However, in the active and open Tang Dynasty, this official thought no longer seemed to be the dominant thought, which bound people from all walks of life as independent living individuals. Therefore, the emotions in the love novels in the Tang Dynasty are emotional, and they get rid of the shackles of rational thinking and ethics and become bolder, more open and more humane.
Different from The Book of Songs, the characters in the love novels in the Tang Dynasty are passionate and bold, and they boldly pursue their own thoughts, which gives them feelings for action. In contrast, traditional Confucianism requires that emotional expression should not be exposed, but should be implicit and moderate. For example, Confucius appreciated Guan Ju's gentleness and gentleness, saying that "happiness is not lewd, sadness is not hurt" and reprimanded Zheng for "letting go far; Zheng Sheng's lewdness is dangerous. " . (The Analects of Confucius) such as Cunzi, Ji Zi, General Zhong Zi, Bo Xi, Qin Gui, etc. It is because Zheng's voice is mostly a love song that boldly reveals the pursuit of love, which does not conform to Confucius' theory of gentleness and gentleness. And Guan Yu, who can embody the golden mean aesthetic of "being happy without lewdness, being sad without injury", just tells a kind of love that has not been put into action. No matter how the hero in the poem reflects and thinks day and night, he is also a dwarf in action.
Guan Heming's osprey, accompanied by the small continent of the river. A beautiful and virtuous woman is a good spouse of a gentleman.
Mix shepherd's purse and salvage it from left to right. A beautiful and virtuous woman wakes up to pursue her. If you can't pursue it, the black nightclub misses her during the day. Miss Long, I can't sleep over and over again.
Mix shepherd's purse and choose from left to right. A beautiful and virtuous woman came to her with a couple and a couple. Staggered shepherd's purse, left and right D. The beautiful and virtuous woman rang the bell to please her.
The whole poem is about a young man who loves the woman he loves so much that he can't sleep. No matter "Friends of the Piano" or "The Joy of Bells and Drums", they are all fantasies in this man's mind, that is to say, he has no actual pursuit behavior and no action beyond etiquette, and what he thinks in his heart is also in line with the constraints of etiquette. This kind of love expression without action is very in line with the norms of feudal Confucianism, so it is regarded as a standard.
Love in Tang legends is often put into practice. For example, in Away from the Soul, Zhang Qianniang and her cousin Zhou Wang fell in love from childhood. When their love was blocked by feudal parents, Qian Niang was not limited to slandering Chun and complaining about Qiu, but ran away from home and eloped with her. Although romanticism was finally adopted, Qian Niang's elopement behavior was explained by the imaginary separation of spirit and flesh. But this just shows how bold a person with a free soul can do for love. Another example is Cui Yingying in The Biography of Yingying. As a lady in a boudoir, she can break through the shackles of her own ethics and meet Zhang Sheng privately under the moon. In addition, such as "Biography of Flying Smoke" and "Biography of Liu", the heroines all show their bold pursuit of sincere love with practical actions. Not only that, even the prince of the sun is often naked and unabashed, and even shows off this behavior as an affair. For example, Li Yi in the Biography of Huo Xiaoyu is a frivolous prodigal son, and the novel quoted "The little lady loves talent, and her husband values color, and they are a good match, just to look good" (proofread by Mr. Lu Xun, Qilu Bookstore, Legend of Tang and Song Dynasties,1997165438+/kloc-0) His love for Huo Xiaoyu is based on his skin color and appearance. Although there is an oath of "quoting mountains and rivers and pointing out the sincerity of the sun and the moon" in the middle of the night, in the face of a real marriage, I still do not hesitate to obey my mother's orders and sacrifice Huo Xiaoyu's love, even "I don't know what to hear, and I want to break my hope".
These stories all illustrate the problem of love between men and women, and the social atmosphere is relatively open. It can be seen that the stories about love between men and women in Tang legends are rarely influenced by traditional ethics. Young men and women pursue love, take action, and dare to do it. Even in the novels of the Tang Dynasty, stories of love affairs and extramarital affairs abound. Such as Biography of Ren, Biography of Li Zhangwu and Biography of Flying Smoke. From another point of view, this just shows that in terms of ideology, the literati in the Tang Dynasty separated marriage from love, thus pursuing pure love more. This kind of love is out of the constraints of the marriage gate system in reality, out of the constraints of social class, more from the heart, more in line with personal desires.
Third, pay attention to introversion, not seeking outside.
True emotion not only excludes rationality and is not bound by moral concepts, but also has the characteristics of introversion and non-pursuit. This kind of introversion refers to a kind of self-emotional satisfaction, which is not interfered by external ideas, does not need external affirmation, and even tends to some degree of obsession. Novels in the Tang Dynasty have such emotional characteristics.
For example, a story in a novel of the Tang Dynasty strongly demands protection. Missed the promotion of Jinshi and met a woman in the south of the city. The hatchback is my choice. In the second year of Qingming, I returned to the door, and there was no one inside, so I wrote a poem: "Last year today, at this door, people and peaches set each other off; People don't know where to go, but peach blossoms still smile in the spring breeze. " A few days later, I was urged to go to the south of the city, only to find that the woman "came home, saw the words on the left door, read them, became ill at first, and died of hunger strike for several days." Cui hugged his head and cried: "There are people in Sri Lanka!" ""Open your eyes in an instant. Resurrection for half a day. " This is a story of dying because of love and being born because of love. Although the title of the story is urging concern, it is obvious that the protagonist of emotion is this woman. The woman fell in love at the urging, regardless of her father's only daughter, and died of the regret of lovesickness and missing. This is obviously a kind of respect and persistence for the true feelings of the heart, which can only take into account the satisfaction of self-feelings, and cannot estimate other external factors, and is also an extreme obsession with feelings. It is worth noting that, unlike Du Liniang in the legendary Peony Pavilion in the Ming Dynasty, the women in the south of the city died of emotion in the story of Urging Bao, not because of the obstruction of feudal ethics, but only because of their desire for emotion. The escort came and the woman came back to life. This romantic way further illustrates the strong emotional factors in Tang novels. This kind of emotion only appeals to the hero's heart, and has nothing to do with all external information, which embodies a characteristic of not seeking transcendence.
Another similar story is the story of the red runner. In this story, this introversion is more distinctive. In the story of Red Flow, a Confucian scholar accidentally picked up a red leaf floating down the running water from the palace, which read a poem written by a woman in the palace: "Why is the running water too urgent and the palace is idle all day?" Thank you for your diligence, so that you can go to the world. " So Confucian scholars missed it and lost their spirit. Friends next to him laughed at his stupidity and advised him from a realistic perspective:
What a fool! People who write books have no intention of being children. I get it occasionally. Why do you think so? Although his son is diligent in thinking about love, the emperor forbids the palace. Although the son has wings, he dare not go. The stupidity of children is also ridiculous.
But he was unmoved, thinking that "if a man has ambition, heaven will get what he wants", so he returned a poem, which was still introduced into the palace along the running water, hoping that the woman who wrote the poem could see it. Later, by chance, a woman in the palace was sent out of the palace because of her sin, and V's friends pulled strings to facilitate their marriage, only to find that the maid-in-waiting was the one who wrote poems on the red leaves. In this story, Confucian scholars are faced with a choice, which is to listen to their friends' advice from a realistic point of view and stop having illusions, or to follow their own inner emotional direction and remain infatuated. Obviously, Confucian scholars listened to their own hearts and were not influenced by the outside world. Therefore, only by borrowing the running water from the imperial ditch can I have a chance to express my confession to the women in the palace. As for later, the women in the palace actually received poems from Confucian scholars, and they were able to marry Confucian scholars in the dark after leaving the palace, which all had romantic factors. This romantic factor is also the externalization of inner emotional orientation, which is not interfered by external reality. In addition, there are many novels in the Tang Dynasty that reflect this kind of introversion, such as "Pei Xing" and "Engagement Shop".
Expanding reading: the most witty words in Tang poetry and Song poetry
But his love for three thousand people is concentrated on one person.
The most bitter wine-wine turns into sorrow and tears into acacia.
The tallest building-the dangerous building is 100 feet high, and you can pick the stars with your hands.
The most expensive letter-three months after the war, a letter from home is worth a ton of gold.
The thickest ice-sand sea, unfathomable ice, gloomy clouds, condensation in Wan Li.
The deepest affection-Peach Blossom Pond is deeper than thousands of feet, not as good as Wang Lun's affection.
The fastest boat-the apes on both sides of the Taiwan Strait can't stop crying, and the canoe has passed Chung Shan Man.
The deepest snow-three feet of snow outside the city at night, Xiao drove a charcoal car on the ice.
The longest hatred-endured by the earth and endured by heaven; One day both will end, and this endless sadness will last forever.
The strongest feeling-the golden wind and the jade dew meet, but it has won countless people.
The longest love-the earth endures, and heaven endures; One day both will end, and this endless sadness will last forever.
The longest hair-white hair three thousands of feet, sorrow is like a long beard.
The poorest woman-holding her ear in her right hand and hanging a basket in her left arm.
The farthest neighbor, however, when China keeps our friendship, heaven is still our neighbor.
The hardest way to go-the danger is high, the Shu road is difficult to travel, and it is difficult to go to the sky.
The biggest forehead-no three or five steps out of the hospital, the forehead has reached the painting hall.
The biggest doors and windows-the windows are filled with snow from Xiling, while the Wan Li ship from Wu Dong is moored outside.
The biggest waterfall, the flying stream, falls 3,000 feet, and people suspect that the Milky Way has set for nine days.
The most unlucky ship-Qian Fan is on the edge of the sunken ship, and Wan Muchun is in front of the sick tree.
The longest sleep-a dream in Yangzhou for ten years, won the poor blessing of a brothel.
The most wonderful spring-after a night in Shan Yu, there are a hundred springs on the tree.
The quietest space-there are no birds in the mountains, and there are no footprints in the thousand paths.
The strongest spring breeze-like the strong wind in spring, blows at night and blows open the petals of ten thousand pear trees.