Li Yi (748-827) was born in Guzang, Longxi (now Wuwei, Gansu). He was a scholar in the fourth year of Dali (769), and became a master of satirical art two years later. He was named Zheng County Commandant in Huazhou, and later moved to the main book. Starting from the ninth year of Dali (774), he joined the army five times, and successively entered the Xirang shogunate, Shuofang shogunate, Li Huaiguang shogunate, Lingzhou shogunate, Zhang Xianfu shogunate and Youzhou shogunate in Tibet. As for Zhenyuan, he entered the DPRK as an official, and Ren Zhongshu gave up his family business and rode on the power, taking the position of a regular servant and an official. Li Yi's works show the duality of Dali's poetic style: both the charm of prosperous Tang Dynasty and the style of middle Tang Dynasty. In a brief but pleasant meeting with my brother-in-law, he said, "After these ten exhausting years, we meet again. We have all changed a lot. I didn't know my name for the first time. I was surprised when I first saw my name. I called my name and remembered that old face. Talking about the changes of the world after parting, I have been talking about the temple bells at dusk. Tomorrow you will go to Yueyang, leaving the autumn between us, one peak after another. " The sentimental sentiment in the poem is the same as that of other Dali poets. Li Yi had contacts with ten gifted scholars in Dali, and his book "Hearing the wind in the bamboo window and sending a wonderful method to Sikongshu" said: "The breeze started to sit at dusk, and I thought for a long time. The breeze opened the door, stirred the bamboo forest and doubted the arrival of old friends. Dewdrops on the branches and leaves fall from time to time because of the wind, which gradually moistens the dark green moss under the steps. When you enter Sapporo, you should play the pipa. " It is also very clear and delicate, which is difficult to identify in the poems of "Ten Talents". However, due to more than ten years of military life experience, Li Yi's frontier poems are the best, with about 50 or 60 poems, accounting for one-third of his existing poems.
Li Yi can be said to be an expert who can best inherit the style of frontier fortress poetry in the prosperous Tang Dynasty. His works are rich in content, which not only shows patriotic enthusiasm and national pride, but also shows homesickness. His "Send the Army to Liaoyang" said: "I have been angry for my country all my life, and the horn sounded day and night." There is no lack of lofty sentiments and ambitions in the poem. He said in the song of the plug:
Fu Bo just wants to be buried, so there is no need to enter the customs in Dingyuan. Don't just send a reincarnation hole, but still leave an arrow to shoot the Tianshan Mountains.
This heroism obviously has the aftertaste of the prosperous Tang Dynasty. However, in the era when Li Yi lived, the sadness and sadness caused by dissatisfaction with the war increased sharply. For example, he said in "Liuhu North Night Marching, Drinking Horses, Grinding Sword and Grinding Stone": "At that time, the sword was washed into a river, and the grass and sand are still red. I asked because of the stone, and the water whimpered at the root. " War-weariness is reflected in his frontier poems, forming a deep and sad mood. Its "Yanzhou Over Hull Drinking Ma Quan" says: "Populus davidiana painted grass like smoke, and Hull always drank Ma Quan. On several moonlit nights, who leans on the sword and white clouds? Guanshan road has never been frozen, but today it is diverted to the front of the Chinese ambassador. Don't send pedestrians to take care of your face, lest you be frightened and haggard into the new year. " Such poems have lost the atmosphere of generous singing in the prosperous Tang Dynasty.
Li Yi's poems are all about work, especially four sentences are the first, and his frontier poems are also famous for seven sentences. When he writes scenery and expresses his feelings, he pays attention to capturing poetry in an instant, instead of grasping the overall feelings like poets in the prosperous Tang Dynasty. He prefers to describe his mentality in a more detailed and profound way, such as "Expediting the Northern Army":
After the snow in Tianshan Mountain, the sea is very cold, and it is difficult to play the flute. There were 300,000 people in the village, and I looked back at the moon for a while.
Hear the flute on the wall of Shouxiang at night:
Before returning to Yuefeng, the sand is like snow, and the city will be like frost next month. I don't know where the bleak reed flute blows and I look at my hometown all night.
Based on people's feelings in the moonlight and snow, it successfully shows the bleak mood of millions of soldiers who have been guarding for a long time and strengthens their sad mood through the sound outside the painting, which has far-reaching charm. This way of writing is also reflected in Li Yi's other poems, such as "Smelling the flute on a Spring Night": "The flute on a cold mountain calls for spring return, and the guests are moved to tears at each other. Wild geese can't pass through Dongting all night, and don't wait until dawn to fly north. " The sound of the flute on a cold night in early spring evokes the homesickness of travelers, and there is nothing to say except tears. This style has entered the middle Tang Dynasty.
Gu Kuang (about 727-820) was born in Huayang Mountain, Suzhou Haiyan (now Zhejiang Haiyan). In his early years, he lived in Yunyang, Jurong, and later settled in Haiyan Hengshan Temple. In the second year of Zhide (757), he was a scholar and served as a salt and iron envoy in the south of the Yangtze River in Yongjia, Dali. At the time of Jianzhong and Zhenyuan, he also served as the provincial judge of Korea and our envoy of Zhejiang East Road. Later, recommended by a friend, he worked as a school book lang and a writer lang in North Korea. In the fifth year of Zhenyuan (789), he was impeached and demoted to join the army, and served as the governor of Raozhou. Four years later, he retired. He has traveled all over Jiangsu, Zhejiang, Shanghai and Anhui and doesn't know where to go.
After Du Fu and Yuan Jie, Gu Kuang advocated elegance, emphasizing that poetry should reflect the sufferings of people's livelihood and criticize the shortcomings of the times. His Thirteen Chapters on Learning from the Past to Make Up for Death imitated folk songs to reflect various social contradictions at that time, boldly criticized reality, and inspired and influenced Yuan, Bai and others to write new Yuefu in the middle Tang Dynasty in content and form. The main genres of Gu Kuang's poetry creation are ancient poetry and Yuefu, which is unique in that he attaches importance to drawing nutrition from Wu Chu folk songs, organically combines ancient poetry and folk songs, and his poetry style is popular and lively, such as Moss folk songs;
Savages dream of Jiangnan Mountain at night, which is deep and loose. The savage sighs after sleeping, and the sticky moss is a mountain. There is nothing to do behind closed doors. I sleep all day and observe four things: like Bai Yunfei going out of the wall, like dripping water in front of a flying rain rock, like a tiger roaring, like a lazy dragon being struck by lightning. The empty pool was steep and cold, and the child held the railing with both hands.
The tone is smooth and natural, and the metaphor is novel and strange. It seems to be handy, but it is so interesting. Some of his five-seven-character quatrains are also obviously influenced by folk songs, such as On the River: "The innocent birds on the river are slanting and the oars are shaking. Listen to Brother Ling sing late and go back to the pond to shine on the sand. " "On the Mountain": "Savages love to stay on the mountain, and the situation is west of Gehongdan Well. There are long pine trees in front of the hospital, and the midnight rules come to crow. " The writing is straightforward and natural.
Gu Kuang said in "Returning to the Mountain": "There are a few white hairs in my heart, and my career is green. There is snow in the empty forest, and no one is alone in the ancient road. " His poems are sincere in feelings and vivid in images, and have a popular, simple and artistic style. They are not only full of whimsy, but also full of wildness. Such as "Elegy" the second:
I want to ascend to heaven every day. I thought about water without bridges. I want to climb the mountain, and I want to drill a well far away from Jing Quan. The greener people are, the more independent they are today. Yanzi flew west to deliver books, and white clouds met guests.
In addition to imagination, the composition structure is vertical and horizontal and unexpected. His poems became the pioneers of Bai Yuan and Han Meng in the Yuan Dynasty and Yuan Dynasty of Tang Dynasty. Their popularity and simplicity have influenced Bai Yuan's poetry school, and their boldness and strangeness have been inherited and strengthened by Han Meng's poetry school.