The appellation of China's poems in Tang Dynasty. It marks the pinnacle of China's classical poetry. Poetry creation in the Tang Dynasty is prosperous, with rich themes, diverse styles, numerous schools, complete systems, and a large number of writers' works of high quality. According to the statistics of the whole Tang poetry, there are more than 48,900 poems, and more than 2,200 authors have names to test. The outstanding achievements of Tang poetry are the result of the poet's inheriting and carrying forward the fine traditions since The Book of Songs and Songs of the South under the historical conditions of further development and reform of feudal politics and economy, relatively open social thoughts and generally high artistic culture, and extensively summarizing the creative experience of predecessors. It shows that China's classical poetry has developed to a fully mature stage.
The development process of Tang poetry has roughly experienced four stages: early Tang, prosperous Tang, middle Tang and late Tang.
(1) early Tang poetry. Poetry in the early Tang Dynasty was still in the afterglow of Sui Chen's period. The poems of Li Shimin, Emperor Taizong and the literati around him are gorgeous and soft. Shangguan Tiqi was wrong and charming. Only a few people, such as Wei Zhi, Wang Ji and Wang Fanzhi, can get rid of this custom. It was not until the four outstanding poets in the early Tang Dynasty that the content and form of poetry were developed. However, it still has not got rid of the influence of "adopting beauty and competing for differences" in the late Six Dynasties. It was Chen Ziang in Wuhou period who really expounded the influence of Chen Liang's poetic style. He advocated "Han Wei style", took retro as innovation, and resisted extravagant poetic style. Shen Quanqi, Song and four friends of the article (Li Qiao, Cui Rong, Su Weidao and Du Fu) have similarities with him in different genres. Most of their works are based on harmony and embellishment, but there are also some excellent works in their other poems. Especially Du Fu's poems. But their main contribution lies in the perfection of the law. Shen, Song and Du are called the founders of five-character poems and seven-character poems by later generations.
② Tang poetry. On the basis of "Shen" and "Song", the poets in the prosperous Tang Dynasty further combined the correct direction with the perfect form. From Kaiyuan of Xuanzong to Tianbao, poetry flourished in an all-round way, and a large number of famous artists appeared. Their works are exquisite and beautiful, vigorous and fresh, with fantastic images and harmonious rhythm, showing the artistic characteristics of the times. Frontier poems and pastoral poems occupy a large proportion in the poems of the prosperous Tang Dynasty. Frontier Poetry School is represented by Gao Shi, Cen Can, Li Jie and Wang Changling. Their works are full of atmosphere and tragic artistic conception, and they often use seven-character songs or seven-lines. Wang Wei, Meng Haoran, Chu Guangxi and Chang Jian are the most famous pastoral poets. Their poems mostly reflect leisurely and secluded thoughts and feelings, with light colors and deep artistic conception, and they mostly use five-word laws and five-word old sayings. This school of poets took a big step forward in exploring natural beauty than the poets of the Six Dynasties. Among them, Wang Wei has the highest achievement. Li Bai and Du Fu are the symbols of the highest achievements of poetry in the prosperous Tang Dynasty. Li Bai's masterpieces were mostly before the An Shi Rebellion. Rich in content and subject matter, magnificent in momentum, rich in imagination and elegant in style, it reflects the social life and the psychology of the times in the Tang Dynasty in many ways and at many levels. Du Fu's poetry is a history of poetry in troubled times, which faithfully records the turmoil of the country and the suffering of the people. Broad and profound, depressed and frustrated; The first sound of the new Yuefu movement. In terms of poetic language, meter and skills, he is good at learning from many teachers, extensively absorbing the experience of predecessors and contemporary authors, forming his own unique style, and opening up many roads for the development of later poetry. In addition, Yuan Jie, Shen Qianyun, Meng Yunqing and others are also quite distinctive poets in this period.
③ Poetry in the Middle Tang Dynasty. At the beginning of the middle Tang Dynasty, the country declined, and the poetry circle was also depressed. The works of Liu Changqing and Wang Wei, ten talented poets in Dali, are exquisite and elegant, but their contents are superficial. Lu Lun and Li Yi have some desolate frontier poems with bold artistic conception. The most outstanding figure in this issue is Wei, whose pastoral poems are elegant and free, while his Yuefu songs are satirized in aestheticism. In addition, Yung Wing, Gu Kuang and Dai Shulun also have excellent articles reflecting the sufferings of people's livelihood. Yongzhen's innovation and Yuan and Zhongxing revived the poetry circle. Bai Juyi, Yuan Zhen, Li Shen, Zhang Ji and Jincon advocated the New Yuefu Movement and created a large number of political allegorical poems that widely reflected the reality and criticized the current politics, with a leisurely style. Han Yu, Meng Jiao, Li He and Jia Dao are famous for their strange and steep sculptures. Han's poems are heroic, Meng's poems are profound, Li's poems are beautiful and Jia's poems are austere. In addition, Yao He's poems are strange and bitter, while Lutong, Liu Cha and others are good at strange rise. Apart from these two schools, Liu Zongyuan's poems are either elegant or sad. Liu Yuxi's poems are concise and implicit, with beautiful artistic conception and harmonious rhythm. The innovative spirit and personality style of poets in this period are outstanding.
④ Late Tang poetry. The poetic style of the late Tang and Five Dynasties became more and more delicate. Although there have been writers and works with great influence in the history of literature, they generally lack the broad spirit and muddy realm in the middle of the prosperous Tang Dynasty. Outstanding poets Li Shangyin and Du Mu made unique contributions to the art of poetry. His poems are full of emotion and profundity, but when he is hurt, he is worried about the country and the people, deeply sad and has a sense of decline. The writing is clear and elegant, but the style is low. He also has a good show, but the overall style is light and thin. Since then, most poets have imitated their predecessors and made no great breakthrough in art. The famous poets are Pi Rixiu, Lu Guimeng, Nie, Du Xunhe, Luo Yin, Han Wo and others.
The poetry system in the Tang Dynasty is diverse, and the whole China classical poetry after the Song Dynasty is not within its scope. Ancient poems in Tang Dynasty can be lyrical, narrative and argumentative. Due to the influence of modern poetry, the ancient poems in Tang Dynasty were either integrated into metrical sentences or deliberately opposed to metrical sentences, which was different from the purity of ancient poems before Jin and Song Dynasties. In the early Tang Dynasty and the Five Dynasties, it still inherited the variant of Qi and Liang Dynasties, which was transformed by Chen Ziang, developed by Zhang Jiuling and Li Bai, and finally flourished in Du Fu. Seven-character unconventional songs and ancient poems are in parallel with the traditional songs which are refined and accurate and tend to be legalized. Yuefu is a special kind of classical poetry. Many Yuefu in the Tang Dynasty broke up in discord, or borrowed old inscriptions to write new ideas, or set up new ones to remember new ones. Li Bai, Du Fu, Yuan Zhen and Bai Juyi achieved the highest results. The Five-Seven Rhythm is a new poetic style in the Tang Dynasty. After Wang Ji and four outstanding figures in the early Tang Dynasty, the Five Laws finally realized the system standardization in Shen Song. The Seven Laws rose late, and the authors were Shen, Song and Du. Through the development of Wang Wei, Gao, Cen and others, Du Fu's realm has been greatly expanded. Since then, the five-seven-character method has developed in parallel. Ten talented people in Dali, Jia Dao, Yao He, Xu Hun, Zhao Wei, etc. They are all famous legal scholars. In the late Tang Dynasty, the beauty of timbre and language skills of Li Shangyin's Seven Rhymes developed to a more mature stage. Metric poems have rhythmic lines, and most writers tend to blow their own horn. There are few excellent works. Du Fu's local arrangement and writing of major themes are neat and beautiful, and his achievements are very high.
The quatrains in the Tang Dynasty were used to sing in harmony with music, and their creation flourished until the end of the Tang Dynasty. The quatrains before the prosperous Tang Dynasty have delicate images, vague meanings, simple scenes and long lasting charm. Li Bai, Wang Wei and Wang Changling are the best experts. The quatrains in the middle and late Tang Dynasty were euphemistic and tortuous. Du Mu and Li Shangyin are its representatives. In addition, Du Fu's quatrains are integrated with arguments. Liu Yuxi and Bai Juyi's imitation of folk songs, Zhi Zhu's Ci, Yang Liuzhi's Ci and Langtaosha are humorous and lively, and their intonation is often abrupt, adding a new style of quatrains.
The compilation and research of Tang poetry has a great influence on later generations and is regarded as a model. The compilation, annotation, evaluation and research of later generations never stopped. Selected Poems of Tang Poetry include Tang Yin Tong Qian by Hu Zhenheng in Ming Dynasty and Quan Tang Poetry by Patten in Qing Dynasty. Judging from the anthology, there are ten kinds of Tang poems selected in the Tang Dynasty. In the Song Dynasty, a large-scale collection of poems, Wenyuan Huaying, edited by Li Yun and others, has preserved a lot of Tang poetry materials, and Hong Mai's Ten Thousand Poems of Tang Poetry is a detailed compilation of quatrains, which has great influence. The monographs of comments and research in past dynasties are also extremely rich. Tang Mengbang's Skill Poems, Zhang Wei's Poet's Subject-Object Diagram, Ji Gong's Chronicle of Tang Poetry in Southern Song Dynasty, Taosun Ao's Mi Weng's Poetry Review, Yan Yu's Canglang Poetry Talk, Yuan Xinwen's Biography of Tang Talents, Wang Ming's Poetry Talk, Hu Yinglin's Poetry Talk, etc. On the other hand, Hu Zhenheng's "Tang Yin Gui Qian" in Ming Dynasty made a comprehensive study of Tang poetry on the basis of summarizing the achievements of predecessors and made great contributions to the establishment of Tang poetics. Modern research monographs include Wen Yiduo's On Tang Poems, Cen's Reading Notes on Tang Poems, Fu Xuancong's Examination of Tang Poems, Ren's Poems and so on.
Song ci
Lyrics of China's long and short sentences in Song Dynasty. Song Dynasty is a prosperous period of lyrics of long and short sentences. In the history of literature, Ci is called Song, which reflects the important position of Song Ci as a generation of literature. Ci rose in the Tang Dynasty and developed into the Song Dynasty with great achievements. According to the statistics of "Song Ci" and "Supplement to Song Ci", there are more than 20,000 works (excluding fragments and attachments), and there are more than 430 famous authors/kloc-0. This is not only due to the specific historical environment of the Song Dynasty, but also the result of the development and evolution of literature itself.
The basis of the development of Song Ci: the policy of treating officials well was implemented in Song Dynasty. With the recovery and development of social economy, folk wealth gathered and concentrated in the capital and several other big cities, providing material conditions for the rulers to express their feelings and sing and dance. By the time Ning was worshiped in the Northern Song Dynasty, Bianjing (now Kaifeng), the capital city, had become a cultural and entertainment center, and there was a prosperous scene of "new voices laughing at Liu Mo's flowers and songs, and teahouses and wineries tuning the strings according to the pipes". During the Southern Song Dynasty, when the political power was partial to the south of the Yangtze River, Lin 'an (now Hangzhou), the capital, became a place for landlords and bureaucrats to indulge themselves. The genre of Ci, from the mass art in the grass-roots period to the hands of literati, entered the era of expressing boudoir feelings and enjoying singing and dancing, and became the exclusive product of the feudal ruling class. At the same time, influenced by Yan music, it also forms a special artistic personality with special artistic functions. It provided convenience for the artists in the Song Dynasty to "speak beyond words" and expressed their sadness and joy of "moving without restraining". Therefore, Ci developed into a representative literature in the Song Dynasty in the specific social environment.
The development of Ci in the Northern Song Dynasty experienced three stages. In the first stage, Yan Shu, Yan, Ouyang Xiu and others inherited Hua Jian Ji as the transition from Tang Dynasty to Song Dynasty. In the second stage, Liu Yong and Su Shi's new exploration in form and content, as well as the artistic creation of Qin Guan, Zhao Lingzhi and He Zhu, promoted the prosperity of various styles of Song Ci. In the third stage, Zhou Bangyan's artistic creation embodies the deepening and maturity of Song Ci. These three stages are intertwined in time, and the evolution of inheritance and innovation is not separated from each other. The creation of Yan Shu and Ouyang Xiu mainly lies in inheritance. There are many similarities between his ci style and "Huajian" in West Shu, and there is no breakthrough and innovation in content and form. While inheriting, Heyan made some innovations and completed the transition from Tang Dynasty to Song Dynasty. In terms of artistic form, some slow words created by Zhang Xi 'an prepared for the change of ci style. It initiated the innovation of Song Ci in ideological content. The first reformer of Song Ci was Liu Yong. Liu Yong, Yan Shu and Ouyang Xiu were all poets in the early Northern Song Dynasty, but his influence on ci was far greater than that of terns circulating in the Northern Song Dynasty. Liu Yong's creation widely reflects social life. In addition to the love affair between men and women, there are also some aspects of urban life, which reflect the life, thoughts and feelings of the lower class in the city to some extent. In artistic form, Liu Yong used folk tunes to write ci, and created a large number of slow ci, which effectively expanded the system of ci and laid the foundation for the development of Song ci. In the middle and late Northern Song Dynasty, Su Shi stepped onto the field of ci, which opened up a new situation for the development of ci in the Northern Song Dynasty. On the basis of Liu Yong's creative innovation, Su Shi further transformed his ci into an independent lyric poem. Develop towards multipolarization. On the one hand, since Liu Yong, the creation of slow ci in the Northern Song Dynasty has been more prosperous because of the succession of Su Shi and Qin Guan. On the other hand, a group of followers gathered around Su Shi studied Su Ci, but they did not stick to one model and developed in different directions. Due to the changes and competition between Liu and Su, the ci circles in the Northern Song Dynasty presented a prosperous situation in which various styles competed for development. At this stage, Qin Guan, Zhao Lingzhi, He Zhu and others also promoted the development of Ci in the Northern Song Dynasty with their unique creations. In the late Northern Song Dynasty, Zhou Bangyan, as the leader of various schools, carried out a series of comprehensive work, which promoted the maturity of Ci. Zhou Ci is not as good as Su Shi in the development of ideological content, and his works are mostly poems about scenery and things. His main achievement is to sort out and standardize the tones of old words, innovate his own tones, and provide creative norms for future generations. In terms of expression techniques, Zhou Diao did not pay attention to images, but devoted himself to the tempering and casting of language.
After the transformation of Ci in the Southern Song Dynasty, the great changes in social history had a certain impact on the development and evolution of Ci. The works of Li Qingzhao and Xiang Ziyin, poets in Du Nan, represent the transition from the Northern Song Dynasty to the Southern Song Dynasty. Their works set an example for Du Nan writers on how to express new content in old forms. On the basis of Li Qingzhao and Xiang Ziyin, poets inherited and carried forward the artistic creation experience of former pronouns, promoted the continuous development of ci style and accelerated the transformation of ci style to some extent. Among them, the poets represented by Lu You, Xin Qiji, Chen Liang, Liu Guo, Liu Kezhuang and Liu Chenweng created a number of excellent works reflecting the life of the times and embodying the spirit of the times; Writers represented by Jiang Kui, Shi Dazu, Wu Wenying and Zhang Yan. The artistic expression of ci was explored and tried. Xin Qiji's creation embodies the highest achievement of Ci in the Southern Song Dynasty. In his works, he not only expressed the agitation and tragic resistance to national rejuvenation, but also praised the natural scenery and the leisure and freshness of farm life, which reflected the social outlook at that time in many ways. In artistic creation, it has also formed its own characteristics. Lu You, Chen Liang and Liu Guo, contemporary of Xin Qiji, were followed by Liu Kezhuang and Liu Chenweng, who were either homophones of Xin Qiji or imitators of worship. Their creation is a supplement to Xin Ci, but it also develops some shortcomings of Xin Ci. When Jiang Kui entered the ci world, he was faced with the problem of the transformation of ci style. On the basis of his own theory of "harmony" and "difference", he used the poetic method of Jiangxi Poetry School to enter ci, with a unique style and a unique style. At the same time, because he is good at melody and music theory, the combination of words and music has reached the extreme and achieved high artistic achievements. Shi Dazu's ci is beautiful and elegant, and his style is similar to that of Jiang Kui. It is regarded as the wing of Jiang Kui, but its achievement is not as good as that of Jiang Kui. Wu Wenying is another great poet after Jiang Kui. His poems are harmonious in tone and concise in words, but they are often overdone and vague in meaning. Zhang Yan was a poet and a great musician during the Song and Yuan Dynasties. He inherited many advantages of his predecessors' ci. His words "Qingyuan is meaningful, sad and touching" are unique. However, with the decline of ci style, it finally became the last echo, and the era of Song poetry has come to an end. From the Southern Song Dynasty, on the one hand, Ci developed in the direction of literati, and finally became rigid; On the other hand, it merged with folk lyric minor and became a song, which provided the foundation for the prosperity of another style in Yuan Dynasty. Song ci has experienced the process of development, maturity and even transformation. After the Song Dynasty, although the ci style did not die, it was already the aftertaste of the ending. In the literature of Song Dynasty, as a special poetic style, Ci has certain limitations in reflecting reality and expressing emotions, but it can't be "what poetry can say". However, due to its special artistic personality, it "can express what poetry can't", which enables Song artists to fully display their talents in this special artistic field and develop Song Ci into a representative of a generation of literature.
The compilation, arrangement, evaluation and research of Song Ci began in Song Dynasty. The most complete collection of Song Ci is Tang Guizhang's Song Ci, with more than 33,000 poets and 1.99 million lyrics. Huang Sheng's Selected Poems in Hua 'an, Zhou Mi's Wonderful Poems, Zhu Yizun's Comprehensive Poems, Zhang Huiyan's Selected Poems and Zhu Zumou's Hundred Song San Poems have great influence. A special work on Ci was popular in Song Dynasty. Among the extant genealogy books, Ci Lv and Ci Pu are large in scale and have great influence, while Bai Xiang Ci Pu is very popular. There was no monograph on rhyme in the Song Dynasty, but later Ge Zai's Linz Zheng Yun prevailed.
Records in inscriptions, anthologies, nursery rhymes, oral biographies and books.