Social Reality of Poetry in Late Tang Dynasty

In the late Tang Dynasty, it was about 70 years from the first year of Wenzong (836) to the fourth year of Xuan Di's blessing (907). During this period, social contradictions were acute and complicated, the national situation declined and the prospects were dim. Social crisis and class contradictions eventually led to the collapse of the Tang Dynasty. In the field of poetry, external ethnic contradictions, internal feudalism, the struggle between the Niu and Li parties, political turmoil and social pain cast a deep shadow on the hearts of poets in the late Tang Dynasty. Faced with the gloom and decline of society, the poets in the late Tang Dynasty were unable to lift their spirits and could only learn from the bitter experience. Therefore, poets like Du Mu and Li Shangyin, who have a deep sense of hardship, can do nothing in the face of reality and can only sigh the sorrow and despair of the times repeatedly. This is the emotional tone of poetry in this period. On the other hand, in landscape poetry, the poet, singing the barren and cold landscape artistic conception, integrated landscape description with lyricism, with profound implications, and added reflection and exclamation to the landscape description.

(A) Du Mu's landscape artistic conception of "writing scenery and melting feelings"

Du Mu (803-852) was the most outstanding poet in the late Tang Dynasty. His and Li Shangyin's poems add vitality to the sad and beautiful poetry world in the late Tang Dynasty with their unique styles. They inherited Li Bai and Du Fu's fine traditions of paying attention to national destiny and reflecting social reality, and developed their own new style with their own creative practice, which was called "Little Du Li" by the world.

Du Mu is ambitious, but the sinister political environment makes him depressed and unable to realize his ambition. When there is no way to serve the country, it is inevitable that there is a feeling of sadness, but Du Mu can stick to his ideals and start studying the art of war. The combination of a poet and a strategist also affects his character and temperament, which is manifested in his poems and has a unique style of freshness and elegance. Poems about epic poems and lyric poems about scenery are his two best poems. Du Mu is good at writing seven-character quatrains and metrical poems. His poems are beautiful in style and profound in meaning. For example, the famous "Mountain Walk" has a fresh beauty, which makes people feel bright and clear after reading it: far away from the cold mountain, the stone path is oblique, and there are people in Bai Yunsheng. Stop and sit in the maple forest late, and the frost leaves are red in February flowers.

During his stay in the south of the Yangtze River, bright and beautiful nature and freehand urban life were gathered in his works, and sometimes he added reflection on history, so that the poet's emotions naturally merged into the scenery. This tendency is fully reflected in his most famous poems "Bo Qinhuai" and "Jiang Nanchun Jueju".

Smoke cage cold water moon cage sand, night parking near Qinhuai restaurant. Strong women in business don't know how to hate their country, but they still sing backyard flowers across the river.

-"Bo Qinhuai"

Jiangnan, the sound of green and red flowers, the waterside village in the foothills. More than 480 ancient temples were left in the Southern Dynasties, and countless pagodas were shrouded in wind and rain.

-"Jiang Nanchun quatrains"

Under the landscape style, Du Mu's landscape poems are characterized by adding a layer of reflection on history, writing scenery and feeling, and lamenting poetic feelings.

(B) "freehand brushwork" Li Shangyin's artistic conception of mountains and rivers

Li Shangyin (about 8 1 1-859) was born in a poor family in his early years and fell in love with the beauty of Li He's poems. In the middle period, I fell into the dispute between Niu Li and Li, and my life was down and out, and my life was not satisfactory. In the late Tang Dynasty, Li Shangyin was good at political satirical poems and lingering untitled poems. However, in his few landscape poems, he can often describe poetic scenery with exquisite brushwork, and rely on reason to express his feelings and think. His representative works are:

The narrow mountains in the city must be pressed, and the rivers are wide and floating. The southeast is unique, and there are many tall buildings in the northwest. God protects the shore of the green maple, and the dragon moves the white stone. Why pray in a strange hometown? The flute and drums never stop.

-"Guilin"

The ground is better than dust, and the body is idle. Yat sen villa winds over bamboo, and the moon is blooming in the middle of the night. Stone chaos knows spring swallowing, moss panic oblique. Tao Ran relied on gin, but forgot to stay in Shanjia.

-"Spring Festival Evening Send"

In the poem "Yat Sen Qing", we can also see his style:

A person lives in seclusion, overlooking the city, spring is gone, summer is clear. The grass was drowned by the rain and finally got the love of God. The rain was sunny. Climbing on the high shelf, overlooking the distance, the sky is high and the afterglow of the sunset passes through the window lattice. Birds' nests have been dried, and their bodies are light again.