Poetry in early Tang dynasty

In the early Tang Dynasty, it was greatly influenced by the writing style of the Southern Dynasties. During the Sui and Tang Dynasties, Wang Jishan wrote the pastoral poem Tao Ran Entertains himself, with a fresh and simple style. He is the pioneer of pastoral poetry in the prosperous Tang Dynasty, and his masterpiece is Wild Hope. The literary thoughts of Emperor Taizong and his ministers are pragmatic and oppose glitz, but in their creation, beauty and simplicity coexist.

Shangguan Yi, a court poet, whose poems are called "Shangguan Style", are graceful and charming, but the melody is rigorous. There are 20 poems by Shangguan Yi in the whole Tang Dynasty. Among them, 12 is written for writing, feasting and answering, and most of these poems are light songs for fun decorated with uplifting spirit; Four songs are elegies; Only Spring Day, Lodi Walking on the Moon, Painting Obstacles and Wang Zhaojun are poems written for feelings. In addition, Shangguan Yi put forward his own "six pairs" theory ("eight pairs", his granddaughter Shangguan Waner) on the basis of summing up the "four tones and eight diseases" theory of Qi Liang and Shen Yue and the "speaking correctly, acting correctly and being positive and negative" theory of Liu Xie's "Wen Xin Diao Long Li Ci". For example, The Night Scene of Appreciating the Sheren in Wannian Palace, Holding Friends Directly, Guilin Palace in Early Spring, etc., have made important contributions to the perfection of the metrical form of modern poetry in the Tang Dynasty by using various dual forms. From the perspective of melody, "a specific scale has been set for judging whether a poem should be written or not, as well as the evaluation criteria for selecting poets in the future." The four great poets in the early Tang Dynasty (namely, Yang Jiong, Lu and Luo) played an important role in the development of Tang poetry, and their works broke through and innovated the flashy poetic style or relatively simple system in the early Tang Dynasty in both content and form. The four outstanding officials are brilliant, generous and ambitious. They oppose elegant writing style and advocate the expression of true feelings. Although his creation has not completely got rid of the legacy of Qi Liang in form, it has made great breakthroughs in content and spirit. Wang and Luo are good at five-character poems, seven-character songs and "Farewell to Du DuDu to Shu". Yang Jiong's "Join the Army"; Lu's Chang 'an Ancient Meaning; A political prisoner is listening.

Wen Yiduo fully affirmed the role of the "Four Masters" in the development history of Tang poetry: first of all, he pointed out that the poetry creation of the "Four Masters" led Tang poetry from the palace and Taige to the market, Jiangshan and Saimo, adding new themes and expanding the scope of creation. Secondly, starting with the evolution of poetic forms, he divided the "four outstanding poets" into Wang Yang and He, and pointed out that Wang Yang's mission was mainly to establish five laws, which were in the same strain as Shen and Song (one was content and the other was form); His mission is mainly to destroy the old palace poems with the new palace poems, which has a direct impact on Liu, Zhang and later generations' long songs. If we focus on the evolution of the theme, scope and form of poetry, it is generally in line with the creative reality of the "Four Masters". "Song Shen" (that is, Shen Quan