(A) Pre-Qin period
China's poems came into being before the invention of writing, and gradually formed and developed in people's labor, singing and dancing. Poetry originated from ballads, which were only sung orally in ancient times, without written records.
The original poems are basically not recorded. The song "Breaking Bamboo, Continuing Bamboo, Flying Soil and Chasing it" in Wu Yue Chun Qiu and Gou Jian's Conspiracy Biography is considered to be a relatively primitive hunting song, but this is just a guess.
The development of pre-Qin poetry has gone through a long process from oral to written, from folk to court, from collective singing to poet creation.
1. The Book of Songs
Considering the system of rites and music, there was a special poetry collector in the Zhou Dynasty who collected ballads from all over the country in the spring and autumn. Nobles wrote and presented poems for the purpose of ancestor worship, feasting, sending troops, hunting and allegory. , and composed poems around the 6th century BC. Poetry anthology is the earliest poetry anthology in China. There are 305 * * * poems (there are also 6 poems with topics and no content, which are called sheng poems), so it is also called "300 poems". Since the Han Dynasty, it has been regarded as a classic by Confucianism, so it is called the Book of Songs. Mao Heng in Han Dynasty annotated The Book of Songs, so it was also called Mao Shi. Most of the authors of the poems in The Book of Songs cannot be verified.
The poems recorded in The Book of Songs have a long time span, covering more than 500 years of social life from the early Western Zhou Dynasty (BC 1 1 century) to the mid-Spring and Autumn Period (6th century BC), covering a wide area, from the north of the Yellow River to Jianghan Valley. In the Han Dynasty, there were poems by Lu, Qi and Han, which were written by scholars, followed by Shi Mao. After the popularity, three poets, Qi, Lu and Han, passed away one after another. Many people have interpreted the Book of Songs in the past dynasties, such as Zhuxi's Biography of Poetry in the Song Dynasty, Wang Fuzhi's The Book of Songs in the Qing Dynasty, Ma's Notes on Mao's Poems and Wang Xianxuan's Poems.
The Book of Songs is divided into three parts: style, elegance and ode. "Wind" is also called "national wind", and a group of * * has 15, which is called "fifteen national winds" and is a folk song all over the country. "Wind" is the general term for music. 15 group is not music from 15 countries, but music from more than a dozen regions. The national wind includes 160 music songs of,, Yi, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Qian, Chen and Cao. The national wind was a popular local song at that time, with local color. In terms of content, most of them are folk songs. The authors are mostly folk singers, but there are also some nobles. This part of literature has the highest achievements, including praising love, labor and other beautiful things, complaining and angry about homesickness, thinking about people, and opposing oppression and bullying. Ya *** 105, divided into Ya 3 1 and 74 articles, mostly for noble sacrifice poems, praying for a good year and praising Zude. "Elegant" means "positive", and this kind of music is regarded as "positive tone", which is intended to show the difference from music in other places. Xiaoya also has some folk songs. Ode is a poem dedicated to the ancestral temple. It is a piece of music in which nobles worship ghosts and gods in temples and praise the merits of rulers. Dance should be accompanied when playing. It is divided into Zhou Song, Truffles and Ode to Shang, with 40 articles in total. Among them, Song of Zhou (3 1 piece) is considered to be a work of the Western Zhou Dynasty, mostly written before King Zhao of Zhou. 4 pieces of Truffles, probably works by Lu Xigong; Shang Fu is considered to be the work of Song State before the Spring and Autumn Period. The poems in Ya and Ode are of great value to our study of early history, religion and society.
Regarding the classification of poems in The Book of Songs, there is a saying of "four beginnings and six meanings". "Four Beginnings" refers to four top poems: Feng, Elegance, Ode. "Six meanings" refers to "wind, elegance, praise, fu, comparison and glory". "Fu, Bi and Xing" are the expressions in The Book of Songs. Fu is a thing, describing the process of one thing. "Bi" is a metaphor, using one thing as a metaphor for another. "Xing" is the association from one thing to another.
Confucius once summarized the purpose of the Book of Songs as "innocent thoughts" and educated his disciples and children to read the Book of Songs as their standard of speech and action. Among the pre-Qin philosophers, many people quoted The Book of Songs, such as Mencius, Xunzi, Mozi, Zhuangzi and Han Feizi. Quote the sentences in the Book of Songs to enhance your persuasiveness. Later, The Book of Songs was regarded as a classic by Confucianism and became one of the Six Classics (including Poetry, Calligraphy, Rites, Yue, Yi, Spring and Autumn) and Five Classics (without Yue).
2. Song of the South
During the Warring States Period, Qu Yuan's Songs of the South marked a higher development stage of China's poetry, from folk collective singing to poet's independent creation. "The Sao of Qu and Song Dynasties is written in Chu language, which is a Chu sound, a Chu land, and a Chu object, so it can be described as Chu Ci." This new poem with distinctive Chu culture color, which was created by the poet, pushed China's poetry forward a big step.
The pre-Qin works collected in Chu Ci were written by two poets, Qu Yuan and Song Yu. Poets' works are generally richer in thought, more delicate in emotion and more exquisite in art than folk simple singing because of their personal talent, high cultural accomplishment and inheritance of artistic heritage. Qu Yuan and Song Yu's works, "If you express your feelings and grievances, you will be depressed and susceptible; Leaving home will be embarrassing and difficult to conceive; On the landscape, you can get its appearance by following the sound; Speaking of seasonal climate, you can see it from the text "(Liu Xie's Wen Xin Diao Long | Distinguishing Sao). Qu yuan, in particular, took the meaning of classics and made his own big words. His works are large in scale and magnificent in style, which are the product of the positive results of the integration of North and South cultures.
Qu Yuan's Sao poems are typical works of romanticism. The passionate pursuit of ideals, the explosive self-dialogue of love and hate, and the childlike heart of the motherland are all contained in bold and unrestrained words and grand structures. The poet boldly galloped his imagination, fused myths and legends, historical stories, natural phenomena and his own experiences, and created an unprecedented magical and magnificent fantasy world. Qu Yuan's works have an outstanding and unique personality. The formation of this romantic feature is inseparable from the cultural tradition of Chu State. Witchcraft prevailed in Chu, and the court and folk sacrifices made witches "make songs, have fun, and entertain the gods with inspiration". This kind of music with primitive religious flavor is naturally a hotbed of romantic masterpieces. For example, "Nine Songs", its predecessor is a folk song offering sacrifices to gods in Yuanxiang area. From the realism of The Book of Songs to the romanticism of Qu Yuan is a milestone in the development of China's poetry. Qu Yuan's Sao-style poems arouse interest and use metaphors to compare interest, which inherits and develops the tradition of comparing interest in The Book of Songs. The metaphor in The Book of Songs is relatively simple, while the metaphor in The Songs of the South is symbolic and often becomes an image system. The comparison of vanilla beauty in Li Sao is an example. Chu Yuan is a mountainous country in Zexiang, during which there are many waves and mountains. The strangeness of these mountains and rivers is enough to shake the soul and urge good words. Sao-style poems break through the fixed format of the four-character poems in the Book of Songs, with long and flexible sentence patterns, rigorous chapter amplification and beautiful and appropriate words, which is a great liberation of the poetic style after the Book of Songs.
In the pre-Qin period, The Book of Songs and The Songs of the South were juxtaposed, which were two lofty coordinates of realism and romanticism in the history of China's poetry. However, Sao-style poetry has broken through the fixed format of four-character poems in The Book of Songs, with long and flexible sentence patterns, enlarged and rigorous chapters, gorgeous and appropriate poems, which is a great liberation of poetic style after The Book of Songs. Some people say that China's poems in past dynasties are "different from his ancestors", which shows its influence on later poems.
(2) Han Dynasty
Poetry in the Han Dynasty is embodied in nineteen ancient poems written by Han Yuefu and literati at the end of Han Dynasty.
1. Han Yuefu
Yuefu originally refers to a musical organ, which was expanded into a large-scale institution when Emperor Liu Che of the Han Dynasty. Its main task is to collect folk songs for music, and to create poems praising the virtues of literati for the rulers to sacrifice and feast at the court. Han Yuefu is a Yuefu poem in the Han Dynasty, also known as Yuefu poem or Yuefu song. According to the classification of Yuefu poems compiled by Guo Maoqian in Song Dynasty, Yuefu in Han Dynasty was generally preserved in suburban temple songs, advocacy songs and harmony songs, with more than 100. These chapters represent the highest achievements of Chinese poetry.
The folk songs of Han Yuefu directly inherited the realistic tradition of the folk songs in The Book of Songs, and comprehensively and profoundly reflected the social life and people's thoughts and feelings at that time, but they were different from the songs in The Book of Songs, which were mainly lyrical, and the characteristics of Han Yuefu songs were narrative. These songs depict the heavy class oppression and exploitation, expose the extravagance and decay of the upper class, reflect the disasters brought to the people by the long-term foreign war, express the people's protests against feudal marriage and their eager yearning for free love, and provide vivid and concrete pictures of social life in the Han Dynasty for future generations. Han Yuefu folk songs are good at shaping typical images with individuality in a specific environment through the narrative of drama plots and the depiction of characters' language and movements. Among them, Mulberry, Journey to the East Gate and Peacock Flying Southeast are all masterpieces handed down from generation to generation. Han Yuefu also broke the four-word format of The Book of Songs in form, and adopted five words with random length and loose overall. This is a new style poem with oral features. It can be seen that after the Chu Ci, the Han Yuefu realized the new liberation of China's poetry both in language and form.
2. Nineteen ancient poems
Nineteen Ancient Poems, formerly known as Ancient Poems, was first included in Selected Works of Liang Zhao Wang Xiao Tong in the Southern Dynasties. These poems are not the work of one person, but the author belongs to the lower middle class of the landlord class. Nineteen ancient poems laid the foundation of five-character poems, which can be said to represent the highest achievement of China's five-character poems. These ancient poems show strong sentimental feelings and reflect the turmoil and darkness of the times from one side.
Someone once commented on Nineteen Ancient Poems as "the mother of poems after the wind". These poems are good at lyricism, contrast and symbolism, and they are all wonderful. It melts feelings into scenery and sends feelings to things, often reaching a perfect and harmonious state. Its language is really gorgeous and tends to be dull, with the artistic charm of short sentences and long feelings. Nineteen Ancient Poems have been highly praised throughout the ages, and Liu Xie, a literary critic in the Southern Dynasties, was even rated as the "five-word crown". His artistic achievements are indeed a symbol of the maturity of literati's five-word poems. For example, traveling again, picking hibiscus in the river and seeing off Altair, the high-rise buildings in the northwest have been handed down from ancient times.
3. Others
Poetry in the pre-Qin and Han dynasties also appeared dating. The first time was in the Qin Dynasty. Because of the short time, burning books and burying Confucianism, and the extremely bad ideological and political situation, there are still ballads mainly circulating among the people. The second time was the Western Han Dynasty, and the literary world showed a trend of scarcity. Only Liu Bang's Sao-style poem Song and Wei Meng's four-character satirical poem are worth mentioning. However, China's ancient poems are undoubtedly a bright pearl in the treasure house of human spiritual civilization, full of essence and treasure, and have numerous masterpieces handed down from generation to generation. Poetry in the Pre-Qin and Han Dynasties is the source of China's poetry civilization. In particular, the appearance of The Book of Songs, Songs of the South, Yuefu of Han Dynasty and Nineteen Ancient Poems played an extremely important role in later generations, and cultivated later generations of progressive poets.
(3) Wei, Jin, Southern and Northern Dynasties
During the Jian 'an period at the end of Han Dynasty, "Three Caos" (Cao Cao, Cao Pi and Cao Zhi) and "Seven Scholars of Jian 'an" (Kong Rong, Chen Lin, RoyceWong, Xu Gan, Ruan Ji, Zuo Ying and Serina Liu) inherited the realistic tradition of folk songs in Han Yuefu, and generally adopted five-character style, which set off the climax of literati poetry creation for the first time. Their poems show the spirit of the times, have a generous and sad masculine style, and form a unique "Jian 'an style".
At the end of the Han Dynasty, in Wei Chu, under the social background of "chaos in the world, the decline of the wind and people's resentment", the creation of literati poetry entered a period of great development of "five words surging". During this period, with Cao Cao, Cao Pi and Cao Zhi as the core, Ye Ren Xia Group was formed with Kong Rong, RoyceWong, Serina Liu, Chen Lin and other so-called "seven sons of Jian 'an", which created the glory of Jian 'an literature. The works of Jian 'an literati have the same style of the times as "generosity". Among them, Cao Cao's poems, such as Hao, Short, Walking Out of Xiamen, which reflect the turbulent social reality and express the poet's ambition to make contributions and unify the world, are all relatively successful chapters. Cao Zhi's literary achievements are the highest, and he is called "the outstanding man in Jian 'an". His poem is "high-spirited, and his words are taken from Hua Mao". "White Horse" and "White Horse Wang Biao" are his representative works in his early and later periods. His prose and ci fu also show high ideological and artistic quality, and the famous "Luo Shen Fu" is beautiful. RoyceWong is the most accomplished writer among the "Seven Scholars", and his Seven Wounded Poems and Loutai Fu are masterpieces with realistic spirit in Jian 'an literature.
At the turn of Wei and Jin Dynasties, with the change of social customs, poetry creation showed a different style from that of Jian 'an era. Ruan Ji and Ji Kang's works are either gloomy and difficult, or sharp-edged. They inherited the excellent tradition of Jian 'an literature and further promoted the development of five-character poems. Poetry flourished in the period of Taikang in the Western Jin Dynasty, and poets were known as "three lands and two lefties". But most of the works are in China, and only Zuo Si's poems are vigorous and powerful, inheriting the spirit of Jian 'an literature. His poem "Ode to History" opens up a new way to combine history with nostalgia. Under the influence of metaphysics in the Eastern Jin Dynasty, metaphysical poems with "tasteless rhetoric" once flooded, and Tao Yuanming was the greatest poet who could transcend the secular world. Tao Yuanming inherited the realistic tradition of Yuefu, formed his simple and natural pastoral unity, opened up a new realm for classical poetry and developed the poetic style of five-character poetry. In Tao Yuanming's era, "Zhen Feng died, and the Great Pseudo prospered". He walked out of poverty and witnessed the darkness of officialdom, unwilling to go with the flow. He is determined to resign and retire, keeping his personal spirit. His pastoral poems depict the beauty of natural scenery, praise the tranquility of rural life, and show the joy and hardship of personally participating in agricultural production and labor. It has created an artistic realm that combines emotion, scenery and reason, and is plain and mellow. Drinking in the Garden is his masterpiece of pastoral poetry. The style of Tao's poetry naturally faded into the mainstream, but reading Shan Hai Jing (Jing Wei Fill Micro Wood) and Jing Ke Fu also showed the poet's "King Kong glaring" side. It can be seen that the poet's heart is not peaceful, and he has not forgotten the world. Tao Yuanming's poems have a great influence on later generations, especially the pastoral poetry school in Tang Dynasty. Tao Yuanming's literary achievements are manifold. Although his prose and words are few in number, they are all excellent. His representative works include Peach Blossom Garden, Gui Qu Ci, and Qing Shi Fu.
Xie Lingyun, who was almost contemporary with Tao Yuanming, was the first person to create the school of landscape poetry. During the Southern and Northern Dynasties, many literati devoted themselves to literary creation, and the main literary styles used were poetry and parallel prose. In the hands of Xie Lingyun, the poems of the Southern Dynasties, especially the landscape poems, shine brightly. Later, Xie Tiao's landscape poems were fresh and mellow, and they were called "big and small thanks". The poet Bao Zhao was born in poverty, but he was good at expressing his cynical feelings with seven-character ancient poems. His rhyming seven-character songs have contributed to the development of seven-character poems. Wen Yuan in the north is a little lonely, but there are also many famous essays, such as Notes on Water Classics by Li Daoyuan in the Northern Wei Dynasty, Notes on Galand in Luoyang by Yang Xuanzhi, Family Instructions for Yan Family by Yan Zhitui in the Northern Qi Dynasty, etc. The most successful writer is Yu Xin from south to north. His Poem Fu is a masterpiece of North and South literature, which combines the exquisite and mature artistic skills of the South with the vigorous and hearty spirit of the North and becomes the forerunner of the poetic style in the Tang Dynasty. Parallel prose dominated the whole literary world in this period. Bao Zhao's Climbing the Thunder Shore and Sisters' Book, Yu Xin's Wucheng Fu and Jiangnan Fu are all excellent works. Generally speaking, the pursuit of formal temperament by literati in the Southern Dynasties made full preparations for the finalization and maturity of Tang Dynasty literature, especially modern poetry.
During the Southern and Northern Dynasties, another batch of Yuefu folk songs emerged intensively. In this period, folk songs are shorter and more lyrical than narratives. There are more than 480 poems preserved by Yuefu in the Southern Dynasties, which are generally five-character and four-sentence poems, almost all of which are love songs. The number of Yuefu in the Northern Dynasties is far less than that in the Southern Dynasties, but the rich content, simple language and vigorous style are beyond the reach of Yuefu in the Southern Dynasties. If Yuefu in the Southern Dynasties is a romantic song, Yuefu in the Northern Dynasties is a veritable "military music" and "battle song". Stylistically, Yuefu in the Northern Dynasties created seven-character quatrains and developed seven-character ancient poems and miscellaneous words in addition to five-character quatrains. The most famous Yuefu in the Northern Dynasties is the long narrative poem Mulan Poetry, which, together with Peacock Flying Southeast, is called the "double gem" in the history of China's poetry.
During the Wei, Jin, Southern and Northern Dynasties, literature gradually got rid of the influence of Confucian classics, gained independent development, and began to enter the conscious era of literature. Poetry, prose, ci fu, parallel prose, novels and other styles have made remarkable achievements.
(4) Tang
Tang Dynasty is the golden age of highly mature poetry. Nearly 300 years ago, the Tang Dynasty left nearly 50,000 poems, and there were about 50 or 60 famous poets with unique styles.
1. Early Tang Dynasty
Four outstanding poets in the early Tang Dynasty were the main poets in the pioneering period of Tang poetry. Yang Jiong, Lu, Luo and others expanded the theme of poetry, and the form of five-character and eight-sentence rhythmic poetry began to take shape. In addition, there are, Shen Quanqi and Song. Poetry in the early days of the founding of the People's Republic of China in the Tang Dynasty still developed along the inertia of poetry in the Southern Dynasties, which was soft, delicate and lifeless. The emergence of the "four masters" began to change this trend. They are brilliant, dissatisfied with the status quo, expressing indignation and heroic embrace through their own poems, and broadening the theme of poetry. Chen Ziang clearly put forward that he opposed the poetic style of Qi and Liang Dynasties and advocated "the style of Han and Wei Dynasties". Thirty-eight Poems about Huai is his representative work with distinctive innovative spirit.
2. Tang Dynasty
By the beginning of the 8th century, there was a "golden age" in the Tang Dynasty, and its economy and culture reached its peak. There are also a large number of outstanding poets in the field of poetry creation, who have written extremely rich poems. The prosperous Tang Dynasty is the peak of poetry prosperity. During this period, besides Li Bai and Du Fu, there were many accomplished poets. It can be roughly divided into two categories: one is an idyllic poet represented by Meng Haoran and Wang Wei; The other is frontier poets, among whom Gao Shi and Cen Can have the highest achievements, and Wang Changling, Li Qi and Wang Zhihuan are also outstanding frontier poets.
Wang Wei is the most famous writer of pastoral poems. Wang Wei, whose real name is miscellaneous, is the right post of Shangshu, also known as Shangshu. Influenced by Buddhist thought, he was tired of bureaucratic life, lived in seclusion in Wangchuan for a long time, loved nature and was familiar with the countryside. His poems are quiet and leisurely, with a static beauty. In the foreign wars in Tang Dynasty, many literati participated in them, had personal experience of frontier fortress and military life, obeyed the army instead of writing, wrote poems to describe the desolate frontier fortress scenery, praised the brave spirit of soldiers, or cursed the disasters brought about by the war, so frontier fortress poets came into being.
Li Bai consciously inherited the romantic spirit of Qu Yuan's poems, combined with his genius and diligence, and created Li Bai's unique style. The first characteristic of his poetry is strong passion. He is pure-hearted, open-minded and has a clear love-hate relationship. When he is happy, he drinks, sings and laughs at the sky. When you are sad and angry, you should "smash the Yellow Crane Tower" but "Nautilus Island" ("Jiangxia gives Wei Nanling Ice"), you can laugh or cry, and you can't avoid it. The second feature is an incomparably rich imagination. Poetry comes like lightning, goes like a gust, changes vertically and horizontally, ups and downs. With his lyric needs, ancient and modern figures, astronomical geography knowledge, real history and illusory myths come to his pen at any time, injecting poetry and serving him. The third feature is to express passion in exaggerated language; Extremely exaggerated poems such as "Three thousands of feet with White Hair", "Snowflakes in Yanshan Mountain are as big as seats" and "A gust of wind blows down the mountain in three days" abound in his poems. It is only because of its exaggeration that it is vivid and extremely inaccurate, but it accurately expresses his feelings.
Li and Du are equally famous, but their personalities and poetic styles are quite different. Li Bai is like a wild and uninhibited horse, and Du Fuxiang is hard-working and has his own style and value. Du Fu's poetic style is mature and steady, and tends to be realistic. All his poems, on the one hand, reflect the life experience of an upright intellectual, and at the same time, they are a true portrayal of the history of the Tang Dynasty from prosperity to decline. Du Fu's poems are also called "the history of poetry" by later generations, which is based on this. There is a couplet written by Guo Moruo hanging in Du Fu's thatched cottage in Chengdu: "The world is scarred, and the sage in the poem;" The people suffer, and the bottom of the pen fluctuates. " The word 16 sums up Du Fu's poems well. Du Fu's poems embody the conscience of ancient outstanding intellectuals. He stood among the masses, shared joys and sorrows with the people, appealed for the people and defended Li Shu. In this respect, he is a permanent model of China intellectuals. He devoted his life to writing poems, and his poems are solid in content, pure in enthusiasm, deep in anger and dignified in style. In this respect, he is also an example for poets to learn. He is good at learning and inheriting tradition. "Words never die", and the attitude of writing poems is serious. Both ancient poems and modern poems are in a wonderful and beautiful state. The so-called "poet saint" is a saint in the field of poetry. Du Fu is the only person who has won this honor in the history of China's poetry for more than 3,000 years.
3. Middle Tang Dynasty
Poetry in the middle Tang Dynasty is the continuation of poetry in the prosperous Tang Dynasty. The works of this period mainly describe social unrest and people's suffering. Bai Juyi was the most outstanding realistic poet in the middle Tang Dynasty. He inherited and developed the realistic tradition of The Book of Songs and Han Yuefu, and set off the climax of realistic poetry in literary theory and creation, that is, the New Yuefu Movement. Yuan Zhen, Zhang Ji and Wang Jian are all important poets in this movement. There were other poets in this period, such as Han Yu, Meng Jiao and Li He. Their poetic art is different from Bai Juyi's and unique. Han Yu's writing into poetry has brought a new language style and composition skills to the poetry world, expanding the field of poetry expression, but at the same time it has also brought an atmosphere of taking writing as poetry, stressing scholarship and pursuing strangeness. Meng Jiao and Jia Dao are famous for their "bitter songs", and their common characteristics are the pursuit of adventure and hard thinking. Liu Yuxi is a poet who intends to create folk songs. Many of his Zhuzhi Ci poems are true and deeply loved by people. Besides. Liu Zongyuan's poems, like his prose, express personal grief and depression. His landscape poems are euphemistic and concise, showing his noble personality everywhere. Li He's poems have a unique style in the middle Tang poetry, which opens up a new world of romanticism with its strange rise and deep sadness.
4. Late Tang Dynasty
Poetry in the late Tang Dynasty has a strong sentimental atmosphere, with Du Mu and Li Shangyin as the representative poets. Du Mu's poems are famous for their seven-character quatrains, among which Jiang Nan Chun, Shan Xing, Bo Qinhuai and Guo Hua Qing Gong are his representative works. These poems show handsome talent in beautiful words and vivid pictures. Li Shangyin is good at love poems. Du Fu's Seven Laws are exquisite in allusion and neat in antithesis. In the late Tang Dynasty, a group of realistic poets inherited the spirit of the new Yuefu in the middle Tang Dynasty. Representative figures are Pi Rixiu, Nie and Du Xunhe. Their poems are sharp-edged, pointing to the disadvantages of the times.
The long-term political stability of the Tang empire enabled the economy to recover and develop, the culture to achieve unprecedented prosperity, and the whole country showed a good situation of vigorous development, creating a good social environment for poetry creation. The imperial examination in Tang Dynasty emphasized poetry and fu. To be an official, intellectuals must be able to write poems, which is also a promotion of poetry creation. As far as poetry itself is concerned, the five-character poems, seven-character classical poems and Yuefu songs in the Tang Dynasty have further matured, and the five-character poems and seven-character quatrains that emphasize tone and rhythm have finally formed, and the forms of poetry have also blossomed. During the prosperous Tang Dynasty, many poets pushed their poetry creation to the peak, and the magnificent mountains and rivers, beautiful countryside, prosperous cities, desolate frontier fortress and bitter war were all fully expressed in their poems. In particular, Li Bai's romantic poems, which are full of wild passion and fiercely attack reality, and Du Fu's realistic poems, which care about the fate of the country and sympathize with the sufferings of people's livelihood, represent the highest achievements of poetry in the prosperous Tang Dynasty. Tang poetry is a treasure of China culture. The Complete Poems of Tang Dynasty, edited by Kangxi in Qing Dynasty, contains more than 48,900 poems by more than 2,200 authors. In less than 300 years, leaving such a rich cultural heritage is unique in the history of world literature. Among them, quite a few excellent poems have conquered the readers of all ages with colorful artistic charm and have been handed down from generation to generation for a long time.