For example, a person's life includes youth, prime of life, middle age and old age. Tang poetry can also be divided into four periods: early Tang, prosperous Tang, middle Tang and late Tang. Adolescent Tang poetry, like a preoccupied teenager, is full of ambition. In the prime of life, a scholar's spirit came to reprimand Fang Qiu. When people reach middle age, they have the spirit of realism in the face of bleak life and dripping blood. In his later years, the country declined and the voice of national subjugation surged.
First, let's look at the early Tang Dynasty. During this period, although southern aesthetics showed aggressive momentum, it was not on an equal footing with northern aesthetics. Mr. Shang Ding wrote in "Towards the Prosperous Tang Dynasty": "In the early Tang Dynasty, Guanzhong continued to be influenced by the literary atmosphere of the Southern Dynasties and paid attention to the choice of melody words. However, due to the dominant position of Guanlong culture, Zhenguan's poetic style showed a trend of moving northward. " Therefore, the northern flavor in the poems of this period is quite strong, mainly "vigorous" and "sad", while the southern flavor is relatively light, supplemented by "diluted" flavor. During this period, poets such as "four outstanding poets in the early Tang Dynasty" and Chen Ziang appeared. Their poems are based on the spirit of "martial arts", which are magnificent and full of lofty sentiments. This can be seen from their poems. For example, Yang Jiong wrote in "Joining the Army": "Centurions are not as good as scholars." Another example is Wang Bo's Preface to Wang Tengting, which is naturally magnificent. Another example is Chen Ziang's You Zhou Tower: "Before me, where was the past era?" Behind me, where are the future generations? . I miss heaven and earth, boundless, boundless, crying alone. " It's a lonely hero crying, brave and sad. At the same time, Shangguan Yi and others, following Chen Liang's legacy, hoped to follow the old road of the Southern Dynasties again, but they did not make great achievements.
In the prosperous Tang Dynasty, the aesthetic status of the South was improved and its influence was growing. Poets in the Tang Dynasty began to learn the style of writing in the Eastern Jin and Southern Dynasties. For example, Wang Weixue Xie Lingyun, Li Baixue Bao Zhao and Xie Tiao, Du Fuxue He Xun and Yin Keng. For example, when Li Bai bid farewell to the minister in Xuanzhou Villa, he wrote "I am Xiao Xie who grew up beside you" and compared himself to Xie Tiao. Frontier poets such as Gao Shi and Cen Can appeared in the north. This period was dominated by northern aesthetics, but the influence of southern aesthetics developed greatly compared with that of the early Tang Dynasty. The themes of poetry are also diverse, including frontier poems that are "martial" and lyric poems that describe the situation, which are magnificent and tender. In short, it has the characteristics of rigidity, boldness, elegance, naturalness and elegance.
In the middle and late Tang Dynasty, especially the Anshi Rebellion, the Central Plains fell into war again. Since then, the Tang Dynasty has never recovered, and politics has been driven by darkness. Therefore, many scholars and poets moved to the south for refuge. They not only brought many cultural concepts from the north, but also absorbed nutrition from the southern ideology and culture, consciously and unconsciously integrated the two aesthetics, promoted the further integration of southern aesthetics and northern aesthetics, and greatly changed the poetic melody of this period. Among them, Li Jiayou, Wei, Liu Zongyuan and others are poets who applied southern aesthetic thoughts to poetry creation from north to south. Most of their poems are slender, meticulous and realistic. During the Dali period, there were two different creative groups in the north and south: one was centered on Chang 'an and Luoyang, such as Qian Qi, Lu Lun and Han Xiong; One is centered on wuyue in the south of the Yangtze River, such as Liu Changqing and Li Jiayou, which shows that the north and the south are already at the same level. At the same time, it also shows that the integration of north and south geo-aesthetics has been quite hot. During this period, the southern flavor of poetry was obviously strengthened, while the northern sense of grandeur was slightly less.
Second, the influence on the poetry creation group in Tang Dynasty.
As we all know, the creative subject plays an important role in the creation of works. The creative subject creates in the background of the soil where he is rooted, so the region where the creative subject lives is closely related to his creation. Therefore, two different aesthetic ideas in the north and south will inevitably have a great influence on the creative subject, and poets in the Tang Dynasty will naturally be affected by this.
During the early Tang Dynasty and the prosperous Tang Dynasty, life in the north was quiet and orderly, and it was also the political, economic and cultural center, which was a good soil for poets, so there were many poets in the north during this period. In the middle and late Tang Dynasty, the Anshi Rebellion plunged the north into war again, causing many northerners to move south and the south to develop. The poets created by this kind of soil are not only the prosperity of the north and the decline of the south. According to Mr. Chen's textual research, there are 226 poets in Gyeonggi, 6 poets in Guannei Road, 200 poets in Duji Road, 57 poets in Henan Road, 245 poets in Hedong Road, 77 poets in Shannan East Road, 4 poets in Shannan West Road, 27 poets in Guanlong Road and 60 poets in Huainan Road. As far as the total number of poets is concerned, there are more poets in the north than in the south, but in the middle and late Tang Dynasty, the growth rate of poets in the south was much higher than that in the north. This shows that the creative group of Tang poetry is a process of gradual change. Generally speaking, the poetry creation groups in the Tang Dynasty experienced such an evolution process: the northern creative groups emerged in the early Tang Dynasty → the southern creative groups rose in the middle of the prosperous Tang Dynasty → the northern and southern creative groups merged in the late Tang Dynasty.
Throughout the early Tang Dynasty, poets in this period mainly concentrated in Guanzhong area, especially in several large families in Guanzhong, such as Webster's family, Bai family, Lu family, Yang family and Liu family. For example, Lu is a member of the Lu family. In contrast, there were far fewer poets in this period in the south.
During the prosperous Tang Dynasty, there were still many poets in the north, such as Du Fu, Han Yu in Henan and Li Bai in the north. At the same time, poets in the south have gradually matured. For example, Zhang Jiuling and Meng Haoran are all representatives of southern poets. In the middle Tang Dynasty, southern poets reached a climax. Liu Changqing, Li Jiayou and others appeared. At the same time, a very special creative group-Wu Hui Poet Monks appeared. According to statistics, there were 43 poets in the Tang Dynasty and 686 in the Middle Tang Dynasty, among which Ling Yi, Che Ling and Jiao Ran were famous.
In the late Tang Dynasty, there was not much difference between the two creative groups, and many poets were inseparable from the North and the South. Wei Zhuang, for example, was born in Guanlong, but lived in Jiangnan. Du Mu also worked as an aide in Jiangxi, Huainan, Xuanwei and other places for nearly ten years, and also worked as an official in Huangzhou and Huzhou. In addition, poets and monks appeared in Jiangnan during this period, such as Guan Xiu and Miracle.
Third, the influence on the poetry theory of Tang Dynasty.
Influenced by the geo-aesthetics of North and South, the poetry theory of Tang Dynasty also entered a new stage, and a large number of poets and theorists appeared. Generally speaking, they advocate the combination of "literature" and "quality" and oppose the chaotic voice in the southern poetry style. However, specifically, their views have their own emphases. Like the evolution of poetry creation groups, the theory of poetry in Tang Dynasty also developed and changed. The author divides it into four periods: First, the rectification period. Represented by Confucius and the "four outstanding figures in the early Tang Dynasty", he advocated rectifying the poetic style of the Southern Dynasties and returning to Confucianism. Second, the development period. The Confucian poetic style represented by Wang Changling, Li Bai and Du Fu is further developed on the basis of the former. Third, the climax period. The Confucian poetic style represented by Han Yu and Bai Juyi has been pushed to a new climax. Fourth, a new period of development. Taking Si Kongtu as the representative, it combines the two poetic styles of North and South to form a new poetic style.
The correct cycle. The early Tang Dynasty was a period of correct poetic style, and its purpose was to correct the chaos between Liang and Chen and return to the road of Confucian poetic style. Among them, Chen Ziang was the first poet who clearly put forward the idea of poetic innovation. He pointed out: "The Han and Wei Dynasties had a strong levy, and the Jin and Song Dynasties had a biography, but the literature was acceptable." (Chen Ziang's Preface to Raising Bamboo) advocates learning from the Han and Wei Dynasties. Kong also put forward in Justice of Mao Poetry: "A poet is a person in the right place." . Although appropriate, it has not yet been said, hidden in the heart, it is called ambition, and words are called poetry. "Carry forward the Confucian theory of' poetry expressing ambition'.
Development period. Wang Changling put forward in his poems in the prosperous Tang Dynasty: "Poetry has three realms: one is the realm of things. ..... Second, the situation. ..... three artistic conceptions. " Three realms theory. Li Bai also pointed out: "The sundae is retro, and the clothes are expensive and halal." (Li Bai's "Ancient Style" I) advocates that poetry should be "clear" and "true", and "clear water produces hibiscus and natural carving".
High tide. The mid-Tang Dynasty was a very prosperous period of poetry theory in the Tang Dynasty, which pushed the Confucian poetry style to a new height, with Bai Juyi, Han Yu and others as representatives. For example, Bai Juyi put forward: "Those who touch people's hearts should not say anything, not talk about sound, and not care about righteousness." Poet: root feeling, Miao language, Hua Sheng, true meaning. "("Bai Xiangshan Collection "Volume 28" Nine Books with the Same Yuan ") and pointed out:" Articles are written in time, and songs and poems are written in things. "The proposition of the unity of emotion and expression (ditto) further links the Confucian poetic style with reality and is more artistic.
A new period of development. The reason why this period is a new development period is mainly the development of image theory. From the middle Tang Dynasty to the late Tang Dynasty, outstanding poetic theorists such as Liu Yuxi and Si Kongtu appeared, who developed and perfected the theory of artistic conception. Liu Yuxi said in "Wuling Collection of Eastern History": "Poets have the meaning of their articles! Righteousness is lost, so it is difficult to do. The environment is born outside the image, so it is fine but not harmonious. " Distinguish the environment from the image. In Twenty-four Poems, Si Kongtu divided the poems into twenty-four poems, such as vigorous, diluted and delicate. In addition, as Du Mei put it: "Meaning is the main thing, qi is the supplement, and words and sentences are the defense." ("Answer Zhuang Chongshu"), but not limited to Confucian poetics.
From the evolution of these four stages, we can see that it is actually a change from the theory of "strength of character" to the theory of artistic conception, from being long in "ambition" to feeling "emotion", and it is the adaptation of "quality" in the north and "literature" in the south.
In addition to the above three aspects, Tang poetry is also influenced by other aspects, so here are no examples. In a word, from the conflict and mutual integration of North and South geo-aesthetics, we can find that the position of Tang poetry is in the whirlpool of mutual integration of North and South aesthetics, which is also a very interesting phenomenon. After a long-term exploration, the poets in Tang Dynasty combined the two aesthetics, and "adorned the quality of the Northern Dynasties with the quality of the Southern Dynasties, and enriched the quality of the Southern Dynasties with the quality of the Northern Dynasties, creating the most bodybuilding model of China's poetry".
Zhou Shi in pre-Qin, Chu Ci, Yuefu in Han Dynasty, Yuefu folk songs in Wei, Jin, Southern and Northern Dynasties, as well as some works in Tang and Song Ci and Yuan Sanqu are all songs of entering music. In addition to words with irregular sentence patterns, there are poems with the same words sung by the Tang people. People have always underestimated the singing power of these poems in the past.
Studying Tang poetry from the perspective of entering music is an extremely important perspective, which will make our understanding of Tang poetry more comprehensive and clear. First of all, this kind of research is helpful to understand the specific situation of poetry creation. In the past, our research on Tang poetry often only started from the text and only studied the text. In fact, before the formation of the text, the specific situation of the poet's creation played an important role in the formation of his poetic characteristics. For example, we can divide the poet's specific creative situations into the following categories: entertainment, singing and answering, entertainment and ceremony.
Visit and create by yourself. In these creative situations, the first three may be directly related to the singing of songs and poems. Studying this specific creative situation is undoubtedly of great benefit to accurately grasp the poet's creative motivation. Secondly, I noticed the relationship between poetry creation and other arts. Various arts do not develop in isolation, and there is a relationship between poetry and other arts, especially between poetry and music. Among the existing Tang poems, there are a large number of works with the theme of listening to songs and watching dances.