The prosperity of music in the Tang Dynasty promoted the richness of the art of describing music in Tang poetry. Music is a performing art that is heard with sound and regarded as invisible. "Book of Rites and Music" says: "Those who are happy are also immutable." That is to say, music is based on emotion, and the essence of music lies in expressing people's emotions. Hegel emphasized that the content of music is the expression of emotion, and emotion is the position that music should occupy. He said: "In this field, music has expanded to express all different special emotions. All kinds of emotions in the soul, such as joy, joy, humor, frivolous willfulness and euphoria, all kinds of anxiety, worry, sadness, pain and melancholy, and even awe, worship and love, belong to the unique field of music performance." (Aesthetics, Volume III, Volume I, Commercial Press, 1982). Music is a material means for musicians to feel the joys and sorrows of life, and to accurately choose the musical sound, and then to express it with different melodies, rhythms and harmonies. The music in the Tang Dynasty, whether it is old songs from the Central Plains, music imported from the Western Regions, Korea and other places, or new music, mostly focuses on expressing emotions. Poets in the Tang Dynasty used poetry to express the sound and intangible music, all of which were ingenious and innovative in art. From the works such as Pipa Xing, Listening to Dong Da's Playing the Hustle and Sending a Message to the Room, on Hearing An Wanshan Play the Reed-Pipe, Listening to Ying Shi's Playing the Piano, and Li Ping's quotations, we can summarize the following. In several famous poems describing music, Li Qi, a poet in the prosperous Tang Dynasty, used all kinds of sounds in nature to describe music. In on Hearing An Wanshan Play the Reed-Pipe, all kinds of sounds in nature in autumn and the gurgling sound of springs were intertwined to compare music. This series of sounds to describe music absorbed the poet's strong aesthetic feelings, and at the same time, the vehicles were very suitable for the feelings contained in music, so the readers' feelings were also good. In Bai Juyi's Pipa Trip, there is a "wonderful article" which is praised as writing music: "the large strings hummed like rain, the small strings whispered like a secret. Hummed, whispered-and then were intermingled, like a pouring of large and small pearls into a plate of jade. The flowers at the bottom of Guan Ying's tongue are slippery, and it's difficult for you to flow under the ice in the throat spring. " It is to compare the sound of rain, whispers, drops of pearls, birds and springs with the sound of "noisy" and "earnest" of the pipa. From the artistic expression, it is also a metaphor for music, from hearing to hearing, but through the comparison of various sounds, readers' feelings about the music of the pipa are no longer abstract and vague, but become concrete and clear. Cen Can's autumn evening listening to Luoshan people play the Three Gorges Liuquan is also a masterpiece with sound metaphor: "Why is the stone forest roaring? Suddenly it is between the windows. I whimpered around my fingers, and my green hair stirred. " It is very appropriate to compare the sound of the piano with the sound of dangerous rocks and deep forests in the mountains, sobbing and running water. Another example is Li Bai's "has brought me by one touch of the strings, the breath of pines in a thousand valleys" ("on hearing jun the buddhist monk from shu play his lute"). "The wind blows around Zhongshan, and all the valleys are dragons." ("Jinling listens to Han Shi Yu playing the flute") is also a metaphor for music with the sound of nature. Although these stones use sound to describe music, they can all convey the cadence, profundity and low elevation of music, and the emotion contained in music, which is more infectious than a general description.
Secondly, according to their deep understanding of music, the poets in the Tang Dynasty developed rich artistic imagination to describe music in form. Metaphor of music by form is to transform invisible music into vivid and sensible concrete images through the dynamic description of various concrete things, and to communicate vision through hearing, so that readers can have a more vivid impression on aesthetic consciousness. In the Book of Rites, there is a record that music is transformed from hearing to vision: "Therefore, the singer, like a resistance, is like a team, just like a log, and he is in the right moment, with a hook in the sentence, and his end is like a pearl." The annotation of Kong Yingda's Book of Rites Justice in the Tang Dynasty is: "The sound touches people and makes people think that its shape is like this." Ma Rong also talked about "listening to sounds and shapes" when appreciating music in Flute Fu. Poets in the Tang Dynasty have more rich aesthetic experience in this regard, pushing the artistic expression of "listening to sounds and shapes" to a new level. In Han Yu's "Listening to the Clever Teacher Playing the Piano", it can be said that "listening to sounds" is pushed to the extreme. Describing the sound of the piano through various images, "the floating clouds and catkins have no roots, and the world is wide and far away." There are hundreds of birds, and suddenly I see a lonely phoenix. If you can't climb the scale, you will fall sharply. " The vivid and delicate description shows the touching power of the piano sound with many vivid metaphors, which not only creates a beautiful artistic conception, but also skillfully transforms vision into vision, which can be said to be a bosom friend who knows the samadhi. Another example is Lu Tong's Listening to Xiao Junji's Playing the Piano, which has many descriptions of "listening to sounds": "At first, snow flew outside the Tianshan Mountains, and gradually there were flowing springs at the bottom of the ravine. The wind and plum blossoms fall lightly, and the ten fingers are clean. " The poet developed a rich imagination, and the sound of the piano began to fall like heavy snow outside Tianshan Mountain, and gradually flowed like a deep mountain spring, and then played like a plum blossom falling to the earth, and it was like a trickle. The images of these concrete things are not only in line with the ever-changing music with the progress of time, but also have a fresh sense of rhythm, which makes the hearing communicate with the vision. Other poets also appreciate the image thinking activities that arouse "thinking like this" in music, and gallop artistic imagination when creating, taking appropriate and vivid concrete images as metaphors. For example, Liu Zhongyong heard the sad sound of Qin Zheng, "Like chasing the spring breeze to know the willow state, like knowing the flowers with the birds"; Liu Shang listened to his neighbor blowing the reed pipe and said, "What's the matter with the frosty sky and the full moon, and the young birds are full of spring breeze?" Thinking about the woman next door is longer, and the willows are like silk in the tube. Bai Juyi listened to Xue Yangtao, a child, playing the cymbals, and more "listening to the sound" was described: "When you are alone, you suspect that the pipe is cracked, but when you are silent, you suspect that the knife is cut." Sometimes tactfully without bones and muscles, and sometimes with a cadence. The sound of the garden is constantly changing, and the chestnut is like a pearl. The slow sound development is long and straight, and one is straight as a pen. The sound of falling stones is heavy, and the loud voice is like a cloud floating. " This series of exquisite comparisons between listening to music and thinking about shape is a masterpiece in the poems that communicate hearing with vision in the Tang Dynasty.
Thirdly, the poets in the Tang Dynasty were good at using classical metaphors to describe music. The so-called allusion to music is to describe the artistic appeal of music with historical stories, myths and legends about music. In the first two sentences of Li Jie's Listening to Dong Da's Playing Hustle and Sending a Message to the Room, it is pointed out that Hustle's Eighteen Beats was written by Cai Yan, and then she tried her best to write that when she played, it made the Hu people cry and the Han people heartbroken, so as to show the sadness and resentment of the piano. After praising Dong Tinglan's exquisite piano skills and touching ghosts and gods, he used the allusion of Cai Yan returning to Han Biezi, "a wildgoose fledgling, left behind, cries for its flock, and a Tartar child for the mother he loves. Sichuan is the net wave, and birds are mute that were singing ". Here, not only the infinite bitterness of the sound of the piano is expressed by the classics, but also the touching power of the music of the piano by people and things is further rendered. "and princess in Wusun tribes are homesick for her distant land, and out of the dust of Siberian steppes rises a plaintive sorrow" is based on Liu Xijun, the daughter of Liu Jian, the capital of the Han River, marrying Wu Sunguo Kunmo, and Princess Wencheng and Jincheng of the Tang Dynasty marrying the classic of the Tubo king, showing the "sadness" of Qin music. The application of these allusions can fully express the poet's feelings and psychological activities when listening to the piano, so it is not blunt. In Tang poetry, Li He's Li Ping's quotations are the first to describe music with peculiar imagination and accurate and colorful allusions. This 14-sentence, 98-character, seven-character ancient poem was rated as "the best way to imitate the sound", which was not flattering. There are many allusions about music in the poem, which are obvious or secluded, flexible and changeable, and are highly praised for the great artistic appeal produced by Li Ping's playing. The sentence "Kunshan jade broken phoenix calls, Lotus cries and fragrant orchid laughs" seems to have no allusion, but it is not. "Shangshu Yiji": "9% of Xiao Shao, the phoenix comes to the instrument." In addition, Liexian Biography has the myth and legend that Shaw History played the flute to attract phoenix. It can be seen that "Phoenix Call" is related to music. According to Song Yu's Irony Fu, "Xianglan Laughs": "It's more in the room of the Orchid Room, and among them, there are the songs of" You Lan "and" Snow White ". Bai Juyi's poem "Listening to the Orchid" says: "The ancient music in the piano is the orchid, which is more interesting for me." It can be seen that "vanilla smile" is also related to music. At first glance, the sentence "Nu Wa tried to make up the sky by refining stones, and the stone shook the autumn rain" seems to have no allusions, but it is actually a dark use of allusions. "Everything is done wrong. Ten Past" records that Shi Kuang played "Clear Corner" for Jin Pinggong. "Once played, there was a mysterious cloud from the northwest, and then played it again. When the wind came, the heavy rain broke the curtain, breaking the beans and the porch tiles, and the seated people walked around." This is based on the strong wind and heavy rain with the sound of the piano, highlighting the strong artistic effect of Shi Kuang playing the piano. Li He secretly used this canon, and at the same time, he was associated with the myth of The goddess patching the sky by "breaking the ground", further rendering Li Ping's skill unsurpassed. Li He's allusion to music is based on his profound understanding of music, which arouses strong feelings, so the poem is full of passion and gripping. Other allusions, such as Bai Juyi's Listening to the Pipa in the Spring and Jane's Grandson's Family, Li Ling's missing the country of Xiongnu and Zhao Jun's marrying Khan and thinking about Hanting, Yong Yuzhi's Listening to the Bomb and Sinking Hunan's Stories about Qu Yuan's sinking Miluo and Jia Yi's hanging Qu Yuan, and Jia Dao's Listening to Leshan People Playing Yishui's Stories about Yan Taizi Dan Yi Shui Song Jing Ke's assassination of Qin Huang, can all appropriately express the allusions contained in the music.
Fourthly, poets in the Tang Dynasty are good at rendering the strong artistic power of music with poetic and sentimental descriptions. Poets use various artistic techniques to express themselves in their poems according to their mood and environment. This phenomenon of describing music generally appears in seven-character quatrains, but it is rarely seen in longer poems. This is because four sentences can easily form a freeze-frame similar to the close-up in the movie, giving people unlimited reverie. Li Yi is very good at writing poems of this kind of music, depicting the music with emotional people with exaggerated images and highlighting its artistic charm. For example, his "on hearing a flute at night from the wall of shouxiang" is like snow before returning to Yuefeng, and the moon outside the city is like frost. I don't know where to play the reed pipe, but I want to recruit people all night. " In the boundless moonlit night, the poet boarded the lonely city of Juesai. The sand was as clear as snow, and the moon was cold and frosty. In such a sad environment, the sad sound of reed pipes rose with the north wind and filled the border. It evokes people's infinite homesickness and looks forward to their hometown, which shows its shocking artistic power. "Listening to Two Liangzhou Songs in the West City at Night (Part II)" "Hongyan is new from the North, but she flies back when she hears half of it. Jinhe Shouke's intestines should be broken, and it is even more in the autumn wind. " The first two sentences are not only steep and exciting, but also novel in imagination. When the swan goose hears the song, half of it flies back, and the sadness of the tune shows that things are like this, why can people be inferior? "Smell the flute on a Spring Night" "The flute on a cold mountain calls for the spring return, and the guests are moved to look at each other with tears. There are endless geese in Dongting all night, and they don't wait until dawn to fly north. " The poet projected his feelings of listening to music poems to Yu Hongyan, and set off the artistic effect of flute with the flying of Hongyan to the north, which made the poems full of flavor and profound flavor. Others, such as Cui Lu's Smelling the Flute (I made Huaqing Palace): "The Milky Way is full of moonlight, and the building is in the way of the weaver girl beside the stars. Hengyu is called the sky like water, and the frost is flying one by one. " Exquisite artistic conception, empathy into the scene. Frost flies one by one, which not only shows the flowing feeling of music, but also shows the melodious sound of flute. Even the frost feels it, so why should people say anything? Zhang xiaobiao's "Smell the Corner": "In the autumn, the corner painting resents the micro-gold, and in the middle of the night, it scares the thief. The geese can't fly around the sky in autumn, but Hu Yun is still flying with grass frozen. At the critical moment, the old horse hissed at the moon, and the soldiers in the village were tired and wet with tears. Where the lingering rhyme is empty, the sky is sparse and the stars are sparse. " From many aspects, the artistic effect of horn sound is rendered by people and things, and by things and people. The music is wonderful. Then there is Li Qunyu's "Smelling the Flute": "What's the difference between Ran Ran's grass and mountains? It moves the world by cutting it off. When I looked at my hometown on the homesickness platform, I not only fell plums but also shed tears. " Li She's "Listening to Songs": "May the spring breeze blow farther, and I will kill the whole city with sorrow." Shi Jianwu's "Ci of Night Flute": "The moon is not slanting in the bright West Building, and the flute sounds faintly into the owner. However, the tailor under the lamp mistakenly cut half of the flowers. " In terms of expressing the artistic appeal of music, it is unconventional and poetic.
Fifthly, when poets in the Tang Dynasty appreciate performance-oriented music, they are most likely to feel that "things are the same as me". Therefore, when music touches their hearts, they often write poems to express their feelings, and the touching power of music is interpreted twice by poetry. Especially those poets who have moved away and lost their ambitions are most likely to be reminded of their worries by music. "but who of them all was crying the most?, this Jiujiang official. My blue sleeve was wet" in Bai Juyi's Pipa Trip is typical. When Bai Juyi was exiled to Jiangzhou, he often heard music and touched his mind. In addition to the above "Pipa Trip", when he was listening to a geisha playing a zither, he wrote impromptu: "There are many colorful faces sitting in a jade building, and the thirteen strings are temporarily sad. With your direction, stop playing, and do your best in Jiangzhou Sima tou. " Writing the worry about the spread of Zheng music in an exaggerated way makes the poet feel "bald" in his heart, which fully shows the strong artistic appeal of music. Liu Yuxi was banished from Beijing and lived in a wild place. He was very sincere in homesickness and homesickness. When he was listening to the Taoist priest playing "homesickness", his thoughts were full and he wrote "I heard the Taoist priest playing <: Think about it > ":"Xianweng played "homesickness", and the guests first heard tears. Don't blame me for being diligent and sad about this song. It's been three years since it became louder and louder. "
Most poets in the Tang Dynasty are bosom friends with music, but their artistic styles are different because they have their own mood, different life interests and aesthetic psychology when listening to music. But the poems are full of passion and express their feelings directly. They each developed their artistic originality, used the language art in the form of poetry to describe the music art of performance, opened up an unprecedented aesthetic realm, and made great contributions to promoting the prosperity and development of Tang poetry.