Regarding the Tang poetry, Wen Yiduo once described the transition of the court style in the Six Dynasties in the early Tang Dynasty. Among them, Lu's "vigorous rhythm" is put forward, and Wang "has a thriving mood in the lingering melody", and it is pointed out that "palace poetry has moved from the palace to the market in the hands of Lu and Luo, and the times have changed from the five laws to the king, and Yang has moved from the Taiwan Pavilion to the mountains and deserts". With the changes of the times, poetry has moved from the palace to life, and the decadent voices of the ladies-in-waiting in the Six Dynasties have become fresh songs of teenagers. Wen Yiduo's emphasis on harmony and Zhang is the most typical representative of this fresh singing method in the early Tang Dynasty:
Peach blossoms and plum blossoms fly around in the east of Luoyang; Luoyang's daughter looks very good and sighs as soon as she sits down. The peach blossom and plum blossom I saw this year have rotted in color. I wonder who can see the beautiful flowers in the flowering season next year? I have seen handsome pines and cypresses destroyed into firewood, and I heard that mulberry fields have become the sea. The ancients did not return to Luocheng East, but today people are still out of the wind. Flowers are similar year after year, people are different year after year ... (Liu Xiyi's "A Generation of Sad Pulsatilla")
Lian Haiping is in the spring tide, and the bright moon on the sea is born in the tide. I drift with the tide for thousands of miles, and there is no moon by the river. The river flows around Fangdian, and the flowers and forests are full of graupel every month. Frost flows in the air, you can't fly, but you can't see the white sand on the pavilion. There is no dust in the sky on the river, and there is a lonely moon in the sky. Who sees the moon first by the river, and when does the river shine on people at the beginning of the year? Life is endless from generation to generation, and Jiang Yue is only similar year after year. I don't know who Jiang Yue is waiting for, but I see the Yangtze River delivering water. White clouds have gone and the breeze is endless. Whose ship is sailing tonight, and where is the moon tower ... (Zhang's "Moonlit Night on the Spring River")
How beautiful, smooth, elegant and light! Especially the latter, Wen Yiduo repeatedly praised: "More unique (distant) cosmic consciousness! Deeper, wider and quieter realm! In the face of magical eternity, the author has only consternation, no embarrassment and no sadness. " "What he got seemed to be a more mysterious, elegant and upright smile. He is more confused, but he is satisfied. ""There are some mysterious and cordial conversations here, such as dream interviews, and some strong cosmic consciousness. " "This is the poem in the poem, the peak on the peak."
In fact, this poem is full of longing and sadness. But it was a kind of longing and sadness of childhood, a kind of longing and sadness of "going up a tall building alone and looking at the horizon". Therefore, despite sadness, I still feel light, although I sigh, I always feel light. It is completely different from the heavy lamentation of life and the realistic compassion of Du Fu's suffering in Wei and Jin Dynasties. It shows the inexplicable melancholy and sadness like light smoke that I felt when I first looked forward to my life as a teenager. Spring flowers, spring moon, flowing water, facing the infinite universe, I deeply feel the shortness of my youth and the limitation of my life. It is the first awakening "self-consciousness" of adolescence to the maturity of life and the universe; I deeply feel and cherish the vast world, the beauty of nature and my own existence, and feel helpless sadness, melancholy and nostalgia for my limited existence. At the age of 1678, when people seem to be mature and immature, and are about to step into independent life, don't they often experience this kind of awakening sadness about the boundless universe and limited life? In fact, it has no real heavy realistic content. Its aesthetic style and sense of beauty are that although it is sentimental, "teenagers don't know the taste of sorrow." Still charming, light and sweet.
Zhang's "Moonlit Night on the Spring River" is the peak of the early Tang Dynasty, and it will climb to a higher peak through the "four outstanding figures" represented by it. As a result, this kind of youthful ethereal and sentimental, which has not yet been wet behind the ears, has turned into a specific singing method with lofty aspirations and full requirements for making contributions:
..... However, as long as China keeps our friendship, heaven is still our neighbor. Why are you wandering at the fork in the road? The child is holding a towel. (Wang Bo)
In the morning, I heard the wanderer singing a farewell song. Last night, you crossed the Yellow River. ..... month after month, year after year, how long can capital satisfy you? . (Li Wei)
Isn't this the encouragement after the above-mentioned teenagers are sentimental? More realistic, more mature, and began to really move towards social life and the real world. After a sad life of 16 and 17 years old, a person often acts in a mature and concrete way: it is time to work hard in time, instead of losing youth and making achievements. After the "Four Masters", it ushered in a colorful real life, showing the voice of the prosperous Tang Dynasty. It was first shouted by Chen Ziang's famous four poems:
Where were those lost times before me? Behind me, where are the future generations? I think of heaven and earth, there is no limit, there is no end, I am alone, my tears fall down. (Youzhou Tower)
When Chen Ziang wrote this poem, he was full of grievances and indignation, but it expressed the lofty mind of the pioneers, a great loneliness of being proactive and ahead of the times. It is heroic and not sad. Similarly, like Meng Haoran's "Spring Dawn":
This spring morning, I woke up easily, and birds were singing everywhere, but now I remember that night, that storm, and I wonder how many flowers were broken.
Although it hurts spring and cherishes flowers, it still shows a happy and beautiful picture of spring morning, fresh and lively but not sad. This is the voice of the prosperous Tang Dynasty.
In addition, such as:
Thousands of miles in Huang Yun, the sun is shining, and the north wind blows geese and snow; Mochow has no confidant in the road ahead, and no one in the world knows you. (Gao Shi)
Grape wine luminous cup, want to drink pipa immediately, drunk lying on the sand, you don't laugh, several wars since ancient times. (William Wang)
In the booming social atmosphere of individuals, nationalities, classes and countries, frontier poems in their heyday constitute a basic content and aspect of the voice of the prosperous Tang Dynasty, which is indeed unprecedented in the history of China's poetry.
There are so many beauties in Jiangshan! The magnificent and turbulent side was occupied by Bianzhai Poetry School, and the beautiful and quiet side was written by the so-called pastoral poetry school. I like Meng Haoran's "Spring Dawn" above, especially Wang Wei's famous sentence:
When people are idle, osmanthus flowers fall, the night is quiet and the mountains are empty, the birds are surprised when the moon is out, and the spring is ringing.
The hibiscus flowers at the end of the wood are full of red calyx, and flowers bloom and fall one after another.
Loyal, objective, concise, so seamless and philosophical, so quiet but full of interest, and so beautiful in writing, I am afraid it is one of the best in all poems at all times and at all times. It is beautiful, clear and healthy, and it is also a typical voice of the prosperous Tang Dynasty.
Of course, the peak of the voice of the Tang Dynasty in poetry should be Li Bai, both in content and form. Because it is not just ordinary youth, frontier villages, rivers and mountains, beautiful scenery, but laughing at princes, despising the secular, dissatisfied with reality, criticizing life, drinking and writing poems, and indulging in joy.
Gong Zizhen said, "Zhuang and Qu can't get along. Let's take it as our heart and confess." Although Li Bai lacks the speculative power of Zhuang Zhou and Qu Yuan's deep affection because of the times, Zhuang's elegance and Qu Yuan's magnificence are indeed integrated in Li Bai's genius works, reaching the peak of China's ancient romantic literature symphonic poems. However, this peak, like many romantic peaks in literature, is only a very short period, and it will soon turn into another relatively continuous realistic mode stage. It was another prosperous Tang Dynasty with Du Fu as the "poet saint". In fact, it is no longer the voice of the prosperous Tang Dynasty.