In the late Tang Dynasty, the poet did not return to Du Li's bold style, but he also gave top priority to essence. Zhou Pu's poems, for example, are particularly difficult to conceive, and they will be extremely polished every time they gain something. Therefore, they are called "monthly exercises and quarterly exercises" and have been broadcast to the population before they are completed. Its name is as heavy as it was then. It's not passed on now! When I was a child, I also saw his collections. His words have a cloud: "The weather is beautiful, the birds are singing and the flowers are fragrant." There is another cloud: "Birds are singing in the mountains, and the rain is over apricot flowers." Sincere words are also good.
Zheng Gu's poems were famous in the late Tang Dynasty ... His poems were interesting and full of beautiful sentences, but not very high. Because it is easy to know, most people teach children, and I recited it when I was a child.
The characteristics that impressed Ouyang Xiu most in "Late Tang Poetry" are "emphasizing essence" and "extremely interesting". "Essence" means profound meaning, similar to "meaning". Secondly, it is "extremely refined", that is, through the hard training of "forging in the middle of the month and tempering in the middle of the season", it seeks the work of writing and the depth of "meaning". In addition to these two characteristics, we can also see other characteristics of "late Tang poetry" from several quoted good sentences: emphasizing scenery, not using allusions, and striving for popularity. The "Late Tang Poetry" commented by Ouyang Xiu is the late Tang poetry represented by Zhou Pu. Although Ouyang Xiu mistook Du Xunhe's "Beautiful Birds Singing and Flowers Shadow Climbing" for Zhou Pu's poem, Du Xunhe was also a poet in the late Tang Dynasty.
Su Shi praised and criticized "Late Tang Poetry". He was dissatisfied with the "late Tang flavor" of Wang Anshi's poems, but repeatedly praised Si Kongtu's elegance and Wu Rong, Han Wo and others' "achievements in word formation":
Gong Jing's poems in his later years began to match. Five-character poems are the best, followed by two-rhyme poems, and seven-character poems have the flavor of late Tang Dynasty. (Su Shi's Poems of Shu Twilight)
Dongpo once said to Yu Yun, "If you create a language, you can call yourself a winner. If you make a cocoon and leave no gap, Wu is better than the end of the Tang Dynasty. " ("Gu Xi's Inscription, Wu Si Taoist Poetry")
Su Shi's so-called "taste of late Tang Dynasty" is obviously a style criticism, which generally focuses on the inferiority of temperament. The "language-making achievements" of late Tang poetry, represented by Wu Rong and Han Wo, praised by Dongpo should refer to the innovation and personalization of language use after repeated tempering. Wu Ke inherited Dongpo's comments at the end of the Northern Song Dynasty. His Poems on the Hidden Sea said: "The poems written by people in the late Tang Dynasty were successful in language, although their writing style was not good. Today's poems cannot be used as more languages."
Different from Su Shi, Huang Tingjian belittled the vulgarity of "Late Tang Poetry" everywhere, such as "With Zhao Bochong":
Learning from Lao Du's poems, the so-called carving mandarin fish, can't be classed. Learning the poems of the late Tang Dynasty, the so-called Liang Yu's practice, is still greedy; What will happen if you practice greed? (Old Knife and Pen in the Valley, Volume 4) Su Huang's comments on belittling poetry in the late Tang Dynasty are generally based on two aspects: humble, vulgar and indecent. Huang Tingjian even put "scholars in the late Tang Dynasty" in opposition to Lao Du, saying that "scholars in the late Tang Dynasty" themselves belonged to "practice", while Song people who studied "late Tang Dynasty" were "practicing greed" (classic Zuo Zhuan Gong Si Years). This set the tone for the opposition between Jiangxi School in Southern Song Dynasty and Late Tang School.
With reference to Meng Xi's Bi Tan, Shi Hua and Cai Kuanfu's Shi Hua, it can be seen that people in the Northern Song Dynasty understood the artistic features of "late Tang poetry" as a kind of "short poem" full of elegance and meaning, and made outstanding achievements in language creation, with the main shortcoming of "weak spirit and clumsy body" and "late Tang poetry" as the main mode.
People's bipolar evaluation of "Late Tang Poetry" in the early Southern Song Dynasty. Ji Gong in the early years of Southern Song Dynasty is a typical representative of the theory of "Late Tang Poetry" with the concept of controlling chaos and changing elegance. Judging from the comments on Xian Tong's later poems quoted in Chronicle of Tang Poetry, "Late Tang Poetry" is not enough because it is the voice of troubled times and the voice of national subjugation. This concept of synchronizing social chaos with the rise and fall of literature has a far-reaching impact on the study of Tang poetry for thousands of years.
In the early Southern Song Dynasty, Yang Wanli most admired "Late Tang Poetry" and invented it. Yang Wanli's first invention was to put forward the famous "theory of peculiar smell in late Tang Dynasty":
Li Ze's poems have been famous for thousands of years, and he broke his heart once and for all. Who would like the stench of the late Tang Dynasty? Poets despise the late Tang Dynasty. (One of Reading Li Ze's Three Unique Books) Your son Hua Hanlin is old ... Who is addicted to the odor in the late Tang Dynasty? Ears and grandchildren write unevenly. (Postscript to Scholar Wu Ji) Yang Wanli regards Lu Guimeng and Wu Rong as outstanding representatives of "the peculiar smell of the late Tang Dynasty". So what is the understanding of "smelly in late Tang Dynasty"? Let's look at his following explanation:
Philosophers in the late Tang Dynasty, although less vigorous than their second sons (fingers), were lustful but not lewd, resentful but not chaotic, and still had a few national traditions. Nothing else, take poets and poets as an example. Poetry is also professional, and the wife can work. ..... is a combination of cutting without binding, arrogant but not swaying, graceful and elegant, beautiful but not floating, and lingering in the late Tang Dynasty. (Preface to Poems of Mongolian Provinces in Zhou Ziyi)
Taste food and tea? Who doesn't indulge in it? Began to be sweet and died sour; As for tea, people have sickness, and the pain is not enough, but it is too sweet. Poetry is like this. In the past, Su Gong boasted that Su Gong was very powerful, but Su Gong stabbed him ... After 300 articles, this "taste" was absolutely gone, but it was not as good as the late Tang philosophers. ..... Recently, only the old people in the Mid-Levels got it. (Preface to Yi 'an Poetry)
The "peculiar smell in the late Tang Dynasty" is first manifested in the form and style: "it is unconstrained, arrogant but not swaying, graceful and dignified, beautiful but not floating", that is, the language is fluent but not floating, graceful and solemn, and does not flow on the surface, which is quite like the so-called "near but not floating, far and endless" in the late Tang Dynasty. Secondly, Yang Wanli likened the "peculiar smell in the late Tang Dynasty" to the feeling of drinking tea, which is bitter first and sweet later, and contains infinite insights that can't be expressed, just like the implicit satire on Su Gong's stabbing and violent public in Xiaoya Heren. His argument is transcendental, his knowledge is brilliant, and he goes straight to Skontu, which is comparable to those of his contemporaries. In a word, Yang Wanli's Smell in Late Tang Dynasty is a high evaluation of poetry in Late Tang Dynasty from an aesthetic point of view. He thinks that Wang Anshi really learned the "peculiar smell of the late Tang Dynasty".
Yang Wanli's second invention is the theory that "Poetry flourished in the Tang Dynasty and was written in the late Tang Dynasty" put forward in Preface to Huang Yushi Collection. The Preface to the Collection of Huang Yushi praised Huang Tao's poems as representative of the late Tang Dynasty's "writing exercises", and mocked those who criticized the late Tang Dynasty's "writing exercises" at that time, believing that the latter Tang Dynasty's "writing exercises" were unprecedented. After enumerating many famous sayings and sentences, his Preface to the Collection of Officials in Tang and Li Dynasties thinks that people who don't believe in many masters of poetry in the late Tang Dynasty are as short-sighted as Cao Pi who doesn't believe that there really is fire-wrapped cloth (asbestos). Those who criticize the low artistic level of poetry in the late Tang Dynasty are just like Huan Xuan's satirical steamed "Aijiali". Yang Wanli regards "Late Tang Style" as the highest realm of poetry art. From the genre point of view, Yang Wanli's research on late Tang Style is mainly the seven wonders of late Tang Dynasty. An interesting phenomenon is that Lu You, a good friend of Yang Wanli, is extremely contemptuous of "Late Tang Poetry". He was dissatisfied with the weakness and inferiority of the late Tang poetry: "It was irritating that the tomb arrived in Bai Yuan as late as possible. Watching the late Tang Dynasty makes people want to burn pens. " ("Cao repeatedly sent poems and wrote this again") And he was dissatisfied with the bitter style of late Tang poetry: "Although there were many struggles in the late Tang Dynasty, it was futile to be blind." (Remember the dream) However, there are some praises in the overall contempt. For example, he praised the poets in the late Tang Dynasty as "Li was an official in the Tang Dynasty, famous for his poems ... refreshing and excellent in physical exercise" (Li Yu's Preface to Xuancheng Poetry), and highly praised Lu Guimeng (see below).
On "Late Tang Style" in the Middle and Late Southern Song Dynasty. The term "Late Tang Style" was first used by Han Kun, the son of Han Yuanji (1 159- 1224). He admired Yang Wanli, a fellow poet, and tried his best to choose the quatrains of the Tang Dynasty, "only gentle and gentle, elegant and simple" ("Four Poems"). Outside He Minghe, there is no theme of poetry. "("Quan Ji "Volume 16) Obviously, this four-line style with elegant style, ingenious conception and rigorous meter is" Late Tang Style ".
Liu Kezhuang and Yu Wenbao discussed the "Late Tang Style" in the most detailed way. Liu Kezhuang mentioned "Late Tang Style" many times, and it was his Preface to Poems of Han Yinjun that focused on criticizing "Late Tang Style".
Ancient poetry must be good out of temperament; This poem was written from memory, and it is just a blog. It has been a disease since Du Zimei. Therefore, Zhang Jihe Wang Jianbei tied his schoolbag slightly, shoveled off red tape, and tended to get closer. The world likes its simplicity and strives for its effect, so it is called "late Tang style", which is beneficial to the next and goes to the ancient. Didn't the donation book think the poem was lost, and the donation book thought the poem was lost? (The Complete Works of Mr. Houcun, Volume 96)
This passage clearly points out that the "late Tang style" is the poetic style of Zhang Ji and Wang Jian, which is "effective" and tends to be "close" without allusions. Mr. Qian Zhongshu said in "Notes on Selected Poems of Song Dynasty: A Biography of Liu Kezhuang": "He thinks that the" giving books "of Jiangxi School thinks that poetry is rotten, while the" giving books "of late Tang Dynasty thinks that poetry is wild, which is also organized into a small duality by throwing books and filling in allusions and idioms in the brisk poems of late Tang Dynasty."
Yuan Haowen of Jin Dynasty (1190-1257) also talked about "Late Tang Style". Liu Ang commented on Volume 4 of Zhongzhou Ji compiled by him:
Ang is talented and alert, and the method is unique, light and beautiful, which is a quick method for the house. Poetry is a "late Tang style", especially quatrains, which are often popular.
It can be seen that the "late Tang style" recognized by the Jin Dynasty also refers to quatrains.
"Late Tang Style" is sometimes called "Tang Style". For example, in the Yuan Dynasty, Sadula had two famous poems: "People handed down quatrains to work in the Tang Dynasty, fearing that its predecessor was Snow Energy." The "Tang Style" referred to in To the Chief Manager Ma Anfu is the "Late Tang Style", represented by Xue Neng's quatrains. Xue Neng's four unique skills were quite famous in the late Tang Dynasty, and they were in harmony with his friend Li Pin's five laws. At the end of the Song Dynasty and the beginning of the Yuan Dynasty, Lu Shizhong prefaced Li Pinshi's Li Yue, saying: "In the late Tang Dynasty, Li Ci poetry became the' Late Tang Style', ranking first in the world." (See Li Yue's four poems)
In the late Southern Song Dynasty, the "Four Spirits" learned the method of "Late Tang Poetry". They specialize in the Five Laws of Jia Dao and Yao He, and are the founders of "Late Tang Poetry", once known as "Tang Zong". Ye Shi (Ye Shi never mentioned the word "Late Tang Poetry"), Liu Kezhuang and others did not directly associate it with "Late Tang Poetry" at that time, but began to study poetry at the end of the Southern Song Dynasty. Such as Chen (? -1262) volume 20 of "zhizhai record" solves the problem: "yongjia four spirits are all in the late Tang dynasty." Zhu Chen (1214-1297) wrote Bai Zan Shi: "Poetry is hard to say. Today's people are good at talking, and they know how to entertain themselves with poetry, saying' Late Tang Style', and the four spirits are all famous. " In the preface to Shi Shi, he said: "This life is immersed in the Four Spirits, calling itself the late Tang Dynasty style, which is extremely floating." (This Tang Ji Volume 38 Volume 44) In the early Yuan Dynasty, Fang Hui not only called "Four Spirits" and Jia Yao "Late Tang Style", but even called the poems of nine monks in the early Song Dynasty "Late Tang Style".
2. Genre analogy
Tang poetry and Song ci are not only the general names of the two dynasties' poems, but also represent two poetic methods and poems in the history of China's poetry. Their differences are as follows: Tang poems are mainly lyrical, and even if they are reasonable, they are mostly expressed in lyrical ways; Song poetry likes reasoning and advocates discussion. Tang poetry is more implicit; Song poetry is more straightforward and poor in words. Tang poetry pays more attention to the direct description and expression of life feelings; The excellent works of Song poetry also come from life, but they are often grasped rationally before choosing the appropriate form. Therefore, even if the sentences in Song poetry are vivid and concrete, there is always some undercurrent of logical thinking running through them, unlike the artistic conception in Tang poetry, which is mostly expressed in an intuitive form. In short, Tang poetry always grasps reality with perceptual images, while Song poetry dissects reality with rational thinking. Shishi Tang is rich in flavor, while Song poetry is light in flavor, but it is compensated by meticulous and profound thoughts and refined technical language. Because of this, Song poetry is easier to learn than Tang poetry. Tang poetry relies on inspiration, while Song poetry relies on talent; Talent can be acquired through hard work, but inspiration cannot be forced. Tang poetry relies on sensibility, while Song poetry relies on rationality. Rationality can be obtained through careful consideration, but sensibility (thinking in images) is more difficult to capture. Moreover, people who study the Song Dynasty in the Qing Dynasty do not exclude Tang poetry, and often peep at the Tang Dynasty from the Song Dynasty, which makes it easier to exert their strength without causing the disadvantages of rough skin and flesh. Therefore, Zong Song's achievements are often greater than Tang Zong's.