After the tide of the development of Tang poetry spilled over from the prosperous Tang Dynasty to the middle Tang Dynasty, there was a situation in which nine songs became a ring and nine schools were separated. After the relative low tide over the years, the wave peaks rolled up again at Zhenyuan and Yuanhe. As the pride of this era, poets such as Bai Juyi, Yuan Zhen, Han Yu, Meng Jiao, Li He, Liu Yuxi and Liu Zongyuan all have a strong sense of innovation and pioneering spirit, and are unwilling to attack others by following others' plans. In the poem Carving Zhang Ji, on the one hand, Han Yu has a feeling that Du Li's poetic achievements stop at the mountain: "Du Li's articles are there, but the flames are growing"; On the other hand, I have the heart to keep pace with it: "I wish I had two wings to catch and drive away the eight famine." Liu Yuxi declared confidently in "Yang Liuzhi Ci": "Please stop playing the previous songs and listen to the new Yang Liuzhi. "They extended their tentacles of exploration and plowshares of cultivation to new areas, trying to create a unique artistic appearance that came to an abrupt end, thus making the wonders of flowers and colorful again after the middle Tang Dynasty.
Han Meng School and Bai Yuan School are undoubtedly the most influential poets in the middle Tang Dynasty. As far as their reputation is concerned, most people in the poetry world are eager to stand by and watch their doors. However, there are also people who strive for self-improvement. They are not only punctual, but also unconventional. Liu Yuxi is one of them. Although he made deep friendship with Han Yu and Bai Juyi, the leaders of the school at that time, and sang at the same time, he was able to maintain his independent artistic character without losing his authenticity and blindly converging under the subtle influence of the two schools. This means that he should not only create a new look outside the poets in the prosperous Tang Dynasty such as Du Li of the previous generation, but also create a new look outside the poets in the middle Tang Dynasty such as Bai Han and create a new road outside the poets in the middle Tang Dynasty such as Bai Han. It's certainly not easy. However, Liu Yuxi achieved this goal with his profound artistic accomplishment and diligent artistic practice, and finally became a new force different from Han Meng and Bai Yuan Poetry School with a new brand, which won the attention of the world. When commenting on Tang Qunying, later poets mostly think that Han, Bai, Liu and Liu have their own merits. Such as Hu Zhenheng's "Tang Yin Gui Qian", Volume 4 has a cloud:
After Yuanhe, poetry and Taoism were immersed for one night, and all talents were lost. If Changli is magnificent, Liuzhou is exquisite, dreams are magnificent, lotte is vast, and everyone is talented. Others believe that Liu is the power of Han and Bai Liu, and it is the highest in the poetry circle in the middle Tang Dynasty. Such as Yang Shen's "Sheng An Shi" cloud:
After Yuanhe, the complete works of several poets were considerable, and Liu Yuxi was the first one. His poems were selected and won more than one hundred praises. Of course, this may be due to Yang's preference, but Liu Yuxi's position in the poetry circle in the middle Tang Dynasty is indeed "unsatisfactory" compared with that of Han, Bai and Liu. Of course, his important historical position can only be established by his various poetic achievements and his unique contribution to the development of Tang poetry. In short, its achievements and contributions are mainly reflected in the following three aspects:
First, the expansion and exploration of the subject area.
The subject matter of Tang poetry is extremely extensive. The poet's creative brushwork touches every aspect of social life and every corner of the emotional world. As for natural scenery and astronomical phenomena such as seasons and climate, such as flowers, birds and animals, insects and fish, spring, summer, autumn and winter, sun, moon and stars, wind, frost, rain and snow, etc. , are included in the bottom of the pen, are chanting. It can be said that from the human world to nature, there are almost no blank spots and no virgin land. There is no doubt that Liu Yuxi's efforts have been integrated into the middle.
Liu Yuxi spared no effort to expand and explore the field of subject matter. Only in this way can his poems reflect the reality and show the breadth and depth of life on the basis of predecessors. First of all, he devoted himself to describing the scene of agricultural labor, which was almost never written by the pastoral school in the prosperous Tang Dynasty. Perhaps it can be said that after Tao Yuanming, although he didn't have the experience of "ploughing the fields", he could take ordinary spring planting and autumn harvest labor as the subject he was willing to control. If articles such as Cai Ling Xing are still following the theme of the old Yuefu and galloping in the frontier that the predecessors have developed, then Inserting Tian Ge and Social Field Tune should belong to his new attempt and innovation of "opening up the territory". "Insert Tian Ge" cloud:
Flowers and plants are in full bloom on the top of the mountain, and swallows fly from east to west.
The horizon looks like a line, and the white water is uneven.
The peasant woman is wearing a white skirt and the peasant father is wearing a green coat.
Singing the song in the middle of the song together, standing like bamboo branches.
But when you smell resentment, you can't distinguish slang.
Whenever you laugh, you will laugh at each other.
Horizontal seedlings are barren, and fireworks are born in the market.
Yellow dogs reciprocate, red chickens crow and peck.
Who is on the side of the road? This hoodie has long sleeves.
I said I was an official and left Dixiang at the beginning of the year.
Fu Tian said to the official, "Your family is very good at this.
When I came to Chang 'an Road, my eyes were completely different. "
The official smiled and said, "Chang 'an is really great.
The door of the province is lofty and there is no agriculture.
I came to fill the doorman yesterday, only using bamboo cloth.
You see, in 2003, I will be an official. "We didn't express leisure and seclusion by describing rural life and rural scenery like the prosperous Tang Dynasty and Meng, but we took close-up aesthetic photos of the scene of rice transplanting labor, vividly showing the labor enthusiasm and attitude towards life of Tianjia. Among them, the dialogue between Fu Tian and the treasurer not only eased the tense labor atmosphere, but also added humor and wit to the poet's carefully drawn map of inserting fields. The scenery, narration and lyricism of the whole poetry collection are integrated into one, which can be described as a new realm in the pastoral art garden. Yang Wanli's "Song of Transplanting Rice Seedlings" in Song Dynasty may show the industriousness and hardship of the Tian family more truly, but as far as the theme is concerned, it is an inheritance of this poem. It is also closely related to Liu Yuxi's poems to create fresh, smart and humorous brushwork with dialogue between characters.
Secondly, his description and display of Bashu customs is beyond the reach of other poets in the Tang Dynasty. Zhi Zhu Ci, Langtaosha Ci and other folk songs and Yuefu poems written by him in Kuizhou are not only innovative in form, but also unique in material selection. It is true that seven words and four sentences of Zhuzhi Ci have been tried by the author before Liu Yuxi, such as Gu Kuang's Zhuzhi Ci Cloud:
Cangwu does not return, Jing is under the leaves of Dongting.
After Ba people sang bamboo sticks at night, the sounds of heartbroken apes faded. Gu Kuang was a scholar in * * * 756 * * of the first year from Su Zong to Germany, 20 years earlier than Liu Yuxi's Zhuzhici. But this song was advocated as a folk style, but it started from Liu Yuxi; In this way, it is also the beginning of Liu Yuxi's ode to folk customs. From the perspective of theme selection, it not only expands the poems such as Zhi Zhu Ci, Langtaosha Ci, Climbing on the Dyke, Ta Ci, etc.
On both sides of Jinjiang River, flowers are blooming, and the spring breeze blows the waves.
The girl falls into the mandarin duck brocade, and the sunset glow will flow to the middle stream.
-Five of Langtaosha's nine poems
There are peaches and plums everywhere, and the fireworks in the clouds are others.
The silver hairpin and gold hairpin came to carry water, and the long knife and short hat burned her.
-Nine poems on bamboo branches (the ninth poem)
On the riverside, the levee is flat, and the girls on the levee line up in a row.
After singing all the new words, I can't see them, the rosy clouds reflect the trees and the partridges sing.
-"Four Lyrics" One of the poems is a beautiful landscape painting. But if only the description of landscape painting, it will lose the significance of theme innovation. Therefore, what deserves our attention is that the poet absorbed the unique customs of Bashu into these works. Form an organic integration of landscape painting and genre painting [1]. In this way, they are not only excellent works in Tang poetry, but also precious historical materials for studying folklore.
Thirdly, he not only imitated Zuo Si in the combination of history-chanting and nostalgia, but also, after Du Fu, led the history-chanting to the direction of "nostalgia", "reminiscence", "visiting the past" and "nostalgia", and began to comment on historical events and express his feelings from places of interest and local scenery, thus drawing more materials. At the same time, he often used the criticism of the ancients to stab the chronic diseases of reality; Sign the rise and fall of the previous generation, not far from Yin Jian [2]. In this way, he explored the subject matter more deeply than his predecessors. For example:
Outside the Great Wall of Wan Li, weeds are abandoned in autumn.
Moling is full of women and sings white doves.
-"Tandaoji Old Base Area"
Tides rule the city, and the sun inclines to levy pavilions.
Cai Zhou new grass green, the shogunate old smoke green.
Prosperity and waste are caused by personnel, mountains and rivers and empty terrain.
* * * spend a song, miserable.
-Two poems, Jinling Nostalgia, are devoted to "chanting historical sites", which are quite different from traditional poems. As far as the treatment and germination of its theme are concerned, the poems of the previous generation not only mourn the innocent relegation of Tan Daoji, a famous poet in Liu and Song Dynasties, but also mourn the tragic death of Wang and other innovators in relegation and resent those who abused tyranny. The post-poetry aims to explain that the rise and fall are related to personnel rather than terrain, debauchery is the cause of ruin, and the unique historical knowledge of the cause of national subjugation can be called that others are different everywhere. Later, Ouyang Xiu's famous assertion in the preface to Biography of Shi Lingguan in the Five Dynasties that "labor can rejuvenate the country and leisure can die" may be more accurate than this, but the ideas contained in it are obviously born out of the poetic theory in this poem.
Fourthly, he not only expanded the scope of "object-chanting poems", but also strengthened the narrative function of object-chanting poems and created a new form of allegorical object-chanting poems. During his exile in Bashan Chushui, he wrote poems such as Gathering Mosquitoes, Flying Kites, Raising Birds and Singing Otters, with mosquitoes, kites, birds and otters as the singing objects, which are ironic materials rarely captured by other poets, so it can be said that a new category has been introduced into the existing poems about objects. This is second to none, and more importantly, his works of this kind are endowed with profound symbolic significance, with the function of persuasion or irony, or as a metaphor for the other, or as a metaphor for the near, or as a metaphor for the big, just like the fable sketch in Liu Zongyuan's prose. Such as "There are otters singing":
There are otters who get good fish, claiming that heaven sees pity.
Sacrifice without food first, and see the mystery with a scale.
People stand on the cold sand with their hearts covered with shoulders.
The fisherman thought it was a demon, so he threw a piece on it.
Call the fish home and cook with the otter.
Close the goldfish eagle and shake the river smoke with great wings.
Seeing the surplus looking for fish, I risked my life to break the flood.
Grab and hide, feed the young forest moon temple.
The ostrich wants to wait for the gap, but it is afraid to go forward when it is noisy.
Living on Qingyun Road, there is no reason to eject.
Where are the rivers and lakes? Why is there no water?
God does not kill, Filipinos are devout.
Leisure is important, which is included in the middle part of the flood. The Book of Rites Moon Order contains the story of "there are otters": "Meng Chunyue, ice fish, water otters sacrifice fish." Only a few crosses. The poet expanded and explored this theme, which has always been ignored by fans. With his rich artistic imagination, he interpreted it into a fable with profound irony, in order to insinuate those who believe in fate and obey etiquette in real life. They are hypocritical and stupid. Compared with the traditional poetry about objects, the "new change" of this poem is obvious. If the innovation of fable prose mainly depends on Liu Zongyuan's outstanding artistic practice, then the fable poem describing things can form its own system, which is the result of Liu Yuxi's expansion, exploration and artistic re-creation of the theme.
Second, deepen and reverse the traditional theme.
In the history of China literature, there are many traditional themes handed down from generation to generation by writers of past dynasties, such as mourning for autumn, hurting spring, sighing for old age, parting and lovesickness. These traditional themes have relatively fixed emotional evolution logic and ideological execution trajectory, which often makes people consciously or unconsciously "fall into it" and cannot extricate themselves. What about Liu Yuxi, a unique poet? I think, on the one hand, Liu Yuxi shows enthusiasm for these traditional themes; On the other hand, when expressing these traditional themes, they tried to deepen and reverse these themes to show their unique characteristics. This is another important contribution to the development of Tang poetry.
The so-called "deepening" of traditional themes means that poets try to deepen their original emotional connotation and strengthen their original ideological strength when expressing traditional themes, so as to sublimate them to a new and higher level. Such as Wang Fushi:
I hope my husband won't come back all day and become a lonely stone.
It has been thousands of years, just like when I first saw it. This poem shows the traditional theme of lovesickness, but poets generally do not directly express their feelings of lovesickness. Instead, it uses anthropomorphic brushwork to chant "The Story of the Wangfu" and expresses the lyric hero's deep homesickness and homesickness in a tortuous way. Not only that, but what is more commendable is that the poet deliberately emphasizes that his watchful attitude will remain unchanged for thousands of years, thus not only writing the lyrical hero's persistent and single-minded love, but also declaring his loyalty to the ideal and his persistence in other hopes. Although this writing style has not broken away from the traditional mode of acacia theme, it has greatly expanded and deepened its original connotation. It can be said that the depth of this poem is unparalleled in similar works. This has been pointed out by predecessors. Chen Shidao's Poems on the Back Hill said: "Wang Fushi is everywhere, and poets in ancient and modern times use it uniformly, but Liu Meng said:' Wang has been here for thousands of years, as I first saw.' Although the language is clumsy, it means work. "Look at the poet's performance of the traditional theme of' success will be judged'";
I will take the opportunity to lead the world, Huang Zhongshi sighed.
Therefore, those who let future generations step onto the altar are all afraid of making meritorious deeds.
-"Han Xin Temple" "High martial arts, good bows and hides; A sly rabbit dies, and a running dog cooks; If the enemy country is broken, the adviser will die. " This is a sober and painful sigh from Han Xin, the marquis of Huaiyin, before he was slaughtered. Since Sima Qian recorded it in Historical Records and was deeply impressed by it, it has become a traditional theme for poets to fight when they saw his achievements. Liu Yuxi's epic is devoted to explaining this traditional theme that frightens people with lofty ideals. But it does not stop at the general revelation and simplified deduction of this traditional theme. The poet put aside the platitudes and tedious historical narratives, but only artistically showed the psychological pressure caused by the supreme ruler's act of killing heroes to Wang Zuozhi. The so-called "people who send future generations to the altar are afraid of making achievements every thought" is also true. If the consequences are serious and the supreme ruler wants long-term stability, can he not learn from it? This not only expands the artistic space of the work, but also expands the emotional tension of the work and enriches the ideological connotation of the work. Compared with the traditional theme, this poem obviously goes deeper with a pen.
But what can better show Liu Yuxi's artistic originality is his unexpected and exciting reversal of traditional themes. The so-called reversal of the traditional theme is to deliberately violate the established emotional orientation and ideological trend of the traditional theme and try to make up or correct its bias from the opposite direction, so as to show the author's unprecedented mind and outstanding knowledge different from the common customs. This is prominently manifested in Liu Yuxi's poems: opposing the traditional theme of "sad autumn", not afraid of "declining festival" and singing Qiu Ge with heroic spirit; Oppose the traditional theme of "groveling", not afraid of "transmission", and sing magnificent songs with awe; Contrary to the traditional theme of "sighing old", I refused to accept "being old" and sang a vibrant twilight song [3]. For example:
Since ancient times, I feel sad and lonely every autumn. I think autumn is more than spring.
A crane in the clear sky rows clouds, bringing poetry to the blue night.
-The first part of Two Poems in Autumn
Teenagers have negative ambitions and the channels are not timely.
Just say that the rope is straight, and the affordable housing can be cheated?
Yum is difficult to worry about the enemy, and 30% off is a good doctor.
How can you expose yourself if you are not frustrated in life?
-One of "Learning Ruan Gongti's Three Poems"
The wind and cloud are getting younger and time flies.
Autumn falcons get it, sweating like a pig, cold turtles get angry and drink mud.
Who can avoid the loss of the east corner and the emptiness of the north?
Still worth throwing into your arms, you can't fight for it.
-"Lotte sends holly late again, and answers after success" and other works that show unique opinions that are contrary to the traditional theme can almost be picked out from Liu Yuxi's collection of works. Hu Zai's "Tiaoxi Fishing in Conghua" called Du Mu "good at being different and reasonable", which means that his poems are novel and good at being different. This may mainly mean that Du Mu's poems have many beliefs. In fact, Liu Yuxi's passion for reversing his conviction is no less than Du Mu's, because "reversing his conviction" is the reversal of traditional themes. Du Mu's "Conviction" is mainly devoted to re-evaluating a historical event or historical figure, attracting people's attention with its novel ideas and strange imagination, such as "Jumping over the River Pavilion" and "Red Cliff". In contrast, Liu Yuxi's conviction is mainly devoted to changing the lyric melody followed by poets in previous dynasties and turning the sad voice into impassioned rhyme. This seems to require more courage and boldness. I want to take "Drunkenness and Dream of Death" as an example to illustrate:
When will Los Angeles return to Los Angeles? Old friends will be thinner today.
Never say goodbye stayed in the snow for a while, and finally planned to fly in the clouds. Another traditional theme of China's classical poetry is sadness and resentment. "Don't be sad, if you are sad, you will be separated", which is Qu Yuan's lament in Nine Songs and Less Life. "where will you go sometimes whimpers, where will you go sometimes repeats", which is Du Fu's cry in Two Dreams of Li Bai: "People are still worth crying when they leave, let alone when they will come back", which is Zhao Wei's wail in Farewell to Brothers on the River; "Ask more don't hate to know? There are many controversies in the Spring Festival Evening. This is Li Bai's tears in "Remembering the Past, Sending the County to Join the Army"-even Li Bai, who boasts that he has never shed tears in his life, has made such tears. How can an ordinary sentimental writer be insulated from sadness and sadness when singing Farewell? However, Liu Yuxi's poem "Drunk Answering Lotte" deliberately changed the traditional lyric melody, so as not to let the sad voice flow between the lines, but to make people feel refreshed and show their extraordinary mind with vigorous and heroic words and impassioned rhymes. The phrase "Say goodbye in the snow for a while, and the clouds will fly in the end" inspires Bai Juyi, who is so sad because he is about to leave, with a cheerful mood and vigorous brushwork. Compared with the poem that sent Du to Shu, "At the fork in the road, children * * * touch towels, so why be sentimental" seems even worse. This is an obvious example of the poet's reversal of the traditional theme.
Thirdly, the change and perfection of poetic style.
Liu Yuxi's achievements in reforming and perfecting the poetic style were the highest in the middle Tang Dynasty, which was enough to be called a leader in the Tang Dynasty. Fu and Liu Yuxi are good at everything. Guan Shiming's "Reading Tang Poems in Snow Mountain House" said that "everyone was caught off guard", which was by no means a compliment out of preference. Whether it is a poem with five words and seven words, a quatrain with five words and seven words, or a poem with five words and seven words, you can master and use it skillfully, showing more comprehensive and profound skills than your peers.
That is to say, as far as seven-character quatrains are concerned, although Liu Yuxi has not won the reputation of "Seven-character quatrains" in Changling, Rainbow, his accomplishments in seven-character quatrains have been widely respected by future generations. Almost all poetry theorists attribute him to the model of "first-class master" with seven-character quatrains:
The seven-character quatrains in the early Tang Dynasty, which were both fascinating and slightly solemn, damaged its charm. To Liu Mengde, and then to the macro set flying in nature, so as to enhance temperament and scenery, have become chapters, is the holy testimony of small poems.
-Wang Fuzhi's Jiang Zhai Shi Hua Volume II
Quatrains are of great use in dreams, as is Jude Law's poem Du Bijian. The person detained in the market is unknown.
-Xu Wei's Selected Poems of Ming Dynasty, Volume 8
The Seven Wonders was a movement in the Tang Dynasty, with the largest number of workers. Zhu Zhu Yu Yan: When the Seven Wonders reach the realm, there must be a soul in the poem. The word ecstasy is not enough to describe its wonder. After Li Bai and Wang Changling, Liu Mengde should be the most important. Fate is hazy, it comes for no reason and goes to infinity.
-Li Zhonghua's "A True Zhai Shi Shuo" similar views can also be found in many other poetry works, such as Yan Yu's "Canglang Shi Hua", Shen Deqian's "Talking about Poetry", Wang Shizhen's "Flowers and Plants Picking Up" and Weng Fanggang's "Zhou Shi Shi Hua".
Indeed, if Liu Yuxi was not deliberately relegated to the top of other schools in the prosperous Tang Dynasty, at least he could be said to be "a prosperous Tang Dynasty". Amin scholar Hu Zhenheng said: "Five words did not begin with * * * poems, but flourished in Qi and Liang Dynasties. Seven words never started from Qi Liang, and it was not until the early Tang Dynasty that the four outstanding figures became the tone. " In other words, five-character poems have been popular in the world as early as the Qi and Liang Dynasties. However, the seven-character quatrains began to sprout in the Qi and Liang Dynasties, and it was not until the Tang Dynasty that they were formally finalized and tended to flourish. Because of its agility, lightness and grace, the seven-character quatrains are suitable for expressing fleeting thoughts and feelings in life, and are widely used by poets in the Tang Dynasty, so they are called lyric poems in the Tang Dynasty. Liu Yuxi, on the other hand, further perfected the seven-character quatrain by bullying the talented people in the Tang Dynasty, making it a "small poem holy card". And look at "Three Poems on Wounded Healing":
one
The stream comes from Changchun, and the thatched cottage has no owner to swallow back.
Only the grass in the atrium can be seen in the distance, and the pomegranate is still in full bloom.
Secondly,
A few cursive sages leave a residual wall, and a thousand wooden slaves return to their neighbors.
Just look at the list of virtues in the inner door, and leave the firewood car alone.
third
Six bamboo lanes are lingering, and weeds and moss grow day by day.
Even if the neighbors can play the flute, the old couple in Yang Shan can't. This group of works is not a masterpiece in Liu Yuxi's seven-character quatrains, but it is also an extraordinary satire. According to the preface to the poem, "Yuxi" was excavated by Liu Zongyuan when he was guarding Yongzhou. Three years after Liu's death, a monk said to the poet, "There is no time to go back to Yuxi." The poet "takes what he hears as seven words to express his hatred". His technique of "mourning" is very clever: he melts all the tenderness of missing his dead friend into the carefully constructed scenery, and strives to render a deep regret that the scenery is still the same but the Sri Lankan has passed away, which can be called "silent and as romantic as possible" as in Five Topics of Jinling. Although these works are short chapters, they not only have a broad space for emotional maneuver, but also try their best to convey their feelings through the scenery, express their feelings and turn their feelings into waves, which fully shows the author's profound skill in seven-character quatrains. The "award-winning" works are still like this, and "excellent" works like "Five Topics of Jinling" are naturally more superb, which makes people sigh.
What is particularly commendable is that Liu Yuxi also tried to "change" the style of poetry. This is manifested in two aspects: first, the voice and emotion of folk songs are integrated into the seven-character quatrains, and a "thinking and turning" folk-style Yuefu poem is successfully created. This folk-style Yuefu poem is represented by Xiaoxiang God, Zhi Zhu Ci mixed with Bachu folk songs and Yang Liuzhi Ci mixed with wuyue folk songs. They are neither vulgar nor elegant. They not only roughly meet the rhythm requirements of seven-character quatrains, but also have the bright rhythm, euphemistic feelings and local characteristics of folk songs, which are fascinating to read. Of course, the most creative is Zhi Zhu's Ci, but other chapters such as Langtaosha Ci, Ta Ci and Yang Liuzhi Ci also have their own characteristics. Try to write a poem "Yang Liuzhi Ci";
Qingjiang Qianliu was the Boss Bridge twenty years ago.
I once said goodbye to Beauty Bridge, but I hate it until now. Hu Yinglin's Collection of Poetry, Volume Six, spoke highly of this poem, saying: "The last poem in the Tang Dynasty, such as' Qingjiang Liuliu Tune', was a poem of Yuxi, and Yang Yongxiu regarded it as a god." As far as the artistic achievement of this poem is concerned, it is not excessive. A tune of Qingjiang River and a thousand green willows is a typical farewell environment. The poet opened the curtain of memory, recalled the scene of bidding farewell to "beauty" 20 years ago, and poured farewell and sad feelings between the lines. Needless to say, its meaning is extremely rich. If we say rhythm, it is no different from seven-character quatrains, but its language is as plain and clear as folk songs. This embodies all the advantages of folk songs and Yuefu poems.
Another manifestation of Liu Yuxi's change in poetic style is that he tried to create ci earlier. The long and short sentences that researchers are familiar with are a new poetic style that is sung by music. It was produced among the people in the Sui and Tang Dynasties. However, the wind of literati lyrics began in the middle Tang Dynasty. Zhang, Wei, Liu Changqing, Bai Juyi and Liu Yuxi were all early lyricists. If it is acknowledged that the rise of ci marks the increasingly rich and diverse poetic style, which can be regarded as one of the signs of the progress of poetic style, then Liu Yuxi's attempt to write ci should also be an effort to change the poetic style. His poem "Recalling Jiangnan" said:
Spring has passed! Thank you, Los Angeles.
Raise your eyebrows, Cong Lu Lan looks like a towel. Sitting alone also contains the word "shua", which was written in the three years of Kaicheng * * * 838 * * when poets were all Prince Guests. Under the title, the original poet made a note: "He Letian's" Spring Poetry "is based on" Recalling Jiangnan "." This is the earliest record of lyrics written according to music in the history of China literature, which indicates that lyrics have developed from the embryonic state of "choosing lyrics by music" to the mature stage of "defining lyrics by music". The whole poem is sad in artistic conception and beautiful in language, but it does not become flowery. Therefore, Kuang Zhouyi's "Eating Cherry Blossoms" praised it as "a wonderful pen to create flowers, open up new fields and travel less." Just because it comes from the Tang Dynasty, it can flow smoothly. What is the so-called' romantic high style'? "
To sum up, the expansion and exploration of theme field, the deepening and subversion of traditional theme and the reform and improvement of poetic style are the three cornerstones to lay the historical position of Liu Yuxi's poetry. Admittedly, they are far from summing up all the achievements and contributions of the poet. We should at least further explore the poet's efforts in enhancing the lyrical function, enriching the figurative techniques and improving the planning skills of Tang poetry. However, even from the above three aspects, we can conclude that Liu Yuxi is indeed a famous scholar in the middle Tang Dynasty who can be compared with Han Meng and Bai Yuan.