From the genre system of Tang people, we can see that there are two important relationships: one is the relationship between ancient and modern, and the other is the relationship between poetry and music. It should be said that these are two major contradictions in the genre system of Tang poetry, namely, the contradiction between ancient style and modern poetry (that is, the modern poetry of Tang people) and the contradiction between poetry and music. These are two major contradictions in the poetry creation in the Tang Dynasty. For example, the contradiction between the ancient style and the modern style in the Tang Dynasty. For example, Shen Song attaches importance to the close style of ten talents, while The Book of Songs and Han Meng School's poetry collections tend to be retro. This contradiction sometimes exists in the creation of poets, such as Bai Juyi's creation. The contradiction between poetry and music is not as obvious as the contradiction between ancient and modern styles, but it always exists in the development of Tang poetry. First of all, the genre of ancient Yuefu style and Gexing style in Tang poetry either comes from the imitation of Yuefu lyrics since the Han and Wei Dynasties (such as ancient Yuefu style) or is characterized by music songs (namely Gexing style), that is, Yuan Zhen's "flowing in Yuefu" or "real music flow" mentioned above. In this part of poetry writing, there are contradictions between poetic style and poetic style, and between the function of poetry and the function of song. Secondly, it is a part of Tang poetry, which is also the lyrics of entering music. This leads to the contradiction between song style and poem style in Tang poetry genre. But the two major contradictions in the genre system of Tang poetry are actually its two major advantages. The tension and vitality produced by contradictions make Tang poetry keep a balance in the contradiction between old and new styles, songs and poems, and form the tension for the effective development of poetry art.
There have been many studies on the relationship between Tang poetry and music in academic circles. Ren Erbei's Poems of Tang Sheng [2] makes a detailed textual research on the situation of Tang poetry entering music. This book is divided into two parts. The first part is a textual research on the situation of music poetry in Tang Dynasty, and discusses the scope of music poetry by distinguishing it from Yuefu and Ci. The second part makes textual research on more than 50 styles of Tang poetry/KLOC-0. Wang Kunwu's Research on Zayan Songs of Yan Music in Sui, Tang and Five Dynasties [3] is a textual research on the entry of Zayan poems into the Tang Quzi Ci system. Recently, Ge He De Cang's Research Series on Japanese-Tibetan Song and Dance Music is also helpful to further understand the musical background of Tang poetry. Of course, there are still many problems that can be studied about Tang poetry entering music, song and dance. The existing research results also need to be re-examined. The author feels that the traditional research basically stays on the textual research of the relationship between poetry and music, and fails to extend the research of the relationship between Tang poetry and music from factual research to the research of poetry art itself, that is, to re-understand the artistic causes of Tang poetry through the relationship between Tang poetry and music. Pure poetry and lyrics are two different language arts. Pure poetry is pure literature, which is developed as a pure language art after being separated from music. It follows the development law of language art, and the lyrics also follow the development law of music art. Both have their own artistic advantages. Among the genres of Tang poetry, some tend to be lyrical, such as quatrains; Others prefer pure poetry, such as ancient style; But in the Tang Dynasty, it is hard to say which genre has nothing to do with music, and no genre is completely enjoyed. Looking at the situation of Tang poetry entering music, it can be said that on the one hand, various schools have maintained the independence of pure poetry schools, that is, the genre system of Tang poetry is different from that of Han Yuefu, and it is also different from that of Qu Ci in Tang, Five Dynasties and Northern Song Dynasty, and it is still attached to music. In essence, various genres of Tang poetry have been separated from music. But it is completely isolated from music, which is different from ancient modern poetry in Song, Yuan, Ming and Qing Dynasties. At the same time, all Tang poems are reserved as preparatory qualifications for lyrics, and it is possible to get the opportunity to cooperate with music again.
As far as the relationship between the genre of Tang poetry and music is concerned, music does not standardize poetry, but poetry still has the conditions to cooperate with music. In this respect, the artistic advantages of Tang poetry are enormous. It can be said that Tang poetry has achieved a balance between poetry as a language art and songs as music. Poems with five or seven characters in the Middle Ages and the Tang Dynasty originated from Yuefu in Han and Wei Dynasties. During the Han and Wei Dynasties, Yuefu existed as a system of songs, and its language art was subordinate to the musical function. From the Wei and Jin Dynasties, songs and poems parted ways, and then the creation of literati's poems, from the Middle Ages to the Tang Dynasty, was mainly based on the art of pure poetry. Tang poetry was not only the inheritance and development of China's ancient poetry in genre, but also the language art of medieval poetry, including poetry vocabulary, images, poetry, composition, sentence patterns and other factors. Therefore, Tang poetry is a highly developed poetic language, which has reached the realm of exquisite and ingenious pure poetic art. But at the same time, Tang poetry also has some lyrical functions. Song style is characterized by simplicity and strong lyricism. Compared with the ancient modern poetry of later generations, the language art of Tang poetry is more natural without losing the freedom of expression. Judging from the application and skills of language art, Tang poetry did not bring the language function into full play. For example, the development of poetic language in Song Dynasty in aspects of body, reason and humor was not prepared by Tang poetry. However, on the whole, Tang poetry has maintained a lyricism and musicality. It does not make poetry a pure language art. It can be said that there is a balance between the language function of poetry and the language function of Song Dynasty, and between the exquisite pursuit of art and natural expression. In a pure poem that has developed to a fairly high stage of language art, even lyricism will fall into second nature, and Song poetry and Qing poetry often give people this feeling. A good poem makes us feel that what plays an aesthetic role is not the emotional component, but the artistic component. Tang poetry, on the other hand, plays a balanced aesthetic role among the beauty of image, language, music and emotion.
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Another genre advantage of Tang poetry is the combination of old and new genres. This problem is much more complicated than the last one. There is an antagonistic, contradictory and interactive relationship between the old and new genres of Tang poetry. From the aspect of contradiction, the old and the new are mutually exclusive. The contradiction between modern and ancient poetic styles did not begin in the Tang Dynasty, but appeared in the late Southern Dynasty. Since the Qi and Liang Dynasties, the poetic style has been renewed from generation to generation. When people in Qi and Liang dynasties read the poems of people in Han, Wei and Jin dynasties, they already felt that they were ancient. Zhong Rong's Preface to Poetry criticized its contemporary atmosphere, saying: "There were frivolous people who laughed at Cao and said that they were the masters of Bao Zhaoxi, and Xie Yuezhao was unique in the present." Fan Yun commented on He Xun's language in Biography of Southern History: "Look at a scholar, his quality is too elegant, and his beauty is harmful to customs. It can be clear or turbid, but it can be seen now. " More obviously, at the time of Qi and Liang Dynasties, the modern and ancient systems are indeed separable. Of course, people's modernity at that time refers to the system and style. But the two are actually related, that is, the new changes in the system have directly caused new changes in the style of work. After the appearance of Yongming style, the distinction between the past and the present was directly implemented at the genre level, which directly opened the precedent of the diversion of ancient and modern styles in Tang poetry.
The dispute between ancient and modern times is mainly about how to evaluate temperament. It was Zhong Rong who first raised objections to temperament. In Preface to Poetry, he expressed disapproval of Yongming's theory of temperament: "Cao Liu was a saint in the article before, and Lu Xie was a talented person. He studied hard for thousands of years, but he didn't hear the argument between the palace merchants and the four tones theory. Or the former is not seen by accident, why not! Try to say that in ancient times, there were golden bamboo hymns. So there is no harmony if the five tones are not harmonious. For example,' wine serves a high hall' and' the moon shines on a tall building' are the first rhymes. Therefore, the words of the three ancestors, the text may not work, but the rhyme becomes singing, which emphasizes the meaning of rhyme, which is different from the words of the world. Today, it is neither orchestral nor musical. There was an elder in the state of Qi, and I said,' Palace merchants are born with two devices, which poets have never known since ancient times. However, Yan Fairy is melodious, but it is all wet. Just looking at Ye Fan and Xie Zhuang is quite knowledgeable. I haven't tried the theory of entering bosom friends. "Wang Yuan is a pioneer, Xie Yuezhao and Shen Yue are frolicters. Sanxian is still your son, young and educated. Therefore, scholars respect the scenery, work hard, accumulate fine, and specialize in tombs.