During the thirty or forty years of the Tang Dynasty, the poetic world was still permeated with the wind of "taking mistakes as flattery", and even the talented Taizong Li Shimin was not spared. Only a few poets, such as Wang Ji, who advocated simplicity and frankness in Jin and Song Dynasties, got rid of fetters and customs. In the Wuhou period, Wang Bo, Yang Jiong, Lu, Wang, Shen Quanqi, Song Ziang and others entered the poetry circle one after another, and the atmosphere gradually changed. Although Shen and Song mainly paid attention to worship and entertainment, they also created some poems with a sense of real life after they left the palace and were relegated, which also made great contributions to the finalization of the form of regular poems. Wang, Yang, Lu and Luo are the so-called "four outstanding men". Humble and talented, he moved his poetry from the palace to the market and from Taige to the desert of Jiangshan. Although he hasn't lost the beauty of the Southern Dynasties in words, the weather is different after all. Since then, he Zhang has further developed seven-character songs, with fresh and beautiful language and melodious rhythm. Chen Ziang highly praised "elegance" and "Han Wei style", and showed a distinct spirit of innovation in poetry theory and creative practice.
The half century from Xuanzong's accession to the throne to the early years of Daizong Dali usually became the prosperous Tang Dynasty, and the development of poetry reached the peak of prosperity. Whether it is five ancient poems, seven ancient poems, Yuefu poems, Gexing poems, or five-character and seven-character modern poems, they all show special brilliance. The real life of all aspects of society has been fully reflected in the works of poets in various systems and styles. Meng Haoran, Wang Wei, Chu Guangxi, Chang Jian, Zuyong, Pei Di and others inherited the tradition of Tao Yuanming and Xie (Xie Lingyun and Xie Shu), and their poems were mostly about landscapes and pastoral areas. Meng Shi pays attention to the overall impression and emotion, and his style is diluted and full of charm; Wang's poems are good at depicting beautiful and ethereal scenery, and they are full of Zen when painted. A school of poets, represented by Gao Shi and Cen Can, described the frontier life more. The heroic spirit of serving the country generously and the optimistic spirit of not being afraid of difficulties are its basic characteristics, which also reflect the contradictions and grievances of soldiers and the pursuit of husband and wife. Both Gao and Cen are good at seven-character poems. The former is still in charge of quality, and it is highly effective; The latter is still ingenious, magnificent and steep in the main scene. The frontier poems of Wang Changling, Li Qi, Wang Zhihuan and William Wang are different in quantity and form, but they also have their own characteristics. Li Bai and Du Fu are the most outstanding representatives of poetry in the prosperous Tang Dynasty, and they are great poets with two peaks standing side by side. Li Bai's poems and songs inherit and develop the achievements of the previous generation's romantic creation, and express the contradiction between ideal and reality with its bright and strong love and hate, heroic and uninhibited personality, magical and unpredictable imagination and shocking brushwork, accompanied by fierce attacks on political darkness and the whole social order. His songs broke the shackles of neat parallel prose in the early Tang Dynasty and were incisive and unrestrained. The quatrains of five words and seven words are profound and mellow, which embodies the aesthetic ideal of "clear water gives birth to hibiscus and natural carving" Du Fu's poems, which have the reputation of "the history of poetry", widely and profoundly reflect the features of the times before and after the Anshi Rebellion, as well as the feelings of "worrying about Li Yuan in poor years, sighing in the intestines" and "daring to love death while living, feeling lonely and surprised". It is its most prominent lofty ideal. Du Fu summed up and carried forward the realistic spirit of The Book of Songs and Han Yuefu's "Famous Works, Nothing to Rely on", and opened up a creative road leading to real life. He also "cut off the wind of falsehood" and "turned to benefit many teachers", lyrical narration, and was good at the wind of ancient and modern times, which really "made realistic poetry unique".
With the disappearance of poets represented by "Gemini" Li and Du, Tang poetry entered the middle Tang period. This stage can be roughly divided into two stages, which is a relatively calm period after the fall of the superstar. At that time, the so-called "Ten Talents in Dali" with high reputation did not achieve much in practice. King Buwu, Liu Changqing and Wei of Meng are famous for their landscape poems, which are quite distinctive. The works of Yuan Jie, Gu Kuang and others reflecting reality can be regarded as the same origin of Du Fu's poems and the bridge between Du Fu and Bai Juyi. About 30 years from the middle of Zhenyuan to the beginning of Yamato Literature School, that is, the later period, is another climax period after the prosperous Tang Dynasty. Excellent poets with different styles and schools have appeared one after another, and they have boldly explored the development direction of poetry from all aspects. Bai Juyi, Yuan Zhen, Zhang Ji, Wang Jian, Li Shen and others inherited Du Fu's tradition, further emphasized the "beautiful thorn" function of poetry, advocated that "articles should be written in time, and poems should be written well", advocated the new Yuefu movement, and strived to create a poetic style of "quality but diameter" and "smoothness and smoothness". On the contrary, a group of poets headed by Han Yu, with Meng Jiao and Jia Dao as wings, are still curious and adventurous, flaunting "Chen Yanwu's songs" and "words must come out" and creating a new way of "hard language". In addition to these two schools, Li He, Liu Zongyuan and Liu Yuxi were also very successful poets in this period. Li He widely used Bixing and paid more attention to forging new police strange poems. Liu Zongyuan's Mo Shan Pan Shui is more deliberately described than Wang and Meng's Mo Shan Pan Shui, and its poetic style is neat and clean. Liu Yuxi is different. He tried to break a new path between literati poetry and folk songs, which was groundbreaking.
The history of the late Tang Dynasty, from the prosperity of literate Sect to the demise of the Tang Dynasty in the 1970s and 1980s, is called the late Tang Dynasty. This is the twilight and decline period of the Tang Dynasty, and it is also the afterglow period of Tang poetry. With the decline and turmoil of the national situation, the face of poetry has also undergone great changes. In the first two or three decades, Du Mu and Li Shangyin were the most prominent. They have made achievements in both ancient and modern styles, and made new progress in art. Du Mu's seven unique skills are fresh and handsome in one furnace, singing history, expressing feelings and writing scenery, and they are invincible. Li Shangyin is especially good at the seven laws, and he is a family of his own. Their poems often reveal a strong sentimental mood, whether it is worrying about chaos, expressing political hugs, or writing about life experiences and love life. In the last 50 or 60 years, there have been many poets, but their accomplishments are not first-class. The poetic style is gradually gorgeous and delicate, and it turns to the aesthetic pursuit of detachment. At this stage, a school of realistic poets inherited the tradition of Bai Juyi's new Yuefu, which deserves attention. Pi Rixiu, Nie and Du Xunhe are famous. They were active in the poetry circles before and after the Huang Chao Uprising, and consciously realized the literary proposition of "talking about current affairs and observing the national style". Their intense feelings, sharp writing and shallow language have become a glorious knot of Tang poetry.
In the highly developed environment of poetry, with the prosperity of urban economy and the popularity of Yan music, a new poetry genre & duet appeared in the Tang Dynasty. The earliest folk words in the Tang Dynasty were Quzi words discovered in Dunhuang, with a wide range of subjects and many authors. "There are moans of wanderers, brave words of loyal ministers and righteous men, joy and longing of recluse gentlemen, eagerness and disappointment of young students, praise of Buddhists and songs of doctors" (Wang Zhongmin's Dunhuang Quzi Ci Collection), but the art is still relatively rough. Before the Mid-Tang Dynasty, the creation of literati ci was not universal, and the works of Zhang, Dai Shulun, Liu Changqing, Wei, Bai Juyi and Liu Yuxi were mostly fresh and lively. According to legend, Li Bai also got his hands on it, but so far there is no conclusion. In the late Tang Dynasty, a number of writers and poets emerged, among which Wen was the most famous representative. Wenshan's poems are as famous as Li Shangyin's and good at melody. Their words are colorful and dense, and the surroundings are faint and profound. They made a useful exploration of the artistic features of Ci. However, the theme is biased towards the boudoir. Although the rhyme of the law is superior, the class is not out of resentment.