With the evolution of Chu ci to prose, another poetic Yuefu entered the poetry circle of Han, Wei and Six Dynasties with the unique vigorous and fresh style of folk literature. Yuefu folk songs, whether long or short, are all "influenced by sadness and joy, and have their origins" (Ban Gu's Han Shu Literature and Art Annals). A strong sense of reality is their important symbol. This realistic spirit directly influenced the "Ancient Yuefu Poetry" created by later poets and the "New Yuefu Movement" in the Tang Dynasty. Among Yuefu folk songs in the Han, Wei and Six Dynasties, the treasures of China's ancient long narrative poems, such as Mulberry, Peacock Flying Southeast and Mulan Poetry, add luster to the poetic power. In the development of Yuefu poetry, people pay more and more attention to the five-character and seven-character sentence pattern. By the end of the Han Dynasty, there were 19 ancient poems written by an anonymous person, and the style of five-character poems was basically mature. By the time of the Qi and Liang Dynasties, Zhong Rong, a famous literary critic in ancient China, had confirmed in the Preface to Poetry that "five words are the essence of literary words, and they are those with many qualities". Seven-character poems came into being later than five-character poems. Its widespread popularity was in the Jin and Song Dynasties.
After the full preparation of Shen Yue's poems in Qi and Liang Dynasties, modern poetry was established in the Tang Dynasty, and poetry entered its heyday, which was a golden age of China's poetry. During this period, classical poetry and modern poetry developed in an all-round way, and world-famous great poets such as Li Bai, Du Fu and Bai Juyi appeared.
There is a close relationship between China's poetry and music, and the development and change of the relationship between them has gone through three stages: following poetry with music, entering music with poetry, and composing words by sound. "Lyrics according to sound" is a more advanced combination of poetry and music under the new historical conditions after long-term development and evolution. Later ci and Sanqu all developed along the road of "composing ci by sound". Ci, formerly known as "Qu", "Qu" or "Qu Ci", is a musical style. Ci originated from the people, and after the prosperous Tang Dynasty, it became a common practice for literati to write Ci. In the Five Dynasties, China's first collection of literati ci, Huajianji, came out. In the Song Dynasty, Ci, a special style, was widely welcomed by all walks of life. In the Song Dynasty, artists expressed their joys and sorrows (Chen Zilong dialect, Shen Xiong's Ancient and Modern Ci-Hua, Ci-Pin) with "Poetry can't be expressed" (Wang Guowei's Ci on the World), and achieved the perfect unity of content and form. Ci in Song Dynasty reached another peak of China literature, which can be juxtaposed with Tang poetry, and a number of great poets, such as Su Shi, appeared. In the late Southern Song Dynasty, Ci gradually lost its ability of harmony. At the same time, the music of the northern minorities has been introduced into the Central Plains, which has brought a "strong" rough style (Xu Wei's "South Ci Shu") and aroused people's new interest. This kind of "Le Hu" is combined with folk songs in the north and mixed with popular language, thus forming a new poetic style-Sanqu. The obvious difference between Sanqu and traditional poetry is that it absorbs a lot of slang in folk dialects. Sanqu works have a strong color of popular literature, and a large number of Sanqu works also have a sense of humor that is rare in previous poems, which has injected a fresh air into the poetry world. Sanqu developed rapidly in Yuan Dynasty and became one of the most prosperous genres in the history of China's poetry in a short time. While Song Ci and Yuan Qu are in a dominant position in the literary world, traditional poetry still creates a large number of works. There are a large number of poems in Song, Yuan, Ming and Qing dynasties with their own characteristics, but in terms of overall achievements, they have not surpassed the Tang Dynasty.
Meng Haoran (689 ~ 740), a poet in the Tang Dynasty, whose real name was Hao, was Haoran. Xiangyang Xiangzhou (now Xiangfan, Hubei) Xiangyang is known as Meng Xiangyang in the world. Because I have never been an official, I am also called Monsanto. Once lived in seclusion in Lumen Mountain. Traveling to Chang 'an at the age of 40 should be promoted by Jinshi. He once wrote a poem named Gong Qing in imperial academy, and he wrote for it. He has a close friendship with Wang Wei. Legend has it that Wang Wei once invited himself into the office, just as Xuanzong arrived, Haoran fled to the bed. Wang Wei didn't dare to hide it. According to the facts, Xuanzong was ordered to see it. Haoran recited his poem to the sentence "I was exiled by a wise ruler because of my mistakes", but Xuanzong was not happy. He said, "You don't want to be an official, and I haven't abandoned you. Why do you falsely accuse me!" Put it back in Xiangyang. After roaming in wuyue, I was extremely poor. In the 22nd year of Kaiyuan (734), Han Chaozong invited Meng Haoran to Chang 'an to show his respect. But he didn't want to be famous, so he stood me up and got nowhere. In the 25th year of Kaiyuan, Zhang Jiuling became the long history of Jingzhou, which led to the shogunate. Before long, he returned to his former residence. In the 28th year of Kaiyuan, Wang Changling visited Xiangyang and Meng Haoran. They met and enjoyed each other. Haoran's disease broke out on his back, and he would be cured, and he would die because he indulged in feasting and eating fresh food.
Meng Haoran was born in the prosperous Tang Dynasty. He was useful to the world in his early years, but he was politically frustrated and lived in seclusion for life. He is an honest and clean man, and he doesn't like to please others. His Geng Jie disobedient character and naive and noble sentiment are admired by contemporary and future generations. Li Bai praised him and said: "The beauty is unlucky, so don't focus on the car, but on the clouds; Now, "White-haired" said admiringly: "Gaoshan, how I long to reach you, just to pay tribute to Chun Xiang (A Word to Meng Haoran). Wang Shiyuan said in the preface to Meng Haoran that he was "handsome in appearance and handsome in spirit; Rescuing patients, resolving disputes, in order to establish righteousness; Irrigation of vegetables and bamboo is noble. " Wang Wei once painted his portrait in Yunzhou Pavilion with the title "Haoran Pavilion". Later generations respected him and refused to call him by his first name, so he changed his name to "Meng Ting" and became a local scenic spot. It can be seen that he is famous among ancient poets. Wang Wei, Li Bai and Wang Changling are all his good friends, and Du Fu, Pi Rixiu and others also have a good relationship with him.
Meng Haoran's life experience is relatively simple, and the theme of poetry creation is also very narrow. Meng's poems are mostly five-character short stories, mostly pastoral poems and secluded poems, and most of them are in the mood of serving immortals. Although it is not without cynicism, it is more of a poet's self-expression. He and Wang Wei also said that although Wang's poems are far less extensive and profound, they have unique artistic attainments.
Meng Shi's poetry is not carving, but thinking, full of wonderful self-satisfaction interest, not frugality and poverty. He is good at exploring the beauty of nature and life, immediately understanding the scene and writing his true feelings at the moment. For example, Qiu Deng Wan Shan sends Zhang Wu, Summer is in the South Pavilion, Guo Zhuang, Night Sleeping in Jiande, Night Song of Deer Gate, etc. , naturally become muddleheaded, but the artistic conception is clear and full of charm. Du Fu said that his poems and sentences in the Qing Dynasty were "perfect" ("Relieve boredom") and praised him for "why bother to write poems, they often give thanks" ("send happiness"). Pi Rixiu said: "Mr. Wang's works are full of praise when it comes to scenery, regardless of the strangeness, which makes those who are polluted and bound the population feel bored. If he loses, he will be lucky and unfortunate. " The beauty of the Northern Qi Dynasty' hibiscus is exposed, and willow is sparse in the middle of the month'; Mr. Wang has Wei Yun Lian Han, Shu Yu Wu Tong. Yuefu Rong' sunshine on the sand, wind and spring turbidity'; The king said, "The fog of clouds and dreams has trapped Yueyang." . Xie Tiao's poem is' dew wet cold pond grass, bright moon reflects clear Huai Liu'; Mr. Wang has "the wind sends lotus fragrance, and the bamboo leaves drip." "This is better than the ancients." His lyrical works, such as "Returning to the South Mountain at the End of the Year", "Feeling on the River at the Beginning of Cold", "Climbing the Wild Mountain with Friends", "Xunyang Looking at Lushan Mountain at Night" and "Talking about Wanshan", etc. Often touched by the ethereal spirit, the brushwork is like nothing, but the meaning is profound and inexhaustible. Yan Yu uses Zen as a metaphor for poetry, which means that Haoran's poem is "wonderful" (Cang Bian). In the Qing Dynasty, Wang Shi Lu introduced Yan's introduction, praised "the theory of verve" and Wang Meng. He used Ran He's poem "Xunyang Looking at Lushan Mountain at Night" as a model and said, "At this point, the poem is empty, and politics is like a gazelle, and there is no trace to be found. The painter called Yipin. " On the basis of inheriting Tao and Xie, the pastoral poetry in the prosperous Tang Dynasty has made new development and formed a school of poetry. Among his masterpieces, Meng Haoran is the longest. He is the pioneer and has great influence on that time and later generations. His poems are based on broadmindedness, but "there is a strong and free-spirited spirit in broadmindedness" (Tang Yingui cited Pu Yin for money). For example, "Clouds dream up and fog around Yueyang City" ("Dongting Lake to Premier Zhang") is linked with Du Fu's "There is Wu in the east and Chu in the south, and you can see the world drifting endlessly" ("Climbing Yueyang Tower"), which has become a famous sentence describing the wonders of Dongting. In Qing Dynasty, Pan Deyu once pointed out: "Pu Qin has been surprised by Xiangyang's poems, such as' Morning Light in Xu Dong'. Lying down in Pukou to smell the fish, the radial sound is dark, and the sunrise weather is divided, which shows that the rivers and lakes are wide and the boat knows the wind. Hanging seats for the morning hair, in the lake. See the middle stream, and press Jiujiang Bear. "In the morning, the incense burner rises and the waterfall sprays Chen Hong." You are full of energy and look down on everything. You can't just look at it and speak clearly. However, this is rare in Meng's poems and cannot represent the main aspects of his style. Generally speaking, the content of Meng's poems is thin, which makes him trapped by space. Su Shi said that he was "high in rhyme but short in talent, such as making wine by internal method without using materials" (quoted from Chen Shidao's Poems on Houshan), which was quite to the point.
Although Meng Xiangyang is the pioneer of Tangshan water poems, his achievements are not as good as Wang Wei's. Why? One is because of his talent, and the other is because his poems are often not as lofty as Wang Wei's. Meng Haoran has been an official all his life, and his heart is not sweet. This situation often appears in his poems, which makes his poems cold and frugal. Wang Moshu, however, was an official all his life. After many twists and turns, he had a profound understanding of the changes of the world. This emotion originated from poetry is often interesting and difficult to pursue.
Although, Meng's poems have their own merits. His poem Far Away not only inherits Tao Qian's thoughts, but also does not diminish Wang Wei. For example, the sentences such as "Go to the wild south, because the leaves are falling, the north wind comes to Shui Han" and "There is wind in the leaves on both sides of the strait, and the moonlight is alone" can really be described as "empty and comfortable, indifferent", which is worthy of being a masterpiece in landscape poetry.
In the fourth year of Tianbao (745), Wang Shiyuan of Yicheng received Meng Haoran's poems and got 2 18 poems. He lost his book. Meng Haoran's poetry collection, which is now widely circulated, contains 263 poems, 45 more than Wang Ben's, including other people's works. For the deeds, see Biography of Old and New Books of Tang Dynasty.