History of the Development of Chinese Poetry?!

Poetry has a long history in China, stretching over thousands of years, and has made glorious achievements.

As early as the Western Zhou Dynasty to the Spring and Autumn Period, China's poetry has produced a large number of brilliant chapters.

The hallmark of this was the emergence of China's first collection of poetry, the Book of Poetry (诗经).

The Book of Songs contains 305 poems, divided into three parts: "Winds," "Elegance," and "Ode," all of which can be sung to music.

Most of the poems in the Book of Songs have a distinctive sense of the times and the people's nature, and make good use of the expressive techniques of fugue, ratio and Xing, with the syntax being mainly in four lines, mostly in overlapping sentences, which laid a profound humanistic basis and artistic heritage for the later generations of literary creativity.

Late in the Warring States period, a new poetic style, Chu Rhetoric (Sao Style), was produced in the southern state of Chu with the unique style of Chu culture.

Chu Rhetoric is characterized by a mixture of short and long lines, mainly in six or seven words, and the word "Ruoxi" is often used.

Qu Yuan, the founder and main author of Chu Rhetoric, used this form to create such immortal poems as Li Sao, Nine Songs and Nine Chapters, becoming the first great poet in the history of Chinese literature.

His masterpiece, Li Sao, is the most magnificent and magnificent long lyric poem in the history of ancient Chinese literature.

After Qu Yuan, there were writers of Chu Rhetoric, such as Song Yu, Tang Le, and Jing Dai. The emergence of Chu Rhetoric marked the development of Chinese poetry from collective folk singing to a higher stage of independent composition by poets.

The Book of Songs and the Chu Rhetoric are the two major sources of poetry development in later times, and they are called "Fengshou" in the history of literature, and they have created an excellent tradition of realism and romanticism in ancient Chinese poetry, which has been modeled for generations to come.

Pre-Han Dynasty, the literati poetry is relatively silent, folk music is quite active.

The term "Lefu" was originally used to refer to the national music organization, but in later times, the songs collected and edited by Lefu that could be sung to music were also called "Lefu". Han Lefu folk songs are the essence of Han Lefu. Han Lefu Folk Songs inherited the realism tradition of "The Book of Songs" that "the hungry sing about their food, the laborers sing about their affairs", and they were mostly "sent in sorrow and happiness, and expressed themselves because of the events", which was easy to understand, long in narrating, rich in life flavor, and with the syntax of miscellaneous words and five words as the main form, reflecting the new development of the poetic art. The style is mainly in miscellaneous words and five-character lines, reflecting the new development of poetic art.

The "Stranger's Mulberry" and "Southeast Flight of the Peacock" are the best works of Han Lefu folk songs, and are also representative of narrative poetry. Southeast Flight of the Peacock" is the first long narrative poem in the history of Chinese poetry with a high degree of unity in ideology and artistry, with 353 lines and 1,765 words, and it is called "the saint of long poems" and "the first long poem in ancient and modern times".

Under the influence of Han Lefu, the literati's pentameter poems gradually developed and matured, symbolized by the Nineteen Ancient Poems that appeared at the end of the Eastern Han Dynasty. This is a group of short lyrical poems composed by the literati of the Han Dynasty, which are sentimental in mood, short in words and long in love, euphemistic and implicit, simple and refined, and are regarded as "one word worth a thousand pieces of gold," and "the crown of the actual five-word poem".

At the end of the Han Dynasty, during the Wei and Jin Dynasties, literature entered an era of self-awareness: the Jian'an Era.

While the world was in turmoil, and the winds were in a state of decay and discontent, the poetry of the literati showed a great development of the "five-word poetry", with the "Three Cao" father and son and Wang Chuan and other "Seven Sons of Jian'an". The "Three Cao's" father and son and Wang Chuan and the "Seven Sons of Jian'an" were the center of the Yedi literati group. Most of their poems reflect the turmoil of the times and the suffering of the people, and express their personal ideals and aspirations, in a style of "generosity and generosity" and "deep will and long strokes", which is known in later times as the "Jian'an style and bones". "

Jianan style

Cao Zhi and Wang Ch'ung were the most outstanding poets of the Jian'an period.

At the turn of the Wei and Jin dynasties, the world changed, and the "Seven Sages of the Bamboo Grove" was the representative group of poets at the beginning of the period, of which Ruan Ji and Jikang were the most famous and had the highest achievements.

Ruan Ji's 82 "Winged Poems" is China's first large-scale, rich in personal lyric pentameter, Jikang opened up a new realm of quatrains.

During the Taikang period of the Western Jin Dynasty, there were three Zhangs, two Luks, two Pans and one Zuo in the poetry world.

Lu Ji, Zhang Xie, Pan Yue and other people's works in pursuit of the rhetoric and colorful, the opening of Chinese poetry carved and piled up the flow of the wind; Zuo Si is unique, inheriting the Jian'an literary tradition, its "Winged History," the eight by the Winged History to express the feelings of the mood of the high-pitched, vigorous writing, "Zuo Si wind power," as it is called. Eastern Jin Dynasty metaphysical poetry flooded for a while, until the emergence of Tao Yuanming at the end of the Eastern Jin Dynasty, only to make the poetry world suddenly add color. Tao's poems were mostly written about idyllic life, with a natural and light style, "qualitative but really beautiful, emaciated but really rich" (Su Shi's words), which had a direct influence on the Tang Dynasty's landscape and idyllic poetry school.

During the period of the North and South Dynasties, the representative poets of the South included Xie Lingyun, Xie, and Baozhao.

Xie Lingyun pioneered landscape poetry, realizing the transformation of metaphysical poetry into landscape poetry. Xie was influenced by him and was right in describing landscapes, and together with Xie Lingyun they were known as "Xie the Great and Xie the Small". Bao Zhao excelled in expressing his cynicism in seven-character archaic style, which was handsome and bold, paving the way for the development of seven-character songs and lines in the Tang Dynasty.

The most accomplished poet in the north was Yu Xin, who came from the south to the north, and wrote about the countryside with a robust brush, blending the poetic styles of the north and the south, and becoming the master of the poetry of the Six Dynasties. The folk songs of the Northern and Southern Dynasties were a reflection of the Han Dynasty. The folk songs of the Southern Dynasties are clear and graceful, and the masterpiece is "West Island Song"; the folk songs of the Northern Dynasties are rough and robust, and the masterpiece is "Mulan Poem".

The Tang Dynasty was a golden age in the history of Chinese poetry, with complete poetic styles, different genres, and many famous writers with outstanding achievements.

The "Four Heroes of the Early Tang Dynasty" (Wang Bo, Yang Jiong, Lu Zhaolin, Luo Binwang) and Chen Zi'ang, who came a little later, inherited the bones of the Han and Wei Dynasties, and swept away the decadent poetic styles of the Qi-liang and Liang Palace styles, sending out fresh and healthy singing, paving the way for the development of Tang poetry.

The Sheng Tang Dynasty saw the emergence of two major schools of poetry:

One was the landscape and idyllic poetry school represented by Wang Wei and Meng Haoran, which wrote about the mountains and the water and about leisure and relaxation, in a fresh and natural style;

The other was the border poetry school represented by Gao Shi, Cen Sen, and Wang Changling, which wrote about the border landscapes and the life of the military, and which was generous and sad, and which was majestic and magnificent. Then Li Bai and Du Fu came out of nowhere, known as the "Gemini constellation" in the history of Chinese poetry.

Li Bai, the "Poet Immortal", inherited and carried forward the Romantic tradition of Chinese poetry, glorifying his country's great mountains and expressing the contradiction between ideals and reality, with his exuberant feelings and bold style.

Du Fu, the "Sage of Poetry," inherited and carried forward the traditional spirit of realism, and his poems widely and profoundly reflected the Tang dynasty's decline from prosperity to the times, known as the "History of Poetry," with deep inner feelings and a somber, staccato style. Li and Du have become great poets with their unique styles and high achievements, and have been immortalized for hundreds of generations and thousands of years.

After the Anshi Rebellion, the Middle Tang Dynasty, after a short period of transition, saw a second boom in Tang poetry. Represented by Bai Juyi and Yuan Zhen, they advocated a new music movement. They advocated that "articles should be written for the times, and songs and poems should be composed for the events", and created satirical poems that criticized the ills of the times, such as the New Lefu and the Qin Zhongyin. Bai Juyi's "Song of Long Hate" and "Pipa Xing" are famous ancient long songs and lines, which are so heart-warming that they are recited to this day.

Unlike the Yuan and Bai schools of poetry, the Han and Meng schools of poetry, represented by Han Yu and Meng Jiao, emphasized the sinister and the strange, and composed poems in prose. In addition, there were other poets with their own artistic personalities, such as Liu Yuxi and Liu Zongyuan.

Li He, the "ghost of poetry" who appeared at the turn of the Middle and Late Tang dynasties, was full of Romanticism, and his poems were cold, deep, and strange.

In the late Tang Dynasty, the poetic style tended to be weak and sentimental, but Du Mu and Li Shangyin had the highest achievements, and were known as "Little Li and Du". Du Mu is good at the seven poems, the history of ancient times, lyric writing, all fresh and handsome, style. Li Shangyin's work in seven rhymes, the style of deep emotion and remote, beautiful and graceful, especially the "untitled" poems, it is meaningful, Xing sends a deep micro, sinking Bo absolutely beautiful, unique.

The overall achievement of Song poetry is not as good as that of Tang poetry, but it has its own characteristics.

Contrastingly, Tang poetry is mainly characterized by its charm, cheerfulness, and robustness, and it wins by its environment; Song poetry is mainly characterized by its rationality, deep and quiet twists and turns, and it wins by its meaning. At the beginning of the Song Dynasty, poets such as Yang Yi and Qian Weiyan learned from Li Shangyin and were called Xikun Style. Wang Yucai, Mei Yaochen, and Su Shunqin opposed the Xikun style and the flaws of only talking about sound and rhetoric and lack of social content, which laid the foundation for the healthy development of Song poetry.

Ouyang Xiu advocated a movement of poetic innovation, restoring the tradition of focusing on reality, and the tendency of Song poetry to emphasize the spirit and bones of the people and to be long on reasoning became more and more obvious.

The most influential poets of the Northern Song Dynasty were Su Huang. Su Shi was the most comprehensive writer of the Song Dynasty, whose poems were reasoned and lyrical, free and unrestrained, and developed the tendency of Song poetry to be argumentative and loose. Huang Tingjian is the patriarch of the Jiangxi School of Poetry, focusing on the borrowing and creation of poetic language, advocating "turning iron into gold", "taking the skin off the bone", "no word comes from nowhere", and his poems are based on Du Fu, which are thin, hard, and new. The poems of this school are based on Du Fu, and are thin, hard, and new, and belong to the Jiangxi School of Poetry, which also includes Chen Shidao and Chen Wuyi.

The outstanding representatives of the Southern Song poets are the "Four Great Poets of the Middle Renaissance" (Lu You, You Juan, Yang Wanli, Fan Chengda), who all came out of the Jiangxi School of Poetry, and finally managed to form their own family. Lu You was a great patriotic poet of the Song Dynasty, with nearly 10,000 poems, singing the strongest voice of the times. In the late Southern Song Dynasty, there appeared the "Four Spirits of Yongjia" and the Jianghu Poetry School, whose works did not have a strong sense of reality and whose poetic style was relatively weak. At the end of the Song Dynasty, the patriotic poems of Wen Tianxiang and Wang Yuanliang added the last touch of luster to the Song poetry scene. The most outstanding poet of the Jin Dynasty was Yuan Hao Wen, whose poems were rich in content, "deep and sincere sadness, a tone of its own" (Zhao Yi's words).