Describe the development of Tang poetry with a long poem

Poetry in the Tang Dynasty developed on the basis of inheriting tradition. China's poetry has experienced a long-term development process in the Han, Wei and Six Dynasties since the three hundred years of Chu Ci. Accumulated a rich heritage in this respect. For example, the establishment and development of the glorious traditions of realism and romanticism, the development of different subject areas, the continuous formation of various schools, the application of temperament, the creation of language style, the innovation of techniques, and the summary of creative experience have all provided valuable reference for the development of poetry in the Tang Dynasty. What deserves more attention is the attitude of the writers in the Tang Dynasty to criticize, inherit and bring forth the new, which makes them change with each passing day and reach a peak. Of course, there are political and economic prosperity, strong national strength, active thinking, the imperial examination system of selecting scholars by poetry, cultural exchanges between China and foreign countries and so on. They are the social basis and historical conditions to promote the development and prosperity of poetry.

In the 300 years of Tang Dynasty, there were four stages in the development of poetry, namely, early stage, prosperous stage, middle stage and late stage. The first period, from the first year of Gaozu Wude (AD 6 18) to the first year of Zong Rui (AD 7 12). At the beginning of the founding of the Tang Dynasty, all poets were man of the hour. They all have high literary accomplishment and are influenced by Qi and Liang's poetic style, but their poems also exude some fresh breath. At the time of Zhenguan and Yonghui, Yu and Wei Jun slightly deviated from the old habits. (Preface to the Collection of Tang Poems) Like Emperor Jing of Emperor Taizong, Hu Ceng praised it as "the essence of algae, the most masterpiece". Wei Zhi's Shu Huai is a masterpiece because of its lofty charm and Yu Shinan's frontier fortress. Imitating Tao Qian's life and poetic style is the pioneer of the pastoral poetry school in Tang Dynasty. In the Wuhou period, four outstanding poets stood out. They are great masters of Qi and Liang Dynasties, and originated from Yu Xin. Therefore, they were able to adjust their poetic style, transform palace-style poems, and formally formed Tang poetry with both rhythm and style. In particular, the seven-word long story has been further developed. Du Fu's statement that "Wang Yang and Luo Lu are contemporary" and "Don't waste rivers and mountains for generations" is completely correct. Then Liu Xiyi's "A Generation of Sad Pulsatilla" and Li Qiao's "Fenyin Line", immersed in fantasy. Later, it developed into Zhang's "Moonlit Night on the Spring River", which combined poetry with philosophy and became the ultimate palace style of "solitary article".

At the same time, Shen Quanqi and Song inherited the achievements of predecessors in entering poetry with rhythm, and completed the creation of five-character and seven-character rhythmic poems. Since then, there has been a clear boundary between modern poetry and ancient poetry, and the poets have gradually parted ways in their creation, which is a great opportunity to change words and chapters (Volume 4 of "Poetry").

Chen Ziang raised the banner of restoring ancient ways and put forward the style of Han and Wei Dynasties, in order to revitalize the declining poetry and improve the development trend of poetry, which laid a good foundation for the development and prosperity of Tang poetry in the future. His 38 "feelings" are the practice of this proposition. The content widely reflects the social reality, and the form sweeps away the gorgeous decoration. It inherits Ruan Ji's "Yong Huai" and Li Bai's "Ancient Style", which Han Yu called "the prosperity of the country, the pride of the country began to take off."

In the second period, from the first year of Kaiyuan in Xuanzong of Tang Dynasty (7 13) to the second year of Yongtai in Xuanzong of Tang Dynasty (766). Mainly in the Kaiyuan and Tianbao eras, it was the heyday of the Tang Dynasty. In order to reflect the colorful real life and express various wishes and ideals, the poet constantly promoted the art of poetry, developed various genres and forms in his creative practice, created many schools, and displayed various styles, which became a wonder in the country of poetry. At that time, many famous artists came forth in large numbers with excellent works, which formed an extremely prosperous era in the history of China's classical poetry development, that is, the' prosperous Tang Dynasty' envied by literary historians. Before Tianbao, indomitable spirit and romantic poetic style were the mainstream of poetry in this period. The frontier poetry school with Gao Shi and Cen Can as the main body, supplemented by Wang Changling and Li Qi, is an important school of romanticism. Their frontier fortress works show the heroic pride of galloping on the battlefield and making achievements, express the patriotic thought of generously joining the army and resisting enemy aggression, and also describe the strange and magnificent scenery in the northwest. At the same time, it also reflects the bitterness of finding a husband and thinking of a woman and the hardships of soldiers, as well as the contradictions between nations and between generals and foot soldiers. Frontier poems reflect the reality of all aspects of war in this era and produce many excellent poems. William Wang, Wang Zhihuan, Cui Hao, Liu Wan and Zhang Wei.

At the same time, there are pastoral landscape poetry schools represented by Meng Haoran, Wang Wei and Chu Guangxi. They inherited the artistic traditions of Tao Yuanming, Xie Lingyun and Xie Tiao, and described the natural landscape and idyllic leisure life. In their works, there are magnificent lakes and mountains, quiet private villages and fresh and beautiful gardens. He is good at sketching or describing, enriching the landscape poems formed since Jin and Song Dynasties and developing the description skills. Other writers of this school are Chang Jian, Zuyong, Yu, Yu, Yun and so on.

The works of these two schools of poets are not limited to their own schools. In addition to pastoral poems, Wang, Meng, Gao and Cenzi also have poems that reflect real life. They claim to be pastoral poets or frontier poets, but this is only from the main aspects of their works. For example, there are some famous frontier works in Wang Wei's works, such as "Long Tou Yin" and "Old General", which are full of generous spirit of serving the country. As far as style is concerned, although the poets of the same school have their own characteristics, each poet has established his own style, which is the characteristic of the famous poets in the Tang Dynasty and the symbol of the maturity of Chinese poetry art.

The prosperous Tang Dynasty is the peak of the development of Tang poetry, and the great romantic poet Li Bai and the great realistic poet Du Fu are the peaks of this peak.

Li Bai's thought of saving the world is mainly Confucian, supplemented by Taoist thought of retiring after one's success. He had great ambitions and progressive ideals, but when the ruling class began to corrupt and politics became dark in the Tang Dynasty, he could not realize them. Especially after three years of political career for Hanlin, I understood the reality of corruption at that time. Therefore, after his release, he wrote many brilliant poems, which lashed at dark politics, despised decadent and incompetent dignitaries, and attacked feudal ethics, showing a strong spirit of resistance and eager pursuit of bright ideals. His brushwork has changed a lot, such as Seven Ancient Miscellaneous Songs, such as Difficult Road to Shu, Farewell, Going to Wine, Tian and so on. His poetic style is bold and unrestrained, full of passion, magnificent and elegant, unconstrained and unconstrained, ever-changing and colorful, which makes Liang Chengong sweep the floor and deserves to be regarded as another great romantic poet after Qu Yuan.

The outbreak of Anshi Rebellion was the turning point of Tang Dynasty from prosperity to decline. This year, Du Fu wrote a famous poem "Five Hundred Words in the First Place", which shocked the ancient and modern times, and exposed the class opposition. Since then, he has written a series of great poems with high patriotism and love for the people, such as Sad Chen Tao, Mourning for the Head, Spring Hope, Northern Expedition, Three Officials of Washing Horses, Three Farewells, Qinzhou Miscellaneous Poems and Eight Poems of Autumn Prosperity, which comprehensively and profoundly reflected the reality at that time and were praised by later generations. In practice, it combines the achievements of traditional heritage and is unique. His Yuefu poetry is a material proposition, and there is no way to rely on it. Studying and discussing poetry in ancient and modern styles makes poetry historical and scattered, and opens up a new world of poetry. In style, he was as gloomy and vigorous as possible and became a great realistic poet.

The third period: from the first year of Daizong Dali (AD 766) to the ninth year of Wenzong Dahe (AD 835). This is the middle of the Tang Dynasty. Although the Anshi Rebellion was pacified, the society was devastated. During the first year of Xianzong, the national strength was enhanced and two buffer towns were pacified. This is what historians call "Zhongxing", which greatly stimulated the prosperity of literature in the middle Tang Dynasty.

There are the most schools of poetry in this period, which can be divided into two periods: (1) Dali, (2) Yuanhe.

In the early period of Dali, Yuan Jie, Gu Kuang and other poems that exposed social contradictions and sympathized with people's sufferings became Du Fu's homophones. Liu Changqing's seclusion in mountains and rivers is fresh and subtle, and his words are refined. Quan Deyu promoted it as the' Five-character Great Wall'; Wei is elegant and free and easy, praised by Bai Juyi, and closely related to Wang and Meng.

Dali has ten eyes, and their poems are all about beauty and beauty. The General Catalogue of Sikuquanshu said:' The poetic style has changed at the beginning, and the spirit of opening treasures has gradually receded, raised, drifted slightly, and the ups and downs are close. The judgment that' ten scholars are really their career aspirations' (Qian Zhongshu Collection) is very pertinent. Li Yi's unique four-line, voiceless charm can catch up with Wang Changling and Li Bai.

Poetry in Yuan Dynasty and later period reached the second climax, which broke through the narrow world of Dali poets and presented many schools and styles. As far as its trend is concerned, it is roughly Han Meng's poetry school and Bai Yuan's poetry school. Its representatives are Han Yu and Bai Juyi.

While advocating ancient prose, Han Yu also devoted himself to the innovation of poetic style, trying to correct the dull and powerless poetic style of ten talented people in Dali. He learned from Li and Du Fu, and inherited and carried forward the tradition of Li Bai's bold and unconstrained style and Du Fu's emphasis on ambition. His poems are vigorous and peculiar. He adopts the writing style of articles, spreads himself and discusses freely, thus creating a new style of adventure. His representative works include "A Gift for Mid-Autumn Festival", "Poem on Stopping Temple in Hengshan Mountain", "Song of Stone Drum" and "Rocks". Meng Jiao is a bitter person and is highly respected by Han Yu. Also belonging to this school are Lu Tong, Liu Cha, Jia Dao, Li He and others. Each of them has enriched the poetry circle with his unique works, among which Li He is particularly outstanding for his rich colors and unexpected imagination. He never painted or painted.

At the same time, Bai Juyi inherited the tradition of Du Fu's new theme Yuefu in plain language, and made some innovations, which represented the realistic school at that time. He wrote great works such as Qin Zhongyin and New Yuefu, which made him a great poet in this period. His long narrative poems "Song of Eternal Sorrow" and "Pipa Travel" had great influence at that time and later generations. For example, Jinyangmen in the late Tang Dynasty, Wei Zhuang's ode to Fu Qin, Yong He Gong Ci, Yuan Yuan Qu, Yuanmingyuan Ci and Modern Wang Guowei's Summer Palace Ci are all his charms. Bai Tong School writers include Yuan Zhen, Zhang Ji, Wang Jian, Li Shen and others, all of whom are famous for their new Yuefu. Yuan Zhen's Poem of Lotus Palace is his masterpiece, which is considered by critics to be higher than Song of Eternal Sorrow. His "Regret for the Past" is lyrical and sincere. Shen Li was the first person to bid the list and create a new Yuefu.

Apart from these two schools, Liu Zongyuan and Liu Yuxi are unique. Both of them are excellent writers who were demoted after Yongzhen's innovation failed. At that time, Liu Yuxi had the ambition to be a great poet. His poems are vigorous and ancient, especially full of satire. His style is higher than the ancient style, and the seven-character rhyme is the best at that time. He has made outstanding achievements in learning folk songs.

Liu Zongyuan's five unique landscape poems are the most important, and he is in a difficult situation, making a clear and desolate voice, and his rough and desolate feeling is self-contained. Su Shi commented on the cloud:' Zi Hou's poems are under Tao Yuanming and above Wei Suzhou. The poetry of seclusion is bold and adventurous, but the scenery is not so profound. "there is another cloud:' dry cream on the outside seems to be light, solid and beautiful, but it also has deep meaning.' However, tracing back to the source, Liu Xi's poem and Liu Xi's "Art Outline" said:' Xie Tao also said that Suzhou is far away from the Ming Dynasty and Liuzhou is prosperous, so each has its own proximity.' You're right.

The fourth period: the first year of Wenzong (AD 836) and the fourth year of beloved Zongtianyou (AD 907) were the late Tang Dynasty. During this period, the Tang Dynasty was in decline and turmoil, and poetry had a profound sentimental sentiment, and it developed in the direction of appealing to both refined and popular tastes. The outstanding poets in this period are Du Mu and Li Shangyin.

Du Mu has political ambitions and cannot display them. In Hehuang, he expressed his infinite anxiety and anger at the confusion of state affairs and the decline of national strength. In "The Early Goose", he expressed his gratitude to the frontier people. His poems and quatrains are the highest achievements and are famous for their epic poems. He has unique views on the key issues of the rise and fall of history. This form of quatrains has been imitated by later scholars in history. His lyrical description of the scenery is unique, bright and handsome, magnificent and heroic, and has high artistic achievements.

In the struggle between Niu and Li, Li Shangyin sided with Li Deyu's innovative forces. When the Li Party was in an irreversible failure, he used his pen to plead for injustice and slander, which showed his spirit and quality of persisting in progressive tendency and pursuing ideals. Because the powerful decadent forces at that time finally killed the reformists, the Tang Dynasty never recovered. This is the root of Li Shangyin's tragedy and the real reason why he created a profound, beautiful, confusing poem full of tragedy. His famous works "Ding An Tie Tower" and "Re-feeling" are either concerned about the country and the people, or resentful of the times, generous and radical. His historical quatrains express his views on political issues in a tortuous way, which is vivid and ironic. As for the demise of the Tang Empire, there is a deep and enlightening lament in Leyuan Scenic Area. Untitled poems are the most famous among his works. These seven laws are regarded as the highest artistic achievement by later generations. In art, it inherits the characteristics of Du Fu's Seven Laws, and combines the rich colors of Qi Liang's poems with Li He's fantasy symbolism, forming a unique style of deep affection, aestheticism and exquisiteness, which is more creative.

In the late Tang and Five Dynasties, politics was extremely dark and decadent, wars and disasters continued year after year, and the economy declined, so did the general trend of poetry. At this time, a group of poor poets appeared, such as Du Xunhe, Nie, Luo Yin. They use popular language to reflect the reality, especially the suffering of working people. There are also a group of poets who express their grief and mourning for troubled times in a mournful style, such as Han Wo, Si Kongtu and Wei Zhuang. There are Pi Rixiu and Lu Guimeng who worship Han Yu. Their poems are difficult to understand, with strange words, and they all describe the pain of the world in their personal lives. Writers like Jia Dao who are good at metrical poems include Fang Gan and others. Generally speaking, these writers have achieved little.

The above is a very simple description of the development and evolution of Tang poetry, just a glimpse of the genre style of Tang writers, and the content of Tang poetry is of course far more than that. Tick out this outline for readers' reference.