Briefly describe the characteristics of poetry in different periods of ancient China, and analyze the relationship between these characteristics and the times in which they lived.

Ancient Chinese poetry has a long history of development, and its genres are extremely varied and complex; briefly speaking, it can be divided into five major categories: quatrains, tao, lefu, ancient style, and recent style. P> As for the later words and songs, of course, they can also be included under the concept of "poetry" in the broad sense, and their systems have their own characteristics. And, in the ancient Chinese literary theory and criticism of the term, "body" sometimes refers to the style, in this sense, there are a variety of poetry "body", such as Jian'an style, Yuanjia style, Xikun style, Tongguang style, and so on, all of which are completely different from the classification of the genre. These issues need to be discussed separately. <P> The oldest poems are bilingual, consisting of two words forming a line, such as the "Bouncing Song:" "Break the bamboo, renew the bamboo, fly the earth, expel the flesh." It shows the first people making a simple slingshot to go hunting; this is a very typical two-character poem. <P> two words is too simple, not easy to express the increasingly complex social life and people's feelings, so later expanded to four words, "Poetry" in the work is basically four words, which has a whole four words, such as "Zhounan - Guan Ju", "Zheng Feng - out of its east door", "Ya - Caiwei" and so on; there are also to four words, mainly, with the breakthroughs, such as the "Tang Feng - Silk Muse", the poem where three chapters, each chapter of five lines, in which the first chapter of the first five lines, the first chapter, the first chapter of the first five lines. For example, "Tang Feng - Silk Mew", a poem with three chapters, each with five lines, of which the first four lines are in quatrains, and the last line is in quatrains; and "Bin Feng - July", most of the lines are in quatrains, but there are a few lines in quatrains, hexameters, septameters, and even octameters. And so on and so forth. Quatrains used to be one of the most popular and influential poetic styles, and many poets imitated the style of the Classic of Poetry to write quatrains during the Han Dynasty and later on. <P> Four-character poems mostly use monosyllabic words, the pause is basically the so-called "two-syllable" that is, "two, two" style, which has the advantage of a strong sense of rhythm, but the weakness is that it is relatively dull, and can not accommodate more of the life content and thoughts and feelings. Therefore, after the era of "The Book of Songs" (from the Western Zhou Dynasty to the middle of the Spring and Autumn Period), there were not many excellent four-character poems. P> In the Warring States period, a new poetic style, Chu Rhetoric, emerged in the southern state of Chu, characterized by "the writing of Chu words, the making of Chu sounds, the recording of Chu objects, and the naming of Chu lands" (Huang Boshi, "Preface to the Schooling of Chu Rhetoric," Song Wenjian, Volume 9.2), and with a strong color of vernacular literature. It has a strong color of vernacular literature, and it also has its own characteristics in terms of style: it is basically miscellaneous, with many sentences in five and seven lines, and the rhythm of three words at a time, which contains the important genes of the later "two, three" sentence pattern of five-line poems and the "two, two, three" sentence pattern of seven-line poems. The gene of the "two, two, three" style of later five-character poems and seven-character poems. Ruoxi is often used in Chu Rhetoric - either in the middle or at the end of a sentence - to help regulate syllables and rhythm, and sometimes as a structural auxiliary, which is very flexible and expressive; in addition, there are also many colloquial false words, which gives the work a tendency to be loose and cultural. In addition, there are also many colloquial fictional words, which make the works have a tendency to loose culture; the length of the poem is free; there are titles (the titles of the works in the Book of Songs were added by the organizer who took some key words from the original poems). Since Li Sao is the representative work of Chu Rhetoric, this style is called "Sao Style". There are also some works in Chu Rhetoric, such as Qu Yuan's "Heavenly Questions" and "Ode to the Tangerine", which are still mainly in four lines and seem to be closer to the "Classic of Poetry", but in fact they are still different, with some changes in the syntax and freer pauses in the lines, which also have a certain tendency to be loose and cultural. Chushu is basically a poem that is not sung but recited, and the writing style of the poem used for recitation is always different from that of the poem used as lyrics. The so-called "Sao Style" also includes this type of mainly four-character style, but in more cases it refers to the miscellaneous style. <P> A number of Chu writers who were active in poetry after Qu Yuan, such as Song Yu and Tang Le, further strengthened the trend of prose culture in their own works and called some of their works "fu" (赋). Sima Qian mentioned them in his biography of Qu Yuan, saying that they were "all good at rhetoric and known for their fugue" (Shiji - Qu Yuan Liezhuan). The later Han Fu certainly has a long history of origin, but it also has a clear inheritance relationship with Song Yu and Tang Le's fugue. Fu is a separate genre between poetry and prose, and cannot be considered poetry. Some Han Dynasty people called Qu Yuan's works fu, which is not appropriate now. <P> Many poems of the Han Dynasty were written in the tao style, for example, Liu Bang's "Song of the Great Wind": "The great wind rises and the clouds fly, the might of the sea returns to the hometown, and the fierce will of the people defends the four directions!" Another example is the first chapter of Zhang Heng's Four Sorrowful Poems: "What I am thinking of is in the mountains of Taishan, I want to go from the Liang father's hardship, and I look sideways to the east with tears staining Han. The beauty of the world has given me a golden sword, but how can I repay her? The road is far away, but I don't want to be free, so why should I be worried? Many of the later imitations of the tao style were included in the book Chu Rhetoric Afterword edited by Zhu Xi. <P> When the writers of the Han Dynasty were writing four-character poems in imitation of the Classic of Poetry, and tao-style poems in imitation of the Chu Rhetoric, many new ballads appeared in various parts of the folklore, whose syntaxes were in three, four, five, six, and seven lines, with five and seven lines predominating; the Lefu poems were mostly in miscellaneous lines, and the most notable of them was the one in which the five lines were the mainstay: either the first line of the song was in five lines or five lines were predominantly mingled with other syntaxes. These folk ballads were collected by the Lefu, the central government agency in charge of music and literature during the Han Dynasty, and were organized and processed for wider dissemination. This new style of poetry was called "Song Poetry" at that time, and after the Jin and Song dynasties, it was called "Lefu Poetry", or "Lefu" for short. Liu Foxing "Wenxin Diao Long" in the "discernment", "Ming poetry" outside the chapter, there is another "Lefu" a special study; Xiao Tong "Wenxuan" in the selected poems are also marked out a separate category of Lefu. <P> Lefu poems are characterized by the following features: first, they can be sung to music, and only for this reason, their chapters are called "solutions", for example, "Stranger in the Mulberry" is divided into three solutions; some of the works are preceded by "colorful", and followed by "tend" or "tend to". The "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution", "solution" and "solution". The terms "solution," "colorful," "tendency," and "chaos" are all musical terms. The liner notes in some musical tunes with sound but no meaning were recorded in writing by the organizers and mixed with the body of the lyrics, which made them difficult to understand. The musical poems were sometimes added to the set phrases in the course of performance, and the lyrics were sometimes cut up and pieced together. All of this can only be understood from a musical point of view. Secondly, "all of them were inspired by sadness and music, and were inspired by events" (Han Shu - Yi Wen Zhi), and the subjects were entirely contemporary, with a strong narrative character, reflecting folk sentiment; the rulers of the Eastern Jin and Southern Dynasties also paid attention to the collection and preservation of folk songs, which, although their contents were monstrously focused on romance after screening, were still strongly folkloric in nature. Thirdly, many mature pentameter poems appeared, such as "Stranger in the Mulberry", "South of the River", "Southeast Flight of the Peacock", etc. All these points had a great influence on the poems of later generations. All of these points have had a significant impact on the poetic creation of later generations, and their strength even exceeded that of the Poetry Classic and the Chu Rhetoric. <P> The Han dynasty music organs in addition to the collection of folk songs, but also organized the literati, musicians engaged in the creation of a number of them are used for ceremonial rituals of the official article, there is no literary value; but there are also better works, such as the "Feilin Lang" and so on is. <P> The great achievement of the music of the folk songs caused later literati attach great importance to, have imitated its ideas and artistic expression, created a large number of works. Such imitations, whether or not they are in music, and whether or not they use the old themes of the Lefu, are all called Lefu poems. These literati yuefu poems can be divided into three kinds of cases: one is to create new lyrics based on the tunes of yuefu poems, which are still sung in yuefu, such as Cao Cao's yuefu poems; the other is to write poems using the old themes of yuefu, which are no longer able to be sung in yuefu, for example, some yuefu poems of Cao Zhi and Lu Ji, which were pointed out by Liu Feoqin, as "without the edicts of the elocutionists, the story of thanking the silk pipe" (《文心雕龙-乐府》). For example, some of the lefu poems of Cao Zhi and Lu Ji, which Liu Feo pointed out were "without edicts for the actors, stories for the silk pipe" ("Wenxin Diao Long - Lefu"), belong to this type; the third is the literati lefu poems, which neither use the old themes of the lefu, nor can they be included in the lefu. -without the constraints of traditional music and traditional themes, it had a more far-reaching literary development. In the Jian'an era, there were already new music compositions, Du Fu wrote a lot of brand-new music compositions, and Bai Juyi and others set off the climax of the "new music compositions" movement, which was a bold intervention in politics and life, and had a far-reaching impact on the history of literature. Many poets in writing to the narrative of contemporary poetry, often do not hesitate to use the Lefu poetic style, this tradition has been to the end of the Qing Dynasty have not declined. <P> As a result of being nourished by the pentameter lefu poems, Han literati began to write pentameter poems that were not in the lefu style, the earliest of which was Ban Gu's Rongshi (咏史), and the most accomplished of which were the Nineteen Ancient Poems of the Lower Class Literati at the end of the Han Dynasty. In the Middle Ages, the world of poetry was basically dominated by pentameter, which after the rise of modern poetry came to be known as "five-verse ancient poetry," or simply "wugu." <P> Due to the nourishment of folk ballads in seven lines and the tao style, seven-line poems appeared later. The earliest literati poem in seven lines that has been handed down to this day is Cao Pi's Yan Ge Xing (Swallow Song Xing). After the rise of modern poetry, this kind of poem was called seven-character poem, or "seven ancient" for short. <P> Ancient style poems can be as short as four lines or as long as four lines; they do not pay any attention to the rhythms, nor do they pay any attention to the meter, and the rhymes are more flexible, so they can be changed. Ancient style is an ancient free-form poem. All the dynasties have people engaged in five ancient and seven ancient, produced a large number of famous pieces. <P> five ancient and seven ancient is the mainstream of ancient poetry, in addition there are also miscellaneous ancient poetry. In general, the miscellaneous poems before Tang Dynasty belonged to the Lefu Poetry, and the miscellaneous poems after Tang Dynasty, which mainly consisted of seven lines, were called "Song Xing", which could be regarded as a variant of the Seven Ancient Poetry, e.g., Li Bai's "Dreaming of Traveling to Tianmu Yin Liubie" and Du Fu's "The Thatched Cottage Broken by Autumn Wind" were Song Xing style poems. The "broken song" is the masterpiece of the song line body. <P> The so-called proximity poetry is relative to the ancient style. Ancient Chinese poetry was extremely close to the relationship with music, "Poetry Classic" and Lefu poetry can be sung; but later poetry gradually detached from the music, then to pay attention to the beauty of the music of the poem, to be remembered, in addition to the music of the rhyme of the other brain. Since Jian'an, Cao Zhi, Lu Ji and other poets have been in this area of valuable exploration; to the Southern Dynasties of Qi's Yongming years, Shen Yao as the chief representative of a group of scholars, writers, after painstaking research finally realized that the characteristics of the Chinese character is read into the sound of the four tones of the flat, on the top, to go to, into, to write poems should be reasonable arrangement of these tones of the words, "if the front of the sound of the floats, then the back of the sound of the cut, within a brief, the tone is different, the rhyme is different, the sound is not the same. If there is a floating sound in front, then the sound must be cut in the back, and within a simple sentence, the sound is different, and within two sentences, the weight is different" (Shen Yao, "Song Shu - Xie Ling Yun's Biography"). In order to achieve this state of mind, it is necessary to avoid a variety of improper collocation and the formation of defects, they put forward the "sound disease" are the following eight: flat head, on the end, bee waist, crane knee, big rhyme, small rhyme, the positive new, by the side of the new. In order to strive for the musical beauty of poetry, they made all sorts of tedious and harsh regulations, and as a result, even they themselves could not do it completely. At that time, there was a group of poets who used the new theoretical knowledge to write poems, which was called "Yongming Style", later also called "Qi Liang Style" or "New Style Poetry". The new style pioneered by the Yongming poets was then perfected through the efforts of many poets; in the early Tang Dynasty, in the hands of nephews Shen and Song Zhiwen, the new style of poetry, which emphasized rhythm and couplets, and which took into account the harmony of the whole piece (rather than just two lines as the Yongming poets had done), was finally formalized, and became known as "Rhythmic Poetry", or also as "Near-Style Poetry". The new style of poetry was finally formalized and called "Rhythmic Poetry", also known as "Near-Style Poetry"; from then on, poems that did not pay attention to rhythm in the past were accordingly called "Ancient Style Poetry". <P> The greatest contribution of the early Tang's stereotyped proximity poems was to categorize the three tones of "up", "go", and "enter" into one category (oblique tone), which was used to form a dichotomy with the flat tones, thus simplifying meter into a reasonable arrangement of the two tones of "flat" and "oblique", and making the relevant rules simpler, more reasonable, and easier to apply. This rule is still popular in the old style poetry (compared to the new poetry produced after the May 4th, the ancient poetic styles are old style) writing. <P> The most important rule of the near-poetry is that it can only rhyme in plain tones to the end, and where there is a pause in the stanzas - the second and fourth words of the pentameter, and the second, fourth, and sixth words of the septameter - it is important to emphasize the level of the tones: the tones should be even and oblique, and the couplets should be in harmony with each other within the same sentence. should have the same tones, between the two lines of a couplet (if they are the same, it is a mistake of "losing the pair"), and between the two neighboring lines of a non-couplet (the pair of the first line of the first couplet, i.e., the first line, and the first line of the second couplet, i.e., the second line), they should have the same tones (if they are different, it is a mistake of "losing the sticking"). (if they are different, it is a mistake to "lose sticking"). For example, the first four lines of a five-character poem can be arranged like this: <P> oblique flat oblique, flat oblique flat. <P>Flat and flat, flat and flat. <P> The rest can follow suit. The seven-character meter is equivalent to adding two characters of opposite tones before each line of the five-character meter, for example, adding two flat characters to the five-character "仄仄平平平仄" to become "平平仄仄平平平仄", and so on and so forth. So if you have mastered the meter of five words, you have also mastered the meter of seven words. <P> The poem also stipulates that the third and fourth verses and the fifth and sixth verses should be in harmony, forming two couplets. The first two lines and the seventh and eighth lines do not necessarily have to be in opposition to each other, but for the sake of easy reference, they are also called couplets. So a poem has four couplets: the first couplet, the third couplet, the neck couplet, and the last couplet. <P> The poem is limited to eight lines (in special circumstances can be extended), from the poem to take out half of the poem to form four lines of a poem is called a stanza, there are five stanzas, there are seven stanzas. The four lines of a poem has been around for a long time, and the kind that does not pay attention to the meter is called "ancient absolute", which belongs to the ancient style of poetry, different from this kind of poetry belongs to the recent style of "Ritu Jie".

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