Why do China's poems mainly focus on lyric poetry?

The great Chinese nation is one of the oldest civilizations in the world. China's brilliant literature has a long history, various types and rich forms, which can be compared with the literature of any literary power in the world. The first book of poetry, The Book of Songs, collected poems from 1 1 century to the 6th century BC. It reflects the extensiveness and profundity of social life, and its artistic expression of fu, bi and xing is praised by countless foreign scholars.

In drama, as early as the thirteenth century, the glory of Yuan Zaju appeared. Guan Hanqing is one of his representative figures, who wrote 70 zaju in his life. The lively and humorous comedy Save the Wind and Dust, Dou Eyuan, the case-solving drama Lu Zhailang, and the historical drama to turn the tide, etc., not only show the richness, maturity and massiness of China's plays, but also put the Tang poetry.

The unique forms of expression and artistic charm of Tang poetry and Song poetry give full play to the potential of language. It is catchy, forceful, changeable and orderly. Mao Zedong, a great man of the times, not only inherited its excellent tradition, but also pushed this art to a new peak.

As far as novels are concerned, it was in the Song Dynasty more than 1000 years ago that a "loose version" appeared, which marked the civic style. At the end of Yuan Dynasty and the beginning of Ming Dynasty, there were two great novels, namely, The Water Margin by Shi Naian and The Romance of the Three Kingdoms by Luo Guanzhong. These two great novels have a wide range of contents and are magnificent, with more than 100 characters, enjoying world reputation.

China's modern literature, which was born, developed and gradually matured in the revolutionary storm (from the new literature in the May 4th period to the socialist literature since the founding of New China), is marching in the forefront of the world's progressive literature with a more advanced, reasonable and excellent new posture. The True Story of Ah Q, Midnight, Home, Spring, Autumn, Storm, The Sun Shines on the Sanggan River, The Story of the Storm, Defending Yan 'an, Red Flag Spectrum, Hongyan, Orient, Li Zicheng and East of the Yellow River. Thunderstorm, Sunrise, Teahouse, Cai Wenji, Wu Zetian and Princess Wencheng; The poems of Guo Moruo, Ai Qing, He Jingzhi, Guo Xiaochuan, Li Ji and other poets, with the unity of revolutionary political content and perfect artistic form, have ascended the palace of world literature, weaving a more dazzling wreath for the brilliant China literature.

Throughout the 3000 years of China literature, we can see that its development has the following five characteristics:

1. In the long course of the development of China literature, the tasks and functions of literature have always been valued. Confucius in BC (55 BC1/font > 479) First of all, it is proposed that poetry (literature) "can be promoted, observed, grouped and disgusted. Your father is far away, and you know the names of birds, animals and plants better. " Cao Pi, Emperor Wen of the Three Kingdoms, attached great importance to the writing of articles, believing that articles could be "classics" and put forward: "The great cause of covering classics is an immortal event. The years of life sometimes come to an end, and glory stops there. Both will go to a normal period, rather than endless articles. " Du Fu, a great poet in the Tang Dynasty, explained the purpose of writing poems more directly: "To be the most noble and obedient, and then to make the customs pure." In this regard, Bai Juyi said more clearly: "Articles are written for the time, and songs and poems are written for things." The discourses of ancient poets, writers and literary critics on the tasks and functions of literature had a great influence on later creative practice and literary development. Mao Zedong and Deng Xiaoping, on the basis of critically absorbing the reasonable elements of the propositions about the function of literature in the past dynasties, put forward a more clear and popular slogan: literature and art serve the workers, peasants and soldiers; Literature and art serve the people and socialism. Under the guidance of this thought, the literature in the Liberated Areas has made indelible achievements, and the literature in New China, especially in the new period, has achieved unprecedented development and prosperity.

2. China literature has always been an open literature, making constant progress and innovation in form and genre. For example, the development of poetry, from four-character poetry to five-character poetry and seven-character poetry, from ancient poetry to modern poetry, metrical poetry and free verse. The development of prose is from pre-Qin prose to Han Fu, parallel prose and ancient prose in the "ancient prose movement". In modern times, the types and forms of prose are really varied and colorful. Genre, from Tang poetry and Song poetry to Yuan Qu to short stories in Ming and Qing Dynasties. In a word, the development of literature for thousands of years shows that China literature is always in constant movement and constant innovation and innovation in artistic form and genre.

It should be pointed out that the Chinese nation is a highly rational nation, which can treat the innovation and revolution in literary form and genre comprehensively, dialectically and maturely. After the emergence of a new art form and genre, it does not deny the previous art form and genre, but allows various art forms and genres to compete freely. For example, after seven-character poems and seven-character quatrains occupied the main position in the field of poetry, five-character poems and four-character poems did not die out, and even today, they still exist. For another example, today when we advocate new poetry, the creation of old-style poetry is still very prosperous, and the poems "Walk with me" and "Honor" are also very thought-provoking. In the Song Dynasty, Ci occupied a major position in the field of poetry, but the poems and songs in the Song Dynasty were also very distinctive. Even today, they are neck and neck brothers and sisters.

3. China literature is gradually developed and enriched in the process of learning from the world's progressive literature, so as to communicate and converge with the healthy and progressive trend of world literature. The great soil of the Chinese nation is very fertile and has always been enthusiastic about foreign cultures. Not to mention the great event that China began to translate Buddhist scriptures from the Southern and Northern Dynasties, nor did Xuanzang, a monk in the Tang Dynasty, go to Tianzhu to learn Buddhist scriptures, and made great achievements in translating Buddhism. Just talking about the extraordinary act of Mr. Lin Shu, a scholar of Shi Jing University who was a juren during Guangxu period, he translated more than 70 novels from Europe and America, which shows that modern China scholars attached great importance to foreign literature. After the founding of New China, almost all ancient and modern literary masterpieces of the Soviet Union and Eastern European countries have been translated into Chinese. Since the reform and opening up, the translation and publication of literary works and literary theoretical works from all over the world in China has set off an unprecedented upsurge. Intellectuals in China, especially writers and artists in China, show amazing wisdom and creativity when studying the world's progressive literature. This is mainly manifested in three aspects. First, introducing new foreign art forms, such as novel creation in new literature (represented by Lu Xun's short stories and Mao Dun's novels), new poetry creation (represented by Guo Moruo's, Wen Yiduo's and Xu Zhimo's poems) and drama creation (represented by Cao Yu's plays), is the way to directly introduce new foreign art forms. The second is to learn from foreign art forms and transform some traditional national forms, that is, the modernization of the old forms. For example, Zhao Shuli's new storytelling novels, Liu Shaotang's new legendary novels and Li Ji's folk narrative poems all follow this path. The third is to absorb some elements of Chinese and western forms and graft a unique new form. It can also be said that it is a new product that combines local and foreign products. For example, the opera "White-haired Girl" combines western opera, drama, traditional opera and folk yangko, which is unique and refreshing. Another example is the comedy sketch, which rises on the stage and TV screen in the new period. It is a new art form with strong vitality, which combines some special means of expression of one-act drama, cross talk and film and television art.

Four, a variety of literary schools develop freely and compete on an equal footing, which runs through the development of China literature. This is also a fine tradition of China literature. As far back as the Spring and Autumn Period and the Warring States Period BC, there were many schools of thought contending and competing for beauty in China's ideological and cultural circles. There are four famous schools of Confucianism, Mohism, Taoism and Legalism, which have produced some important works representing ancient human civilization, such as The Analects of Confucius, Mencius, Xunzi, Laozi, Zhuangzi and Han Feizi. Later, in the historical process of more than 2,000 years, there appeared many literary schools in China literature, such as graceful school, bold school, Jiangxi school, Chaling school, public security school, lovers school, natural school, Wujiang school, Linchuan school, Jingling school, Tongcheng school, Changzhou school, Yuanyang butterfly school and so on. In the development of modern novels, there are also many novel schools, such as new feeling novels, local novels, social analysis novels, Beijing novels, July novels and so on. In the development of modern poetry, the July Poetry School and the Nine-leaf Poets appeared. After the founding of New China, the School of Yam Egg Literature and the School of Lianhuahu Literature were born. Many literary schools compete with each other, which is determined by the artistic law of literary creation itself and is a symbol of the prosperity and vitality of literary career. Respect this law.1In February, 957, President Mao Zedong solemnly put forward the policy of letting a hundred flowers blossom and a hundred schools of thought contend in the field of literature and art (that is, the policy of "letting a hundred flowers blossom and a hundred schools of thought contend" as people often say). Chairman Mao expounded the significance of this policy: "The policy of letting a hundred flowers blossom and a hundred schools of thought contend is the policy of promoting China's artistic development and scientific progress, and the policy of promoting China's socialist cultural prosperity. Different forms and styles in art can develop freely, and different schools in science can argue freely. We believe that it is harmful to the development of art and science to use administrative power to force one style and one genre and prohibit another style and another genre. The problem of right and wrong between art and science should be solved through free discussion and practice between art and science, and should not be solved by simple methods. " The policy of "letting a hundred flowers blossom" put forward and advocated by Chairman Mao is a scientific summary of China's ancient and long-standing cultural tradition, the only correct policy for the prosperity and development of art and science, and a pioneering work in the world. Since the new era, under the guidance of this policy, there have been many artistic schools and unprecedented creative achievements in China's literary world. The schools of novel creation that have great influence in the whole country are: the local literature school represented by Liu Shaotang; Deng Youmei is the representative of many art schools, such as the Market Painting School. The formation and unprecedented activity of many artistic schools is an important symbol of the potential of Chinese writers and artists and a great driving force for the development and prosperity of socialist literature in China.

5. In the development of China literature, folk literature has always kept pace with authentic literature and has become a powerful trend to promote the development and prosperity of authentic literature. The "wind" in The Book of Songs is basically folk literature, "ode" is basically authentic literature, and "elegance" is both folk and authentic. It can be said that The Book of Songs is a perfect combination of authentic literature and folk literature. Ci and Qu were also folk literature at first, and later developed into authentic literature. Song people's "storytelling" also appeared in the form of folk literature at first, but in the Ming and Qing Dynasties, it evolved into novels and became the dominant form of literature, and a series of popular novels were born. In China literature, the mutual promotion and close contact between authentic literature and folk literature have been further strengthened and developed in the socialist era, and there are countless successful examples. Every year, the state organizes writers and artists to collect folk songs all over the country. One of the purposes is to consciously guide literary and art workers to get in close contact with folk literature and folk art.