Question 3. Understanding of "The Book of Songs"!
"The Book of Songs"
China's earliest poetry collection. It collects 305 poems from about 500 years from the early Western Zhou Dynasty to the middle of the Spring and Autumn Period. In the pre-Qin Dynasty, it was called "Poetry", or the whole number was called "Poetry Three Hundred". It was revered as a Confucian classic during the Western Han Dynasty and was first called the Book of Songs, which is still used today.
Compilation Regarding the compilation of "The Book of Songs", there are two theories in the Han Dynasty: ① Pedestrians collected poems. "Hanshu·Yiwenzhi" records: "In ancient times, there were officials who collected poems. The king observed the customs, knew the gains and losses, and examined the correctness by himself." The rhyme system and rules of rhyme usage in Chapter 305 of "The Book of Songs" are basically consistent with the form of poetry. , and it covers a long time and a wide area. In the case of inconvenient transportation and different languages ??in ancient times, it would be unimaginable to produce such a collection of poems without purposeful collection and sorting. Therefore, the theory of collecting poems is credible. ② Confucius deleted poems. "Historical Records: The Family of Confucius" records: "In ancient times, there were more than 3,000 poems by Confucius, but when Confucius eliminated their emphasis, they could be applied to etiquette and justice...Three hundred and five poems, Confucius all sang them." Kong Yingda in the Tang Dynasty, Zhu Xi in the Song Dynasty, Zhu Yizun in the Ming Dynasty, Wei Yuan and others in the Qing Dynasty were skeptical about this theory. The Book of Songs was probably written in the 6th century BC, when Confucius was not yet born. In 544 BC, Prince Wu Jizha went to the state of Lu to watch music. The order of the poems played for him by Lu musicians was basically the same as the current version of The Book of Songs. It shows that there was already a "Poetry" at that time, and Confucius was only 8 years old at this time. Therefore, modern scholars generally believe that the theory of deleting poems is not credible. But according to what Confucius said in "The Analects": "I defended myself and returned to Lu, and then I enjoyed the uprightness of music. Elegance and praise each found their proper place." It can be seen that Confucius did correct the music for "Poetry". However, in the late Spring and Autumn Period, new sounds emerged and ancient music was lost. Only the songs and poems in "Three Hundred Poems" have been handed down, becoming the collection of poems we see today.
Style classification The lyrics recorded in "The Book of Songs" are all lyrics that were once included in music. The style of "The Book of Songs" is divided according to the different nature of music, and is divided into three categories: wind, elegance and song. ①Wind. It is local music from different regions. "Wind" poems are folk songs collected from 15 regions including Zhounan, Zhaonan, Bei, Yong, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Chen, Hui, Cao and Bin. ***160 articles. Most of them are folk songs. ②Elegance. It is the music of the areas under the direct jurisdiction of the Zhou Dynasty, which is the so-called formal music. "Ya" poems are songs for palace banquets or court meetings. According to different music, they are divided into 31 poems in "Daya", 74 poems in "Xiaoya" and 105 poems in "Xiaoya". Except for a small number of folk songs in "Xiaoya", most of them are works by aristocratic literati. ③Ode. They are dance songs and lyrics used in ancestral temple rituals, mostly praising the ancestors' achievements. The "Song" poems are divided into 31 "Zhou Songs", 4 "Lu Songs", 5 "Shang Songs", and 40 *** poems. All are works by aristocratic literati. From a time perspective, "Zhou Song" and most of "Daya" should have been produced in the early Western Zhou Dynasty; a small part of "Daya" and most of "Xiaoya" should have been produced in the late Western Zhou Dynasty to the eastward movement; "Guofeng" Most of them and "Songs of Lu" and "Songs of Shang" should have been produced in the Spring and Autumn Period. From the perspective of ideological and artistic value, the three poems are not as good as the two elegances, and the two elegances are not as good as the fifteen national styles.
Ideological content "The Book of Songs" comprehensively displays the social life of China during the Zhou Dynasty, and truly reflects the historical appearance of China's slave society from its prosperity to its decline. Some of the poems, such as "Shengmin", "Gong Liu", "Mian", "Huang Yi", "Da Ming", etc. in "Daya" record the birth of Hou Ji to King Wu's conquest of Zhou, which is the origin and development of the Zhou tribe. and the historical narrative poem of the founding of the country.
Some poems, such as "Wei Feng·Shuo Shu", "Wei Feng·Fa Tan", etc., use a sarcastic tone to vividly reveal the slave owners' greedy and parasitic nature of getting something for nothing, and sing out the The people's voice of resistance and yearning for an ideal life showed the awakening of slaves during the collapse of slavery. Some poems, such as "Xiaoya·Why the Grass Is Not Yellow", "Binfeng·Dongshan", "Tangfeng·Bustard Yu", "Xiaoya·Plucking Wei", etc., describe the husband's homesickness, love for the land and sorrow for the war; "Wang Feng·Gentleman in Service" and "Wei Feng·Bo Xi" express the missing woman's yearning for the conscript. They reflect from different angles the endless suffering and disaster that the unreasonable military service system and war corvee brought to the people during the Western Zhou Dynasty. Some poems, such as "Zhou Nan·Fengjuan" completely depict the labor process of women collecting plantain; "Binfeng·July" describes the working life of slaves throughout the year; "Xiaoya·No Sheep" reflects the The shepherding life of slaves.
There are also many poems that express the love life of young men and women, such as "Qin Feng·Jianjia" which expresses the dreamlike pursuit between men and women; "Zheng Feng·Qin Wei", "Bei Feng·Jianjia" "Standing Girl" shows the playful party between men and women; "Wang Feng·Plucking Ge" shows the painful lovesickness between men and women; "Wei Feng·Papaya" and "Zhaonan·Gu Youmei" show the love between men and women. Mutual gifts; "Bao Feng·Bo Zhou" and "Zheng Feng·Jiang Zhongzi" reflect the pain caused by parental interference and public opinion to young men and women. For example, "Beifeng·Gufeng" and "Weifeng·Meng" also express the sorrow of abandoned women, angrily condemn the ungratefulness of men, and reflect the tragic fate of the majority of women in class society.
Artistic achievements and their influence "Zhou Li·Chun Guan·Master" says: "The master taught six poems: Feng, Fu, Bi, Xing, Ya and Ode." Six poems In the "Preface to Mao's Poems", he also wrote six meanings.
Among them, Feng, Ya, and Song refer to the classification of styles; Fu, Bi, and Xing refer to the expression techniques. Regarding Fu, Bi, and Xing, Zhu Xi of the Song Dynasty gave a more precise explanation in the "Collected Poems": "Fu refers to stating things directly; Bi refers to comparing this thing with other things; Xing refers to the first thing. Talking about other things can lead to the words that are chanted. "For example, "Bin Feng·July" and "Wei Feng·Meng" are both Fu style: the former describes slaves' spring plowing, mulberry picking, weaving, field hunting, wine making, storage and preparation. The entire working life throughout the year, including winter, expresses the class antagonism and the grief and indignation of the slaves; the latter flashbacks the tragic experience of the abandoned wife and the gangster from falling in love to getting married to being abandoned by the gangster, showing the sorrow and determination of the abandoned wife. Another example is "Wei Feng·Shuo Shu" and "Bei Feng·Xintai" are both analogies: the former compares the exploiters to greedy big rats; the latter compares the promiscuous and shameless Wei Xuangong to a big toad; both of them are inhabited. A great deal of irony. For example, "Zhou Nan Guan Ju" and "Wei Feng Fa Tan" are both in Xing style: the former is inspired by the "Guan Guan" cry of the chastity bird Jiu Dove, which reminds people of the relationship between men and women; the latter is based on slaves. The sound of "kankan" logging was rising, which reminded the slave-owning class of getting something for nothing. In "The Book of Songs", the techniques of Fu, Bi and Xing are often used interchangeably. There are "Fu and Bi Ye", "Bi and Xing Ye", and "Xing and Bi Ye". For example, "Wei Feng·Meng" is in the form of a poem, but the poem "The mulberry leaves have not yet fallen, and their leaves are as thick as silk, and the doves are sighing, and there is no food for the mulberries", which is obviously "happiness and comparison". Another example is "Wei Feng·Shuo Ren", which describes Zhuang Jiang's beauty in a descriptive way, but the "hands are like catkins, skin is like gelatin, teeth are like gourd rhinoceros, and the head is like a moth's eyebrows" vividly expresses Zhuang Jiang's natural beauty. This is obviously another "comparison based on endowment". The successful application of Fu, Bi and Xing techniques is an important reason for the strong local flavor of folk songs in The Book of Songs.
The Book of Songs is mainly composed of four words, with some miscellaneous words. In terms of structure, the form of repeated chapters and repeated sentences is often used to enhance the lyrical effect. Only a few words are changed in each chapter, but the artistic effect is full of twists and turns. In terms of language, double-tone rhymes and repeated words are often used to describe objects, onomatopoeia, and poor appearance. "Use less to make more, leaving no trace of emotion behind." In addition, in terms of rhyme in The Book of Songs, some sentences rhyme, some rhyme every other sentence, some rhyme to the end, and some change rhymes midway. Almost all the rhyme rules of modern poetry are already available in the Book of Songs.
The Book of Songs is the glorious starting point of Chinese realist literature. Due to its rich content and high ideological and artistic achievements, it occupies an important position in the cultural history of China and the world. It created an excellent tradition of Chinese poetry and had an indelible influence on later literature. The influence of "The Book of Songs" has also transcended China's borders and spread all over the world. Japan, Korea, Vietnam and other countries introduced the Chinese version of the Book of Songs very early. Since the 18th century, French, German, English, Russian and other translations have appeared.
The Book of Songs is the earliest poetry collection in China. Originally it was just called "The Book of Songs", but Confucians respected it as a classic, so it was called "The Book of Songs". Compiled in the Spring and Autumn Period, there are 305 chapters. It is divided into three categories: "Feng", "Ya" and "Song": "Feng" includes the styles of the fifteen countries, "Ya" includes "Daya" and "Xiaoya", and "Song" includes "Zhou Song" and "Lu Song" , "Ode to Shang".
Except "The Book of Songs·Zheng Feng·Zijin", "The Book of Songs·Qin Feng·Jianjia", "The Book of Songs·Zhou Nan·Guanju", "The Book of Songs·Zhou Song·Ai Xi", "The Book of Songs·Xiao" In addition to famous articles such as "Ya Caiwei" and "The Book of Songs Wei Feng Shuo Ren", there are also the following famous lines:
1. "The Book of Songs? Wei Feng? Qi Ao"
It's like cutting, like discussing ①, like plowing, like grinding ②.
①[Exquisition, consultation] The original meaning is to process bone, jade and jade into utensils, which is extended to academic discussion and research. ② [Cutting, grinding] The original meaning refers to the fine processing when making jade, which is a metaphor for modifying virtues or articles to make them beautiful.
2． "The Book of Songs? Wei Feng? Papaya"
If you vote for ①, I will give you wooden peach ②, and in return for ③, I will give you Qiong Yao ④.
①[Vote] This refers to giving away. ②[Wood peach] is a peach. ③[Report] Rebate. ④[Qiong Yao] Beautiful jade.
3． "The Book of Songs? Zheng Feng? Wind and Rain"
The wind and rain are like darkness ①, and the cock crows endlessly ②.
①[Ruhui] As dark as night. ②[has] stopped.
4. "The Book of Songs? Xiaoya? Deer Ming"
Yoyou ① The deer roars, eating apples in the wild. I have guests who play the harp and sheng.
①[呦妦(yōuyōu)] Deer whine.
5． "The Book of Songs? Xiaoya? Tangdi"
Brothers are fighting against the wall, and they are outside to resist their insults.
The meaning of the whole sentence is that brothers quarrel at home, but they jointly resist foreign invasion and insults. ①[阋(xì)] quarrel.
6． "The Book of Songs? Xiaoya? Che Ju (Jurisdiction)"
High mountains ① look up and stop, and scenery ② stop.
①[High Mountain] is a metaphor for lofty morals. ②[Jingxing] Dalu, a metaphor for upright behavior.
7. "Book of Songs? Xiaoya? Crane Ming"
Stones from other mountains can attack jade.
8． "The Book of Songs? Xiaoya? Xiaomin"
Treating with fear, as if facing an abyss, or walking on thin ice.
①[Lin] is coming. ②[蚷] step on, walk.
9. "Book of Songs." Xiaoya? Logging》
Come from the deep valley ① and move to the tree.
①[Glenn] Deep valley.
10． "The Book of Songs? Daya? Dang"
Extensive ① has no beginning, Xian ② Ke ③ has an end.
①[Extensive] No one. ②[Fresh (xiǎn)] less. ③[gram] energy. The general idea of ??the original sentence is that no one has a beginning to be kind, but few can persist to the end.
It is the oldest and most literary style with literary characteristics. Originated from the labor chants and folk songs of ancient people, it was originally a general term for poetry and songs. In the beginning, there was no distinction between poetry and song. Poetry was combined with music and dance, collectively called poetry. Chinese poetry has a long history and rich heritage, such as "The Book of Songs", "Chu Ci" and "Han Yuefu" as well as the works of countless poets. Poetry in Western Europe began with poets such as Homer and Sappho in ancient Greece and Virgil and Horace in ancient Rome.
Characteristics of poetry
Poetry is a literary genre that highly summarizes and reflects social life. It is full of the author’s thoughts, feelings and rich imagination, and its language is concise and vivid. , has a distinctive rhythm, harmonious phonology, and is rich in musical beauty. The sentences are generally arranged in separate lines and pay attention to the beauty of structural form.
He Qifang, a modern Chinese poet and literary critic, once said: "Poetry is a literary style that most concentratedly reflects social life. It is full of rich imagination and emotion, and is often written in a direct and lyrical way. Expression, and in the degree of refinement and harmony, especially in the distinctness of rhythm, its language is different from the language of prose. "This defining statement summarizes several basic characteristics of poetry: First, it is highly concentrated. , reflect life in a general way; second, express emotions and aspirations, full of rich thoughts and feelings; third, rich imagination, association and fantasy; fourth, the language has musical beauty.
The Book of Songs
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"The Book of Songs"
The earliest poetry collection in China. It collects 305 poems from about 500 years from the early Western Zhou Dynasty to the middle of the Spring and Autumn Period. In the pre-Qin Dynasty, it was called "Poetry", or the whole number was called "Poetry Three Hundred". It was revered as a Confucian classic during the Western Han Dynasty and was first called the Book of Songs, which is still used today.
Compilation Regarding the compilation of "The Book of Songs", there are two theories in the Han Dynasty: ① Pedestrians collected poems. "Hanshu Yiwenzhi" records: "In ancient times, there were officials who collected poems. The king observed the customs, knew the gains and losses, and examined himself."
Japanese poetry is very contradictory. It originates from the East but is unwilling to accept it. The shackles of Eastern culture. It is an organic combination of Eastern and Western cultures, and Chinese poetry pays more attention to poetry rather than gorgeous rhetoric.
思へばこの世は长の生み家にあらず.
The grass leaves are covered with white dew, and the water is stored in the moon.
きんこくに花を chant, Ronghuaは前つてimpermanenceの风にtemptはるる.
The moon in the south building is the same as the moon.
Fifty years in the human world, the world is like a dream.
Once born and enjoyed, destroyed once and for all.
Translation: Fifty years is nothing compared to the sky. Looking at the world, dreams are like water. You can live your life once, and then you will be destroyed. This is the seed of Bodhi, the feeling of annoyance that fills the heart. If you go to Kyoto right now, if you see the head of Lord Atsheng! Looking at the world, there is no one who is immortal within the sea and the sky.
This waka was originally written by Taira Atsumori. He lamented the impermanence of the world because his childhood friend Yoshitsune became his mortal enemy.
However, it is widely circulated as the death song of Oda Nobunaga. One of the lines, "Fifty years on earth" is more familiar than the original name "Atsumori". Oda Nobunaga gained the title of "Demon King of the Sixth Heaven" in a flash. Just as he sang in his song, "Fifty years on earth", Honnōji Temple was finally extinguished at the age of 49.
That’s called haiku in Japan.
A Japanese dance song featuring Taira Atsumori as the protagonist, the song sings:
“Fifty years on earth, compared with the sky, it is nothing but a small thing
< p>Looking at the world, dreams are like waterIf you let your life go once, you will enter and die immediately
This is the seed of Bodhi, and the regret is full of your heart
You are going to Kyoto at this moment. If you see the head of Lord Dunsheng..."
It can be compared with Su Shi's Chibi Fu: From the perspective of its transformation, the world has never been able to - Instant; if we look at it from the perspective of being unchanging, then both things and myself are endless, so how can we envy it?
Life is both short and eternal.
Chinese poetry was produced before the invention of writing. It was gradually formed and developed through people's labor, singing and dancing.
The Book of Songs is a collection of poetry from the 11th century BC to the 6th century BC. It is also the first collection of poetry in China, with 305 chapters. According to different music, it is divided into "wind" , "elegance" and "song" three categories. "Ode" poems are music songs used by rulers to offer sacrifices, some to ancestors, some to heaven, earth, mountains and rivers, and some to the god of agriculture. "Ya" is divided into Daya and Xiaoya. They are both used for banquet ceremonies. The content is mainly about the praise of heroes in the past and the satire of current politics. "Wind" is the essence of "The Book of Songs", which includes folk songs from 15 places.
In the 4th century BC, the Chu State during the Warring States Period, with its own unique cultural foundation and the influence of northern culture, gave birth to the great poet Qu Yuan. Qu Yuan and Song Yu and others who were deeply influenced by him created a new poetic style called Zao Chu Ci. Qu Yuan's "Li Sao" is an outstanding representative work of Chu Ci.
Chu Ci developed the form of poetry. It breaks the four-character form of the Book of Songs and develops from three or four characters to five or seven characters. In terms of creative methods, Chu Ci absorbed the romantic spirit of mythology and opened up the creative path of romanticism in Chinese literature.
After the Book of Songs and Chu Ci, a new form of poetry appeared in the Han Dynasty, namely Han Yuefu folk songs. There are more than 100 Han Yuefu folk songs that have been circulated to the present, many of which are written in five-character form. Later, they were deliberately imitated by scripture writers and became the main poetry form in the Wei and Jin Dynasties.
Famous chapters in the Han Dynasty Yuefu include "Fifteenth Military Expedition" which exposes the disaster of war, "Mo Shang Sang" and "Ha Lin Lang" which show that women do not want wealth. Of course, the most famous one is the long one. The narrative poem "The Peacock Flies Southeast". This poem tells a sad love story. Jiao Zhongqing and Liu Lanzhi fell in love deeply, but they broke up due to the coercion of Jiao's mother and the Liu family, which resulted in a human tragedy of life and death. The most important artistic feature of Han Yuefu folk songs is its narrative nature. "Peacock Flying Southeast" is the highest peak of Han Yuefu narrative poetry. Han Yuefu folk songs mostly use colloquial and simple language to express the characters' personalities, so the characters have vivid images and sincere emotions. Although most of the Han Yuefu folk songs are realistic depictions, many places have varying degrees of romanticism. For example, the last paragraph of "The Peacock Flying Southeast" shows an ingenious combination of romanticism and realism.
Five-character poetry is the main form of Chinese classical poetry. It has gone through a long time from folk songs to literati writing. By the end of the Eastern Han Dynasty, literati five-character poetry was becoming increasingly mature. The sign that five-character poetry has reached its mature stage is the appearance of "Nineteen Ancient Poems". "Nineteen Ancient Poems" is not the work of one person at a time. The content of the poems mostly talks about parting, lovesickness, and feelings about the short life. Being good at expressing emotions and making good use of comparison and evoking techniques are the greatest artistic features of "Nineteen Ancient Poems".
During the Jian'an period at the end of the Han Dynasty, the "Three Caos" (Cao Cao, Cao Pi, Cao Zhi) and the "Seven Sons" (Kong Rong, Chen Lin, Wang Can, Xu Qian, Ruan Ji, Ying Yang, Liu Zhen) succeeded the Han Dynasty. The realistic tradition of Yuefu folk songs and the widespread use of five-character form set off the climax of literati poetry for the first time. Their poems expressed the spirit of the times and had a generous and sad masculine style, forming a unique style called "Jian'an style" in later generations. The most accomplished among the seven sons was Wang Can. His three representative works, "Seven Sorrow Poems", are a portrayal of the war-torn reality in the late Han Dynasty. The Cao family and his son were influential figures in Jian'an literary circles, among whom Cao Zhi achieved the highest artistic achievement. Cao Zhi (19--232)'s poems are full of momentum and power, with detailed descriptions, gorgeous words, and good use of metaphors. Therefore, they have an artistic style of "extraordinary strength and splendid words". His representative poem is "Giving the White Horse to Wang Biao". 》. The poetry of the Jian'an era was the key to the transformation from the development of Han Yuefu to five-character poetry. Cao Zhi was the representative poet at that time. His poems are influenced by Han Yuefu, but they have more lyrical elements than Han Yuefu.
Ruan Ji (210--263) after the Jian'an era was a representative poet of the Zhengshi era. His "Poetry of Ode to Huai" further laid the foundation for lyrical five-character poetry. He often used tortuous verses to express worries about the country and fear of disaster. , meaning to escape from the world. At the same time as Ruan Ji, there was Ji Kang (224--263). His poems were cynical and pointed directly at the dark reality. The poetic style of both of them basically inherited the tradition of "Jian'an style".
Poetry creation during the Jin and Jin Dynasties gradually took the path of formalism, and the content of poetry was empty. The poet who inherited and carried forward the tradition of "Jian'an style" and whose works are rich in content is Zuo Si (around 250-305). His eight "Ode to Epic Poems" used ancient events to satirize current events and were very ideological. However, this type of poetry was not mainstream after all, and became increasingly rare. It was not until Tao Yuanming in the late Eastern Jin Dynasty that he brought works close to reality to the poetry world.
Tao Yuanming, who lived in seclusion and was not an official, took pastoral life as an important creative theme, so people have always called him a "pastoral poet". In the atmosphere of the times when parallelism was advocated and emphasis was placed on form over content, Tao Yuanming inherited the realist tradition of Yuefu and formed his simple and natural pastoral unity, creating a new realm for classical poetry, and five-character poems were in his hands. high degree of development.
Xie Lingyun (385--433), who was about the same time as Tao Yuanming, was the first person to create the landscape poetry school. The characteristic of his landscape poems is that he can put his own feelings into them, but some of the poems are too elaborate, the descriptions are lengthy, and the allusions and couplets are not natural enough.
The Southern and Northern Dynasties period was another period of development in the history of Chinese poetry, which was reflected in the emergence of another batch of Yuefu folk songs. They not only reflect new social realities, but also create new art forms and styles. The general characteristics of folk songs during this period are that they are short in length and more lyrical than narrative. There are more than 480 Yuefu poems preserved in the Southern Dynasties. They are generally short poems with five characters and four sentences, and almost all of them are love songs. The number of Yuefu in the Northern Dynasty is far less than that in the Southern Dynasty, but the rich content, simple language, and vigorous style are far beyond the reach of the Yuefu in the Southern Dynasty. If the Yuefu in the Southern Dynasties is a "love song", then the Yuefu in the Northern Dynasty is a veritable "military music" and "war song".
In terms of genre, in addition to the five-character and four-sentence Yuefu in the Northern Dynasties, they also created the seven-character and four-sentence Qijue style, and developed seven-character ancient poetry and miscellaneous style. The most famous piece of Yuefu music in the Northern Dynasties is the long narrative poem "Mulan Poetry", which together with "The Peacock Flies Southeast" is called the "Twin Jewels" in the history of Chinese poetry.
The most outstanding poet in the Southern and Northern Dynasties was Bao Zhao (around 410-466). Bao Zhao inherited and carried forward the Yuefu tradition of the Han and Wei dynasties and created a large number of excellent five-character and seven-character Yuefu poems. The 18 poems "It's Difficult to Travel" are his outstanding masterpieces. He maturely used seven-character syntax to express personal misfortune and protest against social injustice.
In the Yongming Dynasty of the Southern Qi Dynasty, the "tonality theory" became popular, and poetry creation paid attention to the harmony of tones. In this way, the new poetic style of "Yongming style" gradually formed. This new poetic style was the beginning of metrical poetry. The more famous poet during this period was Xie Tiao (around 464-499). Xie Tiao is famous for his landscape poetry, with a fresh and flowing style. His new style poetry had a certain influence on the formation of rhymed poetry and quatrains in the Tang Dynasty.
Poetry developed into the Tang Dynasty and ushered in a highly mature golden age. In the nearly three hundred years of the Tang Dynasty, nearly 50,000 poems were left behind, and there were about fifty to sixty famous poets with unique styles.
The Four Heroes of the Early Tang Dynasty were the main poets in the founding period of Tang poetry. These four heroes are Wang Bo (649--676), Yang Jiong (650--693), Lu Zhaolin (637--689), and King Luo Bin (646--684). Although their poems followed the styles of Qi and Liang, the themes of their poems were expanded in their hands, and the form of five-character and eight-sentence verses also began to be preliminarily finalized by them.
After the "Four Heroes", Chen Zi'ang (661--702) clearly opposed the Qi and Liang poetry styles and advocated the "Han and Wei styles". The 38 "Poems of Encounter" are his representative works with a distinctive innovative spirit.
The prosperous Tang Dynasty was the peak of poetry prosperity. In addition to the two great poets Li Bai and Du Fu, there were many poets with remarkable achievements during this period. They can be roughly divided into two categories: one is the pastoral poets represented by Meng Haoran and Wang Wei; the other is the frontier fortress poets. Among them, Gao Shi and Cen Shen have achieved the highest achievements. Wang Changling, Li Qi, and Wang Zhihuan are also frontier fortress poets. The best among them. Most of Wang Changling's frontier fortress poems use old Yuefu inscriptions to express the soldiers' feelings of missing their hometown and striving for victory. His "Army March" and "Out of the Fortress" have always been regarded as masterpieces of frontier fortress poetry. Li Qi's frontier fortress poems are not many in number, but his achievements are outstanding. "Ancient Meaning" and "Ancient Military March" are his masterpieces. Wang Zhihuan is an older frontier fortress poet. One of his poems, "Liangzhou Ci", expresses the sadness of the expeditioners homesickness. Another poem, "Climbing the Crane and Que Tower", is lofty and inspiring in poetry.
The poetry of the Mid-Tang Dynasty is the continuation of the poetry of the Tang Dynasty. The works of this period mainly showed social unrest and people's suffering. Bai Juyi was the most outstanding realist poet in the mid-Tang Dynasty. He inherited and developed the realist tradition of "The Book of Songs" and Han Yuefu, and set off a climax of realist poetry in literary theory and creation, that is, the New Yuefu Movement. Yuan Zhen, Zhang Ji, and Wang Jian were all important poets in this movement. The main works of Yuan Zhen (779--831) are 19 ancient Yuefu poems and 12 new Yuefu poems. No matter in terms of content or form, Yuan poetry is very close to Bai Juyi's poetry. Their common feature is that the language is easy to understand, which is due to the consistency of their literary views. Although Zhang Ji and Wang Jian did not have clear literary ideas, they became the backbone of the New Yuefu Movement with their rich creations. Sympathy for the suffering of farmers is the theme of Zhang Ji's Yuefu poems, of which "Wild Old Song" is the most famous. Although there are not many poems written by Li Shen whose styles are very similar to those of the above-mentioned people, his two poems "Compassion for the Farmers" have won him a wide range of readers.
In addition to the New Yuefu Movement, there was another group of poets during this period, namely Han Yu, Meng Jiao, Li He and others. Compared with Bai Juyi, their poetry art is more innovative and unique. Han Yu (768--824) was a famous essayist. He was good at turning words into poems. He brought new language styles and compositional techniques into the poetry world, which expanded the field of poetry expression. At the same time, he also brought about the use of words as poetry. Talk about talents and learning, and pursue the atmosphere of danger and weirdness. Meng Jiao (751--814) and Jia Dao (779--843) are both famous for their "bitter chanting". Their common characteristics are the pursuit of adventure and hard thinking and tempering. Liu Yuxi (772--842) was a poet who was interested in writing folk songs. Many of his "Zhuzhi Ci" are true in description and very popular among people. In addition, his verses and quatrains are also famous. Liu Zongyuan's (773--819) poems, like his prose, mostly express personal grief, anger and depression. His landscape poems are graceful and simple in description, showing his noble and noble personality in every aspect. For example, "Snow on the River" has always been recited by people. Li He (790--816) did not follow the path of his predecessors in the image, artistic conception, and metaphor of his poetry. He had a unique style in the mid-Tang Dynasty, and opened up a new world of romanticism that is strange, steep, rich and desolate. "Su Xiaoxiao's Tomb" and "Dream Sky" are all works that fully reflect his unique style.
The poetry of the late Tang Dynasty has a strong sentimental atmosphere. The representative poets are Du Mu and Li Shangyin. Du Mu (803--852) is famous for his seven-character quatrains in his poems. "Jiangnan Spring", "Mountain Journey", "Moving at Qinhuai", "Passing Huaqing Palace" and so on are his representative works. These poems reveal handsome talents and thoughts in their clear diction and vivid images. Li Shangyin (813--858) was famous for his love poems.
His seven rhymes follow Du Fu's example, with exquisite use of allusions and neat antitheses, such as "Mawei", which is very representative; his seven-character quatrains are also very skillful, among which "The Night Rain Sends to the North" and "Chang'e" are among the masterpieces.
In the late Tang Dynasty, a group of realist poets emerged who inherited the spirit of the New Yuefu in the Mid-Tang Dynasty. The representative figures were Pi Rixiu, Nie Yizhong and Du Xunhe. Their poems are sharp-edged and point to the current ills.
Poetry developed in the Song Dynasty and was no longer as brilliant as the Tang Dynasty, but it had its own unique style, that is, the lyrical component was reduced, the narrative and argumentative components were increased, emphasis was placed on description and depiction, and prose syntax was extensively used. , alienating the relationship between poetry and music.
The poems that best embody the characteristics of Song poetry are the poems of Su Shi and Huang Tingjian (1045--1105). Huang Tingjian's poetic style was unique and unique, and his influence was wider than that of Su Shi at that time. Together with Chen Shidao, he founded the "Jiangxi School of Poetry" with the greatest influence in the Song Dynasty. In the early Song Dynasty, Mei Yaochen (1002--1060) and Su Shunqin (1008--1048) were both called "Su Mei" and they were the ones who laid the foundation of Song poetry. The poems of Ouyang Xiu and Wang Anshi (1021--1086) played a great role in sweeping away the flashy style of Xikun style. During the Southern Song Dynasty, when the country was facing severe national calamities, poems were often full of melancholy and anger. Lu You is a representative figure of this era. At the same time as him, there were Fan Chengda (1126--1193), who was famous for his "pastoral miscellany" poems, and Yang Wanli (1124--1206), who was famous for his descriptions of scenery and reasoning. Wen Tianxiang (1236--1282) was the last great poet of the Southern Song Dynasty. "Crossing the Lingding Ocean", which exalted the national spirit of preferring death to surrender, is his representative work.
Ci originated from the Tang Dynasty and flourished in the Song Dynasty. Wen Tingyun (812--870) in the late Tang Dynasty was the first to devote himself to composing lyrics. His words are gorgeous, and he mostly writes about women's feelings of parting and missing each other. He is called the "Huajian School" by later generations. Li Yu (937--978), the later master of the Southern Tang Dynasty, occupied a high historical position in the history of the development of Ci. His later artistic achievements in lyrics were very high, such as "Poppy Poppies" and "Langtaosha", which used appropriate metaphors to visualize emotions. The language was close to spoken language, but it was well used.
Ci poets like Yan Shu (991--1055) and Ouyang Xiu in the early Song Dynasty both produced outstanding works, but they still did not break away from the influence of the Huajian School. When he arrived in Liuyong, he began to compose slow Ci with long tones. Since then, the scale of Ci has changed significantly. By Su Shi's time, the themes of his poetry were further developed, and the content of nostalgia for the past and sadness for the present entered his poetry. Qin Guan (1049--1100) and Zhou Bangyan (1056--1121), who were contemporary of Su Shi, were also very outstanding poets. Qin Guan is good at composing small orders, and his representative works such as "Huanxi Sand", "Traveling on the Sand" and "Magpie Bridge Fairy", which convey sad emotions through lyrical description of scenes. Zhou Bangyan not only wrote lyrics but was also good at composing music. He created many new tunes and made great contributions to the development of lyrics. His lyrics are deeply influenced by Liu Yong, with strict rhythm, suitable for singing, exquisite words and meticulous description. His representative works include "Guo Qin Lou", "Man Ting Fang", "Lan Ling Wang", "Six Ugly", etc. In the poetry world of the Song Dynasty, the female poet Li Qingzhao occupies a very important place with her unique style.
In the early years of the Southern Song Dynasty, when the country was in danger of being destroyed and the family was destroyed, poetry works mostly expressed the patriotism of writers. Xin Qiji was known as a patriotic poet and he was a representative figure of this period. Influenced by Xin's Ci, Chen Liang, Liu Guo, Liu Kezhuang, Liu Chenweng and others formed the most powerful patriotic Ci school after the middle of the Southern Song Dynasty.
The poet Jiang Kui (about 1155--1235) in the late Southern Song Dynasty is the most famous. Most of Jiang's poems are works that record travels and chant objects. In his lyrics, he mostly laments the change of his life experience and the frustration of his love life. The more representative work is "Resentment in the Changting Pavilion". His poetry followed Zhou Bangyan's path, paying attention to rhetoric, sentence refinement and rhythm, but the content was not substantial.
Ci has reached its peak in the Southern Song Dynasty. Sanqu was popular in the Yuan Dynasty, while poetry took a back seat.
The poetry of the Ming Dynasty moved forward in the back-and-forth between imitating antiquity and counter-imitating antiquity, and no outstanding works or poets appeared.
There were many schools of poetry in the Qing Dynasty, but most writers did not get rid of the trap of archaism and formalism, and it was difficult to surpass their predecessors. In the late Qing Dynasty, Gong Zizhen (1792--1841) broke the silence of the poetry world since the middle of the Qing Dynasty with his advanced ideas and took the lead in the history of modern literature. His poems often focus on social, historical and political perspectives to expose reality, making poetry a critical tool for real society. Later, new poetry schools such as Huang Zunxian (1848--1905), Kang Youwei (1858--1927), Liang Qichao (1873--1929) directly used poetry as a propaganda carrier for the bourgeois reform movement.
During the "May 4th" literary revolution, China's modern literature was born. In 1917, Hu Shi (1879--1942) first published 8 vernacular poems in New Youth, and proposed the "Great Liberation of Poetry Style" and advocated "Hu Shi's Style" poems that are not limited to rhythm, level, and length. In the process of the birth of new poetry, Liu Bannong, Liu Dabai, Kang Baiqing and Yu Pingbo were the main creative forces. Through their efforts, the new poetry has formed the basic characteristics of not having a certain rhythm, not sticking to rhyme, not being elaborate, not being elegant, just being simple, and using the vernacular. The earliest published collections of new poems include: Hu Shi's "Attempt Collection", Yu Pingbo's "Winter Night", Kang Baiqing's "Cao'er" and Guo Moruo's "Goddess".
Guo Moruo's "Goddess" carries the spirit of the "May Fourth Movement" era and has a distinctive artistry that is different from other vernacular poems, laying the foundation of romanticism for new poetry. "The Goddess" is also a sign that new poetry has truly replaced the old poetry. It successfully creates and uses free form and pushes new poetry to a new level.
After the development stage, the new poetry has formed a relatively complete form, which is mainly free style, and also includes new metrical poetry and symbolic poetry.
Writers of the Literary Research Association created a large number of free-style poems. Most of their poems are lyrical, expressing the pursuit and anguish of the awakened petty bourgeois intellectuals.
Among them Zhu