What are the characteristics of Tang poetry, Song lyrics and Yuan music?_?

Edit the definition of this paragraph

Yuan opera is a wonderful flower in the splendid cultural treasure house of the Chinese nation. It embodies unique characteristics in terms of ideological content and artistic achievements, and is similar to Tang poetry. The poetry of the Song Dynasty and the novels of the Ming and Qing Dynasties were developed simultaneously, becoming an important milestone in the history of Chinese literature.

The Yuan Dynasty was the heyday of Yuan opera. Generally speaking, Yuan operas and Sanqu are collectively called Yuan operas, and both of them use Northern opera as their singing form. Sanqu is the main body of literature in the Yuan Dynasty. However, the achievements and influence of Yuan Zaju far exceed that of Sanqu, so some people use "Yuan Opera" to refer to Zaju alone, and Yuan Opera is also the "Yuan Dynasty Opera".

Although there is a fixed pattern, it is not rigid. It is allowed to add lining words in the fixed pattern, and some qupai can also add sentences. The rhyme is allowed to rhyme with flat and oblique rhymes. Compared with the quatrains of rhythmic poetry and Song lyrics, it has greater flexibility. Therefore, readers can find that two songs of the same "qupai" sometimes have different number of words, which is why (among the same tune, the one with the least number of words is the standard fixed format). Yuan Opera is also known as Ciyu and Yuefu.

Edit the status of this paragraph

Yuan opera, which has become a flourishing literature after Tang poetry and Song lyrics, has its unique charm: on the one hand, Yuan opera inherits the elegance and elegance of poetry; On the one hand, the society of the Yuan Dynasty placed scholars in the position of "eight prostitutes, nine scholars, and ten beggars", with political dictatorship and social darkness. Therefore, Yuan opera radiated an extremely dazzling brilliance of fighting and revealed a mood of resistance; its sharp edge pointed directly at social ills. , directly denounced the society in which "it is best not to read, and it is best not to be literate, and people will praise you if you don't know something", and pointed out the world style of "everyone is embarrassed by life, and no one has money to marry". The works describing love in Yuan opera are also more vigorous and bold than the poems of previous dynasties. All these are enough to make Yuan opera retain its artistic charm forever.

The rise of Yuan opera has a profound impact and outstanding contribution to the development of our country’s national poetry and the prosperity of culture. As soon as Yuan opera appeared, it immediately showed strong vitality like other flowers of art. It is not only a handy tool for literati to express their aspirations, but also provides a new art form that reflects the social life of the Yuan Dynasty and is popular with the people.

Edit this paragraph The rise

The composition of Yuan opera includes two types of genres: one is Sanqu including Xiaoling, Guoqu and Taoshu; the other is Quwen composed of Taoshu , mixed with Binbai and Kefan, is specially designed for stage drama. "Sanqu" exists opposite to "dramatic music". Operas are scripts used for performances, including lyrics, dialogues, actions, etc. for various characters; Sanqus are just lyrics for a cappella singing. From a formal point of view, Sanqu and Ci are very similar, but in terms of language, Ci should be elegant and implicit, while Sanqu should be popular and lively; in terms of rhythm, Ci is strict, while Sanqu is more free. Sanqu can be divided into two categories based on body styles: "Xiao Ling" and "San Tao". Xiao Ling, also called Ye'er, has a short structure, usually just one independent piece (a few include two or three pieces). Santao is composed of multiple pieces of music and is required to always use the same rhyme. The tunes of Sanqu also have various names, such as "Taotao Ling", "Blowing Ground Wind", "Happy Spring", "Sheep on the Hillside", "Red Embroidered Shoes", etc. Many of these names are very vulgar, which also shows that Sanqu Closer to a folk song than lyrics. Yuan Opera's works radiate a dazzling splendor in the ancient Chinese literature and art garden with their profound revelation of reality, wide range of themes, popular language, liveliness of form, freshness of style, vividness of description and variety of techniques.

There are complex reasons for the rise and development of Yuan opera. First of all, the social reality of the previous generations was the basis for the rise of Yuan opera. The Yuan Dynasty had a vast territory, prosperous urban economy, grand theaters, active book clubs and endless audiences day and night, which laid the foundation for the rise of Yuan opera; secondly, various aspects of Yuan Dynasty The mutual exchange and integration of national cultures promoted the formation of Yuan opera; thirdly, Yuan opera is the inevitable result of the inherent laws of poetry itself and the inheritance and development of literary tradition.

Edit the development of this section

The development of Yuan opera can be divided into three periods.

Early period: from the founding of the Yuan Dynasty to the destruction of the Southern Song Dynasty. During this period, Yuan opera had just entered the poetry world from popular slang among the people. It had distinct characteristics of popular colloquialism and a bold, hearty, simple and natural sentiment. Most of the authors are from the north, among whom Guan Hanqing, Ma Zhiyuan, Wang Shifu, Wang Xiaojun, Bai Pu and others have the highest achievements. For example, Guan Hanqing's Zaju plays are written in a realistic way, with wonderful tunes and varied styles. It's spicy and full of pleasure. Ma Zhiyuan's creations have broad themes, lofty artistic conceptions, vivid images, beautiful language and harmonious phonology. He is known as the first master of Yuan Sanqu, "the number one tune" and "the ancestor of Qiu Si".

Middle period: from the reign of Emperor Shizu of the Yuan Dynasty to the reign of Emperor Yuan Shun and the period from the reign of Emperor Yuan Shun to the reign of the Yuan Dynasty. During this period, the creation of Yuan opera began to make a comprehensive transition to the culture and professional level, and Sanqu became the main genre in the poetry world. Important writers include Zheng Guangzu, Sui Jingchen, Qiao Ji, Zhang Kejiu, etc.

The last period: from the Zhizheng period of Yuan Chengzong to the end of Yuan Dynasty. At this time, Sanqu writers specialized in playing music. They paid attention to rhythm and rhetoric, worked hard in art, and advocated elegance, delicacy, elegance and beauty. Representative writers include Zhang Yanghao, Xu Zaisi, etc.

In short, Yuan Opera, as "the literature of a generation", has rich and diverse themes, a broad creative vision, vivid and vivid reflections of life, rich and touching characters, and easy-to-understand language. It is an indispensable treasure house of ancient Chinese culture. A valuable legacy that is missing.

The four great masters of Yuan opera: Guan Hanqing, Ma Zhiyuan, Zheng Guangzu and Bai Pu.

The three elements of Yuan Opera: singing (lyrics), Ke (action), and Bai (dialogue)

The representative works of Yuan Opera: Dou E’s Injustice, Tian Jing Sha·Qiu Si

Edit this paragraph System

The rise of Yuan opera represents the highest achievement of literature in this period. In itself, it is due to the establishment and improvement of the institutional form of Yuan opera, and the specific expression of the system of Yuan opera. It has the following six aspects:

1. Gong Diao: Gong Diao refers to the mode of ancient Chinese music. Songs and Gong Diao come from Yan music in the Sui and Tang Dynasties. The commonly used ones in Northern and Southern music are Five Palaces and Four Diaoes, commonly known as Jiugong or North and South. The nine palaces include Zhenggong, Zhonglu Palace, Nanlu Palace, Xianlu Palace, Huangzhong Palace (fifth palace), Damian Diao, Shuangdiao, Shang Diao, and Yue Diao (Four Diao). Each palace tune of the song has its own The style may be sad or majestic, lingering or heavy. The opera sets and Sanqu sets in Yuan Opera are composed of two different tunes with the same palace tune connected together.

2. Qupai: Commonly known as "qupai", it is a general term for various tunes, each with its own specific name, such as "Dian Jianglip", "Shanshan Sheep", etc. There are many in total, and the Northern Opera of the Yuan Dynasty** *335. Each tune has a certain melody and singing method. It also stipulates the number of words, syntax, equivalence, etc. of the tune. Based on this, new tunes and lyrics can be filled in. Most of the tunes come from the folk, and some are developed from lyrics. Therefore, the names of the tunes are also the same as the names of the lyrics, but the content is not completely consistent. In addition, there are music boards specially designed for performance, but most of them only have tunes without lyrics.

3. Rhyme: In terms of rhyme, Yuan opera strictly adheres to the requirements of Part 19 of "Central Plains Phonology" and is divided into Ping, Shang and Lai. The rhyme has the following characteristics: Ping and Qing rhyme together, and do not avoid heavy rhymes. , one rhyme to the end, borrowed rhyme, dark rhyme, redundant rhyme, and lost rhyme.

4. Elegance: Qu is stricter than poetry in terms of the elegance of words, and pays special attention to the elegance of the last sentence of each poem.

5. Contrast: The contrast requirements of Qu are relatively free. It can be flat and oblique, or level tones, that is, flat tones to flat tones, and oblique tones to oblique tones. There are thirteen forms of antithesis in Qu, including "two-character pairs", "head-to-last pairs", and "line-word pairs". There are many characteristics in the use of language and word order combinations, which are mainly reflected in: there are Gong pairs and wide pairs, but The phenomenon of wide pairing is more common; it is a pairing in a sentence; it is an intricate pairing or the words are reversed to form a pairing, such as "a loyal minister is not afraid of death, and a disloyal minister who is afraid of death"; using common sayings to enter the pairing.

6. Lining characters: The most obvious difference between music and lyrics is whether there are lining characters. Those with lining characters are songs, while those without lining characters are lyrics. The so-called "lining characters" refer to the words added in addition to the necessary number of words specified by the rhythm. It is not restricted by the rhythm, such as phonology, level and sentence structure. Lining characters are generally used at the beginning of sentences.

There are more than 220 Yuan opera writers who have left their names and compositions. There are more than 4,500 works (sets and parts) that have been handed down to this day, including 3,000 small orders. There are more than 800 pieces (including past songs), more than 470 sets, and more than 160 dramas (originals). Among many writers, the one who made pioneering contributions to the formation of Yuan opera was Yuan Haowen. He was born during the wars of the Jin and Yuan Dynasties and was a superstar in the poetry circles of the Jin and Yuan dynasties. His works are clear, smooth and handsome, which are different from those of the time. They play a guiding, guiding and standardizing role in the creation of Yuan music.

Introduction to Song Ci

Song Ci is another literary genre after Tang poetry. It has the characteristics of both literature and music. Each word has a tune name, which is called "Cipai name", and filling the words according to the tune is called "Yisheng". The alias of the word is "long and short sentences" (after the Song Dynasty, it can be said that long and short sentences are the alias of the word, but in the Northern Song Dynasty, long and short sentences were the original name of the word; in the Tang Dynasty, long and short sentences were still a poetic noun).

Song poetry drew nutrients from the Book of Songs, Songs of Chu and Poems of the Han, Wei and Six Dynasties, which also provided nutrients for the later drama novels of the Ming and Qing Dynasties.

To this day, it is still cultivating people's sentiments and bringing them high artistic enjoyment.

Song Ci is also called Ci. Famous books about Song Ci include: "Three Hundred Song Ci" and so on. [1]

The main representative figures of Song Ci are Su Shi (bold school), Liu Yong (graceful school), and the famous female poet Li Qingzhao. The "Su Xin" people call refers to Su Shi and Xin Qiji.

Edit this section The development history of Song Ci The origin of Song Ci

"Ququ Ci" originated from the folk, and its natural tendency is to be vulgar and vulgar. Due to the rediscovery of a large number of "quci" in the Dunhuang Grottoes, the view that the lyrics originated from folk literature has been widely recognized. The tunes and lyrics that originated and formed during the Sui and Tang Dynasties were originally sung in conjunction with a brand new music - "Yan Yue". "Yan" refers to "banquet", and Yan music is popular entertainment music during banquets. The performers and singers are all lower-class musicians and singers with low cultural quality. There are two main sources of Yan music tunes: one is from ethnic minorities from border areas or foreign lands. During the Tang Dynasty, a large amount of music from the Western Regions flowed in and was called the "Hu Division". Some of the music was later changed to Chinese names. For example, in the 13th year of Tianbao (754), 54 Hu-named music in Taichang music were changed to Chinese names. "Jiegu Lu" contains 131 songs, sixty-seven out of ten of which are foreign songs. Many of the tunes that were later used as lyrics can be judged to be foreign music based on the names of the tunes. For example, "Wangyue Brahman" was originally an Indian tune, and "Su Muzhe" was originally a Kucha tune. "Hu Taolian", "Hu Weizhou" and other tunes are clearly labeled with the word "Hu". Some tunes come from southern Xinjiang, such as "Bodhisattva Man", "Bapai Man" and so on. Some tunes are directly named after the border areas, indicating that the tunes come from the border areas. "New Tang Book·Five Elements Chronicles" says: "Most of Tianbaohou's songs are named after border areas, such as "Yizhou", "Ganzhou", "Liangzhou", etc." Volume 10 of Hong Mai's "Rong Zhai Essays" Siye said: "All the great songs in Yuefu today came from the Tang Dynasty, and there are five states named after them: Yi, Liang, Xi, Shi, and Weiye." Yizhou is now the Hami area of ??Xinjiang, and Ganzhou is now Zhangye, Gansu. Liangzhou is today's Wuwei in Gansu Province, Xizhou is today's Lintao in Gansu Province, Shizhou is today's Lishi in Shanxi Province, and Weizhou is today's Longxi in Gansu Province. These were all northwest border states in the Tang Dynasty. The main part of Yan music is these foreign music. The second is folk songs from the folk. Many tunes of the Tang Dynasty were originally folk songs. Mr. Ren Erbei's "Jianfang Notes" has examined the folk tunes in the Jiaofang tunes one by one. For example, "Bamboo Branch" was originally a Sichuan and Hunan folk song. Liu Yuxi's "Preface to Bamboo Branch" of the Tang Dynasty said: "When I came to Jianping (now Wushan, Sichuan), I sang the children's couplet "Bamboo Branch" and played the piccolo and drums to attend the festival. The singer raised his sleeves. Sui Wu is a virtuous person with many songs. Listening to the sound, the feathers of Huang Zhong are as loud as the sound of Wu. "Another example is "Maixiu Liangqi", quoted in "Wang Shi" in Volume 257 of "Taiping Guangji". Records of Experience and Information says that during the Five Dynasties Zhu Liang Dynasty, "the music of "Mai Xiu Liang Qi" was played in front of the palace, and tools for harvesting wheat were used, attracting dozens of generations of poor children in ragged clothes, carrying men and women, carrying baskets and cages to gather wheat. Singing in harmony, the lyrics are sad and have the meaning of poverty. "The creation of folk songs in the Song Dynasty was still very vigorous. "History of the Song Dynasty·Le Zhi" said that in the Northern Song Dynasty, "there were many new folk songs", such as "Lone Wild Goose", "Yun Ling" and so on. The two main sources of Yanle tunes established the vulgar and simple literary characteristics of Yanle and its lyrics. In the process of singing and spreading, as well as when performing its entertainment function, lyrics further consolidate this characteristic of literary creation. The lyrics have innate vulgar characteristics, which are very different from the orthodox aesthetic tradition that relies on elegance and justice. The traditional education received by most lyric writers, and the aesthetic concepts subconsciously given to them by history and society, all play a conscious or unconscious role in their appreciation and creation of lyrics. Efforts to get rid of vulgarity and return to the right path of elegance have become the urgent and unremitting pursuit of poets.

The Development of Song Ci

Song Ci mainly describes erotic love. Zhang Yan said: "Playing with the wind and moon, Tao writes about temperament, and the words are more graceful than poetry. The sound comes from the tongues of orioles and swallows, which is slightly close to emotion." (Volume 2 of "Etymology") is an example of this characteristic. Summarize. Song Ci is the first specialized style in the history of the development of Chinese literature to express erotic thoughts and love. "Poetry expresses ambition, words are romantic" and "Ci is about erotic subjects" are all summaries of the mainstream creative tendency of Song Ci. The themes of Song poetry focus on the sadness of spring and autumn, the sadness of parting, romance, love between men and women, etc., which are directly or indirectly related to "erotism". Su Shi, who is respected by later generations as the founder of "bold Ci", most of his Ci still belongs to the "Yanke" category.

Even themes other than "erotic" are subject to the penetration of mainstream trends. The mainstream trend of Song poetry creation is more or less "erotic" and belongs to the obscene "Zheng Wei" who was rejected by Confucius. The sound is first-class, which is completely contrary to the elegant writing. It only pursues hedonistic life on the surface level, and has no deep meaning for aftertaste. Therefore, on the one hand, people in Song poetry indulged in the pleasure of sensuality, but on the other hand, they concealed themselves, justified themselves, and "swept their own traces." Later generations "hid their shame for the venerable, and kept their faults for the wise", which also explains the twist. It is inevitable for people to be greedy for enjoyment, and they will be moved by emotions and sing songs. Afterward, I felt it was not in good taste and was disgraceful. This contradiction is prevalent in the creation of lyrics. If the expression of erotic love can be made implicit and hazy, it will seem to be interesting, and the recipient will have unlimited illocutionary thoughts. And tempering the words, sentences, and rhyme to make it elegant and elegant, wouldn’t it be the best of both worlds? Based on this standpoint, “removing the vulgar and restoring elegance” is the main direction of efforts in the creation of Song poetry, from unconsciousness to consciousness, from unconsciousness to consciousness, and from unconsciousness to consciousness. From sporadic efforts to the formation of a creative genre, from the practice of creation to the emergence of a more complete one.

The peak of Song Ci

Su Shi is the final founder of the tradition of literati lyric poetry. Chen Shidao used "poetry as lyrics" to evaluate Su Ci, which is the essence of innovation in Su Ci. Looking at it as a whole, the process of "elegance" of Ci is, in a sense, a process of gradually moving closer to poetry, a process of striving to cross the boundaries between "expressing ambition" and "romantic emotion". Therefore, Lu Fuzhi said: "Elegance is what "Shang" is still a tributary of poetry. "Elegance and integrity are insufficient for words." Before Su Shi, this process was gradual, but with Su Shi it was a rapid evolution. First of all, Su Shi's poetry expanded the context of his poetry. Su Shi's temperament, ambition, and knowledge are all reflected in poetry, and they are also integrated into Ci. Liu Chenweng's "Xin Jiaxuan Ci Preface" said: "When the poem reaches the east slope, it is upright and upright, like poetry, like prose, like the wonders of heaven and earth." When he went out hunting, he said with great pride: "I can pull the eagle's bow like the full moon, look northwest, and shoot into the sky. Wolf." ("Jiang Chengzi") He looked at the moon and missed his younger brother, so he realized the philosophy of life: "People have joys and sorrows, and the moon waxes and wanes. He sighed: "As the Yangtze River goes eastward, all the waves are flowing, and there are all the famous people of the ages." ("Nian Nujiao") The colors are so colorful that it is dizzying to see. Volume 4 of Liu Xizai's "Art Summary" summarizes: "Dongpo's poetry is quite similar to Lao Du's poetry, because it has no intention and nothing can be said." Secondly, Su Shi's poetry has improved the quality of his poetry. Su Shi's "poetry into words" perfectly combines the poet's "love" with the poet's "statement". The morals of the article and the personal feelings of his children are both reflected in the words. He establishes a dignified formation in the words and stands upright. flag. Even when writing about a relationship between friends, the character is extremely high. The beauty in "Congratulations to the Bridegroom" who "waits until all the flowers and flowers are gone, to accompany you in solitude" can be compared with the style of Du Fu's "Beauty" where "the sky is cold and the green sleeves are thin, and the sun sets on the bamboo". Hu Yin's "Preface to the Poems by the Wine Side" therefore praises Su's poems as "washing away the fragrance of Qiluo, getting rid of the lingering attitude, making people climb high and look into the distance, raise their heads and sing loudly, and feel proud and heroic beyond the dust." The poem ends. On the east slope, its body was first respected. Once again, Su Shi transformed his style of writing. What appears in Su Shi's poems are often clear and vast scenery, and the poet's broad-mindedness is gradually revealed in them. Traditionally, Song Ci styles are distinguished by "graceful" and "bold" styles. Su Shi is the founder of the "bold" style. All these "poetic" innovations quickly changed the inner quality of Ci. Therefore, Kuang Zhouyi affirmed: "During the Xifeng period, the academic reputation of Ci was at its peak. Su Changgong advocated elegance and became a generation of mountain warriors." (Hui "Hui") "Feng Ci Hua" Volume 2) Liu Xizai changed his perspective and commented: "Taibai's "Recalling Qin'e" has a tragic and solemn tone. In the late Tang and Five Dynasties, it only became more graceful and beautiful, and it was not restored until Dongpo." (Volume 4 of "Yi Gui") Dongpo's restoration is the movement of poetry closer to poetry, highlighting the "place of ambition", and a return to the loftiness and elegance of Tang poetry. At this point, the "elegance" of Ci has also achieved an essential breakthrough.

Edit the categories of Song lyrics in this paragraph

There are roughly 5 types:

1. According to length, words can be roughly divided into Xiaoling (within 58 characters), Zhongdiao (within 59 to 90 characters) and Longdiao (more than 91 characters, the longest word is 240 characters). Some of a word has only one paragraph, which is called monotone; some has two paragraphs, which is called double tone; some has three or four paragraphs, which is called triple or quadruple.

2． According to the nature of music, Ci can be divided into nine types: Ling, Yin, Man, Santai, Xuzi, Faqu, Daqu, Guanling and Zhugong.

3. According to beats, there are four common types: Ling, also called Xiao Ling, which has a shorter beat; Yin, which uses a small order to be subtle and leads to a long one; Near, which uses a similar pitch to lead to a long one; Slow, which leads to a long one. The longer.

4． According to the creative style, it can be roughly divided into the graceful school and the bold school.

5. Divided according to the origin of word cards. Regarding the origin of Cipai, there are roughly three situations as follows:

⑴ It was originally the name of the music. For example, "Bodhisattva Barbarian" is said to be due to the tribute paid by the barbarian women in the early years of Dazhong in the Tang Dynasty. They wore high buns, gold crowns, and necklaces all over their bodies (Yingluo is the jewelry worn on the body), like a Bodhisattva. At that time, Jiaofang composed "Bodhisattva Manqu". It is said that Yizong of Tang Dynasty loved to sing the lyrics of "Bodhisattva Man", which shows that it was a popular tune at that time. "Moon over the Xijiang River", "Wind in the Pines", "Butterflies in Love with Flowers", etc. all belong to this category. These are all folk tunes.

⑵ Extract several words from a poem as word cards. For example, "Recalling Qin E", because the first two sentences of the first poem written according to this format are "The sound of the flute swallows, Qin E dreams of breaking the moon in Qin Lou", so the word card is called "Recalling Qin E", also called "Qin E". Lou Yue". The original name of "Recalling Jiangnan" is "Wang Jiangnan", also known as "Xie Qiuniang". However, because Bai Juyi had a poem praising "Jiangnan is good", the last sentence is "Can I not remember Jiangnan", so the poem is also called "Recalling Jiangnan". "Like a Dream" was originally called "Recalling Immortal Postures", but it was renamed "Like a Mengling" because "Recalling Immortal Postures" written by Zhuangzong of the later Tang Dynasty contains sentences such as "Like a dream, like a dream, the moon is falling and the flowers and smoke are heavy". "Nian Nujiao" is also called "The Great River Goes East", because Su Shi wrote a song "Nian Nujiao", the first sentence of which is "The Great River Goes East". It is also called "Moon over the River" because the last three characters of Su Shi's poem are "Moon over the River".

⑶ is originally the title of the word. "Stepping Lyrics" chants about dancing, "Dancing Horse Ci" chants about horse dancing, "Ai Naiqu" chants about rafting, "Yu Ge Zi" chants about fishing, and "Lang Tao Sha" chants about Lang Tao. Sha, "Ball Throwing Music" chants about throwing embroidered balls, and "Geng Lezi" chants about night. This situation is the most common. Whenever the "original meaning" is marked below the word plate, that is to say, the word plate is also the title of the word, so there is no need to prepare another title

Introduction

Tang Dynasty Poetry Imagery (618-AD) 907) was the heyday of the development of classical poetry in my country. Tang poetry is one of my country's outstanding literary heritages and a brilliant pearl in the world's literary treasure house. Although Tang poetry has been around for more than a thousand years, many poems are still widely circulated by us.

There were many poets in the Tang Dynasty. Li Bai, Du Fu, Bai Juyi, and Wang Wei are world-famous great poets. In addition to them, there are countless other poets, like stars in the sky. More than 2,300 of these poets are famous today. There are also 42,863 of their works preserved in the "Complete Poems of the Tang Dynasty". The themes of Tang poetry are very wide: some reflect the class situation and class contradictions of the society from the side, exposing the darkness of feudal society; some praise the just war and express patriotic thoughts; some describe the beauty and beauty of the motherland's rivers and mountains; in addition, there are Some describe personal ambitions and experiences, some express the admiration of children, some talk about friendships with friends, the joys and sorrows of life, etc.; in short, there is no escape from natural phenomena, political dynamics, labor life, social customs, and personal feelings. The poet's keen vision has become the subject of their writing. In terms of creative methods, there are both realist and romantic schools, and many great works are examples of the combination of these two creative methods, forming the excellent tradition of Chinese classical poetry.

The forms of Tang poetry are diverse. There are mainly two types of ancient poetry in the Tang Dynasty: five-character and seven-character. Tang manuscript "Tang Poetry Volume" (24 photos). There are also two types of modern poetry, one is called quatrains and the other is called rhymed poetry. Quatrains and verses are different in five words and seven words. Therefore, there are basically six basic forms of Tang poetry: five-character ancient poetry, seven-character ancient poetry, five-character quatrains, seven-character quatrains, five-character rhymed poems, and seven-character rhymed poems. Archaic poetry has relatively broad requirements for rhyme and rhythm: in a poem, the number of sentences can be more or less, the chapters can be long or short, and the rhymes can be switched. Modern poetry has stricter requirements on rhyme and rhythm: the number of sentences in a poem is limited, that is, four quatrains and eight lines in rhymed poetry. The rhythm and oblique tones of the words used in each poem have certain rules, and the rhyme and rhyme cannot be changed; rhymed poetry also requires middle lines. The four sentences become a counterpoint. The style of ancient poetry was handed down from previous generations, so it is also called ancient style. Modern poetry has a strict rhythm, so some people also call it metrical poetry.

The forms and styles of Tang poetry are colorful and innovative.

It not only inherits the folk songs and Yuefu traditions of the Han and Wei dynasties, but also greatly develops the style of the song style; it not only inherits the five- and seven-character ancient poems of the previous generation, but also develops into a lengthy narrative romance; it not only expands the five-character and seven-character poems The use of form also creates modern poetry with a particularly beautiful and neat style. Modern poetry was a new style poetry at that time. Its creation and maturity were a major event in the history of poetry development in the Tang Dynasty. It has pushed the artistic characteristics of syllable harmony and word refinement of our country's ancient poetry to unprecedented heights, and found the most typical form for ancient lyric poetry. It is still particularly popular among the people today. However, the rhythmic poetry in modern poetry has strict metrical restrictions, which easily restricts the content of the poem and prevents free creation and development. This is a big flaw brought by its strengths.

In the preface of "Quan [1]", it is said that the author of the whole book "has 42,863 poems, and 2,529 people", and many later generations will follow his example. explain. In fact, the number cited by Xuanye is not accurate. In recent years, the Japanese scholar Takeo Hiraoka compiled "Poets of the Tang Dynasty" and "Poems of the Tang Dynasty" and made statistics on the writers and works included in "Poetry of the Tang Dynasty" one by one. The conclusion is that : The book contains 49,403 poems, 1,555 lines, and 2,873 authors.

Edit this paragraph to periodize the Early Tang Dynasty

The representative writers of You Ziyin in this period are the "Four Heroes of the Early Tang Dynasty" - Wang Bo, Yang Jiong, Lu Zhaolin, and Luo Binwang; in addition, Chen Zi'ang He was also a famous poet in the early Tang Dynasty.

The prosperous Tang Dynasty

With a prosperous economy and strong national power, Tang poetry reached its peak, with broad themes and numerous genres, such as the "Frontier Poetry School" and the "Pastoral Poetry School". The great romantic poet Li Bai and the great realist poet Du Fu are the most outstanding representatives of this period. Their poems are regarded as the best of their generation. In their writings, whether they have five rhymes or seven rhymes, five unique styles or seven unique styles, or ancient style songs, they have reached high artistic achievements. As Han Yu said, "Li Du's writings are as bright as ever." For example, Li Bai's "Sleepwalking Tianmu Yin Farewell" and "About to Enter the Wine"; Du Fu's "Three Officials", "Three Farewells", etc.; Wang Wei and Meng Haoran represent the Pastoral Poetry School, and Gao Shi and Cen Shen represent the Frontier Poetry School.

Mid-Tang Dynasty

In the Mid-Tang Dynasty, poets had their own achievements. But the one with the most outstanding achievements is Bai Juyi. He put forward the progressive theoretical proposition of "articles are combined to be written for the time, and songs and poems are written for the event". He personally participated in the leadership of the "New Yuefu Movement". Bai Juyi's poems are clear and easy to understand. , deeply loved by the masses, and his representative works include "Song of Everlasting Sorrow", "Pipa Xing", etc.; in addition, Liu Yuxi and Li He's poems are also quite successful.

Late Tang Dynasty

The more famous poets of the Late Tang Dynasty include: Wen Tingyun, Li Shangyin, Du Mu, Wei Zhuang, etc. Among them, Li Shangyin and Du Mu are known as "Little Li Du".

Edit the title of poet in this paragraph

Poetry bone--Chen Zi'ang: His poems are passionate in meaning, high in style, and have the "Han and Wei style", and are known as the "poetry bone".

Poetry Master--Wang Bo: His poems are fluent, graceful, broad-minded, and unique, and he is known as "Poetry Master"

Poetry Maniac--He Zhizhang: He has a broad-minded nature, Called himself "Siming Kuangke". Because of his bold and unrestrained poetry, he is known as the "Poetry Maniac".

The Poet Emperor and Qijue Master - Wang Changling: His Qijue poems are "deeply sentimental and full of resentment, but the sound and purpose are vague", so he was named the "Poet Emperor".

Poetic Immortal--Li Bai: His poetic imagination is rich and unique, his style is vigorous and unrestrained, his colors are gorgeous, and his language is fresh and natural. He is known as the "Immortal of Poetry".

Du Fu, the Saint of Poetry: His poems are closely integrated with current events and have profound thoughts. He has a broad realm and is known as the "Sage of Poetry".

Poetry prisoner--Meng Jiao: He worked hard to write poems and was miserable in business. Yuan Haowen once called him a "poetry prisoner".

Poetry Slave--Jia Dao: His life is devoted to composing poetry, and he likes to recite it deliberately, so he is called a "Poetry Slave".

Poetry Hero--Liu Yuxi: His poems are calm and solemn, with a natural and rough rhythm. Bai Juyi gave him the reputation of "Poetry Hero".

Poetic Buddha--Wang Wei: Many of Wang Wei's poems have a strong meaning of Zen Buddhism, and Zen is incorporated into poetry.

Poetry Demon - Bai Juyi: He wrote poems very hard. "The drunken mania also caused the Poetry Demon, and he chanted sadly all the way to the west at noon." He was known as the "Poetry Demon".

The Great Wall of Five Characters--Liu Changqing: He is good at five-character poetry. His five-character poems account for seventy-eight tenths of all poems. People call it the "Great Wall of Five Characters."

Poetry Ghost--Li He: His poems are good at casting words, galloping imagination, and using myths and legends to create bright and colorful images, so he is called "Poetry Ghost".

Edit this paragraph to belong to the Landscape Idyll School

Representative figures of Acacia: Wang Wei, Meng Haoran, Lu Lun, Li Yi

Features: There are many themes: green mountains, white clouds, secluded He is a hermit; his style is mostly quiet and elegant, full of feminine beauty; his forms are mostly five words, five uniques, five laws, and five ancients.

Representative works:

Wang Wei: "Dwelling in the Mountains in the Twilight of Autumn", "Ode to Xi Shi", "Remembering Shandong Brothers on September 9th"

Meng Haoran: "The Passing" Old Friend's Village"

Lulun: "Fortress Song", "A Sick Soldier"

Li Yi: "Joining the Army in the Northern Expedition"

Border Fortress Poetry School< /p>

Representative figures: Gao Shi, Cen Shen, Wang Changling, Li Yi, Wang Zhihuan, and Li Qi.

Features: Describe wars and battlefields, express the heroic spirit of defending the homeland, or describe the majestic scenery of the frontier, strange customs, or describe the cruelty of war, the darkness in the army, and conquests. The hardships and hardships express the yearning and feelings of national harmony.

Representative works:

Gao Shi: "Farewell Dong Da"

Cen Shen: "Bai Xuege Sends Magistrate Wu Back to the Capital"

Wang Changling : "Out of the Fortress"

Li Yi: "Joining the Army in the Northern Expedition"

Wang Zhihuan: "Liangzhou Ci"

Li Qi: "Ancient Meaning"

Romantic Poetry

Representative figure: Li Bai.

Features: Focusing on expressing personal feelings, it sings about the desire and pursuit of personal value for a free life. The poems are free, unrestrained, smooth, rich in imagination and grand in momentum. Language advocates nature and opposes carving.

Representative works:

Li Bai: "Drinking Alone under the Moon", "Sleepwalking Tianmu Says Farewell", "The Road to Shu is Difficult".

Realistic Poetry

Representative figure: Du Fu.

Characteristics: The artistic style of poetry is melancholy and frustrating, mostly expressing feelings of sadness, grief, and compassion. From the middle Tang Dynasty to the Song Dynasty, Du Fu's realistic style was inherited.

Representative works: "Three Officials", "Three Farewells", and "Military Chariots".