I want a paper on Appreciation of Tang Poetry and Song Poetry. Who can help me? Thank you very much!

Tang poetry and Song ci are two pearls in the history of China literature. The Tang Dynasty is called the era of poetry, and the Song Dynasty is called the era of ci. Ci originated from the folk, began in the Tang Dynasty, flourished in the Five Dynasties and flourished in the Song Dynasty. In the Song Dynasty, with the development of the city and the rise of the citizen class, people's pursuit of cultural life became more intense.

In the process of the development and prosperity of Song Ci, the guiding role of the whole society is also very obvious. If the poets in the Tang Dynasty were just tools and playthings of the royal family and its rulers to some extent, then the poets in the Song Dynasty have jumped from being appreciated to becoming the protagonists in the political arena in the Song Dynasty. Every emperor in Song Dynasty loved Ci, and every minister in Song Dynasty was a poet. Song Dynasty politicians Fan Zhongyan, Wang Anshi, Sima Guang and Su Shi were all famous poets at that time. Li Qingzhao, a woman who never appeared in feudal society, has also become synonymous, and her name will last forever. In the imperial examination at that time, there was a proverb: "Su Wen is cooked and eats mutton; Su Wensheng, eat vegetable soup. " This shows the extent to which the poet Su Shi was worshipped. It is the recognition and admiration of the whole society that makes Song Ci have enduring influence.

The reason for this is the following：

The prosperity of handicraft industry and commercial economy in Song Dynasty is the material basis of the prosperity of Song Ci.

The expansion of the citizen class and the improvement of living standards require a rich cultural and recreational life.

(3) In the Song Dynasty, social contradictions were acute, and literati used words to express their thoughts and feelings better.

Let's talk about the achievements of Song Ci. Ci originated from the lyrics of the Tang Dynasty, and the sentences are long and short, which are closely combined with music and can be sung. Due to the development of commerce, the prosperity of cities and the increase of citizens in the Song Dynasty, words that can sing and dance are more suitable for entertainment life in the market than other forms of literary works. At that time, class contradictions and ethnic contradictions were sharp, and irregular sentences were more convenient to express people's thoughts of worrying about the country and the people, so they gradually flourished and replaced poetry as the mainstream of literature. This paper introduces the styles and achievements of Liu Yong, Su Shi, Li Qingzhao, Xin Qiji and Lu You respectively according to the four stages of the early Northern Song Dynasty, the middle and late Northern Song Dynasty and the Southern Song Dynasty. Liu Yong is an important representative of graceful and restrained school in Northern Song Dynasty. He has lived in the city for a long time, and his works mostly show the prosperity of the city and the feelings of joys and sorrows of men and women, especially the loneliness and homesickness during the journey. Most of his words are colloquial, popular and vivid. "Wherever there is a well water, you can sing Liu Ci" (Ye Mengde: Summer Tale), so it is widely circulated. His ci works also incorporate a lot of narrative elements, which not only expands the realm of ci, but also opens the door for the development of Yuanqu. Su Shi was the pioneer and main representative of the uninhibited school in the middle and late Northern Song Dynasty. His ci has a wide range of themes, which greatly expands the content of ci and injects great vitality into bold and unconstrained ci. Li Qingzhao was an outstanding graceful and restrained poetess in the early Song Dynasty. She put forward the idea of "different words" and is good at expressing her true feelings with simple words and expressions. Xin Qiji and Lu You, a poet in the Southern Song Dynasty, advocated active resistance to gold, and their works were mainly bold and unrestrained, which profoundly expressed their strong desire to restore the Central Plains. Su Shi and Xin Qiji are the most representative and accomplished poets in the Song Dynasty, and their lives are introduced in the column of "History" and illustrations respectively. It must be pointed out that bold writers in Song Dynasty mainly wrote bold works, but they also wrote some very touching and graceful words, not just bold ones.

Ci is an art form of poetry and a style of China's ancient poetry, also known as Song Ci, Quzi Ci, poetic style and long and short sentences. Nanliang, which began in the Southern and Northern Dynasties in China, was formed in the Tang Dynasty and reached its peak in the Song Dynasty. At first, it was sung with music, so writing lyrics is also called lyrics, relying on sound. Later, it gradually became independent and became a special art of poetry.

The epigraph, also called the word case, is the name of the tune used to fill words. Words are originally sung along with music, and all songs have certain melodies and rhythms. The sum of these melodies and rhythms is the tone of words. Between words and tones, or according to the tone of words, or according to the tone of words, tunes are called epigrams, usually depending on the content of words. After the Song Dynasty, Ci developed and changed continuously, mainly according to the melody, and the epigraph had nothing to do with the content of Ci. When the word is completely divorced from the song, the epigraph is only used as the formula of the word and phonological structure.

According to the length and scale, words can be roughly divided into Xiao Ling (within 58 words), Middle Tone (59-90 words) and Long Tone (above 9 1 word, with the longest word reaching 240 words). A word, some with only one paragraph, is called monotony; Some are divided into two sections, called double tones; Some are divided into three or four sections, which are called three or four sections.

According to the nature of music, words can be divided into nine types: ling, yin, slow, three sets, preface, French music, Daqu, lingering and Zhu Gong tune.

According to the beat segment, there are four common types: Ling, also known as Xiaoling, whose beat segment is shorter; Lead, lead long in a small order; Near, the tone is similar, which leads to long; The slower, the longer the lead.

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

First, the inheritance relationship between Song Ci and Tang Poetry

The word "Tang poetry and Song poetry", collectively called Song poetry and Tang poetry, not only shows the meaning of "literature of an era has an era", but also shows that Song poetry is a major poetic style comparable to Tang poetry. Song Ji inherited the Tang Dynasty, but as Mr. Lu Xun said, almost all the good poems were written by the Tang people. So in the Song Dynasty, it was really difficult for Song people to keep up with the pattern of Tang people in poetry creation. However, the rich literary heritage left by the Tang people was not wasted by the Song people, but was more flexibly used in the poetic style of "Ci", which made Ci gain unprecedented development in the Song Dynasty.

When we discuss the relationship between Song Ci and Tang Poetry, we often pay more attention to the difference between Song Ci and Tang Poetry. Differences are really important and important. In the Song Ci part of this book, the author also focuses on the most important artistic features of Song Ci (of course, it is also different from Tang Poetry). But in this introduction, just as we must explain the inheritance relationship between Tang poetry and the previous generation before discussing the artistic characteristics of Tang poetry, we must also explain the inheritance relationship between Song poetry and Tang poetry.

To be sure, it is absolutely inconceivable that Song Ci can achieve such outstanding achievements, if it is not based on such outstanding achievements and such skillful skills of Tang Poetry. From the later excavation of Dunhuang Quzi Ci, it can be seen that before entering the hands of the text, Quzi Ci was no different from the previous folk songs except for the uneven sentence length, and the same was mainly expressed in a simple, simple and straightforward way. In the middle and late Tang Dynasty, after the literati began to experiment with the lyrics, just like all the changes from folk literature to literati literature, the lyrics also changed unconsciously, gradually showing the literati's color, and therefore more artistic (of course, there will be negative effects, such as less simplicity and frankness, but this proportion is secondary). Bai Juyi and Liu Yuxi were important poets in the Tang Dynasty. They first tried to create ci, especially Wen and Wei Zhuang, who created a lot of ci later. Their participation will inevitably bring their poetry creation skills to the creation of ci. In addition, poets in the Five Dynasties and the Song Dynasty were almost all poets. They write poems and write lyrics at the same time, so the skills of Tang poetry naturally blend into the creation of ci, making the creation of ci more exquisite. In fact, as long as the art of Song Ci is slightly analyzed, it will be found that Song Ci has an obvious inheritance relationship with Tang poetry, whether it is the use of images, the lyrical technique of scenery description, the creation of ci context, or even the tempering of language, metonymy and the use of allusions. Such as the following Qin Guan's noun "86 sons":

Rely on the dangerous pavilion, hate grass, and shovel still exists. When I read Goodbye to the Willow Outside, I was dyed red by the water and was shocked.

Heaven rewards diligence, and jathyapple has a dream.

Spring breeze is a ten-mile tender, so what can we do? Happiness flows gradually with the water. When the string is broken, the fragrance of incense is reduced, just like a flower that flies late.

It was raining and sunny, and the oriole cried several times. Compared with poetry, this is an authentic word, and its charm, color and artistic conception are authentic words. However, if we savor it carefully, we find that it is inextricably linked with Tang poetry in many aspects. For example, the first sentence of "leaning on the dangerous pavilion" seems to be original by the poet, but in fact, it is common for Tang poets to climb high and express their feelings. Such examples can be said to be numerous, such as Du Fu's "Flowers are as high as my window, which hurts the hearts of wanderers. As far as I can see, from this height, it is sad everywhere" ("Climbing the Building"), Du Mu's "Building leaning against frost trees, playing a corner of the mirror" ("Looking at Autumn in Chang 'an"), and Li Shangyin's. Even the usage of the word "danger" can be traced back to the source of Tang poetry, such as Du Fu's "A gust of wind rippling on the grass bank, a tall mast motionless to me through the night" and Li Shangyin's "Jiang Feng Yang Lang moves the cloud roots, pay attention to danger and faint in the sky" (To Liu Ben). As for the following, the metaphor of "hate" is "grass", and the statement of "hate" or even "shovel everything and be reborn" is not completely without reference value. For example, Bai Juyi's "The vast grass crosses the plain and comes and goes with the seasons, and the wildfire is still burning, and the spring breeze is blowing high" ("Farewell to the ancient grass") and Meng Haoran's "Flowers in the forest are exhausted and the grass is reborn". The following "Liu Wai" and "Qing Qi" are the same. Needless to say, the simple image of "Liu", that is, writing "Liu Waiqing Qi" to imply love and parting, is not completely unfounded. For example, in Untitled by Li Shangyin, there are "I will tie my horse to a river and willow, where to stay in the southwest" and Chu Guangxi. As for the writing of "affection" for horses and chariots and "red plum" for women, it is all in the huge metonymy system of Tang poetry. As for the images of "jathyapple, spring breeze, flying flowers, drizzle and oriole" in the following films, as well as the writing method of using a large number of similar images to render melancholy and the hazy artistic conception created by them, all have a direct reference relationship with Tang poetry. For example, Wei wrote in "Cold Food for Brothers": "Fire is forbidden in the rain, and it is cold, and the warblers on the river street sit alone and listen. I miss my brothers with wine and flowers. Ling Du is cold and eats grass. "A large number of such images are also used to render melancholy, and their artistic conception is somewhat similar. It is also the words "elegant demeanor and ten miles of tenderness" and their combination that are related to Tang poetry. For example, Du Mu's "Two Farewells" (I) contains almost all these images and sentence patterns, and its poem is as follows: "There are more than thirteen graceful flowers, and the cardamom is in early February. Spring breeze is ten miles on Yangzhou Road, so it is better to roll up the bead curtain. "The author chooses the word Qin Guan to illustrate the inheritance relationship between Song Ci and Tang Poetry. It is not that it has much in common with Tang poetry, but a common phenomenon in the creation of Song ci. This is not surprising. Just as Tang poetry is innovative and developed on the basis of inheriting the rich heritage of predecessors, Song poetry is also created on the basis of inheriting the rich heritage of Tang poetry.

As far as this inheritance is concerned, a problem naturally arises here, that is, both Song poetry and Song ci have inherited the heritage of Tang poetry. Then, why is the achievement of Song poetry far lower than that of Tang poetry and not as good as that of Song poetry? The reasons may be varied, but one thing is certain, that is, the different styles of poetry are one of the important reasons for this difference. In order to better illustrate this problem, we might as well make an inappropriate metaphor: the creative art of Tang poetry is like a patent. Song people also used this patent to make the same thing. Although they are not completely without creation, innovation and addition, they are, after all, writing poems and doing the same thing. Therefore, as soon as these things go on the market, they will be stained with similarity, imitation and plagiarism and accused of infringement. For this reason (of course, there will be other reasons), Song poetry hopes to have its own things, such as argumentative essays and prose poems, but unfortunately, these things are all new, but they more or less violate the artistic laws of poetry. However, the poets in the Song Dynasty were different. Although they also inherited the creative art of Tang poetry, they produced something else, words with long and short sentences. Although anyone with a discerning eye can see some kind of inheritance relationship between the two, it will not be considered as patent infringement. There is a perhaps more extreme phenomenon to prove this point: there are also many imitations, coloring and even copying of Tang poetry in Song poetry. If this kind of emotion always appears in Song Ci, it can't escape ridicule. But when it appears in Song Ci, the situation is very different. Due to the different frames and charms of long and short sentences, it seems that the original sentences of the Tang people have injected new life. For example, Yan's "Recent Flowers":

I was drunk in the west building and I can't remember when I woke up. It's easy to get together and break up. The half-moon window is still sleepy, and the screen is idle.

Words with wine stains on clothes in poems are always sad. There is no good way to feel sorry for yourself, and the night is cold and empty. In this wonderful poem, I inherited the artistic skills of Tang poetry, not to mention the use of images, lyricism and metaphor. Even literally, there are several places related to Tang poetry. The last two sentences are almost Du Mu's. Du Mu's "Farewell" poem: "Affectionate but always ruthless, only feel that you can't laugh until you die. Candles have a heart to say goodbye and cry for others until dawn. " If you compare it with a single sentence, Yan will never escape the name of a schoolbag. However, on the whole, Du Mu's two poems are slightly modified, and a new word is added, which has a new structure and charm, but it does not give people too much imitation and outdated feeling. If we look at this phenomenon from the perspective of system theory, it is not surprising at all: Ci is a different system for poetry, and even if the same poem enters Ci, it will gain new systematicness. For this phenomenon, predecessors actually know something about it. For example, Wang Mingshizhen said that "there are thousands of points in west Western jackdaw, and the water surrounds the lonely village", and Emperor Yangdi also wrote poems. There are few words about' West Western jackdaw counts, and water surrounds solitary villages'. Although the words are copied, the words are especially important. "Another example is Hu Weiyuan in the Qing Dynasty. He also said," What is the focus of "Zhuyu Ci"? " "Spring Hate":' Flowers fall and nothing happens, like knowing each other and returning to Yan'. In this seven-character law, the abdomen is connected, and once it is written, it becomes a wonderful sentence, which is not useful in poetry. The difference between this poem and that poem requires the participation of literati here to realize other words. Why does the phrase "although the language is plagiarized" mean "poets, especially masters"? Why do you say "poetry doesn't work" and "once you enter a word, it becomes a wonderful sentence"? This is because Ci is a new system different from poetry. As soon as the same poem entered the word, it gained a new systematicness. As for the more ingenious and seamless use, it is also a brand-new creation. In this way, the phrase "Spring dreams and autumn clouds are easy to gather and disperse" can be said to be the application of the phrase "Come like a spring dream, go like an autumn cloud without finding a place" in Bai Juyi's Collection of Flowers. However, after the use of Yan Ci, it is not only more concise, but also more charming than the original poem because of the change of sentence patterns. This phenomenon is very common in Song Ci, which can be said to be numerous.

Of course, we say that Song Ci has inherited the heritage of Tang Poetry, which does not mean that Song Ci has no own creation. Earlier, we said that Song ci inherited the creative art of Tang poetry and produced a new thing. The "newness" of this new thing is certainly not available in Tang poetry. Its greatest innovation lies in its staggered and varied sentence patterns, which broke the tradition of saying the same thing in Tang poetry (and China's ancient poems) and brought great convenience to more free, euphemistic and charming lyricism. The artistic features of his "long words" are mainly caused by his artistic skills such as sentence pattern and rhythm. Secondly, its "newness" is also reflected in its "poetic surplus" function and the choice of "poetic surplus" theme. This new function and new theme choice, combined with its specific style and sentence pattern, have brought a series of new things to Song Ci, such as its euphemistic and implicit, lyrical charm, delicate and tortuous description, more delicate and in-depth grasp of inner life, the art of decorative colors, elegant and graceful style and so on. All these innovations have created a completely different face between Song Ci and Tang Poetry. On the difference between Song Ci and Tang Poetry, Wang Guowei has a brief but accurate exposition. He said: "As a body, words should be refined, and they can say what poetry cannot say, and they cannot say what poetry can say. Poetry is wide and long. " This comment can be said to contain the "newness" of Song Ci mentioned by the author above, including its system, function, theme characteristics and so on. In this book, we discuss the art of Song Ci, mainly focusing on these new aspects. Of course, we will also pay due attention to its inheritance of the art of Tang poetry.

(2) The artistic achievements of Song Ci are outstanding: First of all, Song Ci is different from the prose and discussion of ordinary Song Poetry, and it is good at combining lyricism and scenery description perfectly. On the basis of the poems of the Tang and Five Dynasties, the Song Dynasty played many middle and long tunes, which made the scenes blend closely in twists and turns, and some of them were even more detailed, specific and implicit than the Tang poems. Secondly, Song Ci is good at metaphor, expressing complex and secluded feelings through scenery with subtle and meticulous metaphors, and often relying on the tradition of vanilla beauty to express political feelings, which is touching. Thirdly, Song Ci has formed a variety of artistic styles. Although Song Ci followed the tradition of expressing feelings and aspirations in the Tang and Five Dynasties, it formed the division of "poetic style", with grace as the Sect. However, due to the changes of the times and the expansion of the theme, artistic individuality has been valued and artistic techniques have become more and more diverse, so the style of Song Ci is not only graceful and unrestrained, but also distinctive, lofty, elegant and meticulous.

The Tang Dynasty was the golden age of China's poetry development. Strong national strength, eclectic cultural spirit and rich cultural accumulation have prepared sufficient conditions for the prosperity of Tang poetry. Many great and outstanding poets pushed the development of China's poetic art to the peak. There are more than 3,700 authors of Tang poetry who can be tested today, which shows that there are more than 54,000 existing Tang poems. This is only a part of Tang poetry, but we can already see the prosperity of poetry at that time.

Poetry creation in the early Tang Dynasty was still influenced by the poetic style of the Southern Dynasties, with narrow themes and the pursuit of gorgeous rhetoric. Only with the appearance of Yang Jiong, Lu and the so-called "Four Masters" did the scope of poetry expand, from Taige to Guanshan and Saimo, showing its majestic momentum and broad mind. Whether writing frontier fortress, traveling or farewell, there is such an emotional style. In terms of poetic style, at this time, the finalization of the five or seven words was completed. Metric poetry belongs to modern poetry, which is relative to ancient poetry. The ancient style is divided into four, five, seven characters and miscellaneous characters, which are not limited to flat tones or duality. The levelness and rhyme of modern poetry have a certain style and also require duality. Stereotyped writing has had a far-reaching influence on the development of China's poetry and has become the main style of China's ancient poetry.

In the early and late Tang Dynasty, two important poets appeared: He Zhang. Chen Ziang argued that poetry should be endowed with something. His 38 poems Feeling Encounter are the practice of this proposition. But his best poem is on the rostrum of Youzhou: "Where was the past before me?" Behind me, where are the future generations? . I think of heaven and earth, there is no limit, there is no end, I am alone, and my tears fall. " Expressing unexpected sadness, it contains self-confidence and ambition, strong feelings, and a great loneliness that is first in the trend and not understood. Zhang's Moonlight on the Riverside describes the bright moonlight on the Riverside, with strong feelings, profound philosophy, euphemistic style and endless charm, creating a perfect artistic conception. And Zhang's artistic maturity reveals the coming information of poetry in the prosperous Tang Dynasty.

The prosperous Tang Dynasty is the peak of the development of Tang poetry. At this time, the stars in the poetry circle shine. Wang Wei and Meng Haoran are good at expressing the beauty of landscape and countryside, as well as the quiet and peaceful state of mind in which man and nature live in harmony. Wang Wei's landscape poems are poetic and picturesque, which brings people to a bright and clean realm full of vitality. An autumn night in the mountains: "after the rain, the mountains are empty and stand in the autumn night." The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. My friend's prince, what does it matter if spring is over and you are still here? The pine trees after the rain are mottled with moonlight and flowing spring water. Huansha girl came back noisily from the bamboo forest in the moonlight; The fisherman is separating the lotus leaves and rocking the boat away. The night in the mountain village is picturesque. He also has some poems, and there is some Zen in silence. Among the important poets in the Tang Dynasty, he was most obviously influenced by Buddhist thought. However, he is not a completely reclusive poet. Some of his poems are impassioned, while others show strong human feelings. The song "Send Two Ambassadors to Anxi" was later incorporated into Yuefu and became a song repeatedly sung at the farewell party, because it was about people's general feelings when they were deeply separated. Meng Haoran is good at writing the beauty of landscape and countryside with the most economical pen and ink. "Passing the Old Village" describes the joy of being a guest, a quiet farmhouse, sincere friendship and rich life interest. "Xiao Chun" describes the feeling of beauty, tranquility and comfort in spring. The song "Sleeping in Jiande" is just 20 words, but it has written endless feelings: "The boat is sailing in the fog, and at dusk, the old things start. How vast the world is, how close the trees are to heaven, and how close the moon is to the water! "A touch of Woods in the dusk, a touch of moon shadow in the water. In this hazy and clear, far-reaching and quiet realm, there is a faint homesickness. Many of Meng Haoran's poems express multiple realms and feelings in extremely frugal words. At this time, Chang Jian, Chu Guangxi and others have similar poetic styles to Wang Wei and Meng Haoran.

During the prosperous Tang Dynasty, there appeared some poets who took frontier life as their theme, such as Wang Changling, Gao Shi, Cen Can and Zuyong. Most of them have been to the frontier fortress, enjoyed the magnificent scenery of the frontier fortress and yearned for the merits of the frontier fortress. In their poems, the magnificence of the mountains and rivers of the motherland and the lofty sentiments of defending the country are all vividly displayed. Wang Changling wrote more than twenty frontier poems, the most famous of which are Upper Frontier and Joining the Army. His frontier poems have a profound sense of history and a clean style. He is also good at writing poems on other subjects, and his seven-character quatrains have great artistic achievements. Gao Shi's poetic style tends to be magnificent and generous: "Wan Li did not hesitate to die and once succeeded. Draw a picture of Kirin Pavilion and enter Mingguang Palace. Laugh at the scribes, poor and white! The ancients were ignorant of this and often became old people. " We can feel his chivalrous temperament from this poem. The representative figures of frontier poets, as well as Cen Can. He wrote about the magnificence of frontier fortress scenery and the heroic and unrestrained soldiers. Deserts and sufferings have become magnificent pictures full of lofty sentiments in his works.

Li Bai, a great poet, can best embody the spirit of the prosperous Tang Dynasty and represent the high artistic achievements of poetry in the prosperous Tang Dynasty. Li Bai is a poet with heroic personality, unrestrained feelings, boldness and eagerness to make contributions. His poems fully show the self-confidence and ambition of the literati in the prosperous Tang Dynasty, and are full of ideals. His achievements in poetry are various, which greatly enriched the expression of classical poetry and pushed the creation of Yuefu poetry to a new height. His seven-character quatrains, together with Wang Changling's seven-character quatrains, were later praised as the representative works of the Tang Dynasty. His poems have distinct artistic personality: explosive lyricism, unpredictable imagination and vivid images. He writes Yuefu and songs like flowing water, and his feelings gush out, just like the water of the Yellow River, flowing thousands of miles and pouring down. Born in the prosperous Tang Dynasty, I felt the high spirit of the times in the prosperous Tang Dynasty. In his later years, he witnessed the decline of Tang society, and the contrast between ideal and reality was huge. In his poems, there are both confidence in establishing meritorious deeds and indignation and criticism of the darkness of the imperial court. He once went to Beijing to worship the Hanlin, and was appreciated by Emperor Xuanzong of the Tang Dynasty. He felt that it was time to make contributions and be elated. Not long after, he was slandered by the powerful minister and expelled from the court, only then did he realize that state affairs were actually corrupt. He said that he is "a poem in the north window, a million words are not worth a glass of water", and he is brilliant and cannot be reused; While denouncing those mediocre people who are proud of the spring breeze, "Huayi Boxing can't be eaten as a meal, and donkeys are proud of the spring breeze", they directly denounce those traitors "Dong Long is a chicken and dog!" Even in the case of frustration, he did not forget to serve his country. After the Anshi Rebellion, he joined the army twice. His poems are so imaginative that he often thinks that people think everywhere. Previous people commented on his poems, saying that "out of nothing", "difficult to get around" and "dreaming of climbing Mount Tianmu" are all examples. In my imagination, I often use exaggerated elements to write that I am worried about having white hair, saying that it is "white hair and three thousands of feet"; Write the five old peaks of Lushan Mountain, saying, "Jin Furong cut out the sky"; Write about the Yellow River, saying that "the Yellow River falls into the East China Sea and Wan Li falls into the bosom". He is an imaginative poet, and his poems are often strongly subjective. Because of his cheerful and bold personality, his poems are bright, fresh and colorful. He is a gifted poet.

Another great poet at that time was Du Fu, who was called "Poet Saint" by later generations. Du Fu is younger than Li Bai 1 1 years old, and their profound friendship has become a literary story that has been told through the ages. Du Fu in his youth, like many poets in the prosperous Tang Dynasty, had a vagrant life of "chasing horses lightly". But his main activity was after the An Shi Rebellion. Deeply influenced by Confucianism, he has the ambition of "being a gentleman, being a gentleman", but he has been down and out all his life, so he can better understand the sufferings of the people emotionally. The Anshi Rebellion brought great damage to the society of the Tang Dynasty, and half of China was reduced to a mound of ruins. Du Fu emigrated during the war and wrote a poem about the sufferings of the people in the Northern Expedition. Many important events in the war, the destruction caused by the war and people's mentality in the war are vividly reflected in Du Fu's poems. No poet in Tang Dynasty reflected the history of An Shi Rebellion so profoundly and extensively, so his poems were called "the history of poetry". Because of his own bumpy experience, he deeply felt the sufferings of the people and sang songs, so that the pain of his home country and personal sorrow were integrated. "Spring Hope", "Climbing the Building" and "Climbing Yueyang Tower" are all such poems. "There are wars and mountains to the north of this wall. How can I not cry by this railing?" And "where the petals flow like tears, lonely birds sing sadness" is a mixed feeling, which is not only the feeling of life experience, but also the sadness of home and country, and it is difficult to separate. The change from Tang poetry to Du Fu is a great change, and the theme turns to writing about current events and the lives of the people at the bottom. Writing plays the role of narration and detail description, while lyricism uses narration and detail description. In order to write current affairs conveniently, he often uses ancient prose, but his higher achievement is metrical poetry. Among his 1400-odd poems, regular poems account for more than 70%. The achievements of his metrical poems are mainly to broaden the scope of expression and exert the expressive force of metrical poems as much as possible, which not only strictly abides by metrical poems, but also breaks the shackles of metrical poems. Unpredictable, unconventional and superb in writing. Poems like Hope in Spring are all examples. Sometimes, in order to express an event or the feelings caused by an event more completely, he adopts the form of a group of poems. Writing current affairs with poems is Du Fu's creation. Rhyme, especially seven rhymes, is highly mature in Du Fu's poems. In terms of artistic techniques and styles, Du Fu is different from Li Bai, with Li's feelings gushing out and Du Fu's repeated chanting. Li is imaginative and Du is realistic. Li is unrestrained and elegant, and Du is depressed and frustrated. It is generally believed that in the history of China's poetry development, Du Fu is comprehensive and has a far-reaching influence on later generations.

In the middle Tang Dynasty, the development of poetry was diversified, and different schools with distinct artistic opinions appeared. Han Yu, Meng Jiao and some poets around them, in the face of such high achievements in Tang poetry, found another way. They pursue fantastic beauty, attach importance to subjectivity, often break the shackles of legal style and enter poetry with prose sentences. Among this group of poets, Li He is a brilliant, kind-hearted and emotional poet. He only lived for 27 years. In his poems, the colorful world full of youthful interest and the sparseness and sadness of life are intertwined with the feeling of aging before age. His poems are rich in imagination, colorful in images and dense in combination. In this school of poetry, his poetic style is particularly distinctive. At this time, another school of poetry was dominated by Bai Juyi and Yuan Zhen. They believe that poetry should aim at development and be beneficial to the use of politics and religion. Bai Juyi put forward that "articles should be combined with the times, and songs and poems should be combined with each other." Both Yuan and Bai expressed their concern for the country, their criticism of the dark phenomenon and their sympathy for the people's sufferings on the topic of Yuefu. Bai Juyi's 50 new Yuefu poems, some of which are well written, such as Selling Charcoal Weng. In artistic expression, Bai Juyi advocates that the style of writing should be easy to understand, and his taste is just the opposite of that of Han and Meng poetry schools. Bai Juyi not only wrote a lot of allegorical poems, but also wrote a lot of leisurely poems. The most successful ones in art are Long song's Song of Eternal Sorrow and Pipa Travel. Liu Zongyuan and Liu Yuxi were also famous poets in the middle Tang Dynasty. Their artistic tastes are different from those of Han, Meng, Yuan and Bai, and each has its own characteristics.

Another change of poetry in the late Tang Dynasty. The spirit of reform in the middle Tang Dynasty disappeared, and the poet went to himself. At this time, a large number of well-written epics appeared, among which Tu Mu and Xu Hun were the representatives. Du Mu is a great writer who sings epic poems. Thinking about history is actually a feeling of reality. The sense of history and realism are integrated in beautiful natural images and emotions. Jiangnan Spring is a masterpiece in the history of singing. One of the poets with the highest artistic achievements in the late Tang Dynasty was Li Shangyin. The development of Tang poetry, to the creation of artistic conception in the prosperous Tang dynasty, reached the realm of exquisite images and untraceable pure beauty, which was a peak. Du Fu moved from realism to synthesis, which is another peak. It is another peak for poets in the middle Tang Dynasty to find another way, or pursue strangeness, or pursue simplicity and find another way when the prosperous times are extremely difficult to sustain. At this point, poetry is at the end of its tether. After Li Shangyin's debut, with his profound cultural accomplishment and amazing talent, he opened up a realm full of hazy beauty, which made people chew on it and reached a new peak. He is a poet who is good at expressing his mental journey and has strong and delicate feelings. His love poems are affectionate, ambiguous, unforgettable and difficult to understand. Many of his poems (especially untitled poems) are characterized by emotional flow and jumping, illogical image combination, vague meaning and rich feelings, which can often be interpreted in many ways. His artistic skills have reached a superb level and greatly expanded.