The study of Tang poetry was initially defined by categories and boundaries. For example, Xu Wenyu's An Introduction to Tang Poetry, Hu's A Study of Tang Poetry, Su's An Introduction to Tang Poetry, Yang's Tang Poetry, Wang Shijing's Tang Poetry, Chen Bohai's An Introduction to Tang Poetry, etc., are all about the study of Tang poetry, with complete horizons or objects and complete discussions. I once said that the study of Tang poetry "can completely ignore the entanglement with Song poetry". However, people who study Song poetry are entangled with Tang poetry too much, and it seems that they lack a comparative perspective to talk about Tang poetry in isolation. Therefore, the first chapter of Introduction to Tang Poetry, which pays the most attention to the significance of the discipline construction of Tang poetry, has to mention the historical controversy of "Tang Zongzong Song" first, and also leads to my own thinking on the comparative academic opinions of Tang and Song poetry. The first section of Qian Zhongshu's Qin Yi Lu is "Poetry is divided into Tang and Song Dynasties", which clearly states that "Poetry is divided into Tang and Song Dynasties, which is different from dynasties". He has a famous saying: "Tang poetry and Song poetry not only have different dynasties, but also have different postures. There are two kinds of people in the world, and there are also two kinds of poems ... Generally speaking, Song is a special case, which is easy to address. If it's not Tang poetry, it must come from Tang people, and Song poetry must come from Song people. Therefore, Shaoling, Changli, Xiangshan and Dongye in the Tang Dynasty were the forerunners of the Song Dynasty, and Keshan, Baishi, Jiucang and Siling in the Song Dynasty were the forerunners of the Tang Dynasty. Mr. Qian's concept of this passage is very clear: Tang poetry does not have to come from the Tang Dynasty, that is, Tang people do not necessarily write Tang poetry; Song poetry is not necessarily written by Song people, that is, Song people do not necessarily write Song poetry. -Tang poetry and Song poetry should be divided by aesthetic quality, that is, by "posture". The so-called "there are two kinds of people and two kinds of poems", and the so-called "Tang poetry is good at rich expression and rhyme, while Song poetry is good at thinking and reasoning". -This aesthetic view of poetry has a great influence and spread widely, breaking or developing the concept of the times in Tang poetry. However, only valuable aesthetic opinions in poetic theory (Schiller in Germany and Wu Leifa in Qing Dynasty also had similar opinions) certainly made a breakthrough in "aesthetics", but they still could not be leapfrogged in "history". -Tang poetry still has its natural and unchangeable historical stipulation. When we read Mr. Qian's Notes on Selected Poems of Song Dynasty, we didn't get a single Tang poem, although he said that Du Fu, Han Yu, Bai Juyi and Meng Jiao all wrote real "Song Poems", which was the first one.

Strictly speaking, "Tang poetry" is undoubtedly a poem-the whole Tang Dynasty, which can be found in the whole Tang poetry songs and its various supplements (including the whole Tang poetry song meaning, the whole Tang poetry song meaning, the whole Tang poetry song meaning and the whole Tang poetry song meaning). Since Sun Yi compiled the first Selected Poems of Tang Dynasty, he has compiled Nanxun Collection, He Collection, Zhong Collection, Cai Yuanji, Wang Anshi's Selected Poems of Tang Hundred Schools, Hong Mai's Ten Thousand Poems of Tang Dynasty, Yuan Haowen's Advocacy of Tang Poetry, Gao Hao and other famous poems. Master the selected poems of Tang poetry, including Before Tang Yin Tong by Hu Zhenheng, Tang Poetry Return by Zhong Xing and Tan, Samadhi Collection of Tang Xian by Wang Shizhen, Selected Poems of Tang Poetry by Sun Zhu, Selected Poems of Tang Poetry edited by Editor-in-Chief, and then the Basic Library of China Classical Poetry edited by Ge. So much so that Mr. Lu Xun wanted to say, "I thought all the good poems had been written in the Tang Dynasty." The growth of China cultural masters is almost always influenced by the rain and dew of Tang poetry. For example, Guo Moruo said to his mother in My Childhood and Adolescence, "She has never read a book at all, but she is familiar with some words and can recite many Tang poems. Before I was ignorant, she secretly taught me to recite many poems. " -This shows that China's folk Tang poems are deeply rooted in the hearts of the people, which is also the reason why popular books such as Three Hundred Tang Poems are constantly being "newly annotated" and "newly edited".

Of course, we should see that the understanding of Tang poetry has a historical process since the Tang Dynasty, and it seems that Tang poetry in the eyes of Tang people should arouse our interest in research. We should pay more attention to Tang people's knowledge and understanding of the status of Tang poetry, the inheritance and evolution of Tang people's aesthetic taste, Tang people's evaluation of Tang poets' achievements, and their thinking on their cultural value and philosophical connotation. Here, I just want to briefly point out three points about Tang poetry in the eyes of the Tang people, including the practice of selecting and commenting on poems in the Tang Dynasty: First, the criteria for selecting Tang poetry are very different, and the purpose is also very different. Some have a high evaluation of Tang poetry (mainly in the prosperous Tang Dynasty), such as He Yue Ji by Yin @ ③; Some criticisms are harsh, such as Jie Yuan's Basket Book; Some trees take "observing the evil and righteousness of customs" and "judging the rise and fall of kings" as the selection criteria, emphasizing the political allegory "the rise and fall of the country", such as Gu Tao's Selected Poems of Tang Dynasty; Some pursue the artistic pursuit of the beauty of rhyme and style, and advocate the aesthetic taste of "Gao Yunrong is the soul, and Ci is beautiful in spring", such as Wei Gu's Only Mobilization. It can be seen that the understanding of Tang poetry in the Tang Dynasty is very different, with different literary opinions and aesthetic tastes, and there is quite a free situation in which a hundred flowers blossom and many voices are noisy. Second, the scope of compilation is varied, some mainly choose a period such as the early Tang Dynasty, such as the prosperous Tang Dynasty, and some mainly choose Dali poets. In previous anthologies, Tang poems and poems of the Six Dynasties were often grouped together, thinking that they came down in one continuous line. Others tried to observe the whole Tang dynasty and try to get through a generation of poetry circles. Eyes all the way to enlarge, all the way to refine, showing multiple cognitive judgments, the history of Tang poetry began to take shape. Third, there are many criteria for the choice of poets. The most surprising thing is that Du Fu was not selected in several important anthologies. It is understandable that Du Fu was not selected because of his narrow layout and extreme views, Yin? It is difficult to understand whether Du Fu was not selected in Yue Ying Ling Ji. Judging from his complete and clear theoretical thinking, such as the creative consciousness of "from God, from Qi and from Emotion", such as "creating more images, preparing styles" and "creating new sounds and restoring the ancient style", it is even more incredible not to choose Du Fu. His poems are mainly selected in the prosperous Tang Dynasty, which truly reflects the meteorological characteristics of poems in the prosperous Tang Dynasty. He even consciously wanted to establish his own literary concept by selecting poems and summarizing theories. However, he didn't notice Du Fu and gave up Du Fu! Yin? When choosing poems, pay close attention to the trends of poetry circles, keenly explore new stars, recommend excellent works, and carefully analyze the style characteristics of contemporary poets. If you say Yin again? There are also objective conditions that restrict Du Fu's choice. For example, Du Fu, who entered the poetry world shortly at that time, didn't have a big poem title and developed information and communication. Then, what is even more puzzling is that Du Fu was not accepted in Wei Gu's Only Mobilization in the late Tang Dynasty. "Garden of Vegetables" consists of ten volumes, with a large scale, including 1000 poems in the morning, in the morning, in the afternoon and in the evening. Poems by monks and women were also selected, but Du Fu was not selected. Moreover, this book obviously follows the model framework of Wei Zhuang's "Traveling to Xuan Ji", and people and Wei Zhuang worked as officials in Xishu together, so they should be able to exchange information. There are 300 pieces to travel to Xuan Ji and choose Du Fu, but 1,000 pieces of Cai Yuanji are unwilling to choose Du Fu. Moreover, from the aesthetic point of view, he can choose Qin Zhongyin of Bai Juyi, but he refuses to choose Du Fu. This is really different from the situation that thousands of people paid attention to Du Fu later, which should arouse our sufficient academic interest. Generally speaking, there is a great difference between Tang poetry in the eyes of Tang people and Tang poetry we understand today, which may not be ignored by our Tang poetry researchers today. Contemporary people's understanding and evaluation, in the field of history, culture and its acceptance, may have more research significance on the humanistic level and judgment value.

Poetry after the Tang Dynasty is basically under the influence of Tang poetry. The five dynasties, ten countries and fifty years are often regarded as a whole with the late Tang dynasty, which is chaotic and difficult to separate from the early Song dynasty. As early as the Song Dynasty, in the 1960s and 1970s, Song people studied Bai Juyi, Li Shangyin, Wei, Jia Dao, and then turned to Han Yu and Du Fu, Wang? It was not until Ouyang Xiu and Mei showed their true colors that Wang Anshi, Su Shi and Huang Tingjian really formed the Song Dynasty system. Therefore, Yan Yu said: "When I arrived in Dongpo Valley, I began to think I was a poem, and the style of the Tang people changed." -But in the middle and late Southern Song Dynasty, the Four Spirits and Jianghu School set off a wave of returning to Tang poetry, learning from Jia Dao and Yao He, and learning from the late Tang Dynasty, which lasted until the demise of the Southern Song Dynasty. Yuan poetry is not very developed. No matter the four great poets in Yuan Dynasty, or Liu Yin, Yao Sui, Yang Weizhen and Sadula, they all experienced ups and downs in the trend of learning from Tang Dynasty, Du Li, Bai Juyi, Wei and Li Shangyin, especially the Li He School at the end of Yuan Dynasty. Li Dongyang's Poems of Huailutang in the Ming Dynasty said: "The Song poetry is deep and gone, and the Yuan poetry is shallow and close to the Tang Dynasty." -The study of Yuan poetry in the Tang Dynasty and the recent Tang Dynasty mostly tends to "? All the way. Hu Yinglin's so-called "Yuan poetry is like a wisp of gold, full of eyes. "The Tang Dynasty studied by the Yuan Dynasty was also in the middle and late period, but it was different from the middle and late period of the Song Dynasty. One walks the beautiful road of Li He and Li Shangyin, and the other pursues the "austere" style of Jia Dao and Yao He. Perhaps because of the psychology of reversing the right deviation, the Ming dynasty after the yuan dynasty, from high? After catching the first seven sons, Yan Yu's banner of "Poetry must flourish in the Tang Dynasty" was re-played. Yan Yu once pointed out worriedly in the Southern Song Dynasty: "The theory of Tang poetry is not sung, but the way of Tang poetry is sometimes clear. "Today, since the Tang poetry sings itself, scholars say that Tang poetry is only in the ear, which is really unfortunate." -Therefore, he put forward the distinctive slogan of "taking the prosperous Tang Dynasty as the law" and "not being a figure below Kaiyuan Tianbao". Poetry Will Prosper in the Tang Dynasty written by seven schools around the Ming Dynasty not only summarizes Yan Yu's theoretical experience, but also summarizes the creative practice of meta-poetics in the Tang Dynasty. Because of their sincere advocacy and practical practice, the Ming poem "The Prosperous Tang Dynasty" before Gong 'an and Jingling was the most brilliant section in the history of Tang poetry inheritance, although it appeared in puppet costumes and skins.

Poets and literati in the early Qing Dynasty obviously opened their eyes, but in the late Ming Dynasty, they raised slogans indiscriminately, and their teachers respected themselves. The noisy poetic situation makes them more cautious and refuses to follow others easily. But there are only two big models: Tang and Song. As Qian Zhongshu said, there is no third way. By that time, no matter who he is, "his actions can't be separated from the scope of the Tang and Song Dynasties, but can be included in the territory of the Tang and Song Dynasties". As a result, the Tang and Song Dynasties were at loggerheads. Huang Zongxi, Wu Zhizhen and Ye Xie, who lived in the Song Dynasty, tried their best to improve the status of Song poetry, while Gu, Zhu Yizun, Wang Shizhen, Mao Xihe and other "great men" advocated Tang sounds and emphasized the prosperous Tang Dynasty. Wu Qiao, He Shang, Feng Ban and other small critics also encouraged and lured them to learn from the late Tang Dynasty. Wang Fuzhi simply said that there were no poems in the Song Dynasty, and he chose ancient poems, Tang poems and Ming poems instead of Song poems (because the Yuan Dynasty was ruled by foreigners, the Yuan poems were simply erased). The specific background of political culture and ideological history in the early Qing Dynasty influenced people's aesthetic purport and critical mood. The poet is somewhat emotional, and the atmosphere of rational thinking is weak. It is no wonder that the author of the summary of the catalogue of Sikuquanshu said: "It makes sense to respect the Tang Dynasty and suppress the Song Dynasty. The so-called Song poetry has not seen the gains and losses of the Song people, and it is full of ridicule, that is, the so-called Tang poetry, which has not built a fence between the Tang people and advertised it in vain. " Only when it was at Gan's home did the dispute between Tang and Song poetry tend to be reconciled-it was precisely because people's hearts tended to be peaceful-that the poetry circle was able to declare its meaning without being ridiculous. Shen Deqian is a master of Tang Yin, emphasizing gentleness and gentleness; Weng Fanggang likes Song tune, especially good at distinguishing texture; Yuan Mei went in and out of Tang and Song Dynasties, and zork returned; Zhao Yi even widened her eyes and sang: "Jiangshan has produced talents, each leading the way for hundreds of years"-she has never seen each other's struggles and attacks. However, Shen Deqian's two sentences are quite euphemistic and accurate, telling the aesthetic truth of his pronunciation of Tang Dynasty: "Tang Shi Fu, Song Shi Lu." Apart from rumors, all that was revealed was words. This passage seems to be somewhat similar to Mr. Qian Zhongshu's "Tang poetry is good in rhyme and Song poetry is good in reason", but Qian's statement is a bit bimodal, and this specific interpretation of Shuangfeng is undoubtedly represented by a famous sentence in Miao Yue's "On Song Poetry". In a word, Tang poetry is more active, independent and true in lyricism; The mind swims more naturally and clearly; It also shows the unique style of freedom. Tang people's judgment on the external world is subjective and simple, often with aesthetic concepts. Poetry in and after the Song Dynasty inevitably smacks of imitation. Wang Kaiyun's On the Origin and Development of Tang Poetry (Wang Zhi) said: "The fashion of the three Tang Dynasties, manual writing, each thinks and sees, so it is no longer rigid. "However, Song people are inevitably considered to be the oldest. Later, the Song School even deliberately advertised that Song people learned from Tang people everywhere, and they could judge Song poetry by the standards of Tang poetry, so as to compare the patterns of Song poetry and Tang poetry. For example, in the "Notes" of the first volume of "The Essence of Song Poetry", imitating Yan Yu and Gao, the development of Song poetry is sorted out by taking the development stage of Tang poetry as a clue? According to the theory of the four Tang Dynasties, the theory of planning the four Song Dynasties not only corresponds to the four periods, but also corresponds to the representative figures of the four periods. -No matter whether this deliberate imitation of the past tells the historical truth or misunderstands the face of the Song Dynasty, the poems of the Song Dynasty and after it have actually been artificially attached to the flesh and blood of the Tang Dynasty by mainstream poetry critics, but the dividing line between the Tang Dynasty and the poems after it is clearer.

Second, Tang poetry scholarship and Tang poetry scholarship

Zhang Chao's Poem on Autumn Star Pavilion says: "In Li Tang's world, there is no poem. As far as poets are concerned, they must promote Li Tang. ..... Tang Fu people have no poetry, so the so-called good' easy' does not say' easy'. " -Poetry began with Ouyang Xiu's "June 1st" poem in the Northern Song Dynasty. There was no poetry in the Tang Dynasty, but it can't be said that there was no theoretical construction of poetry and no "knowledge" about poetry. But people in the Tang Dynasty were not good at Yi, not talking about Yi. They just worked hard on Yi, that is, the way of "being good" in poetry. There are two ways to be "good": first, make full preparations for poetry-compile various literary books; Second, make a good format and rules for poetry-a compilation of various forms and styles of poetry.

A kind of book is a kind of reference book between literature and scholarship (or a mixture of the two). Systematically speaking, it is mainly composed of words, sentences, allusions, facts and quips. The so-called "English words and sentences are beautiful and follow each other" and the so-called "things are connected and easy to choose". There are many such books in the Tang Dynasty, especially in the early Tang Dynasty: Zhu, Lei Bi, Yao Zhu Cai, Three Religions and Fang Zhulan, Zhu, Jasper Fang Lin, Yuzao Lin Qiong, Bihai and so on. At present, the most famous books in the world are Bai's Book Tide in Beitang, Notes and Liu Tie (most of which have been lost). Wen Yiduo said in "Classics and Poetry" (essays on Tang poetry) that it is "academic literature and academic literature too much like literature" and "it is just the back of the rabbit garden booklet, at best it is a larger and higher quality rabbit garden booklet". This kind of literary reference books or practical manuals for poetry writing, from the great works compiled by the central authorities to the miniature "Rabbit Garden Raiders" such as "Jade Notes" and "Personal Treasures" found in Dunhuang, have condensed the conscious team of poets' creation on a quite wide level, thus greatly promoting the prosperity of poetry creation in practice. No wonder Wen Yiduo ridiculed that the early Tang Dynasty was a "large-scale word collection period". "Ci"-a huge mosaic of beautiful English words and sentences-also became the main content and formal characteristics of poetry creation in a period. The morbid literature and glitz not only brought abnormal prosperity to the poetry circle in the early Tang Dynasty, but also opened the door for the secularization and popularization of poetry creation in the Tang Dynasty. In particular, a large number of middle-and lower-class poets with no talent and talent were involved in the poetry creation tide of an era and made every effort to make achievements. -Some researchers of Tang poetry found that this kind of "Rabbit Garden Brochure" had a far-reaching influence on the creation of higher-level literati (later, Li Shangyin elaborated his own "Rabbit Garden Raiders", such as Golden Key, Miscellaneous Editing and Shu Erya, to prepare for his own poems), which unconsciously standardized and imprisoned the choice of words and expressions of a group of poets. Pave the way for the mechanization, formulation and standardization of poetry creation, such as singing remuneration, joint sentences, response and testing. No matter what the theoretical significance of this kind of book "guiding" poetry is, it has become an academic study of Tang poetry, which has a unique impact on the creation of Tang poetry.

The second point is a large number of poetic styles. In Hu Yinglin's Miscellaneous Poems in the Ming Dynasty, a number of lists were recorded: "Tang poetry can be seen in the Song Dynasty: Li Simiao's poetry style, Wang Changling's poetry style, Jiao Ran's poetry style, Wang Qi's poetry style, Yao He's poetry style, Jia Dao's poetry style, Wang Rui's poetry style and jing yuan's poetry style. Today, only "Lily", Jiao Ran and "Pu Yin" are passed on, and I will never see them again. I have been dead since Song Dynasty. " -"Poetic style", "poetic style" and "poetic method" are all "golden needles" to explore the style, statutes and rules of poetry, and are actually the key to teaching the basic format and form of poetry writing. Wang Fuzhi denounced it as "painting the ground as a prison". -First, to serve the public, such as correspondence poetry courses, the intellectuals of the "three villages" benefited the most. Later, poetry was endowed with talents, which naturally became a kind of "reference material for college entrance examination" and deliberately served the formulaic and standardized operation. When Jiao Ran was proud of his poetic style, a group of monks who were interested in learning from other countries and writing poems also liked it, so as to honor Buddhism. Some of these "poetic style" and "poetic style" works, such as Jiao Ran's "poetic style", not only pay attention to the formal law and the discussion of sound and disease, but also involve the discussion of creative theory, artistic theory and aesthetic characteristics, such as "Taking an Image" and "Taking a View", which have made great achievements and development in poetic theory and had a great influence on the poetic style theory in the late Tang, Five Dynasties and even the Song Dynasty. Of course, the works of the early Tang Dynasty played an important role in promoting the poetry creation of the Tang Dynasty. These works began with Shangguan Yi's Bi Za Hua Liang, while the more positive ones, such as Cui Rong's Ding Xin's Poetic Style, Wang Changling's Poetic Style, jing yuan's Poetic Brain and Jiao Ran's Poetic Style, are mostly preserved in six volumes of the Japanese masterpiece On Wen Jing and Mi Fei. The so-called "words of the Tang people are all in it." Zhang Zhu has a book "A Textual Research on the Poetic Style of the Whole Tang Dynasty and Five Dynasties", which is very detailed and objectively analyzes and judges the historical evolution, advantages and disadvantages of this form. Objectively speaking, the style and style of poetry are consistent with the "rabbit garden strategy", especially in the early Tang Dynasty, which made preparations, logistics and services for the prosperity of Tang poetry creation and its development climax. Strictly speaking, they are far from theoretical construction, let alone academic achievements. One is to receive words, and the other is to standardize forms. Of course, the collection of words is accompanied by the display of complete works, and the standardized form occasionally teaches aesthetic experience. In a certain sense, the two may constitute the theoretical achievements and academic standards of Tang poetry. Although they are so crude and rough, they are far less than the great achievements of Tang poetry, and almost no one wants to admit the direct causal relationship between them. The prosperity of Tang poetry is a paradox with its academic construction and theoretical guidance.

The academic construction and theoretical guidance of Tang poetry are more melted in the political guidance and cultural guidance of the times. As we know, in the Tang Dynasty, due to the vigorous advocacy and self-respect of several emperors in the early stage, as well as some administrative measures, such as opening poems and paying tribute to literati, Tang poetry was very prosperous from the Kaiyuan period. Shortly after he ascended the throne, Emperor Xuanzong of the Tang Dynasty particularly emphasized in his reply to a courtier's imperial edict that "a poet moves heaven and earth, feels ghosts and gods, is thicker than others, and is more beautiful than teaching." My ambition is still there, and my thoughts are integrated with it. I am almost an official who collects poems to make up for its shortcomings "("Old Tang Book Cui Ri Biography "). -Xuanzong himself is an emperor who loves literature and art and beauty. "Kaiyuan Tianbao era is the most glorious era in cultural history. Since the founding of People's Republic of China (PRC), a century-long peace has created a rich, prosperous, luxurious and leisure China. In the Ming Dynasty, this leisurely and prosperous society naturally produced beautiful art and literature "(Hu Shi's History of Vernacular Literature, Volume 1). Let's take a look at how Xuanzong of Tang Dynasty enthusiastically advocated and guided the art of music, which was recorded in the Book of Old Tang Dynasty. Music is directly related to the development of Yuefu poetry in Tang Dynasty, and the development and evolution of Yuefu poetry is the key to the prosperity of Tang poetry. (Note: Hu Shi said in Chapter 12 of the History of Vernacular Literature, Yuefu Xinyu in the Eighth Century: "The prosperous Tang Dynasty was the golden age of poetry, but people who talked about the history of literature in later generations did not understand what was the key to the special development of poetry in the prosperous Tang Dynasty. The key of poetry in the prosperous Tang Dynasty lies in Yuefu lyric poetry. The first step is for the poet to imitate Yuefu. In the second step, the poet followed the ancient topic of Yuefu and made his own new words, but he didn't care about the original intention or the original tune. In the third step, the poet created a new Yuefu with the spirit of ancient Yuefu folk songs. In these three steps, the humor and style of Yuefu folk songs unconsciously infiltrated, influenced and changed all aspects of poetry style, thus making the poetry of this era shine brilliantly in the history of literature. "Yue Ji" also records that Xuanzong personally composed music: "Xuanzong composed more than 40 new songs and made new scores". -this is the same as the poems written by Emperor Taizong himself and the singing appreciation of court ministers, and it has the role of bowing as an example. There are many reasons for the prosperity of Tang poetry, but the emperor's advocacy, especially the leading practice, is undoubtedly an important factor. Although their literary talents and practical works are not first-class, they paved the red carpet for the birth of first-class poets and poems, and it was during the reign of Emperor Xuanzong of the Tang Dynasty that Li Bai and Du Fu strode onto the cultural stage.

The prosperity and development of Tang poetry in the early Tang Dynasty and even the whole generation is inextricably linked with the whole ideological, cultural and academic study in the Tang Dynasty. Although Emperor Wu of the Han Dynasty advocated Taoism and Wu Zetian advocated Buddhism, most traditional intellectuals adhered to the authentic concept of Confucianism and did not object to the seriously degraded art forms (music, singing and dancing). Therefore, in the mainstream form of cultural life, there is really a situation in which three religions coexist and a hundred flowers blossom. Since Wei, Jin and Six Dynasties, literary tradition (especially Yuefu literary tradition) has influenced or seriously influenced a large number of literati and intellectuals. With the completion of the integration of North and South styles, their aesthetic pursuit greatly activated their literary aesthetic talents. The interest in literature and the habit of painting chapters and engraving sentences almost ran through the life of intellectuals in that era. Moreover, from Jinshi to official career, you have to learn poetry and fu. Selected Works is almost the most popular book, and it is necessary for students to have a desk. Scholar-officials must also examine it from time to time and try to figure it out. In the entertainment of officialdom, only the cultivation of literary talent can get the respect of the circle and the court. For example, Zhang said that when he was prime minister, he personally wrote couplets "... Wang Wan's" Going out of the sun at night, turning the old year into a clear spring "in" Down at the North Fort Mountain in Chaotang "made Korean literati a model of talents and works. -The Selected Works itself is a comprehensive reference book for literature and a model of literary classics. "Choosing learning" is a popular knowledge, and naturally it has become an authentic academic. In addition to the newly popular annotation on Shan Li, the court also eagerly ordered five ministers, including Lu Yanzhou, assistant minister of the Ministry of Industry, to annotate the Selected Works together in order to be complete and novel. The academic nature of literature also stimulates the literariness of learning and cultivation, and there is a strong pursuit of literature in the court and in the depths of rivers and lakes. A direct result is that everyone writes poems. Needless to say, princes and princes, literati, Lin Quan recluse, Yan Qiao fisherman, monks and Taoist priests, boudoir ladies and prostitutes also wrote poems, responding to the spirit of the times and reveling in this poetic era. The cultural pattern of the Tang Dynasty almost fluctuated in the tide of poetry.

It is worth noting that the historiography of the Tang Dynasty was highly developed, especially in the early Tang Dynasty. However, the historiography of the early Tang Dynasty is precisely the most literary. In the early Tang Dynasty, several important dynastic histories of official revision were all contaminated with a very strong literary flavor, and colorful sentences and writing styles could be seen everywhere. Wen Yiduo said: "Except Yao Silian, who didn't use the opportunity of history books to promote their own literature and art-especially the author of the Book of Jin!" Although this statement is a bit extreme, it touches on a poetic problem in history, that is, the mobilization of literary means in historical narrative. In fact, this phenomenon, which I call "the poeticization of history", can be traced back to Historical Records and Hanshu, especially Ye Fan's The History of the Later Han Dynasty. Sima Qian wrote historical records, but he couldn't restrain the impulse of inner literary description. The talent and passion of poetry flowed unconsciously. A Historical Records can be read as a literary book, so Mr. Lu Xun praised Li Sao for its lack of rhyme. Han Shu is also a literary talent. Ban Gu and Ye Fan are both masters of writing, and they are both good at literature. When writing history, they can't help but mobilize literary means from time to time, so that the severe historical narrative is full of poetry. In the early Tang dynasty, several historians even "borrowed the opportunity of history books to sell their literature and art." This trend was not stopped until Liu Zhiji came out to speak out about its disadvantages in the prosperous Tang Dynasty, and it was stopped forever. Liu Zhiji's Shi Tong cut off the tradition of China's poetry historiography from the historical theory. Since then, history and literature have been strictly separated, and the official history has been written in a straight, concise and concise way, with no literary embellishment and little polishing. Even Ouyang Xiu, a great writer, followed the rules of Liu Zhiji when compiling history, and dared not set foot in literature.

At that time, Liu Zhiji was almost the only pure scholar who stuck to his academic position and refused to let literature infiltrate. In Shi Tong Zi Xu, he said: "Poetry is a joy to teenagers, not a strength, and it is a shame to be a scholar's name, and the narrator is expected to be pretentious." "Young Yuefu Poetry" is a habit of the times, and it is strong, so clearly say "no" to poetry! "Shame on the narrator in the name of the scribes". The academic family origin, the lofty mission of "Wen" and the cultural vision of not trying to carve insects and tricks since Yang Xiong made Liu Zhiji draw a clear line with the literary atmosphere in the prosperous Tang Dynasty. Liu Zhiji's example is very meaningful. His writing position and academic attitude are impossible after the prosperous Tang Dynasty. After Kaiyuan, scholars all over the world were "not ashamed of articles". After the system of selecting scholars by poetry and fu was established and fixed, it was the aspiration of a generation to attack poetry and fu and take the imperial examination, which was the right way for a generation of talent elites. Although Liu Zhiji banished literature from the territory of history, in an era when poetry and literature are at war, historians have to endure their own loneliness while maintaining chastity. In a sense, the scholarship (including historiography) in the Tang Dynasty has been spiritually washed away by poetry and fu, with brain drain and dim light. Although there are many achievements, it only plays a silent role in the cultural pattern of the whole era.

Generally speaking, there were two endings in the Tang Dynasty: historiography and Buddhism. Historiography is the most developed and its achievements are very rich. In addition to Yao Silian, Li Baiyao, Ling and li yanshou, Jason Wu, Shu Wei, Liu Fang and Hu Ling wrote National History. Gengen, Yu Shilie and other famous artists. Zhenguan dignitaries (Jason Wu), Notes on the East View (Pei) and Records of Shunzong (Han Yu) are all important works on national history. Of course, Liu Zhiji's Shi Tong and Du You's Tong Dian are particularly commendable. Du You's General Code is the first general history of China's laws and regulations system, and the so-called "nine links" and "ten links" are the first in later generations. Six Classics of Tang Dynasty and Kaiyuan Tang Li are also very important etiquette books. There are also many miscellaneous notes about the popular historical events in the Tang Dynasty, such as thomas lee (Ma Zong), Entrepreneurial Notes of the Tang Dynasty (Wen Daya), Miscellaneous Notes of Ming Taizu (Zheng Chuhui) and An Lushan Deeds (Yao Runeng). In addition, Tang Xuanzang's Records of the Western Regions of Datang should also be classified into the category of local mountains and rivers. This book sets a precedent for explaining monks.

Buddhism flourished in the Tang Dynasty. Among the famous Buddhists, Xuanzang, Kui Ji, Shen Xiu, Huineng, Shenhui, Fazang, Zhan Ran, Zongmi, Huairang, Mazu and Huaihai are famous for their academic writings. Buddhism in the Tang Dynasty is called brilliant, but it is not the study of China in a strict sense, nor is it a philosophical thinking in a purely metaphysical category. Generally speaking, the philosophy of the Tang Dynasty was not developed. Kong's Justice of the Five Classics is mainly an interpretation of the official classic views, while Lu Deming's Classic Interpretation is just a general Confucian phonological exegetical work. Under the heavy oppression of Buddhism (including Taoism), Confucianism achieved little. It is what Hu Shi called "the era of Indian philosophy flooding", and the revival of Confucianism did not begin until the Song Dynasty and was finally completed. In the early Tang Dynasty, Fu Yi opposed Buddhism, which influenced Han Yu's rejection of Buddhism in the middle Tang Dynasty. However, Han Yu's main philosophical articles, The Original Tao and the Original Nature, and Li Ao's Renaturation Book have not made any academic progress in a strict sense. However, Liu Yuxi and Liu Zongyuan, who are deeply interested in philosophical issues (and have been troubled for half their lives), are committed to exploring and explaining the macro issue of the relationship between heaven and man. There are some profound insights in Tian Lun, Tian Shuo and Tian Dui, which shine with wise thoughts, but they have limited influence on the development of China's philosophy. Wang Tong's Zhong Shuo, a "literary neutron", aims to reconcile the three religions. Not only did he fail to pass the Confucian classics, but he seemed unwilling to stand on his own feet. -In the Tang Dynasty, under the background of the surging tide of poetry, the academic voice always felt empty and distant, and the academic scene seemed dull.

The Tang Dynasty was the golden age of poetry (Fu was relatively silent, and even the newly published General History of China Literature and History of Tang Literature were hardly mentioned). This era is rich in poets and poems. Intellectuals of an era desperately wrote poems, sang loudly and strode forward. For a whole era, poetry was the original purpose of life, the positive color of culture, and the main theme of learning. Almost a whole generation is holding the emotional sail high, spewing the heat of life, with the impulse of poetry in their hearts, spreading brilliant jade ornaments in their works, only recognizing creation and not thinking about anything else. Poetry is almost the only medium for the poet's dialogue about the times, the exchange of skills and feelings between peers, the understanding of life, the aesthetic practice, the glory of fame and fortune and the resentment of failure. Read the titles of Banquet Collection of Senior Three, Broken Gold Collection, Easy-going Collection of Bai Yuan, Poem and Harmony Collection of Three Kingdoms, Poem and Harmony Collection of White Willow, Ruoluo Collection, Poem and Harmony Collection of Pengyang, Wu Shu Collection, Three Sheren Collection and Han Dynasty Inscription Collection.