From the early days of the founding of the People's Republic of China to the Anshi Rebellion in the Tang Dynasty, the country was strong and the economy was rich. Hundreds of officials in the imperial court gave a banquet and sang poems to make peace, thinking that it was fun to talk about assistance. With the reunification of the country and the smooth traffic between the north and the south, scholars have the opportunity to appreciate the great mountains and rivers of the motherland and stimulate poetry. The spread of poetry singing has become a temporary trend. As for the Anshi Rebellion, the rebellion of the buffer region continued, and the Tang Dynasty declined, leading to extreme foreign invasion. As a result, most poets left chaos, providing them with rich living materials and stimulating literary creation. The depressed feelings can be expressed in poetry, which also contributed to the Xing 'an of Tang poetry.

(2) Political factors/monarch advocacy

Several powerful emperors in the Tang Dynasty not only loved music, but also advocated it. Gao Zong and Wu Hou, who are good at music, often make new words and organize them into Yuefu. When I arrived in Xuanzong, the wind was even stronger. He is a poet, musician and actor. He loves literature and art and is arty, which has a certain stimulating effect on the development of literature and art. In addition, he took poetry as a scholar in the Tang Dynasty, so he became a shortcut for literati to obtain official positions and played an important role in strengthening the training of poetry skills and popularizing poetry.

(3) the evolution of poetic style/the development of literature itself

From the pre-Qin Book of Songs, Songs of the South, the 19 Yuefu folk songs and ancient poems in the Han Dynasty, to the poetry creation in Jian 'an, Zhengshi and Jin Dynasties, and then to the proposal and application of temperament theory in the Southern and Northern Dynasties, they have accumulated rich creative experience for Tang poetry. Seven-character ancient poems and rhyming quatrains, a new poetic style, began to take shape in the Six Dynasties, and its form and rhythm began to take shape. The social life in the Tang Dynasty became more and more complicated, and the poet's thoughts and feelings were rich. In poetry creation, new content needs new forms, and poets in the Tang Dynasty used new forms to express their feelings, which made these new-style poems mature in form, rhythm and rhetoric.

(4) The activity of ideology and culture/the influence of other arts on the development of poetry.

The development of Tang poetry is obviously influenced by other arts. Music, sculpture, dance and painting in the Tang Dynasty absorbed foreign influences on the basis of China tradition, which had a positive impact on the content and style of poetry. For example, Wang Wei's landscape poems are known as "paintings in poems" and are obviously influenced by landscape paintings. As for Li Qi's, Cen Can's and Du Fu's poems about music, dance and painting, we can see that writers are brave enough to accept new things.

(5) Improve the application value of poetry.

The application value of poetry in Tang society has been improved unprecedentedly, such as inviting dignitaries and celebrities to use it and sending people to use poetry. There are excellent works from emperors, nobles, scribes and bureaucrats to Taoist priests and geisha, which should be related to the improvement of the application value of poetry.

Supplementary reference materials:

Reasons for the prosperity of Tang poetry

Poetry entered the Tang Dynasty, elegant and magnificent. In the past 300 years, poets have come forth in large numbers. In addition to Li Bai, Du Fu and Bai Juyi, there are countless brilliant stars, such as "Four Masters in Early Tang Dynasty", Chen Ziang, Wang Wei, Meng Haoran, Gao Shi, Liu Changqing, Wei, Li Shangyin, Du Mu and Wen. It can be said that from emperors and generals to scholars and monks and nuns. In the past 300 years, there have been numerous masterpieces, and according to incomplete statistics, there are more than 55,000. Poetry embodies the vastness of life, the richness of content, the fullness of emotion, the proficiency of skills and the rigor and harmony of melody, reaching an unprecedented height, which is difficult for future generations to climb. Poetry in the Tang Dynasty is in its heyday! A golden age!

However, there is no consensus on the reasons for the prosperity of Tang poetry. Although the debate continues, it is difficult to unify. There are mainly the following viewpoints.

Sister Liu's History of China Literature (Classical Literature Publishing House, 1957 edition) puts forward three reasons:

First, the transfer of the poet's identity. It is believed that the richness of Tang poetry involves all aspects, on the one hand, because the status of poets has changed. Most of the poets before the Tang Dynasty were in the hands of monarchs and nobles, while most of the poets in the Tang Dynasty came from the people. They all have rich life experiences and profound experience of the real society. For example, Gao Shi, Cen Can, Wang Changling, Li Bai, Du Fu, Han Yu, Liu Zongyuan, Meng Jiao, Zhang Ji, Yuan Zhen and Bai Juyi all struggled out of poverty or vagrancy. "The imperial examination in the Tang Dynasty broke the door-to-door system of the past few hundred years, enabling middle-and lower-class intellectuals to enter the political arena through examinations. This not only reflects the political progress, but also reflects the literary progress. This is a new era of cultural popularization and liberation. From then on, the oppressed intellectuals in the middle and lower classes got the opportunity to develop freely in politics and culture, so literary creation broke through the shackles of aristocratic literature in the Six Dynasties, profoundly and widely reflected people's lives and feelings, and enriched and improved the content and form of literature. It is the most important reason for the development and brilliance of Tang poetry from the poetry world mastered by monarchs and nobles to the middle and lower intellectuals. "

Second, the advocacy of the ruling class. Taking Emperor Taizong, Emperor Gaozong, Emperor Wuhou, Emperor Zhongzong and Emperor Xuanzong as examples, Ms. Liu explained that all the rulers in the Tang Dynasty loved literature and music and respected elegance and integrity, especially in the imperial examinations, which made poetry a "southern shortcut for literati to become officials" and a "compulsory course for young people". This vigorous advocacy makes the prosperity and popularization of poetry an "inevitable phenomenon".

Third, the law of the evolution of poetic style. Seven-character rhythmic poems began to form in the Six Dynasties, which laid a good foundation in form, rhythm and rhetoric. On this basis, the poets in the Tang Dynasty showed their talents and "completed the unfinished life of poetry itself", thus achieving brilliant achievements. In addition, the integration of North-South styles and national creativity are also factors that can not be ignored in the prosperity of Tang poetry. During the Northern and Southern Dynasties, although the two regimes were antagonistic, the tide of cultural and blood communication never stopped. By the unification of the Tang Dynasty, the style of writing between the north and the south was further integrated, forming a new style, which showed the strong creativity of the nation.

The History of China Literature compiled by Chinese Department of Peking University 1955 analyzes the reasons for the prosperity of Tang poetry from many aspects, but the most emphasis is the economic prosperity and class struggle in the Tang Dynasty. The book says:

As mentioned above, the prosperity of the country, the peace and stability of society and the prosperity and happiness of life not only make the poets "travel far and wide", enrich their life experiences and broaden their horizons, but also cultivate their optimistic spirit and ideals of making contributions to the motherland and inspire their love for the mountains and rivers of the motherland. Inevitable internal contradictions in class society and the poet's personal political frustration directly or indirectly make the poet contact with reality and face it squarely, thus giving birth to their rebellious spirit or critical spirit towards reality.

This "perspective" of analyzing problems obviously has the political characteristics of the times, but it is not unreasonable. Peking University 1955 The history of China literature reveals other reasons similar to that of Mr. Sister Liu.

The Draft of China Literature History compiled by the Chinese Department of Jilin University pays more attention to finding the reasons from the social, political and economic basis. They believe that the main reasons are as follows: first, the rulers learned from history and adopted some concession policies for farmers, which eased class contradictions, restored and developed productive forces, and the feudal economy was relatively prosperous, and culture and art also flourished; Second, the Tang Dynasty constantly consolidated the frontier defense and expanded its territory, which promoted the trade and cultural exchanges between China and foreign countries. Third, the rise of commercial cities and the formation of citizen class; Fourth, due to the implementation of the imperial examination system, the intellectuals of small and medium-sized landlords became the basic relying force for rule. These four aspects have played a positive role in promoting the development of Tang literature.

One of the reasons mentioned in The History of China Literature (People's Literature Publishing House, version 1962) compiled by the Institute of Literature of China Academy of Social Sciences has not been mentioned in academic circles before, that is, "literature is forbidden". The book says:

As far as the whole Tang Dynasty is concerned, it is a period of prosperity and rise of feudal society. Rulers still have some confidence in their own ruling power, and the ban on literature is relatively loose, unlike the previous generation of rulers in Song, Yuan, Ming and Qing Dynasties who banned literature more strictly and cruelly.

The book believes that this reason is very important to the development of literature.

The History of China Literature edited by You Guoen and others (People's Literature Publishing House, 1963 edition) reveals the reasons that are slightly different from others. There are two differences: first, the poets in the Tang Dynasty adopted a critical attitude of inheritance and innovation to literary heritage. They neither fell at the feet of the ancients nor learned from them modestly. Secondly, poetry is widely circulated among the people, which is the result of the prosperity of Tang poetry, which in turn promotes the development of poetry creation.

Ma Maoyuan also discussed the reasons for the prosperity of Tang poetry in Selected Poems of Tang Dynasty (People's Literature Publishing House, 1963 edition). He mainly talked about three points: first, poets in the Tang Dynasty inherited and carried forward the excellent tradition of previous poetry; Second, attach importance to folk literature and draw nutrition from it; Third, "poetry does not speak the law"; "They are not bound by any harmful literary dogmatism and artistic dogmatism. Because of the failure to analyze it from the perspective of social foundation & political economy, horse was also criticized by people at that time.

After 1979, the forbidden area of literary criticism was broken, and the discussion on the reasons for the prosperity of Tang poetry became active again. In the 1 issue of that year, Liang's article was published in Literary Review, which made a discussion on the previous views. It is considered that it is a "vulgarization tendency" to directly link the prosperity of poetry with the prosperity of economy, which is also inconsistent with the actual situation of the development of Tang poetry. For example, the economic prosperity of Emperor Taizong's Zhenguan period did not bring the climax of poetry. In addition, the author does not agree to regard the landlord class in The Common People as the main class foundation and decisive force for the prosperity of Tang poetry, and thinks that this statement exaggerates the significance of the struggle between the world and society and the progress of the landlord class in The Common People. In fact, the concept of "landlord in cloth" is extremely complicated. It is doubtful whether it is a unified class and whether it can form an independent political force. In the same issue of Literary Review, Huang Fuguan's article "The Relationship between Choosing Scholars by Poetry and the Prosperity of Tang Poetry" was published, which put forward different opinions that the imperial examination system with poetry as the topic was the direct cause of the prosperity of Tang poetry, and held that "the imperial examination system is only an examination system, which can be used by both ordinary landlords and clan landlords." "On the whole, it is not in line with historical facts that the Tang Dynasty chose scholars with poetry and fu, which contributed to the prosperity of Tang poetry. Because in the hundred years of the early Tang Dynasty, it goes without saying that the literati had not been selected for poetry and fu, and even the final finalization of the metrical poems had to be finalized in Shen Quanqi and Song Dynasty at that time, not to mention the use of five-character statutes to test the literati as later. However, in the early Tang Dynasty, there were no scholars who recruited sages by poetry, and poetry was quite prosperous. It can be seen that there are other more important reasons for the prosperity of Tang poetry. "

After that, many experts still insist that economic prosperity is directly related to the prosperity of Tang poetry. Wang Shuizhao's article "On the Reasons for the Prosperity of Tang Poetry" (No.7 of Literary Criticism) analyzes the concrete contents of the relationship: ① The economic prosperity provides the necessary material conditions and a good creative environment for the poet's creation. The strong national strength caused by economic prosperity directly affects the creative spirit of Tang poetry, namely "vigorous and promising ideals" and "open realm and high-spirited atmosphere shown by different themes and genres". The development of transportation, tourism and commerce caused by economic prosperity has promoted the enrichment of poetry content and the expansion of theme. (4) Economic prosperity provides material means for the publication and circulation of poetry ("publication and circulation" refers to mailing, donation, "warm scroll", title wall, etc. ).

The recently published History of China Literature edited by Zhang et al. (Fudan University Press, 1996, 1 edition) emphasizes the positive influence of the coexistence of various ideas on the prosperity of Tang poetry. The book said: Obviously, Confucianism was recognized as orthodoxy in the Tang Dynasty, and Confucian classics were a must-read book for scholars. In the imperial examinations of Jinshi and Mingjing, it is also required to read Confucian classics. Moreover, since the founding of the Tang Dynasty, some scholars have called for the revival of Confucianism from time to time. All these prove that the status of Confucianism in the Tang Dynasty was higher than that in the Wei, Jin and Southern Dynasties. However, Confucianism has not gained a dominant position. Taoism and Buddhism, whether in the ruling clique or in the whole society, are not less valued than it. This pluralistic state of mind makes the ideological circle more free and active, and literary creation is rarely prohibited.

Renzhi's opinion is not unreasonable. However, it is not comprehensive enough to say which one is unique. Can all the above points be listed as the reasons for prosperity? (Zhu Hengfu, see Mystery Record of China Literature History? Poems and songs ")

A Summary of Poetry Research in Early Tang Dynasty (Xu Zong)

In the study of classical literature in China and even the whole academic history of China, the study of Tang poetry is undoubtedly one of them, and the early Tang poetry, as an important part of the whole process of Tang poetry and a prelude to the emergence of the artistic peak of Tang poetry, has always been highly valued by academic circles. In the past two decades, with the in-depth development of the study of Tang poetry, the study of early Tang poetry has also experienced unprecedented prosperity.

Literature is the foundation of research work, and there has always been a tradition of attaching importance to literature in the field of Tang poetry. In the study of poetry in the early Tang Dynasty, what deserves attention is the construction of literature, which has made considerable achievements and laid a solid foundation for further theoretical research.

In the past twenty years, almost all the poems of important poets in the early Tang Dynasty have been collated and annotated. After his death, Wang Ji's poetry and prose collections were compiled into five volumes by Lv Cai, abridged into two volumes by Lu Chun in the middle Tang Dynasty, and only abridged versions prevailed after Yuan and Ming Dynasties. Han Lizhou discovered three kinds of manuscripts of Wang Jiji in Qing Dynasty, so he took Li's textual research and records as the base copy, and combined them with other manuscripts into Wang Reactive Collection, which was published by Shanghai Ancient Books Publishing House (1987). * * * Collected more than 50 poems of Wang Ji 150, 90 more than the abridged version, and compiled the literature about Wang Ji, which is the most complete version of Wang Ji's anthology. In addition, Wang Ji's poems include Notes on Wang Ji's Poems by Wang Guoan (Shanghai Ancient Books Publishing House 198 1 Edition) and Notes on Wang Ji's Chronicle by Kang Jinsheng and Xia Lianbao (Shanxi People's Publishing House 1992 Edition).

The Four Masters of the Early Tang Dynasty was compiled by Lu Ji by Xu Mingxia? Yang Jiong Ji (published by Zhonghua Book Company 1980) is based on You You Zi Ji edited by Zhang Xie and Ying Chuan Ji edited by Tong Pei, and supplemented some lost poems. Ren's Annotation of Lu Ji Chronology (Heilongjiang People's Publishing House 1989 edition) is the first annotated edition of Lu Ji in China, with detailed materials and fine textual research. In addition, Zhu Shangshu includes Lu Ji Zhu (Shanghai Ancient Books Publishing House 1994 Edition) and Li You's Lu Ji Zhu (Zhonghua Book Company 1998 Edition).

The works of "Four Friends of Articles" include Xu Dingxiang's Notes on Du Shi (published by Shanghai Ancient Books Publishing House 1982) and Li Qiao's poems. Notes on Su Weidao's Poems (Shanghai Ancient Books Publishing House, 1995) all belong to the "Tang Poetry Collection Series". The series also includes Notes on Poetry (Shanghai Ancient Books Publishing House 1997) and Wang Qixing and Notes on How to Include Zhang Xu and Zhang's Poems (Shanghai Ancient Books Publishing House 1986).

Other important poetry collections include Chen Ziang's Notes on Poetry by Peng Qingsheng (published by Sichuan People's Publishing House 198 1). The first volume is Feeling Poetry, and the second and third volumes contain other works in chronological order. Each work is proofread and then annotated, and the reasons for its age are pointed out. Lian Bo and Cha Hongde's Collation of Shen Quanqi's Poems (Zhongzhou Ancient Books Publishing House 199 1 Edition) is the first annotated edition of Shen's poems, with concise annotations and annotations of past dynasties. The Collation of Wang Fanzhi's Poems (Shanghai Ancient Books Publishing House 199 1 Edition) in Xiangchu contains 390 poems, which are collated, annotated and explained in detail. It is the most complete annotation to Wang Fanzhi's poems so far. Qian Xuelie's Collation of Hanshan Poems (Guangdong Higher Education Press 199 1 version) and Hanshan Poems Collation (Tianjin Ancient Books Publishing House 1998 version) collected 3 13 and 55 collected poems according to the existing Song editions. In a word, the construction of literature materials involves almost all the important poets in the early Tang Dynasty.

In the study of poetry in the early Tang Dynasty, the group of poets received unprecedented attention, mainly focusing on the study of the two most important groups of poets in the early Tang Dynasty, namely, "four outstanding poets in the early Tang Dynasty" and "four friends in writing".

The book about "Four Masters in Early Tang Dynasty" is Luo Xiangfa's Research on Four Masters in Early Tang Dynasty (published by Oriental Publishing House 1993), which is divided into three parts: life and whereabouts, moral integrity evaluation and work analysis, with an appendix "Chronology of Four Masters in Early Tang Dynasty", which is the first monograph to study "Four Masters in Early Tang Dynasty" since the founding of the People's Republic of China. Zhang Zhilie's Chronicle of Four Masters in Early Tang Dynasty (published by Bashu Publishing House 1993) is a comprehensive chronicle of four masters. This book not only makes a detailed textual research on the life experiences, ideological changes and poetic years of the four masters, but also analyzes the meanings and words, which is quite fruitful. And wrote Luo Zhuan (published by Beijing Publishing House, 1987). The first ten chapters describe Luo's legendary life experience, and the last five chapters comment on the characteristics and influence of Luo's literary creation and the evaluation of Luo in past dynasties, which has made pioneering contributions to Luo's research. In addition, Zhejiang Ancient Literature Society has compiled Collection of Luo Studies (Hangzhou University Press 1993 edition), which contains 29 papers and discusses Luo's life, thoughts and literary creation from many aspects. There are many papers about "Four Masters in the Early Tang Dynasty", mainly including: Ge's "Four Masters in the Early Tang Dynasty and the Style of Qi Liang" (Quest, 1990, No.3), which discusses the complicated situation and reasons why the four masters criticized Qi Liang's style of writing, but they did not get rid of Qi Liang's habits; Ren said that the four outstanding men in the early Tang Dynasty were not "impetuous and superficial" (Shangbei Series 1984 No.2) and Luo Xiangfa said that the four outstanding men in the early Tang Dynasty were not "impetuous and superficial" (Journal of Zhejiang Normal University 19 1 No.1 1 issue). Xu Shangding's Textual Research on the Artistic Origin of the Four Great Poets, Zhao Ming's Selected Works and the Poetic Style in the Early Tang Dynasty (No.2 Document 1993), and the Structural Pattern and Artistic Origin of Luo Lu's Songs (No.6 Document Review 1993), the former discusses the style selection and poetic style in the Early Tang Dynasty. Xu Zong's On the Four Poets and the Style of Tang Poetry (Academic Research No.3, 1995), On the Function and Significance of the Four Poets in the Change of Poetry Style in the Early Tang Dynasty (Journal of Huazhong Normal University, No.2, 1996) and On the High-spirited Tone and Growth Beauty of the Four Poets (Jianghuai Forum, 654). Such as "Jing Zong" and "Differentiation of Styles —— Dual Characteristics of Four Literary Thoughts and the Evolution of Poetry History in the Early Tang Dynasty" (Tianjin Social Sciences No.3, 1996), this paper makes a multi-angle study on the four schools from the aspects of the standardization of poetry style, the process of poetry history in the early Tang Dynasty, the change of poetry style in the early Tang Dynasty, the nature of four literary thoughts and the aesthetic pursuit of their literary creation.

The papers about "Four Friends of Articles" mainly include: Nie Yonghua's Lingling is like jade, and pearls are full (Du Nan Journal No.2, 1994), and Xu Zong's On "Four Friends of Articles" and the artistic process of early Tang poetry (academic journal of zhongzhou No.6, 1994). They all focus on the comprehensive study of the "four friends" and the role of the "four friends" in the standardization of modern poetry, and strive to grasp its literary history value and significance in the context of the whole process of poetry history in the early Tang Dynasty. In addition, Mao Shuiqing's Four Questions about Du Fu (journal of guangxi teachers education university, No.4, 1990, No.1 199 1) is about the reason why Du Jizhou fell among the four friends, Du's "arrogance", whether Du Fu is a court poet and Ge's advocacy of the poetic creation paradigm and popularization in the early Tang Dynasty.

In addition, other important poets in the early Tang Dynasty, such as Wang Ji, Shen Quanqi, Song, Zhang, popular poets Wang Fanzhi, Hanshan, Emperor Taizong and court poet Li Baiyao, all published monographs. The more important ones are: Zhang Xihou's Drinking and Reciting Poems on Wang Ji's Poems (No.7 of Tang Dynasty Literature Essays), Zhang's Pastoral Poems on Wang Ji's Poems (No.0/990) and Xu Zong's New Theory on Wang Ji's Poems (Qilu Journal) and Cha Hongde's New Theory on Shen Quanqi (No.3 of the Journal,/kl) Chen Ziang Studies by Han Lizhou (published by Shanghai Ancient Books Publishing House 1988) is the first academic monograph on Chen Ziang, which won many awards. Han Lizhou also has A Review of Chen Ziang (published by Northwest University Press 1987), which is also a blank in the study of Chen Ziang. Wu Mingxian's Textual Research on Chen Ziang (published by Bashu Bookstore 1995), which combines textual research and theory, has a comprehensive discussion. In addition, the Proceedings of Two Chen Ziang Academic Seminars published by China Federation of Literary and Art Circles Publishing Company, Hongkong China and World Publishing Company in 1989 and 1993 respectively contain 70 papers, showing the achievements of Chen Ziang studies in recent years. There are many papers about Chen Ziang published in one article, so I won't repeat them here. Zhang's important papers include Cheng's understanding and misunderstanding of Zhang's "Moonlit Night on a Spring River" (Literature Review No.4, 1982) and Xu's "With Zhang-A New Direction of Poetic Artistic Conception" (Jianghan Forum No.1 1994, 12). About Wang Fanzhi and Hanshan, there are Collected Works of Wang Fanzhi Studies by Zhang Xihou (published by Shanghai Ancient Books Publishing House 1990), Wang Fanzhi Poetry by Xiang Chu (No.31Literature and History Series) and Hanshan Poetry by Zhang Jiapeng (Journal of Shen Teachers College 1986 No.65436). There are mainly the unstable combination of Mei Yun's "On the Emperor" and Tang Taizong's spirit and artistic tradition (Journal of Zhejiang Normal UniversityNo. 1993 1)-An objective analysis and value evaluation of poetry (Jiangsu Social Sciences)-A study of palace poetry in the early Tang Dynasty (Social Sciences Front 1995/KLOC-)

Project pool

Fill in the blanks:

1. The poem praised by Mr. Wen Yiduo as "the poem in the poem, the peak on the peak" is.

2. Su Shi, a poet in the Song Dynasty, evaluated his artistic achievements as "painting in poetry" and "poetry in painting".

Noun explanation:

Wang Meng

Recite:

1. Zhong Nanshan of Wang Wei.

2. Meng Haoran's "Autumn Mountain Sending Zhang Wu"

Questions and answers:

1. The famous sentence in "Moonlit Night on a Spring River" says: "Whoever sees the moon at the first sight by the river will take a photo at the beginning of the month. Life is endless, generation after generation, and Jiang Yue is only similar year after year, which involves a brief reflection on the eternity of the universe and life. Please refer to other poems and talk about the ancient poets' view of nature and your views on this view of nature.

2. Tao Yuanming and Wang Wei are both masters of pastoral poetry creation, and both of them have lived in seclusion. Please make a comparison between Wei Shui Nong Jia and Tao Yuanming's Returning to the Garden, and compare the similarities and differences of their poetic mood.