When did Tang poetry flourish and Song poetry rise?

The rebellion of Anshi in Tang Dynasty and the change of Xuanwu in Tang Dynasty almost doomed poetry to be full of martial arts.

The Song Dynasty gradually declined, and Zhu Cheng Neo-Confucianism was in power. Scholars slept in flowers and willows and thought they were romantic. ...

In addition, influenced by these four words, later generations made poems solemn and songs fragrant, just like now, on the Internet, a person posted the right post and at the same time got a vest to hold an objection. Of course, ancient literati had nothing to wear. We know that words are originally sung. Who sang it? There are many schools for geisha and singers, so this is also a factor of charm. Even if there are heroic battle songs of Xin Qiji and Su Shi, they are only ethereal.

I don't know what to say. It's okay to laugh.

———————— For reference, I found it on the Internet-

Since its birth, Ci has shown its unique style characteristics of softness, rhyme and fragrance because of its unique cultural factors. The so-called "brilliant words", "charming poems" and "big poems and narrow words" all emphasize "unique words" Different from traditional poetry, graceful and restrained school is regarded as authentic in the field of ci. Although erotic poems also contain "rich fragrance and softness", the fact that "poetry has charm" still exists. It can be seen that the question is not whether poetry can write glamorous content, but whether poetry has the same "function" as words and can fully show that unique glamorous interest.

Structure is the accumulation of functions. It should be an effective method to grasp the expressive function of poetry through the analysis of structure, and then explain the reasons for the "charm of poetry".

one

Among China's ancient poems, the "seven-character poem" represented by neat five or seven characters is the most typical form. Because it is an art form with stable form and vivid life, it is built by combining a neat and standardized appearance with a flexible internal structure. The unity of opposites between stable form and vivid life is consistent with the life purpose of The Doctrine of the Mean. Therefore, it has become an art form that can best express the mentality of ancient intellectuals in China.

In poetry, every rhyme means the acquisition of an independent language unit. However, in most ancient Chinese poems, only four verses, that is, two rhymes, can form an independent structural unit of poetry and "stand out" in the overall background of poetry. This is because: First, since the era of The Book of Songs, most folk songs have taken four lyrics as independent structural units. Because this structure is the easiest for folk singers to master. Too short to express a relatively complete content; It takes too long to control. Literati poetry consciously inherited this tradition from the beginning. Second, in ancient times, Song and music were integrated. The length of singing four lyrics should be the basic length of the music. Therefore, poetry is bound to be limited by the length of music and keep the tradition of taking four stanzas as the structural unit. Thirdly, it is one of the most common language expressions in ancient times to explain abstract emotions and things through comparison. In poetry, the first two sentences are compared, and the last two sentences are narrative or lyrical.

Most ancient poems are structured in units of four sentences, and four sentences can often express a relatively independent content completely, which not only enriches the content of poetry, but also makes poetry only transition between structural units, thus showing obvious stages in content. Such as Li Bai's Guan Shanyue:

A bright moon rises from Qilian Mountain and crosses the vast sea of clouds.

The mighty wind blew Wan Li and crossed Yumen Pass.

At that time, Han soldiers pointed at the mountain road, and Tubo coveted the vast territory of Qinghai.

This is a land of wars in past dynasties, and few soldiers can survive.

The garrison soldier looked at the remote border town, and his hometown could not help but look sad.

The soldier's wife looked at the tower and lamented when she would see her relatives far away.

The standardization of form and the richness of connotation make the style of ancient poetry rich and elegant and broad. The distinct stage of the structure makes it difficult to describe every detail of the development of the event in detail like prose, but only take lyric as the basic content.

In metrical poems, there are only four quatrains. The first two sentences are about scenery or narration, and the last two sentences are lyrical, or vice versa. The first two sentences are lyrical, and the last two sentences are scenery or narrative, which is its basic structure. This is a copy of the ancient artistic technique of expressing reason and emotion through comparison.

Rhyme, on the other hand, has changed its structure because of the requirements of antithesis. The antithesis requires not only that the upper and lower sentences are flat and the parts of speech are relative, but also that the content is relative, which can not only show two aspects or two characteristics of an object. This way of expressing the essence of the object through two aspects or two characteristics will inevitably greatly increase the capacity of poetry. Therefore, metrical poems can break the traditional structural way and construct works with two poems as structural units, with obvious stages between the beginning and the end.

two

Ci was born in the folk and has the characteristics of early elegance and vulgarity. After that, the literati got their hands on it, stepped into the art palace and experienced the transformation from vulgarity to elegance. However, compared with the erotic poems in the Southern Dynasties and the Tang Dynasty, the characteristics of erotic words are still obvious.

Influenced by the traditional poetic style, erotic poems are mainly elegant and express a kind of "interest" and "taste" for women's feelings. There is a certain distance between the author and the performance object, which is similar to an "appreciation". Erotic words have a strong secular color. Writing about the love between men and women focuses on "vulgarity", showing the "process" of love and the "appreciation" of women's posture. The distance between the author and the performance object is close, which is similar to a kind of "play". Of course, this is only the whole, because it is often difficult to draw a clear line between elegance and vulgarity.

Elegant taste is a psychological feeling, so erotic poetry can successfully express its content by using traditional lyric techniques. However, the structural mode and antithesis requirements of traditional poetry make the poetic style tend to be elegant and heavy. It can be used to write unforgettable lovesickness, but it is difficult to express the delicate love process and the gentle flow of women's posture. Even the palace poems of the Southern Dynasties are not as delicate as the graceful songs of Liu Wen's ci, which is a proof.

Vulgar drama focuses on sensory feelings, so erotic words pursue the vividness and vividness of the process and details, and are detailed descriptions and layers of descriptions of women's bodies (including spiritual feelings). The structure of poetry has a relatively fixed translation mode, with four poems or a couplet as the structural unit, which obviously has obvious limitations on the content and style pursued by expressing words. Because the description and description of words are very delicate and beautiful, it is difficult to define them in a fixed pattern, and because of the limitation of music, words can only be reorganized according to the needs of content. Therefore, its structural unit becomes uncertain. Take He Zhu's Unfortunate as an example;

Light makeup is polymorphic, more beautiful and more frequent. I knew it. I promised in my heart that I would take a pair of acacia belts. Remember the painting hall, romance, smile and helplessness. Facing the sleeping duck stove and Xiang Luan in the screen, I secretly untied Luo Xiang in shame. After passing by, after lighting the lights, they disappeared and went to pick vegetables. On several occasions, with the profound meaning of Shuang Yan and Ding Ning, we hated the curtain. When is the appointment? In mid-spring, people are always bored when they are drunk. Tired from sleep, there are flowers in the sky.

This word is the work of pregnant women. The first one is about the past, and the next one is about acacia. Writing about the past is a delicate and meticulous description, focusing on people's form and the process of things. Write about acacia twists and turns, and express your feelings through various behaviors. This is the appreciation and exertion of things and things. If we turn it into the structural form of poetry, these seven words are:

Light makeup often comes back, and my heart is eager to bring acacia.

Xiangluan smiled romantically and untied the ribbon on the screen.

When will Shuang Yan and Ding Ning meet again?

Spring strong wine is sleepy and idle forever, and the day of sleeping flowers is still there.

These five words are:

Light makeup is polymorphic, and the frequency is back.

I know that Xu and I both want to take this ribbon.

The painting hall welcomes guests with a romantic smile.

In the fireside screen, I am ashamed to untie the incense ribbon.

After burning the lights, no outing.

Double Ding Yan Yining, curtain.

Spring wine is strong and sleepy, and life is always boring.

Tired from sleep, the flower tip is still there.

Write the same eroticism, but the style is very different. First, the text has been reduced a lot, and it can't be described by songs and dances like words. Second, if the form is regular, the emotion will be more elegant, and the "appreciation" and "playing" of things and things will be obviously weakened. Obviously, it is difficult to form the charming and euphemistic style of erotic words with neat five or seven sentences and four poems as the structural unit.

In fact, from the very beginning, under the influence of music, literati's ci tried to get rid of the traditional mode of taking four sentences as the structural unit, and thus showed different charm from traditional poetry. For example, three sentences in Huanxisha, five sentences in Linjiang Xianzi and Liangzhu, and five sentences in Wang Jiangnan are all based on three or five sentences. These epigrams were not only loved by literati in the late Tang and Five Dynasties, but also recited by later generations. The epigrams such as Zhuzhici, Shengchazi, Bodhisattva Man, Langtaosha and Yu Meiren were widely used in the early days, but they were not very different from poems in structure, so they were not widely used after the number of epigrams gradually increased.

From the overall form, the most obvious difference between poetry and poetry is that words are divided into blocks, but poetry is not divided into blocks. Because words are divided into blocks, as long as they are "changing in meaning", the author can let go of his hands and feet and try his best to describe the story in each block without worrying about losing the internal consistency and implicit charm, and without worrying about the difficulty of transition. Generally, he can show a sense of hierarchy in each block, like peeling bananas, thus forming another characteristic different from poetry. Or take the congratulatory message above as an example. The last film, the first time I saw it, I fell in love with it, and then it was completely straightforward, talking and laughing, but it was very tactfully written. The next one was written in front of my eyes, so that I couldn't see Iraqis, and then I went back to the suffering of lovesickness from the barrier. Although I wrote acacia, I wrote it by my own behavior, and the whole process was very tortuous and tactfully written. This kind of writing, which is one thing after another, sentence by sentence, carefully described and step by step, is exactly the "banana peeling" of previous comments and the concrete embodiment of the word "process". And this is exactly what the structural model of poetry is difficult to complete.

three

Since Nineteen Ancient Poems, with the joint efforts of poets in Wei, Jin, Southern and Northern Dynasties, five or seven words have become the basic form of Chinese ancient poetry language. Because Wuqi dialect is an odd number, the imbalance of syllables is inevitable.

Gestalt psychology points out that there is a tendency to simplify external things and make them tend to be concise, symmetrical and balanced. The imbalance of syllables in the May 7th Poetry makes readers feel a sense of psychological tension when reading, especially when reciting poems. Only by prolonging the reading or reciting time of a syllable can readers gain a new psychological balance, that is, dynamic balance. The result is shown in the language structure, which is the formation of "three suffixes".

Three-character suffix is the key to the musical beauty of May 7-character metrical poems, and it is also the most obvious sign of the grammatical structure of May 7-character metrical poems. Even in miscellaneous poems, it is no exception. Therefore, the five-seven-character rhythmic poems can only be integrated with the rhythmic content with the rhythm and fixed structure of music, and it is difficult to describe and state freely like the prose language. Balanced and coordinated music rhythm is the best way to express gentle and sincere feelings. Coupled with the weakening of descriptive and declarative, lyricism, rather than narrative, has become the most basic content of China's ancient poems represented by five or seven words.

Because erotic words attach great importance to the description and statement of women's posture and love process, descriptive is greater than lyrical, so it is necessary to seek a language form that can describe the love process between men and women more freely and truly and the gentle flow of women's posture. Only words written in this language can be called "poet's words", otherwise they are still "poet's words".

This language was formed after Liu Yong. Its characteristics are colloquial and colloquial words at first. On the one hand, colloquial sayings are more free and flexible, more declarative and descriptive than literati poems, so they can not only express the vulgar content more effectively, but also describe the "process" of the relationship between men and women more vividly. On the other hand, because words are to be sung, only plain language can be easily understood and loved by people in singing. "Liu Ci can be sung where there is well water" precisely because Liu Ci is shallow and popular. Secondly, there are a large number of "parallel language" words. Although parallel prose also emphasizes melody, it is far less strict than metrical poetry. It pays more attention to the coherence and statement of semantics and tone, rather than jumping. This is also one of the important reasons why it can become the basic format of ancient official documents. Using parallel prose into words can not only change the single musical rhythm of poetry, but also strengthen the function of statement and description of words on the basis of "beautiful writing" Thirdly, there are a large number of poetic languages in Ci, which can be as lyrical as poetry and achieve the same lyrical effect as traditional poetry.

This kind of language, which is more flexible in structure and form, cooperates with the update of the overall structure of Ci, so that poets can more successfully capture and describe the subtle changes of things and emotions, truly show the "process" of love, and at the same time describe, write scenes and express their feelings more effectively. Therefore, it can show readers a new artistic realm. Select its fragment, Liu Yong's "Flat Butterfly":

Looking at the rain and clouds, I looked at Qiu Guang quietly. The bleak evening scene made Song Yu sad.

If it is changed to a poem, it is:

When the rain stops, send it to the railing in Qiu Guang. The evening scene faded, and Song Yu was sad.

Obviously lost the narrative and beauty of the songs in the original, but showed unique elegance and massiness. Another example is Li Qingzhao's Song of Eternal Sorrow.

The setting sun melts gold, and the clouds merge. Where are people? Dye willow smoke, blow plum flute and complain, how much spring you know. Lantern Festival, the weather is harmonious, there is no second wind and rain.

This passage can be divided into three layers and described layer by layer, but it can't be changed into a neat five-seven-character poem. If you change it hard, you can only change the third level to two levels, which will greatly lose its original meaning.

Although the formation of the language structure of ci is also due to the limitation of music, once it is formed, it has gained universal love and become a form that ci writers deliberately pursue because it can more accurately and wonderfully express the complicated emotional and psychological characteristics and describe various scenes, events and complex processes. It is also in this language and music with the role of * * *, the word method was formed. Of course, bold poets can "write poems into words", that is, write words in the language of poetry, because the realm of poetry is relatively broad, and it can even constitute the same style as Li Bai's poetic style. However, due to the limitation of morphology, bold poets can only use limited words, so they can only provide limited words and cannot compete with graceful poets in an all-round way. Later generations tried to replace those who had the rhetoric of "reversing the case", and eventually they all hastily withdrew. The main reason, I think, is the different structure of poetry. Different structures have different functions, and different functions need different performance contents. On the other hand, since its birth, a word has a specific expression content and needs a specific expression function, and the specific expression function comes from a specific structure (word structure and language structure). Once the linguistic structure of a word is formed, it becomes the basis of the law of the word. It is difficult for a bold poet to change the content without changing the language structure, and he can only make the graceful words live in reality.

four

In poetry, every rhyme means the acquisition of an independent content. Generally speaking, most of the jumps and meaning gaps in poetry appear or exist after the rhyme. Therefore, when reading or reciting, every reader will consciously or unconsciously wait for the next rhyme to appear. Only when the next rhyme appears, the reader will breathe a sigh of relief, have a psychological sense of belonging and fully examine the content of the whole sentence.

In traditional poetry, the rhyme of every other sentence is constant. The rhyme feet are evenly arranged and the rhythm is regular, and the rhyme feet are mainly flat and smooth. Generally speaking, the poems with even lines and rhymes are suitable for expressing soothing, generous, steady, solemn, elegant and orthodox contents and emotions, and for expressing the gentle and sincere beauty of "neutralization". The rhyme of each sentence gives people a sense of urgency, because every poem is the acquisition of expression content, so it is urgent in tone, which is conducive to expressing passion or bitter feelings.

Parallel prose can freely arrange the position of rhyme according to the needs of content and expression, and can also introduce prose sentences to mediate the artistic conception, so it can freely describe and explain "things and things" in detail.

The rhyming of words fully absorbs the advantages of poetry and parallel prose, forming a rhyming mode with strict norms and great freedom. Under each specific epigraph, there are strict rules on rhyme position, no less than metrical poems. However, because each epitaph has its own specific rhyming rules, there are extremely diverse rhyming patterns under many epitaphs. The author can choose his own epigraph according to the content and writing needs. Take Zhou Bangyan's memory trip as an example;

Remember that sadness is shallow, tears wash red lead, and doors cover the night. Leaves leave me thinking, listening to the cold night crying, the rain rustling. Feng Chai half took off her cloud temples,

The window shadows are flickering, the bamboo shadows are fading, the fireflies are shining, and the souls of the two places disappear. Asking for news all the way, at the end of the road is a time of flowers and farewell.

I also plan to visit Zhuhu Lake, sighing that I am ashamed to see Lang because he is haggard. There are new swallows in the nest, and willow branches brush the river bridge. But the dust in Beijing is everywhere, and the east wind is brighter.

Blow peaches.

The last movie was about the past, sad and profound. The first two sentences are two four-character sentences headed by the word "Ji", which describe the heroine's lovesickness. But there is no rhyme here, which leads to insufficient tone. There is no rhyme where the poem should rhyme, so readers can only hold their breath and continue reading, which increases their psychological tension. In addition, the first two sentences are about people, the last sentence is about scenery, and the first two sentences are about the last sentence. The imbalance between content and structure is also strengthening the psychological tension of readers. It was not until the end of the third sentence that rhyme appeared, and psychological tension was released, thus gaining greater aesthetic feeling. Obviously, this kind of feeling is not available when reading the stable form of rhyming every other sentence. The fourth sentence, the fifth sentence and the sixth sentence are also three sentences and one rhyme, but they are the first pair and the last two sentences in content. This alternation between the first two pairs and the first two pairs makes the work full of changes and more expressive, which is exactly the artistic effect pursued by the author. The rhyme of seven or eight sentences eased the psychological tension, and the rhyme of the last three sentences once again caused the psychological tension of readers. This kind of psychological ups and downs and changes in priorities caused by different rhyming intervals are very consistent with the tortuous and complicated psychological feelings of women suffering from lovesickness and shame. The next film turns from memories to eyes, and the emotion is stronger. There are four rhymes at the beginning, which caused great psychological tension. Then there were three rhymes, which eased the psychological tension a little. The last four sentences are all rhyming with each other, and they have returned to a stable state of mind, which shows the helplessness after suffering from lovesickness. Look at Li Qingzhao's "Dried Plums";

Autumn red incense can destroy jade. Gently untie Luo Shang and go to Lan alone. Who sent the brocade book, the word geese returned, and the moon was full of the West Building. flower

Self-drift zero water flows by itself. One kind of lovesickness, two places of leisure. I can't get rid of this feeling, so I frowned and took it to heart.

The first sentence of the last film rhymes, then every other sentence rhymes, and then every other sentence rhymes. The lower half has the same structure. Every appearance of rhyme is a delay in time and also indicates a turning point in content. This rhythm not only conforms to people's psychological ups and downs when they are depressed, but also makes readers' mood urgent step by step, thus more truly appreciating the author's leisure and helplessness.

Zhang Yan once said in Etymology: "To write a slow word, you must first choose the title of the song and then decide the meaning." The so-called "choosing the title of the song first" means choosing the epigraph according to the topic, that is, the content to be expressed. The maturity of each epigraph and the establishment of its meter are the result of the poet's long-term artistic practice and the crystallization of artistic laws. On the one hand, strict metrical rules do restrict the author's creative freedom to a certain extent, but on the other hand, under the epigraph that can best express specific feelings and contents, the author can obtain the best artistic effect through this specific art form, and the key is to choose it properly. "A mouse can drink the river, but it is full", and there is still a lot of freedom to choose among hundreds of epigrams.

To sum up, the reasons for "poetic rhyme" are not only various factors that people usually say, but also the differences in structure and function of poetry. It is precisely because of this that Ci still keeps a distance from poetry after being divorced from music and the civic class. Because this point is rarely mentioned, I wrote this article to attract the attention of my peers. (Author: Gansu Institute of Education)

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