The Study On New Changes Of Poetry In Mid-Tang Dynasty

This paper takes poetry in Mid-Tang Dynasty as research object, and begins with three aspects as follows:poetry form, subjects and content, poet groups. Through the comparison with poetry in Early-Tang and Dali Dynasty, explores a series of changes and characteristics from poetry texts to poets during Mid-Tang Dynasty, and tries to combine analysis of specific phenomena with interpretation of poetry style and features, poets' psychology and social atmosphere, to dissect the new changes of Mid-Tang poems and to grasp it's important position as a vital turn in Tang Dynasty and even the whole history of Chinese ancient poetry.Chapter two expounds self-annotations in Mid-Tang poetry around three problems. First, the characteristics of self-annotations in Mid-Tang poems. A remarkable increase in quantity, notable stress on poetry meaning and marked infiltration into emotion and intension are the major features of self-annotations in Mid-Tang poems. The close relation between self-annotations and poetry connotation is the basis of the characteristics of poetry self-annotations. The self-annotations in Mid-Tang poems underline explanation on poetry emotion and intension, which is not only influenced by a poetry concept that advocating realities and completeness but also mirrors such writing concept. Second, takes Du fu and Bai juyi as specific cases to describe a dynamic track of the poetry self-annotations from Early-Tang and High-Tang to Mid-Tang, through research the development and changes in the relation between sel-annotations and poetry content and emotion from Du fu and Bai juyi. Third, the documentary value of self-annotations in Mid-Tang poetry. The documentary value of self-annotations in Mid-Tang poetry mainly embodies three aspects that are historical data rectification and confirmation, lost poetry conservation and old tune preservation. The documentary value of self-annotations in Mid-Tang poems which is on the bases of actual record of historical facts, to a great extant is also a mirror of the poetry writing concept of advocating facts.Chapter three discusses the relation of the three as follows:the poems describing small-sized space, poetry writing concepts and scholars' ideological trend. First, elaborates the new poetry connotation that man beats nature. Second, analyzes a problem that the esteem for ingenuity and man's abilities essentially is just what the unusual and subjective concept and painstaking and exhausting writing way indicates in Mid-Tang poetry. Then points out that ingenuity as the ruler and nature as the ruled is the common foundation of the poetry intension describing small-sized space and the whole poetry writing tendency that is reflected and elaborated in poems on small-sized space in Mid-Tang. Third, expounds that the palaces for emperors'royal progress in Mid-Tang sentimental poems change not as pure and concrete garden space but as a cultural image full of specified meaning. Besides, points out that the role palaces for emperors' touring play as an image given meaning in stating the purport of memorizing piping times of peace in Mid-Tang sentimental poems about palaces for emperors' touring. Forth, takes Bai juyi as a typical case, to analyze the identity in man-made management between his poems about small-sized space and his whole poetry writing practice, which is consistent with the identity in esteem for man's abilities of the poetry connotation describing small-sized space and poetry writing concept during Mid-Tang Dynasty, and to point out that small-sized private garden is both a materialized way and a platform to practice official seclusion which is popular in Mid-Tang scholars presented by Bai juyi.Chapter four mainly researches Mid-Tang folkways poems describing spring outing and peony enjoyment activities. There are three problems to be resolved:first, induces the characteristics of spring outing poems which centers on the age spirit of self-indulgence delight. Then, elaborates the relation between the gist of luxury esteem in Mid-Tang peony poems and noble and socialized peony-enjoyment activity in that period. Last, reveal a link between the spirit of esteem for self-indulgence delight and luxury in spring outing poetry and the description of peony competition and the original connotation of ancient unstrained sexual intercourse custom and plant competition game to make a conclusion that the whole spirit that pursue delight and luxury in poems about spring outing and peony enjoyment in Mid-Tang, is not only coursed by social factors but also by lots of original custom elements'fusion and evolvement. Chapter five discusses formation and activities of poet groups in Mid-Tang Dynasty. On the base of combing basic situation of eight major poet groups from Early-Tang to Mid-Tang, focuses on such two issues:one is Mid-Tang poet groups' way to assemble and form and it's influence to the motif of the responses and other poems written in parties. Members' friendship and frequent contact becomes a vital and essential impetus to the two main poet groups' formation in Mid-Tang, which effects some changes in the theme of responses and other poems written in parties, that is realizing and expressing a harmonious and joyful membership becomes a distinct poetry topic. The other is the relation between region, space and poet groups' intercourse and writing activities in Mid-Tang Dynasty. First, elaborates a phenomenon that the residential districts where group members choose to live in Chang'an and Luo yang often adjoin each other, and analyze the interaction between such living pattern and group members' friendship and intercourse. Second, starts with city space, focusing on the relation between type and features of the poetry written by the poet group in Luo yang and the city's specific property, to analyze the free and comfortable atmosphere in Luo yang and expound the poet group in Luo yang how to change the city's free and comfort into poetry keynote with self-thought and rational cognition.