Han Dynasties poetry, commonly referred to as poetry, including the ancient Han Dynasty speech, the Northern and Southern Dynasties Yuefu folk songs and poetry writers of this period. Yuefu Guanshu this is the name. Yuefu songs by the authorities Yuefu collection, and itnotation to the choir. "Wenxindiaolong Yuefu" article said: "Where Le speech said Shi, said Shi Sheng Song." From here we can see that poetry, song, Yuefu that the relationship between the three concepts: poem refers to the poet's Songs, songs and poetry that is compatible music, Yuefu, and that the two terms. Later, Xiyong Yuefu that the old genre or Mofang Yuefu written works, even though no soundtrack, also known as Dynasty. When Bai Juyi of the Tang Dynasty, and so set off a new campaign Yuefu, that innovation, writing current affairs, which called the new Yuefu.
After the poetry of the Tang Dynasty, from the rhythm, the body can be broadly classified into the past of ancient poetry and poetry two categories. Near this body of poetry called poetry, it has a certain rhythm. Ancient poems called Gufeng general, this is in accordance with the practice of writing poetry, form relatively free from the shackles of rhythm.
The number of words from the poem, the so-called four-poetry, poetry and Wuyan Seven Poems. Is a four-term, Wu Yan Wu Gezi is one, Seven is a Qi Gezi. After the Tang Dynasty, four poems rarely met with, so usually only at Wuyan, Seven two categories. Wu Yan ancient poems referred to the five ancient; Seven ancient poems as Qigu; the use of 357 words, usually count Qigu. Wu Yan as Wulv Poems, eight 40-word limit; Seven Poems Qilv short, limited eight of 56 characters. More than eight long called the law, known as Pailv. Law-general, Wu Yan Shi. Only four of the called Poems; five a total of 20 no word Qijue a total of 20 eight characters. Poems and no law can be divided into two absolutely ancient. Law must be subject to the restrictions Pingze rhythm, ancient Ping Ze rhyme by no means the limit. Ancient general must be limited to only five absolutely.
"Modern Poetry" name, started in 1953 - the creation of the Standing string of "modern Shishe" established. The meaning of modern poetry:
1. Form of a free
2. Connotation is open
3. Image management emphasis on the rhetoric.
"Classical Poetry" and "Modern Poetry" Comparison: "Poems" in the sense of both to make, is the soul of the video now. "Classical Poems" "Si Wuxie" the concept of poetry to express Wenrouduihou, mourning and not complain, stressed that the "solution and Bu Kejie between." "Modern Poetry," stressed the spirit of free and open to frank statements situation, "between the flu and flu can not be" communication.
Poetry has the following main parts:
(A) the origin of poetry
Poetry is the oldest and most literary qualities of literary style. From the ancient people's labor, and of folk songs, poems and songs was originally a generic term. Regardless of poetry and song began, poetry and music, dance together, collectively referred to as poetry. Chinese poetry has a long history and rich heritage, such as, "The Book of Songs," "Songs of the South" and "Han Dynasty" and countless poet's works. Western Europe's poetry, from Homer's ancient Greece, ancient Rome Sappho and the Weier Ji, the poet Horace, such as creation of open source.
(B) the characteristics of poetry
Poetry is highly concentrated summary of the social life of a literary genre, full of the author's thoughts and feelings with a rich imagination, language and image Ninglian strong, with distinct rhythm, and harmony of phonology, the United States full of music, the words general With a branch, pay attention to the structure of the United States.
China's modern poet, literary critic He Qifang said: "Poetry is a concentrated reflection of the social life of literary style, full of rich imagination and feelings, often in direct lyrical approach to performance, but also in refining and harmonious Extent, especially in the distinct rhythms, its language is different from the language of prose. "This definition of the note, summed up the poetry of several basic characteristics: First, the highly concentrated, generally reflect the life of the second , Lyric-statement, full of rich thoughts and feelings; third, rich in imagination, Lenovo and fantasy; fourth, language music with the United States.
(C) the performance of poetry practices
Poetry means a lot of the performance of China's first pandemic is still frequently used
The performance of traditional practices have "vested, Belgium, Hing." "Mao sequence," said: "Poetry is a six-Yan: Yue Feng, Er Yue Fu, San Yue ratio, Si Yue Hing, Wu Yue Ya, Liu Yue Chung."
This "six-yi," the "wind, Accor, Chung" means "The Book of Songs" poems type, "Fu, Belgium, Environment" is the poem's performance practices.
Fu: a direct statement of things performance practices. In the Song Dynasty scholar Zhu Xi's "poetry-" the Note said: "Fu, Kurashiki and the respect of the Chen case also." Such as, "The Book of Songs" in the "Tan Ge", "Fu Yi" is used in this way.
Comparison: The analogy is the method of depicting things, to express thoughts and feelings. Liu Xie "Wenxindiaolong than the Environment", he said: "What is the ratio and also? to cover write-adhesion, and threatened to Qieshi also. "Zhu Xi said:" The ratio, the ratio of the He - Also. "Such as," The Book of Songs "in the" Tettigonioidea "" Shuoshu "chapter that is written in this method.
Hing: effect of child care is flourishing, that is, by a certain things that are beginning to cause things to describe the feeling, and the performance of the drafting. Tang Kong Yingda "Mao justice", he said: "Xing, from also. Reply from Pi category, the others from the heart, all verses cited well-intended animal to see, all-speech also." Zhu Xi More clearly pointed out: "Hing, the first statement by the Choir from Tawu in the speech also." Such as "The Book of Songs" in the "Guanju," "Taoyaomen" and other articles is to use "xing" means the performance.
Performance of these three methods, has been handed down, often integrated use of, complementary to the previous poetry writing has greatly affected.
Poetry is the performance of many of the practices, and history has been continuously develop and use is also flexible, exaggeration, rehabilitation Da, overlapping, jumping, etc., to make reference to. However, various methods can not be separated from imagination, rich imagination is a major characteristic of poetry, poetry is an expression of the most important practices. In poetry, there is also an important symbol of the performance is the way. Symbolic, to say that "for a symbolic meaning," but in modern poetry, the symbol of the soul and performance for the direct image, which is to be noted. In modern point of view, that poetry image-building approach, the main three:
1. Analogy. Liu Xie "Wenxindiaolong" the book said: analogy is "in sound or metaphor, or, in the old, or is intended to be in the heart, or Pi in the matter." In front of these in our list of poetry, it is Many examples. There is also a commonly used analogy of the way, that is, "to people": to be of people, or people to be on. The former as Xu Zhimo's "Zaibiekangqiao": I take lightly, / As I came to light, / I gently waved, / West deviate from the clouds. / Yoo that the river, / is the sunset of the bride; / Yan shimmering in the shadow, / in my heart Dangyang. "Clouds", "Kim Yoo" are viewed as a person. To be of the people, such as Rove's "because the wind because of":…… my mind / You are bright, like the candlelight window / slightly dubious of / by the inevitable trend / because of wind / …… Love to the whole of Health / lit a lamp / I am a fire / may be extinguished at any time / because of wind. "My heart" compared to the candlelight vigil, than for my lights. Of course, the final analysis, real or "to people."
2. Exaggerated. Is to depict things to be enlarged, like the movie "caps" and "Featured" lens, to attract the reader's attention and Lenovo. Li Bai's "Tao Huatan depth Qianchi, less than Wang Lun gave me feeling" ( "gifts Wanglun"), "Fei Liu直下3,000 feet, the suspect is charged nine Galaxy" , which said that "deep Qianchi "" 3,000 feet ", though not the truth, but he has shaped the image, it vividly shows the characteristics of things, the passion of the poet, readers can not only acceptable, but also convincing, very pleasant surprise. However, this exaggeration, must be art, the United States, should not be too absurd, or too real, Taisu. For example, is a description of the cotton harvest poem: "a cotton make a packet / Alice pressed by truck head / head Alice, beverage high / like an anti-aircraft artillery." Reading people feel that it is untrue, have U.S. can not feel.
3. By substituting. He is to replace the things things. It compared with a similar
Of, but different, difference is: the ratio is comparable to the general and the ratio of things are concrete, visible, and it is a party, by substituting specific, the more abstract side, the gap between abstract and concrete Bridges, so that the image of poetry is more clear, prominent, to trigger the reader's Lenovo. This is Ai Qing said the "idea to give wings to the feelings of the clothes, to the sound to color to pass changes to condensate shape."
Poetry shaping the image, not only can be used by the uptake of the material perspective to depict the screen, you can also use hearing, touch and other sensory received by the material, a number of ways to embody the image, to vivid and dramatic, vivid novel. Tang Dynasty poet Jia Dao Yin Chu riding on the donkey on the "bird places floor tree, Monk, pushed under the door," but that "Monk knock on the door" can be. What is the "push" or "strike," , it weighed a hand-shaped, unexpectedly blocked a high official of the donkey blocked, this person is a great writer Han Yu, when the guard will be taken to his Jia Dao Ma ago, according to Jia Xiang Gao, Han Chen Yin long time, that is used Qiaozi better. Because the "knock" sound, the Spring River in the mountains, there are one or two sound mind knock on the door, it makes that scenario "live", is all the more the silence of the environment. 詩體的分類，是壹個復雜的問題。現在，只就壹般的看法，簡單地談談漢魏六朝和唐宋的詩體。
漢魏六朝詩，壹般稱為古詩，其中包括漢魏樂府古辭、南北朝樂府民歌，以及這個時期的文人詩。樂府本是官署的名稱。樂府歌辭是由樂府機關采集，並為它配上樂譜，以便歌唱的。《文心雕龍·樂府》篇說："凡樂辭曰詩，詩聲曰歌。"由此可以看出詩、歌、樂府這三個概念之間的關系：詩指的是詩人所作的歌辭，歌指的是和詩相配合的樂曲，樂府則兼指二者而言。後來襲用樂府舊題或摹仿樂府體裁寫的作品，雖然沒有配樂，也稱為樂府。中唐時白居易等掀起壹個新樂府運動，創新題，寫時事，因而叫作新樂府。
唐以後的詩體，從格律上看，大致可分為近體詩和古體詩兩類。近體詩又叫今體詩，它有壹定的格律。古體詩壹般又叫古風，這是依照古詩的作法寫的，形式比較自由，不受格律的束縛。
從詩句的字數看，有所謂四言詩、五言詩和七言詩。四言是四個字壹句，五言是五個字壹句，七言是七個字壹句。唐代以後，四言詩很少見了，所以通常只分五言、七言兩類。五言古體詩簡稱五古；七言古體詩簡稱七古；三五七言兼用者，壹般也算七古。五言律詩簡稱五律，限定八句四十字；七言律詩簡稱七律，限定八句五十六字。超過八句的叫長律，又叫排律。長律壹般都是五言詩。只有四句的叫絕句；五絕***二十個字，七絕***二十八個字。絕句可分為律絕和古絕兩種。律絕要受平仄格律的限制，古絕不受平仄格律的限制。古絕壹般只限於五絕。
“現代詩”名稱，開始使用於1953年—紀弦創立“現代詩社”時確立。現代詩的含義：
1.形式是自由的
2.內涵是開放的
3.意象經營重於修辭。
“古典詩”與“現代詩”的比較：“詩”者皆為感於物而作，是心靈的映現。“古典詩”以“思無邪”的詩觀，表達溫柔敦厚、哀而不怨，強調在“可解與不可解之間”。“現代詩”強調自由開放的精神，以直率的情境陳述，進行“可感與不可感之間”的溝通。
詩歌主要有以下幾部分：
（壹）詩歌的起源
詩是最古老也是最具有文學特質的文學樣式。來源於古代人們的勞動號子和民歌，原是詩與歌的總稱。開始詩和歌不分，詩和音樂、舞蹈結合在壹起，統稱為詩歌。中國詩歌有悠久的歷史和豐富的遺產，如，《詩經》《楚辭》和《漢樂府》以及無數詩人的作品。西歐的詩歌，由古希臘的荷馬、薩福和古羅馬的維爾吉、賀拉斯等詩人開啟創作之源。
（二）詩歌的特點
詩歌是高度集中地概括反映社會生活的壹種文學體裁，它飽含著作者的思想感情與豐富的想象，語言凝練而形象性強，具有鮮明的節奏，和諧的音韻，富於音樂美，語句壹般分行排列，註重結構形式的美。
我國現代詩人、文學評論家何其芳曾說：“詩是壹種最集中地反映社會生活的文學樣式，它飽含著豐富的想象和感情，常常以直接抒情的方式來表現，而且在精煉與和諧的程度上，特別是在節奏的鮮明上，它的語言有別於散文的語言。”這個定義性的說明，概括了詩歌的幾個基本特點：第壹，高度集中、概括地反映生活；第二，抒情言誌，飽含豐富的思想感情；第三，豐富的想象、聯想和幻想；第四，語言具有音樂美。
（三）詩歌的表現手法
詩歌的表現手法很多，我國最早流行而至今仍常使用
的傳統表現手法有“賦、比、興”。《毛詩序》說：“故詩有六義焉：壹曰風，二曰賦，三曰比，四曰興，五曰雅，六曰頌。”
這“六義”中，“風、雅、頌”是指《詩經》的詩篇種類，“賦、比、興”就是詩中的表現手法。
賦：是直接陳述事物的表現手法。宋代學者朱熹在《詩集傳》的註釋中說：“賦者，敷陳其事而直言之也。”如，《詩經》中的《葛覃》《芣苢》就是用的這種手法。
比：是用比喻的方法描繪事物，表達思想感情。劉勰在《文心雕龍·比興》中說：“且何謂為比也？蓋寫物以附意，揚言以切事者也。”朱熹說：“比者，以彼物比此物也。”如，《詩經》中的《螽斯》《碩鼠》等篇即用此法寫成。
興：是托物起興，即借某壹事物開頭來引起正題要描述的事物和表現思想感情的寫法。唐代孔穎達在《毛詩正義》中說：“興者，起也。取譬引類，起發己心，詩文諸舉草木鳥獸以見意者，皆興辭也。”朱熹更明確地指出：“興者，先言他物以引起所詠之辭也。”如《詩經》中的《關雎》《桃夭》等篇就是用“興”的表現手法。
這三種表現手法，壹直流傳下來，常常綜合運用，互相補充，對歷代詩歌創作都有很大的影響。
詩歌的表現手法是很多的，而且歷代以來不斷地發展創造，運用也靈活多變，誇張、復沓、重疊、跳躍等等，難以盡述。但是各種方法都離不開想象，豐富的想象既是詩歌的壹大特點，也是詩歌最重要的壹種表現手法。在詩歌中，還有壹種重要的表現手法是象征。象征，簡單說就是“以象征義”，但在現代詩歌中，象征則又表現為心靈的直接意象，這是應予註意的。用現代的觀點來說，詩歌塑造形象的手法，主要的有三種：
1．比擬。劉勰在《文心雕龍》壹書中說：比擬就是“或喻於聲，或方於貌，或擬於心，或譬於事。”這些在我們前面列舉的詩詞中，便有許多例證。比擬中還有壹種常用的手法，就是“擬人化”：以物擬人，或以人擬物。前者如徐誌摩的《再別康橋》：輕輕的我走了，／正如我輕輕的來；／我輕輕的招手，／作別西天的雲彩。／那河畔的金柳，／是夕陽中的新娘；／波光裏的艷影，／在我的心裏蕩漾。把“雲彩”“金柳”都當作人來看待。以人擬物的，如，洛夫的《因為風的緣故》：……我的心意／則明亮亦如妳窗前的燭光／稍有曖昧之處／勢所難免／因為風的緣故／……以整生的愛／點燃壹盞燈／我是火／隨時可能熄滅／因為風的緣故。把“我的心”比擬為燭光，把我比作燈火。當然，歸根結底，實質還是“擬人”。
2．誇張。就是把所要描繪的事物放大，好像電影裏的“大寫”“特寫”鏡頭，以引起讀者的重視和聯想。李白的“桃花潭水深千尺，不及汪倫送我情”（《贈汪倫》）“飛流直下三千尺，疑是銀河落九天”（《望廬山瀑布》），其中說到“深千尺”“三千尺”，雖然並非事實真相，但他所塑造的形象，卻生動地顯示了事物的特征，表達了詩人的激情，讀者不但能夠接受，而且能信服，很驚喜。然而這種誇張，必須是藝術的、美的，不能過於荒誕，或太實、太俗。如，有壹首描寫棉花豐收的詩：“壹朵棉花打個包／壓得卡車頭兒翹／頭兒翹，三尺高／好像壹門高射炮。”讀後卻反而使人覺得不真實，產生不出美的感覺。
3．借代。就是借此事物代替彼事物。它與比擬有相似
之處，但又有所不同，不同之處在於：比擬壹般是比的和被比的事物都是具體的、可見的；而借代卻是壹方具體，壹方較為抽象，在具體與抽象之間架起橋梁，使詩歌的形象更為鮮明、突出，以引發讀者的聯想。這也就是艾青所說的“給思想以翅膀，給感情以衣裳，給聲音以彩色，使流逝變幻者凝形。”
塑造詩歌形象，不僅可以運用視角所攝取的素材去描繪畫面，還可以運用聽覺、觸覺等感官所獲得的素材，從多方面去體現形象，做到有聲有色，生動新穎。唐代詩人賈島騎在毛驢上吟出“鳥宿池邊樹，僧推月下門”，但又覺得用“僧敲月下門”亦可。究竟是“推”還是“敲”，他拿不定主意，便用手作推敲狀，不料毛驢擋住壹位大官的去路，此人乃大文豪韓愈，當侍衛將賈島帶到他的馬前，賈據實相告，韓沈吟良久，說還是用敲字較好。因為“敲”有聲音，在深山月夜，有壹、二記敲門聲，便使得那種情景“活”起來，也更顯得環境的寂靜了。前述《楓橋夜泊》的“烏啼”“鐘聲”，也是這首詩的點睛之筆。還有白居易的《琵琶行》中的音樂描寫，“大珠小珠落玉盤”壹段，更是十分逼真，非常精彩！現代的如黃河浪的《晨曲》：“還有那尊礁石/在固執地傾聽/風聲雨聲濤聲之外/隱隱約約的/黎明/靈泉寺的晨鐘/恰似鼓山湧泉的/悠遠回應/淡淡淡淡的敲落/幾顆疏星/而漲紅花冠的/雄勁的雞鳴/仿佛越海而來/啼亮壹天朝霞/如潮湧。這首詩也寫得很好。所以我們如果掌握了用聲音塑造形象的手法，那將為詩歌創作開拓壹個更加廣闊的領域。
無論是比擬、誇張或借代，都有賴於詩人對客觀事物進行敏銳的觀察，融入自己的情感，加以大膽的想象，甚
至幻想。可以這樣說，無論是浪漫派也好，寫實派也好，沒有想象（幻想），便不成其為詩人。比如，以豪放著稱的李白，固然想象豐富，詩風雄奇，而以寫實著稱的杜甫，也寫出了諸如“安得廣廈千萬間……何時眼前突兀見此屋……”（《茅屋為秋風所破歌》）和“香霧雲鬟濕，清輝玉臂寒。何時倚虛幌，雙照淚痕乾。”（《月夜》）等等浮想連翩的佳作。