Tang poems are distinguished by their authentic and natural atmosphere, vigorous and elevated character. The majestic writing of Tang poetry combines the development of ancient and modern styles to create new forms. Landscape and pastoral poetry has a serene style with the natural beauty of clear water and lotus flowers. At the same time, it also embodies the magnificent and heroic behavior of the people of the prosperous Tang Dynasty. All these factors brought the art of poetry to its peak, with an unprecedented richness of themes and variety of styles.
Tang poetry is generally divided into four periods: the Early Tang (618-712), the High Tang (712-762), the Middle Tang (762-827), and the Late Tang (827-859).
“People Ask the Way to Cold Mountain” by Han Shan (Taken from "The Kingdom of Chinese Poetry" p. 171)
People ask the way to Cold Mountain
But the path is impassable
In summer, the ice has not yet melted
The sun rises, but thick mists obscure and confuse
A guy like me, how did he get there?
It is because my mind is not like yours
If your heart were like mine
You too would be right here with me
Hanshan “Cold Mountain” (date of birth and death unknown, about 618 AD. - 700 AD.), born in Julu (now Xingtai, Hebei), did not leave his real name, only his nickname “Hanshanzi”. He was a famous poet-monk of the early Tang period, active during the reigns of De Zong and Zhao Zong. Born into a family of officials, he became a monk after failing the imperial examinations and lived in seclusion all his life on the Cold Mountain, Mount Tiantai, from which he took the name “Hanshanzi”. His erudition was vast, encompassing the teachings of Confucius, Laozi and Buddha. His “Three Hundred and One Poems” are peculiar: they appear simple but in fact conceal deep meanings.
“Overnight at the Mountain Temple” by Li Bai (Taken from "The Kingdom of Chinese Poetry" p. 249)
The vertiginous tower rises a hundred feet
With your hand you can pluck the stars
I dare not speak aloud
For fear of disturbing the inhabitants of the sky
Li Bai (701-762), with the courtesy name Taibai, also known as “Hermit of the Green Lotus” and “Immortal Exile”, is celebrated as the “Immortal Poet”.
This poem is characterised by a language that is bold and vigorous, simple and delicate. Using hyperbole, the poet creates with just a few brushstrokes a vivid and fascinating image that conveys a sense of wonder and a return to natural simplicity.
Liu Zai of the Song dynasty commented: “The verses are majestic, transcending the centuries”.
"Night Thoughts on the Road” by Du Fu (Taken from "The Kingdom of Chinese Poetry" p. 257)
On the shore, the slender grass is swaying in the light breeze
The mast of my boat towers, solitary in the night
The stars hang low over the vast plain
The moon plunges into the flow of the Great River
Is fame really achieved through writing?
Removed from duties by age and illness
What do I resemble, wandering aimlessly?
I am like a lonely seagull between heaven and earth
Du Fu (712 – 770), courtesy name Zimei, was a great realist poet of the Tang Dynasty. He was honoured as the "Sage of Poetry" for his extraordinary artistic achievements. His poems depict the historical process of the Tang Dynasty, from prosperity to decline, and are therefore called "Historical Poems". His quatrains were also highly praised by later generations.
“Flower, Not a Flower” by Bai Juyi (Taken from "The Kingdom of Chinese Poetry" p. 275)
Flower, not a flower. Evanescent, yet not mist
Comes in the dead of night, leaves at dawn's first light
Comes like a spring dream, for how long?
Leaves as the morning clouds vanish, no longer to be found
The poems of Bai Juyi (772-846) are famous not only for their simple language, but also for the clarity of their imagery. This poem, however, is an exception. The whole poem flows like clouds and water, with an implicit meaning that is not explicitly stated, adding a touch of hazy beauty that makes it a beautiful love poem. Wang Yiqing of the Qing dynasty quotes Huang Sheng in “Lidai Cihua”: “The poem 'It is not flower' is particularly enveloping and infinite.” Chen Tingzhuo of the Qing Dynasty writes in “Yunshao Ji”: “The first two verses are wonderful. Look at the way he describes coming and going, without any human effort, but with a divine naturalness.”
