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Melancholy refers to an artistic style in poetic works in which sentiment expressed is subtle and the message is profound. Ancient Chinese poets represented by Du Fu（712-770）, keenly concerned about state affairs and people’s hardships, tried hard to understand what caused the rise and fall of a nation and sought ways to save the country and the people, but all to no avail. Such frustration and disappointment are thus reflected in their poems. With meticulously crafted structure, rhythm, and tones, their works give readers a special aesthetic appreciation of melody and infinite afterthought.
Shi (诗) is a major genre of ancient Chinese literature, the earliest literary form that emerged in China. Observing the requirements of a certain rhythm, rules of rhyming, number of characters, and type of verses, and using concise language and rich imagination, it reflects social life and conveys thoughts and emotions. Shi and wen (文) are two principal forms of ancient Chinese literature. Shi, as referred to by the ancient Chinese, consists of the older type of poetry and the latter type of poetry. It generally does not include ci (词 lyric) and qu (曲 melody), which appeared as literary genres after the Tang Dynasty. The older type of shi is also called gufeng (古风), meaning ancient style, which is a general appellation for all kinds of poetic forms produced prior to the latter type of shi, except the style employed in the odes of Chu. With relatively few restrictions in rules and forms, shi is not constrained by any antithetical arrangement or a fixed tone pattern, and its rhyme is fairly free. In addition, the length of a piece is not limited. A verse may have four, six, seven, or a mixed number of Chinese characters. The latter type of shi is also called gelüshi (格律诗), meaning poetry with fixed patterns. Its number of characters, rhyming, tone pattern, and antithetical arrangement are all strictly fixed. A poem of this type may contain four lines (known as jue 绝), each with five or seven characters, or eight lines (known as lü 律), each with five or seven characters. Occasionally, it is much longer than normal, expanding to one and a half dozen lines, which is referred to as pailü (排律). The difference between shi, and ci and qu is that the former is not set to music, while the latter may be set to music and sung. Shi has existed as a literary form for more than 2, 000 years in China. Ancient Chinese used shi to connect humans with nature, voice aspirations, and give expression to emotions. It embodied the spirit and aesthetic pursuits of literature and art in ancient China, which is very different from the West, which only sees poetry as a category of literature. In ancient China, Confucian thought played an important guiding role in poetic creation, while Daoist and Buddhist thoughts had a profound influence on the theory of poetry’s artistic conception. Since The Book of Songs was China’s earliest collection of poems, later generations also used shi to refer to The Book of Songs in particular.
This term refers to poetry that reflects social realities and major events of a historical period, thus possessing historical value. Some of the poems in The Book of Songs were about the realities of its time, which prompted Confucius（551-479 BC） to exclaim that “The Book of Songs enables one to understand society.” This means that he viewed The Book of Songs as using poetry to reflect history. Han dynasty scholars stressed the importance of poetry as a means of recording history. Subsequently, Chinese scholars of poetry believed that poetry should reflect reality through aesthetic means so as to provide aesthetic enjoyment, understanding as well as education. The poems of Tang poet Du Fu（712-770） are called “historical poetry” because they reflected what the country went through during the An Lushan-Shi Siming Rebellion and the author’s acute sense of sadness about the misery the country and its people suffered in times of national crisis.
This term refers to the poetic creation and achievements during the Kaiyuan (713–742) and Tianbao (742–756) reign periods of Emperor Xuanzong of the Tang Dynasty, as compared with poetic writing in the early Tang, mid-Tang, andlate Tang periods. This period, marked by good governance, prosperity, and stability, was a golden era for the great Tang empire before it was disrupted by the An Lushan and Shi Siming Rebellion. There was cultural infusion between the north and south, and travels to and from the outside world were frequent. All this made it possible for artistic creation to blossom. Of all the four periods of poetic creation, i.e., the early Tang, the prime Tang, the mid-Tang, and the late Tang, the prime Tang was the shortest, but its artistic attainment was most remarkable. This period produced legendary poet Li Bai (701-762) and poetic genius Du Fu (712-770) as well as a galaxy of outstanding poets such as Zhang Yue (667-731), Zhang Ruoxu, Zhang Jiuling (673 or 678-740), Meng Haoran (689-740), Wang Wei (701?-761), Gao Shi (700?-765), Cen Shen (715-770), Wang Changling (?-756?), Wang Zhihuan (688-742), Cui Hao (?-754), Li Qi (?-753?)，and Wang Han. These poets extolled natural scenery, expressed noble aspirations, and depicted real life. Their writing style was both vigorous and unrestrained. They were broad in vision and were adept at using fresh, natural language, and their poems were full of power, vigor and an enterprising spirit. Their poems represented the highest attainment in classical Chinese poetry. This period also saw the thriving of the natural landscape school and the frontier school in poetry writing.
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