What is Du Fu's literary contribution to China?

1At the end of the 9th century and the beginning of the 20th century, western learning spread to the east, and the enlightenment of "democracy" and "science" was inspiring, which opened up a new realm for the study of Du Fu. On May 2 1922, Liang Qichao's speech "Du Fu in Love" at the Poetics Research Society first aimed at the idea of "poetic sage" with moral standards, and for the first time discussed Du Fu's ethos with the standards of "truth, goodness and beauty" in western literary theory, and sealed the emblem of Du Fu's "lover saint"-including richness, authenticity, profundity and expression methods. The greatest value of Du Fu's poems lies in "describing the social situation" and "eulogizing the psychology of the times" by means of "semi-realism. Even "crying" means "crying at once is beautiful" (1). Hu Shi, Su, Wu and others used "truth, goodness, beauty" and "realism" to evaluate Du Fu's poems. In the History of Vernacular Literature, Hu studied Du Fu and his poems from the perspective of the relationship between literary thoughts and the changes of the times, and thought that the Anshi Rebellion was an era of "weeping literature" and "learning from bitter experience", which was Du Fu's "problem poem"-"expressing life", that is, expressing "the real sufferings of the people, the real problems of society and the real situation of the country. So he said at the end of the same book "Li Baizhang": "Du Fu is our poet. "In chaos, the style of Du Fu's poems tends to be true, deep, honest and inexpensive. However, due to Hu Shili's advocacy of vernacular Chinese, he regarded "using vernacular Chinese" as Du Fu's "a great success in his later years, which opened up a lot of methods for later poets" and greatly influenced the Song Dynasty. He also regarded humor as the "special style" of Du Fu's later poems. Although there are unique excavations, they are somewhat biased. He regarded Du Fu's metrical poems in his later years as "used to relieve worries and boredom", especially for later generations. Su praised Du Fu as a "master of realism" in An Introduction to Tang Poetry. She thinks that Du Fu, after the Anshi Rebellion broke out, was different from "Li Bai fled to the sky, Wang Wei and Pei Di fled to the mountains, Gao Shi and Cen Can fled to silence". Instead of shrinking, he stepped forward, carefully observed and dissected, and "seriously shouted out the pain of the times", thus "becoming a major school of Tang poetry". Du Fu's poems are not only "the history of poetry", but also "the mapping of great personality" and "the revelation of humorous interest". Wu's On Du Fu also spoke highly of Du Fu's realistic artistic achievements of truth, goodness and beauty.

Studying Du Fu's Wen Yi from the perspective of a poet and scholar is not only an invention of Tudor. His Du Fu is based on the solid old learning, and has the appeal of new horizons, new methods and new literature and art. His Chronicle of Mr. Shaoling is even more focused on various cultural forms at that time. This practice of focusing on the overall situation and highlighting the cultural background is the innovation of China's genealogy and China's genealogy. (2) Later, Wen Yiduo's student Zheng Linchuan compiled and published Tang Poems, which recorded Wen Yiduo's views on Du Fu: the literati in Han Dynasty had conscience but no literature, and there was literature but no conscience in Wei, Jin and Six Dynasties, and Du Fu had both conscience and literature. It can be described as insightful! Through the analysis of Du Fu's polysemous poems in Zhu Ziqing's Examples of Poems, we can solve the problems that are difficult to be solved by Bixing School and Southern Song Dynasty Commentary School in Biography of Mao Gong's Poems, which should be paid attention to.

(B) Times call Du Fu

The 1930s and 1940s were particularly severe periods of national disasters. The national consciousness of Du Fu's poems inspires people, and the war urges people to experience the spirit of Du Fu's poems. For example, Feng Zhi's Du Fu and Our Times points out that people who have suffered from war read Three Officials, Three Farewells and other works, and feel that every sentence is true, and that sad Chen Tao, sad class cleaning and hope for spring are "the blood and tears of the people in the occupied areas". "After reading these famous sentences, we feel that Du Fu is not only the mouthpiece of the people in the Tang Dynasty, but also seems to be. Qian Lai Su's On Du Fu holds that Du Fu's poems can always arouse people in the ruling and opposition circles and drive Hu Kou out of China quickly. There are many works expressing national integrity and national consciousness in his poetry collection "(1). In the same Liberation Daily, Miscellaneous Notes on the Desk published in Huannan, that is, Du Fu's has a very noble personality, and he has also cultivated his great works. On the one hand, Yan Bozan's study of Du Fu holds that "Du Fu's poems are both poems and history, and they are a history of the Tang Dynasty before and after Tianbao written in poetic style. On the one hand, he believes that "Du Fu not only cries for his poverty and depression, but also cries for the poor and the changes of the times" ... until now, he can still strike a chord with readers "(1). Li Guangtian's "Du Fu's Creative Attitude" holds that Du Fu's "creative attitude" is "for life" and his creative object is "the life of most people in that era" (1). Due to the stimulation of the times, the study of Du Fu's thought mainly focuses on the discussion of his Confucianism. For example, Huang Zhigang's On the Confucian Spirit of Du Fu's Poems takes "the way of monarch, the way of Yao and Shun, and then the vulgarity is pure" as the core content of Du Fu's Confucianism. Du Fu's heart is Miracle, which is actually the starting point for him to think about the sufferings of people's livelihood. It is also a true answer to the practice of Confucian spirit and the comparison between Du Fu and Miracle (1). The social thought of Du Gongbu, a monk of Mohism, holds that Du Fu has the great idea that "the widowed, the orphans and the disabled are all provided for": "He is a social thinker, not a poet".

The phenomenon of suppressing Li in this period was also "the result of the times" (Du Fu was needed more in troubled times). For example, Hu Xiaoshi's comparison of Du Li's poems affirmed Du Li's contribution to "subverting fashion" with "maverick spirit". In poetry creation, Li Bai is a "master of retro school" and Du Fu is a "fanatical revolutionary in the country of poetry" (1). From the study of Du Fu and his poems, Du Fu's poems reflect the common people's thoughts, while Li's poems reflect the aristocratic thoughts. Monk Mogao's article focuses on different outlook on life: "Li started from individualism ... Du Fu was close to socialism, and" was particularly concerned about the sufferings and joys of others. " Fu Gengsheng's evaluation of Du Li's poems is based on the primary and secondary relations of feelings, thoughts, imagination and forms, and the unity of truth, goodness and beauty as the "objective standard" for evaluating Du Li. The result is: "Du Fu scored eight or nine points, while Li Bai scored two or three points." The reason lies in "different attitudes towards life", which directly leads to the different styles of Li Du's poems-"gloomy" and "open-minded" (1).

In addition, Du Fu's poetry criticism rose to the theoretical stage during this period. Guo Shaoyu accepted Du Fu's "Play as Six Poems" and thought that in the old society, "the theory of lifelong poetry aims at learning from the scriptures, so it is impossible to play accidentally", and then summarized Shao Ling's self-condition. The main purpose was to warn the younger generation that Shao Ling's poems talked about works of art and endless poems were also discussed. He also discussed that Shao Ling's poems aimed at sorting out 189 in Du Fu's poems and demonstrated "God". Furthermore, the relationship between "dynamic interest" and "emptiness", "freshness and" age ",emotion and reason interest, statutes and good sentences (1) is discussed. Similar to Tan, Jin Qihua's On Du Fu's Poems discusses Du Fu's "program of learning poetry", "the essence of poetry lies in God", and there is also a point of returning to poetry (1). New achievements have also been made in the textual research of Du Fu's poems. Ye Hong's Preface to Du Fu's Poems is a systematic and comprehensive textual research and annotation of Du Fu's poems. With abundant materials and editions, Hong studied the development process of Du Ji from book writing to annotation, evaluation and selection, as well as the origin relationship between the volumes, and made concise comments on dozens of Du Ji's poems from Song Dynasty to Qing Dynasty, which became A Brief History of Du Ji's Poems. A Textual Research on Du Fu's Poems by Cheng Huichang () makes a detailed textual research on annotation, Su Shi's annotation on Dongpo Du Fu's poems, Huang Tingjian's annotation on Du Fu's poems, Yu Ji's annotation on Du Fu's poems, and Du Ju's annotation on Du Fu's poems, and quotes many convincing new materials (3