Category: Education/Science
Problem description:
Climbing high
Era: Tang Author: Du Fu Genre: Qilu Category:
Climbing high
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The wind is strong, the sky is high, the ape is screaming in mourning, and the white bird is flying back from the clear sand in the desert.
The endless falling trees rustle and the endless Yangtze River rolls by.
Wanli is always a guest in the sad autumn, and he has been sick for hundreds of years and only appears on the stage.
Difficulty hates the frost on the temples, and the new wine glass becomes muddy.
Analysis:
Du Fu (712-770), courtesy name Zimei, is one of the most famous poets in Chinese history and is known as the "Sage of Poetry". After the "Anshi Rebellion", he fled to Chengdu in the second year of Emperor Qianyuan (759) of the Tang Dynasty and lived in a thatched house near Shuihua Stream. Du Fu's Thatched Cottage is Du Fu's former residence, located on the bank of Huanhua Stream in the western suburbs of Chengdu. Du Fu arrived in Chengdu after being displaced, and with the help of friends, he built a thatched cottage by the Huanhua River in the west of the city. He lived here for nearly 4 years and wrote more than 240 poems. "Spring Night Happy Rain", "Song of Thatched Cottage Broken by Autumn Wind", etc. were written here. In order to commemorate this great poet, since the Northern Song Dynasty, some people have built gardens and temples at the poet's former residence for people to pay their respects. The thatched cottage where Du Fu lived in those days no longer exists. The current thatched cottage is actually a beautiful garden built by later generations to commemorate Du Fu. The garden has a total area of ??about 300 acres, a plum garden, a phoebe forest, and green bamboos for thousands of years. Small streams and bridges intersect the courtyard, adding infinite poetic charm to the poet's former residence.
In the "Big House", there is a panoramic view of the traditional Chinese painting Du Fu Hall and an introduction to Du Fu's life. In the center of the "Poetry and History Hall" is a sculpture of Du Fu chanting. Between the pillars hang rubbings of Du Fu's statues, woodcuts and couplets commemorating the poet. The exhibition rooms on both sides display "Du Fu's poetic paintings" and "Du Fu's poetic paintings" by modern calligraphers and painters. calligraphy. The "Gongbu Temple" contains a colorful statue of Du Fu, stone carvings from the Ming and Qing Dynasties and two inscriptions of "Shaoling Thatched Cottage". Later generations also enshrined the famous poets Huang Tingjian and Lu You in the temple, who were local officials in the Song Dynasty. . The "Caotang Bookstore" on the left side of the "Gongbu Temple" and the "Qiaai Hangxuan" on the right side display ancient editions of Du Fu's works and various foreign language translations from various periods since the Song Dynasty.
Du Fu's character is Zimei. His ancestral home is Xiangyang (now part of Hubei), and he was born in Gong County, Henan.
Because he lived near Shaoling in the south of the city for a time when he was in Chang'an, he called himself Shaoling Ye Lao. When he was in Chengdu, he was recommended as a Jiedu staff member and a member of the Ministry of Inspection and Engineering. Later generations also called him Du Shaoling and Du Shaoling. Ministry of Industry.
Growing up in a family with a literary tradition of "serving Confucianism and guarding officials", Du Fu's grandfather Du Shenyan was a famous poet during the reign of Empress Wu and a member of the official dining department; his father Du Xian was a former Sima and Sima of Yanzhou. Magistrate of Fengtian County. He began to study poetry at the age of 7. When he was 15, his poetry attracted the attention of celebrities in Luoyang. His life after the age of 20 can be divided into four periods.
The wandering period lasted from the 19th year of Kaiyuan of Xuanzong (731) to the fourth year of Tianbao (745). Du Fu undertook two long-term wanderings. The first time was in the Jiangnan area. He visited Jinling and Suzhou, crossed Zhejiang, and boated on the Yan River to the foot of Tianmu Mountain. In the 23rd year of Kaiyuan, he returned to Luoyang to take the Jinshi examination, but was not admitted. The following year, he started his second tour in the Qi and Zhao area. He recalled the scene in his later years: "The debauchery between Qi and Zhao, the horses were quite wild." ("The Grand Tour") During these two tours, he saw The beautiful and majestic mountains and rivers of the motherland have absorbed the culture of Jiangnan and Shandong, broadening their horizons and enriching their knowledge. In the 29th year of Kaiyuan, he lived at the foot of Shouyang Mountain between Luoyang and Yanshi. He probably married his wife Yang at this time. After three years of Tianbao, he met Li Bai in Luoyang. The two traveled around Qilu, visited roads, found friends, and talked about poetry. They also wrote papers and sometimes discussed current affairs, forming a deep friendship. In the autumn of the following year, Du Fu was about to go west to Chang'an, and Li Bai was preparing to revisit Jiangdong. They broke up in Yanzhou and never met again. Du Fu wrote many touching poems in memory of Li Bai.
At this time, the Tang Dynasty was still strong, and the warehouses were quite abundant. However, Xuanzong began to enjoy great achievements, open up frontiers, consume a lot of manpower and material resources, and there was already a crisis of instability lurking in the society. Du Fu had a premonition of this, but did not face it. He lived a romantic life of mountain climbing, wading, and singing about hunting.
According to his own account, there may have been hundreds of poems written by him during this period, but only about twenty have been handed down, mainly five-character poems and five-character ancient poems. Although there are extraordinary works like "Wang Yue" among them, generally speaking, they have not surpassed the level of famous poets of Du Shenyan's period.
Chang'an Period From the fifth year of Tianbao to the fourteenth year of Tianbao, Du Fu lived in Chang'an for 10 years, and his life, thoughts and creations underwent tremendous changes. He went to Chang'an with the purpose of seeking an official position and making achievements. In the sixth year of Tianbao, Xuanzong ordered people with talents in literature and art to come to Kyoto to be selected. Du Fu took the exam. However, due to the conspiracy of Zhongshu Ling Li Linfu, who was known for his "sweet talk and sword", none of the candidates were selected. During the ten years of Tianbao, Xuanzong held three grand ceremonies to worship "Emperor Xuanyuan" Laozi, the Imperial Ancestral Temple, and Heaven and Earth. Du Fu wrote three "Da Li Fu" contributions, which were praised by Xuanzong. He ordered the prime minister to examine his articles and wait for distribution, but there was no follow-up. He kept writing poems and sending them to powerful people, hoping to get their recommendation, but to no avail. Finally, he got the position of right guard and led the governor to join the army. This was already the end of Du Fu's stay in Chang'an and the eve of An Lushan's rebellion.
In his later years, Xuanzong completely changed the good political style that he had worked hard to govern during the Kaiyuan period. The first prime minister was corrupt and arrogant, and his generals were militaristic, while he himself was enjoying himself in the palace. The people were increasingly cruelly exploited by taxes and levies. Du Fu was "starved for food and clothing". In order to make ends meet, he had to visit the nobles' mansions, act as a "guest", accompany them in poetry, wine and travel, and receive a small amount of funding. At the same time, he made some friends who were also poor like him and had relatively extensive contact with working people. His footsteps went from the poor alleys to the gardens of the nobles, from Qujiang, where the towers and pavilions competed with each other for luxury, to the Xianyang Bridge that must be passed by when recruiting people. The failure of his official career requirements enabled him to objectively understand the corruption of the ruling class. Personal hunger and cold forced him to appreciate the suffering of the people. These two completely different aspects of life are reflected in Du Fu's poems. Eleven years after Tianbao, he wrote such immortal masterpieces as "The Military Chariot", "The Beauty's Journey", "Out of the Fortress Before", "Out of the Fortress Behind", etc., and began to add new content and new expression methods to the poetry at that time. In the winter of the 14th year of Tianbao, Du Fu visited his wife who was living in Fengxian and wrote "Five Hundred Words of Ode to Huai from Beijing to Fengxian County", which expressed his deep feelings of "worrying about Li Yuan in his poor years and sighing for the heat in his intestines", using "Zhumen" "The wine and meat stink, and there are bones frozen to death on the road" summarizes the sharp contradictions in society, and also depicts the family situation of "when one enters the door and hears the whistle, the youngest son dies of hunger". This is a summary of his ten years of Chang'an life, and also marks the Tang Dynasty. The final summary of the prosperous age.
There are more than a hundred poems handed down from this period, and most of the outstanding poems are ancient poems of five or seven characters.
His appointment as Zuo Shiyi and the period of exile: from Suzong to De Yuanzai (756) to the second year of Qianyuan (759). After An Lushan raised his troops, he drove southward and quickly captured Luoyang and Chang'an. Du Fu was in □zhou at this time. He heard that Tang Xuanzong fled to Xishu and Suzong ascended the throne in Lingwu, so he placed his family in Qiang Village in the north of the city and went north alone to defect to Lingwu. Unfortunately, he was intercepted by the rebels and sent to Chang'an. . Du Fu was trapped among thieves for nearly half a year. He saw the stately and orderly capital city in desolation and the loss of life. Hearing the news that the Tang army had counterattacked twice and was annihilated in Chentao and Qingban, he was filled with grief and indignation and wrote "Sorrow for Chentao". ", "Sad Qingsaka", "Spring Hope", "Aijiangtou" and other poems. In April of the second year of Zhide (757), Du Fu risked his life and escaped from Chang'an and went to Fengxiang, Suzong's temporary residence, and was appointed Zuo Shiyi. Not long after, he offended Suzong because of his rescue of Fang, and he was interrogated. In August, he returned to □zhou to visit his wife and completed the long poem "Northern Expedition", which was comparable to "Five Hundred Words from Beijing to Fengxian County", describing the desolate scene on the journey and the poverty of his family.
Express your opinions on the current situation.
In September of this year, the Tang army regained Chang'an and Luoyang in October. Suzong returned to Beijing at the end of October. Du Fu also returned to Chang'an at this time, still serving as Zuo Shiyi. In May of the following year, Du Fu was affected by the struggle between the new nobles of Su Zong and the old officials of Xuanzong in the court. He was transferred to Huazhou Sigong to join the army, and he never said goodbye to Chang'an.
In the spring of the second year of Qianyuan, Du Fu went to Henan to visit his old residence. On his way back, he saw with his own eyes the suffering of the people under the cruel oppression of the officials, and wrote the famous "Xin'an Officials", "Tongguan Officials", "Tongguan Officials" and "Tongguan Officials". "Shi Hao Li", "Newlywed Farewell", "Elderly Farewell" and "No Home Farewell" are composed of six poems, later generations referred to them as "Three Officials" and "Three Farewells".
It was early summer when Du Fu returned to Huazhou. At this time, there was a great famine in Guanfu, Li Fuguo had exclusive power in the court, and Xuanzong's old ministers, Fang and others were excluded. Du Fu felt disappointed with politics. After the beginning of autumn, he resolutely abandoned his official position and went west to Qinzhou. After spending less than four months in Qinzhou, he went to Tonggu in early winter. He stayed in Tonggu for one month, walked on the difficult road to Shu, and arrived in Chengdu at the end of the year.
The Anshi Rebellion was a turning point in the Tang Dynasty's rise and fall. Huge changes occurred in social politics and economy. Politically, the imperial court lost its centralized ruling power internally, and could not resist the invasion of the Tibetan tribe externally; economically, due to years of war and natural disasters, the countryside was in depression, but the exploitation of the people by the ruling class had a negative impact. It has continued to increase, resulting in a sharp decline in population and reduced productivity. Du Fu also personally experienced very complicated changes: exile, being trapped by a thief, working as a scavenger for the emperor, being demoted to Huazhou, on the desolate Luoyang Road, living in Qinzhou, and his journey to Shu - whether it was human relations or the natural environment. , there are huge disparities. This kind of life experience was much richer and more difficult than in the Chang'an period. As a result, a variety of poems were produced. More than 200 poems have been handed down, most of which are masterpieces of Du's poems.
The period of wandering in the southwest lasted from the first year of Shangyuan of Suzong (760) to the fifth year of Dali of Daizong (770). Within 11 years, Du Fu spent 8 years in Shuzhong and 3 years in Jing and Hunan. When Du Fu was in Kuizhou, he said that he was "wandering between heaven and earth in the southwest" ("Ode to Ancient Relics"). In fact, he lived in Chengdu for five years and his life was relatively stable. In the spring of the first year of the Yuan Dynasty, he built a thatched cottage on the bank of Huanhua River in the west of Chengdu, ending his four-year wandering life and getting a place to live. He left the Central Plains, which was turbulent with wars and plagued by mourning, and saw a pastoral scene in front of him. The flowers, birds, insects, and fish all seemed to show their hospitality to him, which gave him a temporary rest after many years of hard work and worry. He also wrote countless poems with infinite love. Sing less poetry about nature. But he never forgot the people who were displaced and had no place to live. In "Song of Thatched Cottage Broken by the Autumn Wind", he sang the famous line "There are tens of thousands of mansions, and the shelter of the poor people all over the world will make them happy".
At the end of the second year of the Yuan Dynasty, Yan Wu came to Chengdu to serve as Chengdu Yin and Censor Zhongcheng, and gave Du Fu a lot of help. In July of the first year of Baoying's reign (762), Emperor Yan Wu entered the dynasty. Chengdu Shaoyin and censor Xu Zhizhi rebelled in Chengdu, and Du Fu went into exile in Zizhou and Langzhou.
In the spring of the second year of Baoying, the Anshi Rebellion that lasted for seven or eight years ended. When Du Fu heard the news, he was so excited that he thought there was hope of returning to Luoyang. The seven rhythms burst out inner joy. This is the happiest song in Du Fu's life. But the happiness was short-lived. The chaotic situation in the country had not yet been clarified. Tibetans from the West invaded again and once captured Chang'an in October. Du Fu expressed infinite concern about this: "Is Xijing safe? No one has come." ("Morning Flower") He wrote many poems stating his political thoughts.
In the spring of the second year of Guangde (764), Yan Wu was appointed as Chengdu Yin and Jiannan Jiedu Envoy. Du Fu also returned to Chengdu in March. Yan Wu recommended Du Fu as a counselor of the Jiedu and a member of the Ministry of Inspection and Engineering. Du Fu lived in the shogunate of the Jiedushi shogunate in Chengdu for several months. Because he was not used to the life of the shogunate, he repeatedly asked to return to the thatched cottage. Finally, Yan Wu allowed him. ask. In April of the first year of Yongtai (765), Yan Wu died suddenly. Du Fu lost his support and had to lead his family to leave the thatched cottage in May and take a boat eastward. "Five years of traveling to Shu County and one year of residence in Zizhou" ("Going to Shu") ended the first half of Du Fu's "wandering in the southwest".
Du Fu arrived in Yun'an in September and was unable to move forward due to illness. He did not move to Kuizhou until his illness subsided in the late spring of the following year. He lived in Kuizhou for less than two years and created very richly. He wrote more than 400 poems, accounting for two-sevenths of all Du's poems.
The poems sung the praises of the poor working people in Kuizhou, described the dangerous mountains and rivers here, reflected the turmoil in Shu and the longing for Chang'an and Luoyang. There were also a large number of poems about remembering friends and remembering the past. However, his health is getting worse and worse, with malaria, lung disease, rheumatism, diabetes, etc. constantly bothering him.
Because of the harsh climate in Kuizhou and few friends, Du Fu set out to go out of the gorge in the first month of the third year of the Dali calendar (768). Arrive in Gangneung in March. He originally wanted to return north to Luoyang, but due to the military turmoil in Henan, transportation was blocked and he could not make the trip. He lived in Jiangling for half a year, moved to the police station for several months, and arrived in Yueyang at the end of the year, where he wrote "Sui Yan Xing", which vividly reflected the suffering of the people in Hunan.
The fourth and fifth years of Dali were the last two years of Du Fu's life. He had no fixed residence and traveled between Yueyang, Changsha, Hengzhou and Leiyang, spending most of his time on the ship. . He died in a boat on the Xiangjiang River between Changsha and Yueyang in the winter of the fifth year of the Dali calendar at the age of 59. Before his death, he wrote a long poem of thirty-six rhymes, "Lying on a Pillow with a Book in a Wind-Speed ??Boat". There is a line in the poem, "The blood of the battle still flows, and the sound of the army continues to this day." He still thinks of the country's disaster. After Du Fu's death, his coffin rested in Yueyang. 43 years later, in the eighth year of Yuanhe reign of Emperor Xianzong (813), his grandson Du Siye moved it to the foot of Shouyang Mountain in Henan Province.
In these 11 years, Du Fu wrote more than 1,000 poems, accounting for more than 73% of all Du Fu's poems. Most of them are modern poems-quatrains and rhymed poems, as well as long-form rhythmic poems.
Poetry Creation The most notable feature of Du's poetry is the close combination of social reality and personal life, and the perfect unity of ideological content and artistic form. Du Fu's poems profoundly reflected the overall social picture of the Tang Dynasty for more than 20 years before and after the Anshi Rebellion, vividly recorded the journey he had traveled throughout his life, and reached the highest achievement of Tang Dynasty poetry in terms of art. His poems enable readers to "know people" and "discuss the world", and play the role of "enjoying, observing, grouping together and complaining".
Du Fu's poems are called "the history of poetry". However, as a "history of poetry", Du Shi's poetry is not an objective narrative, using poetic style to write history. Instead, it deeply reflects reality and expresses the author's mood through a unique style. Pu Qilong of the Qing Dynasty said: "Shaoling's poems reflect a person's temperament, and the affairs of the three dynasties will be reflected in him." ("Reading Du Xinjie·Shaoling Chronicle Poetry Catalog") Du Fu's poems Some of them involve major issues related to politics, economy, military and people's lives in the three dynasties of Xuanzong, Suzong and Daizong, but they are everywhere saturated with the poet's true feelings. For example, Du Fu's two masterpieces in his middle age, "Five Hundred Words of Empathy from Beijing to Fengxian County" and "Northern Expedition", contain lyricism, narrative, travel notes, reasoning, observation of nature, and social understanding. The revelation of contradictions includes inner conflicts, political ambitions and opinions, personal experiences and family misfortunes, disasters for the country and people, and hopes for the future. These two long poems contain so much rich content. The author's moods fluctuate and his language runs wildly, proving that he is keenly and strongly sensitive to various natural and social phenomena in this unfortunate era.
Such poems are the poet's life and inner self-narration, and are also the reflection of the times and society. The fate of the individual is closely related to the fate of the country and the people, and the two have also reached a high degree of artistic integration. Other poems such as "Ascending the Pagoda of Ci'en Temple with the Lords" and "Aijiangtou" are shorter in length, but they also have this characteristic.
Since the late Tianbao period, Du Fu has written a large number of political poems on current affairs, whether they are stating political opinions, such as "Washing Soldiers and Horses", "You Feelings" written in Zizhou; or exposing the ruler's debauchery and cruelty , such as "Beauty's Journey", one of "Two Poems of Recalling the Past", and "Three Quatrains" written in Yun'an; or allegorical and satirical, such as "Phoenix Terrace", "Sick Orange", "Withered Palm", "Guest" "From"; or sympathy and concern for the poor people, such as "The Song of Thatched Cottage Broken by the Autumn Wind" and "Wu Lang Again"; they are all combined with personal emotions and facts. There are also many long novels, some of which record the country's major events in the past ten years, such as "Kui Fu Shu Huai" and "Going to Zai"; some describe local events, such as "Thatched Cottage" and "Enter Hengzhou"; some recall the past. , such as "Zhuang You" and "Remembering"; and even more like what Pu Qilong said, "The world is still the body" ("Reading Du Xinjie·Reading Du Outline"), all contain strong lyrical elements.
War themes occupy a considerable amount in Du's poems. Du Fu held different attitudes towards wars of different natures. He was opposed to the imperial court's excessive use of military force and consumption of manpower and material resources, such as "The Troops and Chariots", "Returning to the Heart" written in Kuizhou, and "Going to the Foot of Houyuan Mountain Again"; he supported quelling rebellions and resisting foreign aggression, such as "Two Poems on Watching the Western Soldiers Pass by Guanzhong" and "Guarding the Soldiers" written in the early days of the An-Shi Rebellion, as well as "Sui Mu" written during the Tibetan invasion. What these poems condemn and praise are very clear. There are also poems about war, both praising and condemning. The famous two sets of poems "Leaving the Fortress Before" and "Leaving the Fortress Behind" repeatedly narrate the changes in the mood of the soldiers during their military service. In fact, they reflect the poet's different views on war from different perspectives. Both sets of poems praise the heroic scenes on the battlefield, how the soldiers are good at fighting, brave enough to sacrifice, and achieve victory; they also condemn the king's endless expansion of frontiers and the arrogance and extravagance of the general, which makes the achievements lose their positive significance. Both sets of poems summarize the unfortunate fate of countless heroic soldiers through the confession of a soldier. Another example is "Three Officials" and "Three Farewells", which more specifically express the author's inner conflict. On the road to Luoyang, Du Fu saw brutal police officers forcibly conscripting underage boys and lonely old people into the army. He filed accusations on behalf of these people and condemned the officers. However, when he thought about the lack of strong men and the huge enemy at hand, he changed his tune and tried his best to say a few words of comfort or encouragement to the conscripted people.
Xian Yushu of the Yuan Dynasty wrote Du Fu's "Army Chariots"
Du Fu wrote many poems praising nature. The objects he sings about are often related to both himself and current events. Poetry talks and poetry reviews of the past dynasties have made many discussions on Du Shili's high degree of "scene blending". However, Du Fu's poems not only have a high degree of blending of scenes, but also a blend of emotions, scenery and current events. When the author writes about scenes and lyrics, he rarely leaves reality and thinks of the era in which he lives in wars and wars and the country and the people are exhausted anytime and anywhere. For example, "Spring Hope" written when he was trapped in the occupied Chang'an and "Jianmen" written when he entered Shu are the most representative ones. This kind of poems, Du Fu became more successful in his later years, such as the five-rhythm "Guest Pavilion", "On the River", "Jianghan", the seven-rhythm "Denglou", "Sufu", "Ge Night", "Eight Poems on the Rise of Autumn", etc. They are all popular and famous articles that blend scenes and current events.
In addition, Du Fu also wrote some poems praising painting, music, architecture, dance, utensils and agricultural production, which also imbue the author's feelings and have the atmosphere of the times. They can be regarded as a vivid cultural history. . Zhu Yunming of the Ming Dynasty wrote Du Fu's "Eight Poems on Autumn Joy"
There are also some poems in Du Fu's collection. The atmosphere of the times is not strong, and his personal feelings are relatively indifferent. The most prominent ones are some poems written by Du Fu in the thatched cottage in Chengdu. After years of migration, Du Fu arrived in Chengdu, built a thatched cottage, opened up acres of land, and got a temporary rest. Therefore, he carefully observed the dynamics of flowers, plants, trees, birds, animals, insects, and fish, and felt infinite love and profound understanding. . For example, poems such as "Screen Tracks", "For Farmers", "Field House", "Xu Bu", "Water Threshold Refreshing Heart", "Back Tour", "Spring Night Joyful Rain", etc., from the title of the poem
You can imagine Du Fu's state of mind at that time. Of course, this type of poem cannot be compared with the poems discussed above, but it also represents another aspect of Du Fu's personality. He not only had a deep concern for the country and the people, but also had a love for tiny creatures.
He "lives in seclusion and close to things" ("Screen Traces"), likes to see "fish coming out in the drizzle, and swallows slanting in the breeze" ("Water Threshold Heart Relief"), and feels that "flowers and willows are more selfless" ("Back Tour"). Du Fu wrote some poems in memory of his family and friends, most of which were sentimental and affectionate. Among the many poems written in memory of his friends, the one written in memory of Li Bai is the most prominent. From the time Du Fu broke up with Li Bai until his later years, he wrote more than ten poems about Li Bai as a gift to Li Bai, in memory of Li Bai, as a gift to Li Bai, as a dream to Li Bai, as a letter to Li Bai, and as many other poems involving Li Bai. Almost all of them showed his deep friendship and warm concern for Li Bai. and heartfelt admiration.
Du Fu regarded poetry as his lifelong career and believed that "poetry is my family matter" ("Zongwu's Birthday").
He studied poetry at the age of seven and never stopped writing poetry until the eve of his death. From the Anshi Rebellion to before arriving in Chengdu, he wrote the most profound poems with profound ideological content in the most difficult years; he was weak and sick in Kuizhou , the largest number of writings. He has rich life experience and is full of political enthusiasm for patriotism and love for the people. He also works hard on artistic skills. "Self-chanting" (seven of "Twelve Poems to Relieve Boredom") shows the seriousness of his creation. Du Fu also used poetry to discuss poetry. In "Six Quatrains of Drama" and "Twelve Poems to Relieve Boredom" (Parts 4 to 8), he expressed his idea of ??inheriting fine traditions and commenting on ancient and modern poets.
Du Fu greatly expanded the field of poetry in both content and form. Hu Zhenheng in the Ming Dynasty said: "The use of current events in poetry begins with Du Shaoling." ("Tang Yin Gui Zhu") This sentence is not entirely consistent with the facts, because there were people who used current events in poetry before Du Fu, but people like Du Fu went deep into the folk and had insight. It is rare for "Current Issues" to incorporate all major issues of social significance into "astonishing" poems. Yang Lun said: "Since the Six Dynasties, many Yuefu titles have imitated plagiarism, and they are the most disgusting. Zimei came out and was alone because of what he felt at the time. He felt pity for the country at the top and the poverty of the people at the bottom. He set up the title at will and was totally free. "Get rid of the stereotypes of predecessors." (Volume 5 of "Du Shi Jingquan") Although this is a comment about "three officials" and "three farewells", it can also summarize most of Du Fu's important poems. Yuan Zhen wrote to Du Fu the "Inscription on the Tomb of Du Jun, a Foreign Minister of the Tang Inspectorate and Works Department" and said, "Since the time of poets, there has never been anyone as beautiful as Zi." This is not an exaggeration.
There are many forms of Du poetry. Du Fu is best able to control various forms of poetry and can make each form achieve new development. In his ancient five-character poems, he is good at recording arduous journeys, social phenomena, people's lives, and many dramatic speech movements. His writing is very vivid, which makes people feel not the limitation of five-character poems, but the natural tone. The most remarkable thing is that Examples are "Qiang Village", "Gift to the Eight Immortals of the Guard", "Three Officials", "Three Farewells", "Suffering Tian's Father to Drink Mud and Drinking the Beauty of Yan Zhongcheng", etc. He is good at expressing his bold or melancholy emotions and expressing his opinions on politics and society in his seven-character ancient poems, such as "Songs for Zheng Guangwen when Drunk", "Washing the Soldiers and Horses", "Seven Songs Composed in Tonggu County during the Qianyuan Dynasty" "First Song", "Song of Thatched Cottage Broken by the Autumn Wind", "Sui Yan Xing", etc. Du Fu's five- and seven-character rhymed poems were very powerful and reached a high level of achievement, accounting for more than half of Du Fu's poems. The five-character rhymed poems were already seen during Du Fu's wandering period, and most of the famous seven-character rhymed poems were produced after arriving in Chengdu. Du Fu's profound emotions are condensed in the Five Rhythms and fully developed in the Seven Rhythms. The five rhymes include "Looking at Spring", "Giving Li Bai at the End of the Day", "Back Tour", "Joyful Rain on a Spring Night", "Water Thrust to Heart", "Guest Night", "Nine Days to Climb Zizhou City", "Zhengfu", "Traveling at Night to Express My Feelings", "Staying in the Pavilion by the Riverside", "Climbing the Yueyang Tower", seven rhymes such as "The Prime Minister of Shu", "Ye Lao", "Hateful Farewell", "Wearing that the Government Army Takes Henan and Hebei", "Climbing the Tower", and "Sufu" , "Gate Night", "Five Poems on Ancient Relics", "White Emperor", "Five Poems on Generals", "Eight Poems on the Rise of Autumn", "Climbing High", etc. Very few Tang Dynasty rhythmic poems can surpass them. Du Fu also wrote many five-character rhymes and several seven-character rhymes, which greatly developed the rhymes. For example, "A Hundred Rhymes from Kui Mansion in Autumn to Zheng Supervisor Li Guest" is actually 1,000 words long. Except for a few that are more natural (such as "Ten Rhymes of Sending Yan Gong to the Court" and "Sending Lingzhou Road Envoy to His Post" in the fifth row, and "Two Qingming Poems" in the seventh row), most of them Too many allusions cover up the rich emotions or fill the void in the content of the work. Most of the quatrains in Du's poems were written during the last 11 years of his wandering in the southwest. Due to Du Fu's great achievements in classical poetry and rhythmic poetry, his quatrains are often not noticed. However, Du Fu expresses emotions on the spot, discusses poems and cherishes friends, reflects the turmoil in Shu and people's lives, and absorbs the essence of folk songs. Du Fu still has great achievements in quatrains. Many contributions.
Axis of Du Fu's Poetry, written by Zhang □ in the Qing Dynasty
Of course, Du Fu also wrote some relatively boring poems about giving gifts to the powerful and paying homage to the powerful.
When he was a "guest" of the nobles in Chang'an, begging for an official position from the princes and ministers, when he was wandering in the southwest, and had to deal with local officials for food and clothing, some of the poems he wrote, including many It is not in high style to use a large number of allusions to extol how wise the other party is, to describe how poor one is, and to beg for mercy and gifts.
The culmination of poetry, innovation and development, has exerted a wide influence on future generations of poets.
When Du Fu was alive, his poetry was not taken seriously by people at that time. 40 years after his death, it became more important than that of Han Yu, Bai Juyi, Yuan Zhen and others. The New Yuefu Movement of Bai Juyi and Yuan Zhen was obviously influenced by Du Shi in terms of literary and artistic thought.
Li Shangyin's famous modern-style poems that allege current affairs are deeply rooted in the essence of Du's poems in both content and art. Famous poets in the Song Dynasty, such as Wang Anshi, Su Shi, Huang Tingjian, Lu You, etc., all highly praised Du Fu, and their poems inherited Du Fu's tradition from different aspects. In the late Song Dynasty, the national hero Wen Tianxiang was captured by the Yuan people and imprisoned. He collected 200 poems using Du Fu's five-character poems. In "Collection of Du Poems - Preface" he said: "Whatever I want to say, Zimei will speak for me first. "The influence of Du's poems is not limited to the scope of literature and art. More importantly, the spirit of patriotism and love for the people in the poems has inspired readers for thousands of years, and it still has educational significance today.
This collection and research materials "Old Book of Tang" and "New Book of Tang·Yiwenzhi" both say that Du Fu's poetry collection has 60 volumes, but it has been lost long ago. In the second year of Baoyuan of the Northern Song Dynasty (1039), Wang Zhu of the Northern Song Dynasty took the old collection of Mifu and various incomplete Du Ji, removed the duplications, and got 1405 articles, compiled into 18 volumes. He also recorded 29 miscellaneous articles on Fu and Bi into 2 volumes. ***Volume 20, titled "Collection of Du Gongbu". In the fourth year of Jia □ (1059), Wang Qi reorganized it. An endless stream of Du collections emerged in later generations based on this collection, and the number of poems also increased. The style is divided into ancient poetry and modern poetry, and a photocopy is available. In the eighth year of Chunxi reign of the Southern Song Dynasty (1181), Guo Zhida's "Jiujia Jiujia Annotation of Du's Poems" was also compiled according to poetry style. In 1940, "Du Shi Yinde" compiled by Harvard-Yenching Institute was based on this collection. In the 23rd year of Shaoxing in the Southern Song Dynasty (1153), Lu □ compiled Du's poems according to chronology. In the fourth year of Jiatai (1204), Cai Mengbi wrote a note titled "Du Gongbu Thatched Cottage Poetry Notes", which has a photocopy. Xu Juren compiled "Divided Annotations on Du Gongbu's Poems", and the photocopied version was included in the "Four Bu Series" of the Commercial Press. The above four parts are Duji compiled by Song Dynasty people that are easily available now. There are three styles: compiled by poetry style, compiled by chronology, and compiled by category.
There are more than a hundred kinds of annotations on Du's collections in later generations. The more popular ones, such as Qian Qianyi's "Annotations on Du Gongbu Collection", are organized according to poetry style and have a detailed assessment of historical facts. Qiu Zhaoao's "Detailed Notes on Du's Poems" (also known as "Detailed Notes on Du Shaoling's Collection") brings together a large number of previous research results, but sometimes it is not accurate. Yang Lun's "Du Shi Jing Quan" is relatively concise and to the point, making it easy for beginners to learn. "Du Shi Detailed Notes" and "Du Shi Jingquan" are both chronological. Pu Qilong's "Reading Du Xinjie" is organized according to poetry style and has many original insights. It is also accompanied by "Shaoling Chronological Poetry Catalog", but when analyzing chapters and sentences, he sometimes uses the method of commenting on eight-legged prose.
Both the new and old "Tang Shu" have Du Fu's original biography. After the two Song dynasties, there was a very rich literature commenting on and explaining Du's poems in poetry notes. In 1964, Zhonghua Book Company compiled the "Compilation of Classical Literature Research Materials: Du Fu Volume", which collected comments and explanations about Du Fu from past dynasties in a relatively detailed manner, but only the first volume "Parts of Tang and Song Dynasties" was published. In addition, Wang Si□'s "Du Si" in the late Ming Dynasty has many incisive explanations of Du's poems. Shi Hongbao of the Qing Dynasty expressed some different opinions on "Reading Du's Poems" and Qiu Zhao'ao's "Detailed Notes on Du's Poems". The two books were originally handwritten copies and have now been published by Zhonghua Book Company. Zhonghua Book Company also published three volumes of "Collection of Research Papers on Du Fu" in 1962, which compiled the more important papers on Du Fu since the "May Fourth Movement". Biographies and new research monographs include "The Biography of Du Fu" by Feng Zhi, "Research on Du Fu" by Xiao Difei, "On Du Fu's Poetry" by Fu Gengsheng, "A Narrative of Du Fu" by Zhu Dongrun, etc.
More detailed chronologies include "Mr. Shaoling's Chronological Notes" by Wen Yiduo and "Du Fu Chronology" compiled by the Sichuan Literature and History Research Institute.