Du Fu (712 AD - 770 AD), courtesy name Zimei, Han nationality, native of Xiangyang, was born in Gong County, Henan Province. Called himself Shaoling Yelao, he was a great realist poet in the Tang Dynasty. Together with Li Bai, he was known as "Li Du". In order to distinguish them from the other two poets Li Shangyin and Du Mu, known as "Little Li Du", Du Fu and Li Bai are also collectively known as "Big Li Du", and Du Fu is often called "Old Du". Du Fu had a profound influence on Chinese classical poetry. He was called the "Sage of Poetry" by later generations, and his poems were called the "History of Poetry". Later generations called him Du Shiyi and Du Gongbu, and also called him Du Shaoling and Du Thatched Cottage. Du Fu created such masterpieces as "Spring Look", "Northern Expedition", "Three Officials" and "Three Farewells". In 759, Du Fu abandoned his official position and went to Sichuan. Although he escaped the war and lived a relatively stable life, he still cared about the common people and national affairs. Although Du Fu is a realist poet, he also has a wild and uninhibited side. It is not difficult to see Du Fu's heroic spirit from his famous work "Song of the Eight Immortals in Drinking". The core of Du Fu's thoughts is the Confucian thought of benevolent government. He has the grand ambition of "bringing the emperors Yao and Shun to the throne, and then making the customs pure." Although Du Fu was not well-known during his lifetime, he later became famous and had a profound impact on both Chinese and Japanese literature. About 1,500 poems by Du Fu have been preserved, most of which are collected in "Du Gongbu Collection".
Du Fu’s self-titled_Du Fu-Poetry Characteristics
In terms of material selection
Du Fu is a socialist poet who tends to realism, has extensive content, is contemporary, and draws material from Political rise and fall, social unrest, war and corvee, hunger, poverty and disparity between rich and poor. Du's poems are good at describing the historical reality at that time and reflecting the current situation of the Tang Dynasty from prosperity to decline, so it is called "History of Poetry". From the Anshi Rebellion to before entering Shu, Du Fu experienced the turmoil of the great era and wrote a large number of famous and realistic works. Among his famous works, there are many realistic ones, such as the masterpiece "Beauty's Journey", which reflects the extravagance and debauchery of the upper class.
Ideology
Du's poems contain Confucian thoughts, compassion for heaven and earth, concern for the country and the people, and are filled with feelings of benevolence and love for things and strong patriotism. He is known as the "Sage of Poetry". Du Shi was good at using reason to carefully observe the reality of life and society, and experienced the joys and sorrows of the people from his own life experience. He had a strong political consciousness and inherited and carried forward the realistic spirit of the Book of Songs, Han Yuefu folk songs and Jian'an literature.
In terms of technique
Du Shi is good at writing dialogues and monologues, choosing typical characters and events to describe. Du's poems are also good at expressing emotions, combining lyricism and narrative, and combining lyricism and description of scenery, expressing his feelings in the scenery. Du Shi's narrative focuses on objective description, allowing the story itself to directly affect readers without making any comments.
Language
Du Fu has a very serious attitude in writing, concise language, accurate word usage, vivid and colorful images, and is good at using folk spoken language.
In terms of genres
Du Fu's works are good at all genres, including five-seven-character ancient style, rhymed poems and quatrains. He often uses different poetry styles to express different contents. For narration, he often uses ancient poetry with less metrical restrictions, which is convenient for narrative description, and for lyricism, he often uses modern poetry.
Du Fu created a large number of seven-character rhyme poems. His works have a wide range of contents and are proficient in technique. They pay attention to the rhythmic opposition, rigorous meter and refined language. They are model works for all generations and have reached a very high level of achievement, making the seven-character rhyme creation mature. . He also created a new Yuefu poem called "instantly famous poems" to describe the sufferings of people's livelihood in society.
In terms of style
The main style of Du's poetry is melancholy, with various styles, rich and colorful, some vigorous and unrestrained, some fresh and delicate, some melancholy, some rich in rhetoric, some plain and simple , or popular and natural. Du Shirong absorbed the artistic skills of his predecessors and developed a unique new style. Express your patriotic thoughts.
Du Fu’s self-titled_Du Fu-Literary Characteristics
Poetry Expression
Language
Du Fu’s poetry is generally considered to have It has the characteristics of "depression", the language and chapter structure are full of changes, and it pays attention to the precise words and sentences. The word "depressed" was first used in the Southern Dynasties, "the body is full of melancholy and melancholy, and the sun and the moon are beautiful". Later, Du Fu wrote that he accurately summarized the language of his own works with the four words "depressed and frustrated", "As for the depressed and frustrated, it can be agile at any time, and The disciples of Yang Xiong and Mei Gao can be trampled upon." Further research on Du's poetry found that the formation of his poetic style is closely related to the Confucianism he adhered to. At the same time, Du Fu was at the end of his prosperous age. When he was young, he had great ambitions, "he would be at the top of the mountain, and he could see all the small mountains at a glance." Later, the Anshi Rebellion broke out, the country's fortunes declined, and his official career was not successful. There is a shift towards realism.
Du Fu’s imagery
The personalization of Du Fu’s choice of imagery is the basis of Du Fu’s language. Images that often appear in Du's poems include natural landscapes such as ancient fortresses, autumn clouds, howling apes, broken torches, rapid gorges, dangerous cities, lone boats, fallen flowers, and sunsets, as well as ordinary people such as weaver girls, old women, old farmers, and married women. There are officials, generals, villains and other powerful and powerful forces, all of which express Du Fu's enthusiasm for "revival and saving the world, his condemnation of confusing the world, his indignation at the tyranny, his sadness for the wandering, his compassion for the loss of life, his regret for the exhaustion of material resources, and his "Praise for benefiting everyone", and it is the expression of these heavy emotions that makes Du Shi's language tend to be "depressed and frustrated". Wu Hang's "Huanxi Poetry Talk" commented on Du Fu's late poems as "unwanted changes, yang opening and yin closing" and said: "But its meaning is far-reaching. If you lift the previous sentence, you can't know the next sentence."
Wu Hang also said: "Ordinary people can only say one thing in one sentence, and two at most. Du's poems can say three, four, or five things in one sentence. Ordinary people write poems, but they can talk about the immediate and distant things. But within a few tens of miles, a sentence of Du's poems can be spoken for hundreds of miles, two armies and states, and all over the world. This is wonderful."
Style
Du Fu’s poems have a variety of styles in style. Yuan Zhen commented on Du Fu: “As for beauty, the so-called beauty is thin and coquettish, and the bottom should be sinking. In the Song Dynasty, Yan conquered Su and Li, angered Cao and Liu, concealed Yan and Xie's aloofness, mixed Xu and Yu's fluidity, and captured the ancient and modern styles, and combined everyone's unique skills. "Qin Guan is also similar. Opinion: "The beauty of Du Zi is a person with a superb style, a very heroic spirit, a dilute interest, a handsome and clean posture, and a beautiful appearance, which is beyond the reach of other schools. However, he does not gather all the schools. For example, Du Fu also has a wild and unruly side, and his heroic spirit can be seen from his famous work "Song of the Eight Immortals in Drinking". The mainstream view is that Du Fu's poetry has a melancholy style, concise language, rigorous meter, exquisite craftsmanship, sincere feelings, plain and elegant conversation, profound description, delicate and touching, and vivid image. His creative style is "to write good sentences for the sake of human nature, but to say nothing that is not shocking". As for the unique narrative style and argumentative style of Du Shi, some scholars believe that it was influenced by "The Book of Songs: Xiaoya", and the generous style of his elegies is similar to "Li Sao". Some scholars also believe that Du's poems have the traditional spirit of benevolent political thought and the spirit of Sima Qian's actual records. There is also a view that Du Fu's poems have a "humanitarian spirit". Han Yu, a great writer in the Tang Dynasty, once compared Du Fu and Li Bai and said: "Li and Du's articles are as bright as ever." Wang Anshi commended Du's poems for his achievement of "there are thousands of ugly beauties in different sizes, but there is no way to carve them out". Volume 7 of Chen Shan's "New Words on Men Liao": "Lao Du's poems should be regarded as the "Six Classics" among poems, while other people's poems are like those of other scholars." Volume 1 of Jiang Shiquan's "Collected Works of Zhongya Tang" "Preface to the Collection of Detailed Notes on Du's Poems" is also known as "Du Poet, the "Four Sons Book" among poems."
Rhythm
Du Fu's Poems In terms of rhythm, it has the characteristics of meticulous word refinement and neat contrasts, which is in line with the "architectural beauty" of Chinese poetry. In addition, Du Fu made many innovations in genre. For example, his creativity in the Five and Seven Rhythms is also a unique feature of his literary creation.
Content
As for the content of Du Fu's poems, most of his works reflect the social situation at that time, with a wide range of themes and far-reaching implications. They especially describe the sufferings of the people and express his compassion for the people. Du’s poems are known as the history of poetry because of his love for things and his concern for the country and the people. This saying was first seen in the late Tang Dynasty. It was titled "History of Poetry". By the Song Dynasty, the conclusion was reached, but the meaning of the history of poetry has its own interpretation. Some people annotate Du's poems with historical events, thinking that Du's poems are documentary poems that can supplement history and prove history, so they are called poetic history. This view only emphasizes the truth and falsehood of historical events, and underestimates the emotional characteristics of poetry. Some people think that Du Fu's historical knowledge and rigorous writing skills are comparable to those of the Han Dynasty historian Sima Qian. As for poetry, those who comment on people and events can "do not pretend to be beautiful, and do not hide evil", so it is called the history of poetry. This is advisable. Another theory is that the reason why Du Fu's poems are called "History of Poetry" is because they are compassionate and sad, and this view is also advisable to a certain extent. But there are also people who don't like Du Fu's poems. Yang Yi doesn't like Du Fu. Liu Fang's "Zhongshan Poetry Talk" says: "Yang Danian doesn't like Du Gongbu's poems, so he calls him a village man."
Main Idea
In Du Fu's own words, "worrying about Li Yuan in his poor years" was his central thought, and "being willing to sacrifice one's life in times of need" was his consistent spirit. He uses these to require himself and to encourage his friends. He commended Yuan Jie and said, "Daozhou is concerned about the people and the common people, and his words are powerful and powerful." He said to Yan Wu, "If the public is on stage to assist, don't care about yourself when in danger." He also said to Pei Qiu, "To Jun Yao, Shun and others. "It is these progressive thoughts that formed Du Fu's unfading political enthusiasm, perseverance, and broad-minded optimism, making him the most political person in the history of our country. Strong great poet. Of course, this is also inseparable from his life practice of being close to the people.
Du Fu was born in a bureaucratic family with a long tradition of "serving Confucianism and guarding officials" for generations. The family gave Du Fu an orthodox Confucian cultural upbringing and the ambition to make a difference in his official career. Therefore, Du Fu said that being an official was his family's "prime career" - a profession inherited from generation to generation. His various cultural upbringings and various subsequent behaviors were all related to the pursuit of official career and the conduct of officials. For example, he wrote in "Twenty-Two Rhymes for Wei Zuocheng", "I claim to be very bold, and I will ascend to the important road. I govern the kings like Yao and Shun, and then make the customs pure." This is a kind of desire to become an official. In the great career of the official career To realize his ideal ambition of "governing the emperors Yao and Shun, and making customs pure", that is, he aspires to make contributions in practical social work and benefit the people. Before the age of thirty-five, it was Du Fu's period of studying and traveling. During the prosperous Kaiyuan period, Du Fu's economic situation was also relatively good. This was the happiest period in his life. At the age of 20, he ended his study life and began a "grand tour" that lasted more than ten years. During this long journey, Du Fu came into contact with the extremely rich cultural heritage and magnificent rivers and mountains of our motherland, which not only enriched his life, but also expanded his vision and mind, bringing a strong romantic color to his early poetry. . The poem "Wang Yue" can be representative. "Being at the top of the mountain, you can see all the mountains and small mountains", which reveals the poet's ambition for all undertakings (including creation).
But due to this way of life, it is impossible to get close to the people and go deep into reality. Therefore, as a great realist poet, this is just a preparatory period for his creation.
Du Fu's move toward realism began with the ten-year confinement of Chang'an in the second period (from thirty-five to forty-four years old). This was the brewing period of the Anshi Rebellion. The treacherous prime ministers Li Linfu and Yang Guozhong were in power. Not only was Du Fu unable to realize his political ambition of "bringing the emperors Yao and Shun to the throne, and then making customs pure", he also began to live a life of "detaining a rich man in the morning and following him in the evening". He lived a humiliating life like a "fat horse dust" and often suffered from hunger and cold: "Hungry is about to start, and my clothes are like a hundred knots." Under the torture of hunger and cold, Du Fu once thought of retreating and having a "free and easy day off." Chao Fu, Xu You and Du Fu did not avoid hardships, but still resolutely embarked on the road of actively joining the world. Life tortured Du Fu, but also fulfilled Du Fu, allowing him to gradually penetrate into people's lives, see the suffering of the people, and see the crimes of the ruling class, so he wrote "The Journey of Military Chariots", "The Journey of Beauties", "Going to Fengxian" "Yong Huai" and other realist masterpieces. Du Fu once had a poem like this: "A man is born in this world, and when he is strong, he will be a marquis"; "A husband swears to the country, how can he be angry and regretful? Fame and fame are like a unicorn, and the bones of battle will soon decay." Another example is "The husband's ambitions in the four directions, An'an These poems all reflect Du Fu's ambition to help the world and become famous and to make contributions. However, Du Fu's ideals and ambitions are based on a strong sense of social responsibility and a sense of urgency. As a result of ten years of siege, Du Fu became a poet who cared about the country and the people. This determined the direction of Du Fu's future life and creative path.
From the age of forty-five to forty-eight, it is the third period of Du Fu's life, the period of being trapped in a thief and being an official. This was the most violent period of the Anshi Rebellion. The country was in danger, the people suffered heavy disasters, and the poet also went through many hardships. The Anshi Rebellion was characterized by ethnic conflicts, and the war fought at that time was a self-defense war related to the survival of the country. Therefore, Du Fu's attitude towards war was different from before. He was not opposed to it, but actively called for it. He mourned the "40,000 rebels" who sacrificed their lives for the country, and warned civil and military officials to "strike out the guns with all their strength." On the one hand, he vigorously exposed the darkness of military service and sympathized with the people; on the other hand, he encouraged the people to participate in the war. Because he was deeply involved in people's lives and engaged in practical struggles, he wrote "Sad", "Aijiangtou", "Spring View", "Qiang Village", "Northern Expedition", "The Washing of Soldiers and Horses" and "Three Officials" and "Three Farewells" are a series of poems with a high degree of people's character and patriotic spirit, and have reached the peak of realism. For example, in his poem "Climbing the Yueyang Tower": "I used to hear about the water in Dongting, now I go up to the Yueyang Tower. Wu and Chu are in the southeast, and the world floats day and night. There are no relatives and friends, and the old and sick have their own boats. The army and the horse pass through the north of the mountain, and Pingxuan tears the stream." In this poem, the poet stood on the Yueyang Tower and looked out from a distance, thinking of the social conditions of chaos and war. He leaned against the window and thought about his homeland, and could not help but shed tears as he communicated. Another example: "I heard that the army was taking over Henan and Hebei", "Suddenly it was said outside the sword that Jibei was taken over, and when I first heard about it, my clothes were filled with tears. But I saw why my wife was worried, and she was filled with poems and books and was wild with joy. To sing during the day, you must indulge in alcohol, and youth is a good companion. Returning home. That is, crossing the Wu Gorge from Ba Gorge, then going down to Xiangyang to Luoyang." In this poem, he was overjoyed to hear the news that the imperial court had regained the lost land. These two poems were written by Du Fu when he was wandering. Due to the Anshi Rebellion, society was in a state of disarray, so Du Fu always hoped that the rebellion could be quelled and society would return to stability. Therefore, when he thought that the country was suffering, the war continued, and the lives were in ruins, he shed tears. And when he heard that the army had recaptured Jibei, he cried with joy and could not restrain himself. It can be seen that Du Fu's worries came from the country, and his happiness also came from the country. This is the sense of social responsibility and concern for the world that Confucian intellectuals have.
"The eyes are full of sorrow and trouble, because people travel far away." In July 759, Du Fu abandoned his official position and arrived in Chengdu at the end of the year. He built a thatched cottage in the western suburbs of Chengdu and began his final period. "Wandering in the Southwest" life. During the eleven years of wandering, he often lived a life like "everyone else". He loved to interact with the working people, but hated the bureaucrats, so he said: "I don't like to go to the state capital, because I am afraid that people will think I am honest. When I returned to Maoyu, I was not angry." Du Fu's life was still very hard. After his death In that year, he suffered from hunger for five days because he had to avoid Zang Jie's rebellion. What is valuable is that no matter how hard his life is or where he wanders, he is always concerned about the safety of the country and the suffering of the people. At the same time, he never forgot or relaxed his creation. During the eleven years of wandering, he wrote more than a thousand poems. "Song of Thatched Cottage Broken by the Autumn Wind", "Wearing that the Government Army Takes Henan and Hebei", "Showing Wu Lang Again", "Drinking with Mud by Tian's Father", "Generals", "Autumn Rising", "Suiyan Xing" and so on. It is the best work of this period. Different from the previous period, it has a more lyrical nature and the forms are more diverse. What is particularly noteworthy is the creative endowment of the seven-character rhyme poem with significant political and social content.
Du Fu wandered in Sichuan for eight or nine years, and in Hubei and Hunan for two or three years. In the winter of 770, he died on a broken ship from Changsha to Yueyang. "The blood of the war still flows, and the sound of the military continues to this day." This is his last memory for the country and the people.
(The reference material comes from Du Xiaoqin's "A Review of Literary Research of the Sui, Tang and Five Dynasties in the Twentieth Century". Section 3)
Du Fu's self-titled_Du Fu-Character Evaluation
"Selected Poems of Du Gongbu"
"Seeing Off Guests at Chaimen" The poet uses one word as his work, and the world knows it, but Lao Du's changes in opening and closing are endlessly surprising and almost impossible to trace.
For example, "There are Bashu in the mountains and rivers, and the buildings are as high as the Liang". They are thousands of miles away and hundreds of years apart. They are only between the two words "you" and "zi". They absorb the spirit of the mountains and rivers and look up to the past and present. They are all seen in Beyond words. In the Tengwang Pavilion, "the pink wall is like the color of bamboo, and the empty pavilion has the sound of pine trees." If the words "you" and "zi" are not used, the remaining eight words can be used for any pavilion, without the need for Tengwang. These are all so exquisitely crafted that they are beyond the reach of manpower. However, this old man is so elegant and carefree, so natural, and there is no trace of his exertion. Nowadays, people mostly take the words that have already been used, imitate them, and use them in a narrow and narrow way, which is a dead end. They don't know how to understand the meaning and the situation, and all the words can be used in the meaning of the words.
Poetry should avoid using too much skill. However, the emotions and objects have their own natural craftsmanship. Although they are ingenious, there are no traces of carving. The seven words are difficult to match the majesty of the scene. The sentences are powerful but not lost. The implication is that since Lao Du's sentences such as "The spring scenery of Jinjiang comes to heaven and earth, and the floating clouds of jade barrier change the past and present" and "The sound of drums and horns at the fifth watch is solemn and solemn, the shadows of the stars and rivers of the Three Gorges are shaken", there has been no successor to Taste of Hate.
There are three types of language in Zen Lunjian: one is a sentence that goes with the flow, which means that things adapt to the situation, and does not stick to the original state; the other is a sentence that cuts off the flow, which means that it goes beyond what is said and is not emotional. As far as I can tell, the third one is a sentence that covers the universe, saying that everything is in harmony and can be waited for without interruption. The depth of it is in order. Yu Changxi said that he was a student, and Lao Du had these three languages, but they were different: "The wild rice in the waves is dark, the clouds are dark, the dew is cold in the lotus room, and the pink is falling" is the sentence that covers the universe, and "Flowers are falling, hairsprings are quiet in the day, and doves are singing." "The swallow's youth is deep" is a sentence that follows the waves, and "Chaimenhui is a remote place for a hundred years, and the river is deep and the grass pavilion is cold in May" is a sentence that cuts off the popular flow. If anyone has an explanation, please join him.
In ancient times, the most valuable thing about poetry was that the meaning was hidden behind the words and made people think about it. Therefore, the person who said it was not guilty, and the person who heard it was a warning. Among modern poets, Du Zimei is the most eminent poet. For example, "When the country is broken and the mountains and rivers are there, the spring vegetation in the city is deep. When I feel the flowers splashing with tears, I hate the other birds and are frightened." When the mountains and rivers are there, it is clear that there is nothing left; when the grass and trees are deep, it is clear that there is no one. Yes, flowers and birds are usually entertainment objects. If they cry when they see them, or feel sad when they hear them, then you can tell. They are all like this and cannot be repeated.
Meng Jia's hat fell off, and he thought he was the winner in his previous life. Du Zimei's poem on the 9th said: "I am ashamed to blow my short hair back to blow my hat, and smile pretty when others are crowned." His elegance and open-mindedness are no less than those of the past. It is said that poetry cannot be achieved by mechanics, but one must live the world with a mind in mind.
I was traveling to Jiangshan Mountain for the next few years and went up to Baogong Pagoda at night. It was already dark and the moon had not yet risen. I faced the river in front of me and looked down at the majestic Buddha house. I heard the clanging sound of wind chimes and suddenly remembered Shaoling's poem "The palace is abrupt in the middle of the night, and the wind stirs the golden clang." It suddenly sounded like my own words. I also walked alone in the valley, where ancient trees lined the road and crossed the shade, but when I heard Zigui matched the trees, I realized that "the trees on both sides of the mountain are close together, and they are crying all day long" is a good sentence. During the summer, I was enjoying the cool weather with guests by the stream. The sun was setting over the mountains, and the cicadas were singing all over the trees. I watched two people washing their horses in the stream. This was what Shaoling said: "Watching the horses being washed in the late cool, the cicadas were chirping in the forest." When I recite this poem every day, I don't see its work; only when I see it everywhere, I can understand its beauty. When writing poems, you should write about what you see and hear, so there is no need to overdo it.
When poets write words, they should make things appear in the words but no one knows about them. I read Taishi Gongtian's official book "Tianyi Qianpei (Note: changed to the word "木") Contradictions shaken the horns and the soldiers rise [Note: I don't know where to break the sentence, I have doubts]", Du Shaoling's poem says: "The sound of drums and horns at the fifth watch is solemn and solemn, the Three Gorges The shadows of the stars are shaken. "Gai An uses the language of moving, and the language has the meaning of military use. As for this, the poem can be used as a work.
The ancient authors did not intend to create words at first, so they made statements based on events. For example, in Du Zimei's article on the Northern Expedition, which records the military expedition, he suddenly says, "It may be as red as cinnabar, or as black as paint, and when wet by rain and dew, it will be both sweet and bitter." This is the case. Articles are just like people writing books.
Lao Du should not be discussed or praised. Even if he has gained something, he must not forget it. For example, Emperor Taizong of the Tang Dynasty said: "The postures of dragons and phoenixes are the appearance of the sky and the sun." And Lao Du's poem said: "The true energy is astounding." It can be said to be simple and exhaustive. Another poem from Zhaoling said: "There are many cultural relics from the ancients, and the imperial court is half an old Confucian. Direct speech is better than humiliation, and the road of virtue is not rough." Taizong was wise, courageous and outstanding, and he was able to dominate the world. To be able to do this is the most virtuous thing. Lao Du Hengzhou's poem goes: "The long and leisurely days are vulgar, and the depression returns to the strong intestines." This sentence is very sad. In the past, Kuai Tong cried when he read Le Yi's biography. Later generations should also cry after reading this. A Yuefu poem from the Qi and Liang Dynasties said: "To protect the past and put on the poor trousers, to prevent leisure and entrust the palace guard. Today the cattle and sheep went to Qiulong, and the front was red at that time." Lao Duzuo Liren said: "Give the names of the great countries Guo and Qin." The soldier said: "Be careful not to get angry when you approach the Prime Minister." Why did the Guo and Qin states predict the loyalty of the country and yet get angry when approaching? Dongpo said that Lao Du was like Sima Qian, and Gai knew it well.
Qing Dynasty's "Complete Poems of the Tang Dynasty"
Yuan Zhen said: "Li Bai's strong waves let go of his restraints, and his sincerity is also more beautiful than his shoulders. If it is laid out from beginning to end, The parallel sound and rhyme can be as large as a thousand words, or hundreds of times. The words are heroic, and the style is clear and profound. It is a pair of rhythms. If it is separated from the ordinary and close, Li Shang cannot live up to his vassal and Han Dynasty. "Bai Juyi also said. : "Du's poems run through the ancient and modern times, and he is very conscientious, almost more so than Li." This is what Yuan and Bai said. Its origin has been lost, its joy, sadness and anger, its fondness for good and evil, its appearance in poetry. And the original purpose is to be loyal to the emperor, care about the country, and think about chaos when hurt. Reading his poems can tell us about his life, so it was called "the history of poetry" at that time. The old collection of poetry and essays consisted of sixty volumes, and the current collection of poetry has nineteen volumes.
Liu Dajie's "Lu Xun on Classical Literature"
Lu Xun's evaluation of Du Fu: "Du Fu does not seem to be an ancient person, as if he is still alive among us today.
"Lu Xun, who once joined "New Youth" and participated in launching the "May 4th" cultural revolution with famous works such as "Diary of a Madman", became a highly regarded revolutionary literary mentor in the 1930s. In his later years, he discussed the history of Chinese literature with friends and thought of it as the history of medieval times. Tao Qian, Li Bai, and Du Fu are all first-rate poets, and he went on to say: "I always feel that Tao Qian stands a little further away and Li Bai stands a little higher. This is also the result of the times. Du Fu does not seem to be an ancient person, as if he is still alive among us today. "Lu Xun parted ways with Hu Shi politically in his later years, but the few words he commented on Du Fu still have the same pronunciation as Hu Shi Shengpan. He also once said: "Du Fu is the backbone of the Chinese nation! "
Although Du Fu only lived in Chengdu for less than four years, in the "Du Fu Thatched Cottage" where Du Fu lived in Chengdu, Du Fu left "Song of Thatched Cottage Broken by the Autumn Wind", "Prime Minister of Shu", "Spring Night" Since the late Tang Dynasty, Chengdu Cottage has been regarded as a cultural holy place to commemorate Du Fu and recite poetry. Representatives of domestic and foreign cultural scholars, representatives of Du Fu memorial sites across the country, and people from all walks of life have made appointments. 800 people attended this cultural event; Mr. Huang Jinxiang, a famous calligraphy and painting scholar, wrote a seven-character poem: "Reciting the poem from Hui Yi's heart, melancholy and high-spirited, it makes me think." Praising the clouds and praising the moon without hearing any words, uttering all the words of suffering in the world.
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