Du Fu is a great poet in the Tang Dynasty, keeping pace with Li Bai, and even in the whole history of ancient literature, he can be listed as the greatest poet.
The content of his poetry creation is extremely rich, which widely reflects the social life at that time, and the artistry of his poetry has reached the peak of China's classical poetry. Today, we will talk about the artistic achievements of Du Fu's poems from the following aspects.
First, the artistic style of "frustration and frustration"
About Du Fu's artistic style, predecessors have always used the word "depressed and frustrated" to summarize. All kinds of images in Du Fu's poems are unified in the style of "depression and frustration".
Du Fu's poems are extensive in content, diverse in style and colorful, and the "depression and frustration" of her husband and son is the dominant factor. Depression and frustration include "meaning" and "law", that is, thoughts, feelings and expressions. "Depressed" refers to deep, heavy, depressed and restrained, mainly refers to the intensity and depth of feelings, focusing on "meaning" and "thinking". There are ups and downs, broken sentences and ups and downs, which mainly refer to the level and rhythm of emotional expression, with emphasis on "law" and "expression"
There is a close relationship between depression and frustration. Only when feelings are depressed can they be expressed without being exhausted; Only when the expression is winding and seemingly endless, the feelings become more and more profound. "Frustration and frustration" has a deep meaning of grief and indignation, which turns into waves and grows old.
The turbulent social reality and long-term hardships in life gradually replaced his youthful ideals and ambitions with depression and sentimentality. He was worried about his country and people and lamented his life experience, which was even stronger in his later years. Du Fu, on the other hand, is a man with backbone and conscience. When his grief and indignation are poured into his mouth, he often swallows it, making his feelings deeper and deeper. This emotional process of changing comes from poetry, that is, the latent energy ups and downs, giving people a sense of maturity. His poems, with 500 words from Beijing to Fengxian, are typical, such as washing horses, reading books, climbing mountains, eight poems with prosperous autumn colors and five poems with longing for historic sites. Or the scenery is affectionate, or the past serves the present, or you want to talk about it, and you are angry again and again, and your feelings are frustrated, which all highlight this style. He often condenses his thoughts and feelings in autumn scenery. In the bleak autumn, he is permeated with the poet's feelings of worrying about the country and the people when he is hurt. Du Fu has been drifting on the Yangtze River for many years, with rivers, solitary boats, steep Gorges and successful guards ... all of which are almost integrated with the poet's life. His thoughts and feelings also found sustenance in these images. Surging rivers, steep canyons, lonely moonlight and melancholy painting corners are all reflections of the poet's mood. His Climbing the Peak is an excellent lyric poem. It's a seven-character poem, which reads:
The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Long-distance visitors in the autumn of Wanli, with my hundred years of sadness, climbed this height alone. After all the hardships and hatred, the white hair is full, and the wine glasses are damaged.
Du Fu's two poems Autumn and Dajiang are the most imaginative and associative images in this collection of poems. The rushing wind, the high sky, the chirping of apes, birds, fallen trees and the Yangtze River are full of the poet's bitterness and indignation at the country and life experience. The third and fourth sentences of this poem, "Leaves fall like the waves of a waterfall, and I watch the long river always roll forward" are two famous poems. The vigorous images and ups and downs in the poem show the poet's anxiety and anger, and also reflect the atmosphere of that war-torn era.
Eight poems about autumn and prosperity are also dominated by the images of autumn and the great river, which have become the most artistic group in Du Fu's lyric poems. Its greatest characteristics are: connecting Qin and Shu with overwhelming autumn colors, showing the idea of equal coexistence in the old country; With endless memories, the past and the present are linked together, showing the feeling of remembering the past. This group of poems can well represent Du Fu's gloomy and frustrated style. The above is how Du Fu uses his personalized artistic image to express his unique depressed style.
Second, several specific artistic features of Du Fu's poetic art ..
First, Du Fu is good at making a high artistic summary of real life.
Sometimes this generalization is to select things with typical significance and condense complex social phenomena into one or two poems through objective description, thus revealing their essence. For example, "From Beijing to Fengxian" has 500 words, and it is shocking to concentrate sharp class contradictions in these ten words. Another example is "Bai Di": "It is better to return a horse and a military horse. There are hundreds of thousands today." It is also a summary of a complex social phenomenon in two poems to show the evil of the melee between warlords in Sichuan. There is also like "Year after year": "Heaven and earth bleed every day, who is Qing?" It also summarizes the political situation after the An Shi Rebellion.
Du Fu's generalization sometimes gives a general introduction to some events through dialogues between characters. For example, the poem "Garage Shop", through the words of a pedestrian, widely introduces the heavy military service, the hardship of war, and the people's opposition to opening the border. The Stone Trencher introduces the experience of this family through the words of an old woman, and also summarizes thousands of families in Qian Qian. The realism of Du Fu's poems does not lie in portraying typical characters. Although he also wrote many people, these people did not appear as typical individuals. His realism is characterized by choosing typical events from real life and describing them in a highly generalized way. Through this description, the essence of real life is revealed.
Second, the magnificent artistic realm and meticulous expression.
The artistic realm is magnificent, but the expression technique is nuanced. Du Fu's poetic realm is magnificent because of his patriotism, profound knowledge and rich life experience. And this magnificent realm is often achieved by depicting the specific and detailed scenery in front of you and expressing the subtle fluctuations in your heart. He has a poem entitled "Song of Wang Zai's Painting Landscape", which contains two sentences: "Traveling to Moby in ancient times, talking about Wan Li recently." Du Fu is full of praise for Wang Zai's landscape paintings, saying that his paintings have the potential of "Wan Li in hand". Du Fu's poems also tend to be "away from Wan Li". Li Bai and Du Fu, their artistic realm is magnificent, but the ways to reach such a magnificent realm are different. Li Bai achieved it with lightning speed and drastic measures, while Du Fu achieved it in a considerate way, that is, seeing the big from the small and seeking the near from the far.
If Li Bai's poems are like a storm, moving readers with extraordinary momentum, then Du Fu's poems are like a gentle breeze and drizzle, moistening things silently and unconsciously going deep into readers' hearts. Li Bai's poems are amazing, and Du Fu's poems are very close. For example, he also wrote about the An Shi Rebellion, and Li Bai's writing started from scratch. He wrote the 19th song of Antique, which first ascended to heaven with the immortals, then looked down from above to see the world, and then a few words reflected the political situation after the Anshi Rebellion. Li Bai wrote: "Looking down on Luoyang and Sichuan, you can walk in Hu Bing. Blood grass, jackal crown. " Li Bai looked down at Luoyang River from the air and saw troops everywhere. Many civilians died in this war, but those jackals became high officials. "Blood smears weeds, jackals wear crowns and tassels", which is very bold. Du Fu wrote in detail about all aspects of the war, such as three officials and three parting, which reflected the profound disasters brought by the war to the country and people from different angles and sides. A Shi Jun written by Du Fu is: "When Hu Qun returns, he still sings and drinks the city." Through a bloody arrow, it vividly reflects the deep disaster of the people of that country. "A Blood Arrow after Hu's Return" is like a close-up of a focal plane, which reflects in detail the disaster brought by this war to the country and people. It can be seen that Du Fu is famous for his subtle observation of things. Another example is his "Wang Yue", which is a five-character poem he wrote when he was young. "Yue" refers to Mount Tai, the mountain in the east.
This poem is written like this:
What a magnificent scenery Mount Tai is! Out of Qilu, green peaks can still be seen. The magical nature brings together thousands of beautiful mountains in the south and the separation between morning and dusk in the north. Layers of white clouds, cleaning the gully on the chest; The flat bird flew into the eye socket. Try to climb to the top of the mountain: it dwarfs all the peaks under our feet.
"Daizong" refers to Mount Tai in Dongyue, saying that Mount Tai has a vast territory and the blue color of Mount Tai has always existed in Qilu. "How magnificent Mount Tai is! ? It is vast and spans the highlands of Qi and Lu. " It's about Mount Tai. "The creator has endowed all the mysterious nature here with elegance. What else? The day immediately enters dawn and dusk. " Yin is the north of the mountain and Yang is the south of the mountain. The light in the north of the mountain is different from that in the south of the mountain, so it is faint here and bright there. I wrote these two sentences because Mount Tai is high and steep, so it is different from "faint" and "dawn". "Swinging your chest produces clouds, and birds fly back and forth in front of my nervous eyes." Refers to the clouds in the distance, and the clouds on the mountainside roll up, which can't help but stir. Watching the returning bird fly far away, the figure of the bird is getting smaller and smaller, so keep your eyes open until your eyes crack. "Once you climb to the top of the mountain and peek, you will see that other mountains look short under the sky ..." He said that he was going to board the plane.
Climb to the top of Mount Tai and look down from above. Because Mount Tai is very high and other mountains are very small for a long time, it is called "other mountains are dwarfed in the sky." .
This poem is about seeing Mount Tai. In just eight sentences, four different views on Mount Tai are written from different distances and different angles.
The first two sentences are hyperopia, the third and fourth sentences are myopia, the fifth and sixth sentences are myopia, and the seventh and eighth sentences are to imagine that you want to climb a mountain and see far away. In eight poems, Du Fu wrote four different kinds of fortune-telling, which shows that he wrote very carefully. Let's take a look at his other poem "Qiangzhai". There are three poems in Qiang village. Let's look at his first poem. This poem was written by Du Fu after he returned to Zhangzhou from Fengxiang. The poem says:
The sky is red and the clouds are west, and the ground is flat at the foot of the sun. Chai Men's birds are noisy, and thousands of miles away. My wife blames me, and I'm still crying. The chaos of the world is drifting, and it is accidental to survive! Neighbors are all over the wall, sighing. Midnight is more like a candle, relatively dreamy.
"Returning home" is what Du Fu refers to himself. "My wife blames me for being here, and I was still crying when I was surprised." My wife and children are surprised that I can come back alive. Surprised, I felt sad and shed tears when I thought of this separated life. The word "midnight" means late at night, and "gèng" means again. They have fallen asleep, but they can't sleep. They stood up again, lit candles and looked at each other to see if it was true or a dream.
"Midnight is more like lighting a candle, and relatively more like a dream." Du Fu didn't believe that he could come back alive to reunite with his family, nor did his wife and children, so the excitement at the first meeting ended. Everyone fell asleep, but they couldn't sleep. They got up again, lit candles and looked at each other as if they were dreaming. This poem begins with happiness-happiness at home. "Chai Men's birds are noisy, and it's a thousand miles away." In the evening, at dusk, Du Fu returned to his home, and the birds were singing, as if welcoming his return. Then write Jing-"My wife blames me for being here, and I am still crying." I was very happy when I first entered the house, but I was surprised when I saw my family. On the one hand, the family is very strange. I didn't expect Du Fu to come back alive. On the other hand, Du Fu didn't expect to be reunited with his family, and the family was so peaceful, so he wrote a happy story and then a surprise. After writing a shock, I wrote a sadness-"I was still crying when I was shocked." After writing sadness, I wrote doubt, but I suspect that this is a dream-"more dreamy." After a big war, Du Fu suffered a lot outside and suddenly returned home, first happy, then surprised, then sad, and finally suspicious. Du Fu grasped every ups and downs of his mood and wrote with great care, which can be said to be superb.
Du Fu is not only meticulous, but also able to reach a magnificent realm through meticulous description, which is where Du Fu surpasses ordinary realistic poets.