Rhyme plays an extremely important role in Du Fu's poems. Du Fu's current affairs poems are mostly archaic, because archaic is easy to describe. There is no doubt that his achievements in ancient times were great. However, his achievements in the art of poetry are even more brilliant.
The achievement of Du Fu's metrical poems lies in expanding the scope of expression of metrical poems. He not only writes about entertainment, nostalgia, travel, feasts and landscapes with Chang Song poems, but also writes about current events with Chang Song poems. There are fewer restrictions on writing current affairs in ancient Chinese, and most of Du Fu's poems on current affairs are ancient Chinese. It is difficult to write current affairs with metrical poems, but Du Fu can use them freely. In this part, he writes regular current affairs poems, which are less narrative and more lyrical and argumentative, such as Autumn Flute, This is the way it is, Wang Ming and Fu Zheng. In order to expand the expressive force of rhythmic poetry, he expressed some difficult and broad contents in the form of group poems, which are found in the five laws and seven laws. Twenty Poems of Five Laws in Qinzhou is an example. Pu Qilong once pointed out that this is a group of poems. His mood when he was in Qinzhou was reflected in 20 song collections. Although there is no general title, the bridal chamber, the past, the residual painting, the cockfighting, Li Li, Luoyang, Lishan and the theme wind written by the guests when they lived in Kuizhou are actually poems in content. The bridal chamber is the source of eight poems;
The bridal chamber is cold, and there is autumn wind in the Jade Palace. Qin land should be a new moon, and Longchi is full of old palaces. The ship is far away tonight, so is the leak. Wan Li, in the north of Huangshan Mountain, has a white dew in the garden.
Tied the boat to the bank of the Xiajiang River, autumn scenery aroused the bleak association in the palace. From the dreariness of today's palace, as well as recalling all kinds of pleasures in the palace in the past, there are various articles, such as Su, residual paintings, cockfighting, etc., describing the pleasures in the palace in those days. The fifth song "Li Jue" is a turning point, from before the Anshi Rebellion to after the Anshi Rebellion: "Li Jue Kaiyuan is clearly in sight. A thief starts for no reason, and suddenly moves when he is old. " The sixth "Luoyang" is about the fall of Luoyang, when the rebels advanced on Chang 'an and Xuanzong fled. The seventh poem "Mount Li" writes that Mount Li is no longer prosperous, desolate and desolate, which is incomparable in the past and present. The eighth "topic style" is a summary, reflection and discussion;
As soon as the Han Dynasty was announced, all countries were unified. Excuse me, how can I stay in the car? You don't have to worry about dogs and sheep to be handsome. May the soldiers still be on fire, and they will be deep in the world. I hope that the emperor can be thrifty, use wise men, abstain from fire and treat the world well, then the world can still do it. The eight poems are coordinated before and after, and the emotional context is coherent, but the scope of expression is difficult to express in a metrical poem.
The most successful group of poems written by Du Fu with regular poems is the Seven Laws, such as five poems about historical sites, five poems about generals, especially eight poems about autumn prosperity, which can be said to be the pinnacle of Du Fu's regular poems. This group of poems was written in Kuizhou period. At this time, although the Anshi Rebellion had ended, foreign invasion, rebellion in the buffer region and wars continued. The best friends have passed away one after another, and the poet himself is still drifting in the Cangjiang River, and he is also ill. Autumn scenery in the mountain city aroused his homesickness and nostalgia for the years in Beijing, looking back on life and realizing philosophy. Eight poems are developed under this ideological background, and they are getting deeper and deeper. The first song:
Yulu withered maple forest, Wushan Wuxia bleak. Between the river and the sky, the waves are rough and the clouds are covered with fog. Cong Ju shed tears the other day. She was alone in the boat. Cold clothes push knives and rulers everywhere, and Baidicheng is anxious.
Autumn scenery in Jiangxia affects the lonely mood of staying in the lonely city of Kuifu, and also affects the homesickness. The feeling of bitter years brought by the two blooms of chrysanthemums has aroused the yearning for my hometown. I was immersed in memories and thoughts, and suddenly I was shocked by the sound of anvil everywhere in Baidicheng, so I had a second song. The second song starts from reality and enters emotion and memory:
The ancient city of Kuifu has an oblique sunset, and it always relies on Beidou Wangjing Hua. Listen to the ape shed three tears, and let Xu follow August. Draw an incense burner and lean on a pillow, and the mountain floor hides sorrow. Look at the vines on the stone, which have reflected the flowers in front of the continent.
The feeling of wandering life experience aroused by the ape's cry in the sunset and the disappointment to the lonely city evoke memories of knocking on attendants in the past, and are also filled with emotion. I was immersed in memories and feelings, and suddenly I was awakened by the sadness in the mountain city and came back to reality. Time flies, the moon reaches the zenith, sighing time and being hurt, so there is a third song:
Chung Shan Man is here, Claire Kuo, and every day, Jiang Lou sits in the green. The fisherman in the lodge is still ordinary, and the swallow flies in the clear autumn. Kuang Heng's resistance to fame and fortune is weak, and Liu Xiangchuan's heart has been violated. Students and teenagers are not cheap, and the five tombs are light and fat.
This song laments the unfulfilled ambition from the passage of time, causing the court to be dissatisfied with the use of non-people, so there is a fourth song:
It is said that if Chang 'an plays chess, the world will be sad for a hundred years. The houses of princes have all changed their owners, and the clothes of civil servants and military commanders are not the same as in the past. Straight north Guanshan golden drum shock, levy west chariots and horses feather book chi. The fish and dragons are lonely, and the autumn is cold, so the country is peaceful and thoughtful.
This song is a worry about the fate of the country. It means that the political situation has changed, the border war is still going on, the future of the country can be worried, and I am poor and old, unable to serve the country, so there is nothing to worry about. The last four songs repeatedly recall the past, ups and downs, heartbreaking, lamenting their own life experiences. These eight poems show a deep and complicated emotion, which is intertwined with feelings, memories, thoughts and views on the current situation. It is not easy to express these complicated and lingering feelings with a poem, or to express them incisively and vividly, but it can be done with a group of poems. Writing poems with rhythm greatly expands the expressive force of rhythm, which is Du Fu's contribution to the development history of rhythm.
Du Fu writes metrical poems freely, changes as much as he can, conforms to the law without seeing the shackles of metrical poems, and is in neat opposition without seeing the traces of antithesis. For example, the banks of the Yellow River were recaptured by the imperial army:
The news of this distant western station! The north has been recovered! At first, I couldn't stop crying on my coat. Where are my wife and son? There is not a trace of sadness on their faces. He loves reading. On a green spring day, I began to go home, singing my songs loudly and drinking my wine. Come back from this mountain, pass another mountain, go up from the south and then go north-to my own town! .
The whole poem shows a sudden ecstasy vividly, and uses verbs such as "sudden biography", "first smell", "first sight" and "ramble" to strengthen the color of suddenness and randomness; Connecting four place names with words such as "cong", "cong", "cong", "cong" and "cong" has produced a lightning-fast trend. Like prose, the expression is fluent, coherent and integrated, and is not bound by law. The poems he wrote after living in Kuizhou reached perfection in this respect. Gordon, whom Yang Lun called "Du Ji's Seven-character Law", is a poem like this:
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. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. After all the hardships and hatred, the white hair is full, and the wine glasses are damaged.
The wind is urgent, apes scream, birds fly and trees fall, and with the rolling river, the whole realm is involved in the rushing water. Then there was a deep sigh. He used so many verbs with strong coherence in action, which made the whole poem have a flowing sense of wholeness and made people feel like a breath. However, on closer inspection, the whole poem is extremely complicated in terms of tonal sentence patterns. Eight sentences are all right, so is the first sentence. Strict antithesis is concealed by the fluency of the image, and strictness becomes sparse. The first word of the first couplet was replaced by a flat voice, and the first word of the next sentence was replaced by a flat voice. At the beginning, with the change of weight, two rhythms were added In order to make "sky high" and ape sound the same, he used the word "ape" in a flat voice. The three flat voices kept rising, the scream sank, the two ends fluctuated rapidly, and the last word "sadness" rose without return. This first sentence is really wonderful in expressing sound and image through careful arrangement of leveling.
The highest achievement of Du Fu's metrical poems can be said to be that this style is fluent and makes people forget that it is a metrical poem as soon as they are written. Such as "Jiangcun":
The clear river winds around the village, and everything in the village looks elegant in the long summer. Swallows on the beam fly freely, and blind dates in the water are similar and accompanied. The old lady is using a chessboard, and the younger son is making a hook with an injection. What you need for many diseases is medicine. What else can you ask for?
Speak in a friendly and casual tone, without showing signs of confrontation and musical arrangement. Delighting in Rain on a Spring Night:
Good rain knows the season, when spring comes. Sneak into the night with the wind, moisten things silently. The wild path is dark, and the river is bright. Look at the red and wet place, the flowers in Jinguancheng are heavy.
The last four sentences use flowing water to write down the charm of spring rain in one breath, unexpectedly and silently, and at the end, write a surprise that suddenly looks back, with rigorous meter and seamless structure. A Night Abroad is also a famous work of this kind.
Du Fu himself said, "The Evening Festival is getting thinner and thinner." ("Send boring nineteen Cao Chang") said: "Old poetry is muddy." This is his main pursuit of rhythmic poetry. The rhythm of fine poetry lies not only in the careful arrangement of melody, but also in seeking change from rigor, unpredictability and not deviating from the law. Sometimes in order to express some feelings, he wrote an awkward style, and in his later years he had seven laws. This awkward body is different from some irregular phenomena in the early period of the Seventh Law. It is a general change after maturity, showing the integrity of change.
Another achievement of Du Fu's regular poems lies in his success in choosing words and making sentences. He is good at using words and describing exquisitely, which is also reflected in his ancient style, and the performance of metrical poems is the most wonderful. He refines Chinese characters, and his strength is to express facial charm. That's what Liu Xizai meant when he said "an alchemist in Shaoling". His words are often less than one word, and it is difficult for others to change. He is good at using verbs to make poetry alive, and adverbs to make poetry smooth and full of turning points, especially the word "zi". He really uses it well. He is also good at using color words to strengthen a certain emotional color, using reduplicated words to create an atmosphere, using disyllabic rhymes to make the tone of poetry more harmonious and pleasant, and using colloquial words to make poetry more intimate to read. Refining Chinese characters is his conscious pursuit. He once said, "If you feel lonely about human nature, you will never stop talking." He spent a lot of energy on refining Chinese characters.