Du Fu's poems are called "the history of poetry" because of his gloomy poetic style and his concern for the country and the people in his middle age. His poems are good at antique and rhythmic poems, and have various styles. He accurately summed up his work style with the words "depressed and frustrated", mainly focusing on depression. Du Fu lived in the historical period from prosperity to decline in the Tang Dynasty. Most of his poems involve social unrest, political darkness and people's sufferings. His poems reflected the social contradictions and people's sufferings at that time. His poems recorded the historical changes of the Tang Dynasty from prosperity to decline, and expressed the lofty Confucian spirit of benevolence and strong sense of hardship, so they were called "the history of poetry". Du Fu is concerned about the country and the people, with noble personality and exquisite poetic skills. Du Fu wrote more than 1500 poems in his life, many of which are famous works that have been celebrated through the ages, such as Three Officials and Three Farewells. Among them, the "three officials" are Shi Haoguan, Xin 'an official and Tongguan official, and the "three farewell" are newly married, homeless and resigned. Du Fu's poems handed down from generation to generation are the most extensive in the Tang Dynasty, and he is one of the most outstanding poets in the Tang Dynasty, which has a far-reaching influence on later generations. Du Fu's works are known as the scars of the world and the sages in poetry. The people are in poverty, and the bottom of the pen is turbulent. It is a masterpiece of realistic poetry.
Rhyme plays an extremely important role in Du Fu's poems. 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, banquets and landscapes with his poems, but also writes about current events with his poems. It is difficult to write current affairs with metrical poems, but Du Fu can use them freely. 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, there is such a poem in Yang Lun's Ascending the Mountain, which is called "The Seven-character Law of Du Ji": "There is a flurry in the sky, apes crow and birds crow, blue lakes and white sands, and birds crow at home. 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. Bad luck has a bitter frost on my temples, and heartache and fatigue are a thick layer of dust in my wine. " The whole poem is also very precise and elegant in 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 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 "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. Wild trails and clouds are all black, and rivers and boats are bright. Look at the red and wet place, Jinguancheng flowers 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 down a surprise that suddenly looks back, which is rigorous and seamless.
Du Fu is good at using many systems of classical poetry and creatively developing them. Du Fu's thought of paying attention to people's livelihood and his achievements in rhythmic poetry directly influenced the creation of new Yuefu by Yuan Zhen, Bai Juyi and others in the middle Tang Dynasty. He is the pioneer of the new Yuefu poetry style. His Yuefu poems contributed to the development of the new Yuefu movement in the middle Tang Dynasty. His "May 7th" archaic novel, which is also a history of poetry, began to narrate and focus on the whole story, marking the high achievement of China's poetic art. The Song Dynasty, full of social contradictions, was the most prosperous time to learn from Du Fu, and the Jiangxi Poetry School with Du Fu as the Sect appeared. Gu and others in the late Ming and early Qing dynasties also had an obvious tendency to learn from Du Fu. They also used metrical poems to reflect the anti-Qing struggle at that time and were impassioned.
Du Fu's poems received extensive attention after the Song Dynasty. Yu Wang, Wang Anshi, Su Shi, Huang Tingjian and Lu You spoke highly of Du Fu. Textual research data for nearly a thousand years, the wind of governing Du Fu has been endless.
2. Xin Qiji's words:
Xin Ci has exerted a great influence on the history of literature with its patriotism in content and artistic innovation spirit. Chen Liang and Liu Guo, who sang on the same stage as Xin Qiji, or later Liu Kezhuang and Liu Chenweng all had similar creative tendencies, forming a huge patriotic ci school after the mid-Southern Song Dynasty. Later, when the country and the nation were in crisis, many writers drew spiritual inspiration from Xin Ci. As a court minister in the Southern Song Dynasty, he wrote an article "Discussing and Training the Militia to Defend Huai Shu", which expressed strong patriotic feelings, incisive and profound analysis of the war situation, and clear and concrete countermeasures. Xin Qiji used two completely different styles to express his impassioned patriotic feelings from different sides, reflecting his lofty aspirations and lofty ideals of caring for the country and the people, and his lofty ambition of "a man who has tears does not flick, but wants to make up for the sky". Throughout his life, he was proud of his integrity and made his own achievements, and advocated the war of resistance all his life. He showed his outstanding military talents and patriotic enthusiasm by participating in activities such as "Ten Comments on Meiqin" and "Nine Comments", and maintained a deep friendship with Chen Liang, a scholar in the Southern Song Dynasty, encouraging him to remain upright and learn from him. Anti-gold and national rejuvenation are the main themes of his works, among which there are many laments of the lost direction of heroes and the idle resentment of the strong, which have distinct characteristics of the times. It also depicts the pastoral scenery, social customs and folk customs of the four seasons in the rural areas of the south of the Yangtze River with vivid and delicate brushstrokes. His ci has a wide range of subjects, and he also makes good use of predecessors' allusions. The style is heavy and heroic, and there is no lack of delicacy and gentleness. On the basis of Su Shi, he greatly developed the artistic conception of Ci and improved the literary status of Ci. Later people called it "Su Xin".
There are many similarities between Xin Qiji and Lu You: he always takes revenge for national humiliation and regaining lost land as his lifelong career, and writes about the expectations and disappointments of the times and the enthusiasm and indignation of the nation in his literary creation. In terms of literary creation, he doesn't like writing poems like Lu You, especially the seven laws with strict format, but puts all his energy into Ci, a genre that is more suitable for expressing volatile emotions.
Xin Qiji's great contribution in the history of Ci lies in the expansion of content and theme. His existing more than 600 poems are about politics, philosophy, feelings of friends and lovers, rural scenery, folk customs and feelings about daily life and reading. It can be said that at that time, he wrote all the poems that could be written in any other style, and the scope was much wider than that of Su Ci. With the changes in the content, theme and emotional tone of Ci, the artistic style of Xin Ci has also changed. Although his ci is mainly vigorous and vigorous, he is also very handy in writing traditional charm words. For example, in the famous "Catch a Fish and Cherish the Spring in the Sea", the first thing I wrote was Cherish the Spring, and the second thing I wrote was the palace resentment. I used a woman's style to write a lonely and frustrated mood layer by layer, which was very tortuous, euphemistic and thrilling, and my pen was extremely delicate. Many of his works describing rural scenery and farmers' life are so simple, beautiful and full of vitality. Xin Qiji always embraces life with passionate feelings and lofty ideals, showing heroic pride and indignation. Therefore, a strong subjective feeling and the persistence of subjective ideas constitute a major feature of Xin Ci.
Strong patriotism and fighting spirit are the basic ideological content of Xin ci, which is first manifested in his ci, and he keeps repeating his nostalgia for the north. In addition, in He Xinlang and Fishing, he satirized the small court in the Southern Song Dynasty with words such as "there is water left and mountains left" and "the sun is setting, and the willow is dark and the flowers are bright" to express his dissatisfaction with being partial and not thinking about going north. Ambition is useless, and it is expressed in unspeakable words. In his masterpiece Shui Long Yin, he is good at remembering the past and facing picturesque rivers and mountains and heroes. While inspiring his lofty aspirations, he also expresses the feeling that heroes are useless. The fierce conflict between ideal and reality constitutes the tragic tone of his ci. On the basis of Su Shi's Ci, Xin Ci has further expanded the scope of the subject matter, almost to the point where everything has to be unintentionally written.
His ci expressed patriotic enthusiasm for restoring national unity, poured out grief and indignation with lofty aspirations, exposed and criticized the humiliating surrender of the upper ruling clique in the Southern Song Dynasty, and there were also many works praising the motherland. The artistic style is diverse, mainly bold. Passionate, generous and tragic, vigorous brushwork, and Su Shi are also called "Su Xin". It is famous for Breaking the Array, Giving Zhuang Ci to Chen Tongfu to Recall the Past, Yongyule Jingkou Gubei Pavilion, Shuilong Yindeng Healthy Yueting Pavilion and Bodhisattva Man Writing Walls in Jiangxi. However, some works reveal negative emotions caused by unfulfilled ambitions, such as Jia Xuan's long and short sentences.
3. Bai Pu's Yuanqu:
Bai Pu (1226—— about 1306) was originally named Heng, whose name was Renfu, and later it was renamed Park, whose name was Zi. Han nationality, originally from qi zhou (now Hequ, Shanxi Province), later moved to Calm (now Zhengding County, Hebei Province) and lived in Jinling (now Nanjing) in his later years. He was a well-known zaju writer in Yuan Dynasty, and he was also known as the four masters of Yuan Dynasty with Guan Hanqing, Ma Zhiyuan and Zheng Guangzu (the other was Guan Hanqing, Ma Zhiyuan, Wang Shifu and Bai Pu). His representative works mainly include Autumn Night Rain by Tang, Coming to the Great Wall by Pei, and Moonlit Night on the East Wall by Dong Xiuying.
Bai Pu was smart since childhood, with a good memory and a good command of music. With Guan Hanqing, Wang Shifu (the other is Zheng Guangzu), Ma Zhiyuan and others, they are also known as the four masters of Yuan Opera. Sanqu is elegant and dignified, and Guan Hanqing is a great composer in Jin and Yuan Dynasties. In his works, Wu Tongyu, a famous zaju, tells the story that An Lushan, the envoy of Youzhou, was having an affair with Yang Guifei, and he became our envoy, but he was at odds with Yang, so An Lushan rebelled and was eager to make luck for Shu. When the army stopped at the Mayi post, Chen demanded that Yang's younger brother and sister be punished. Ming Chengzu had to order the imperial concubine to hang herself in the Buddhist temple. After Li Longji returned to Chang 'an, he met the imperial concubine in his dream one day, and was awakened by the rain of phoenix trees, reminiscing about the past, which made him very disappointed. This play has been highly praised throughout the ages. Li's Yu Cun Qu Hua in Qing Dynasty said: "There were dozens of people who sang Ma Wei in Yuan Dynasty, and Bai Renfu's Wu Tongyu was the most." Wang Guowei's "Words on Earth" said: "Bai Renfu's" Autumn Night Wu Tongyu "drama is the highest in Yuan Dynasty." Another work, Pei Quan Ming, is Bai Pu's best work, and it is also called "the Four Great Love Plays in Yuan Dynasty" with Moon Pavilion, Wang Shifu's The West Chamber and Zheng Guangzu's Away from the Soul. This was written by Pei Xingjian, the son of Prime Minister Pei Xingjian in the Tang Dynasty. Pei Xingjian went to Luoyang to buy flowers on the orders of his father. On the way, he and Li Shijie's daughter Li Qianjin wrote a poem to answer. That night, they made a private appointment in the backyard, eloped to settle in Chang 'an, and had a son and a daughter. Later, Shao Jun's father found that Shao Jun was forced to divorce his wife and go home. Li Qianjin returned to Luoyang and his parents died. Shao Kaozhong formally married Li Qianjin after he entered the Jinshi.
Bai Pu's ci has spread to more than 100, most of which are mainly about chanting things and making friends; His works have elegant lyrics and belong to the literary genre. There are 65,438+06 kinds of zaju: The Ghost Meeting, Catching the River, The Story of the East Wall, Liang Shanbo, Ambassador Lan Ting, Andrew's Resentment, Cutting the White Snake, Wu Tongyu, Xingyue Palace, Paddle of Cuihu, and so on. Sanqu has a volume of Legacy of Nature, 37 poems and four sets of divertimento.
4. The Book of Songs:
The Book of Songs is a collection of poems produced at the end of slave society in China. It is the beginning of China's ancient poetry and the earliest collection of poems. We collected 305 ancient poems from 1 1 century BC to the 6th century BC. In addition, there are six poems with titles and no content, which are called sheng poems. No content is Nanchang, Bai Hua, Shu Hua, Youkang, Chongwu and You Yi. It reflects the social outlook of about 500 years from the early Western Zhou Dynasty to the mid-Spring and Autumn Period.
The author of The Book of Songs is unknown. It was collected by Yin Jifu and edited by Confucius. At first, it was just called "Poetry" or "Poetry 300". In the Western Han Dynasty, it was regarded as a Confucian classic and called The Book of Songs. There are three kinds of editors in The Book of Songs: style, elegance and ode. "Wind" is a ballad of Zhou Dynasty. Elegant music is the official music of Zhou people, which is divided into harmony and elegance. Ode is a musical song used for sacrificial rites in Zhou and noble ancestral temples, which is divided into ode to, and ode to Shang.
The Book of Songs is rich in content, reflecting labor and love, war and corvee, oppression and resistance, customs and marriage, ancestor worship and feasting, and even astronomical phenomena, landforms, animals and plants. It is a mirror of the social life of the Zhou Dynasty.