Du fu (7 12 ~ 770) was a poet in the Tang dynasty. Beautiful words. Originally from Xiangyang (now Hubei), he was born in Gongxian County, Henan Province. Because he once lived near Shaoling in the south of the city when he was in Chang 'an, he called himself Shaoling's grandfather, and later called him Du Shaoling and Du Gongbu. Du Fu's poems are called "the history of poetry". However, Du Fu's poetry, as a "history of poetry", is not an objective narrative. They write history in the style of poetry, but at the same time, they deeply reflect the reality and express the author's mood through a unique style.
Du Fu grew up in a family with a literary tradition of "obeying Confucianism and guarding officials". He began to learn poetry at the age of 7, and poetry attracted the attention of Luoyang celebrities at the age of 15. From the age of 20, his life can be divided into four periods.
Roaming period: from the 19th year of Xuanzong Kaiyuan (73 1) to the 4th year of Tianbao (745). Du Fu wandered for a long time twice. During these two wanderings, he lived a romantic life of climbing mountains and wading, singing and hunting. Only twenty poems written by him during this period have been handed down, mainly five-character poems and five-character ancient poems. Wang Yue was written in this period. In the third year of Tianbao, I met Li Bai in Luoyang. They traveled to Qilu and forged a deep friendship. The following autumn, Du Fu will go west to Chang 'an, and Li Bai will revisit Jiangdong. They broke up in Yanzhou and never met again. Du Fu wrote many touching poems in memory of Li Bai.
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 creation have undergone great changes. Du Fu was "trapped in food and clothing". In order to make a living, he had to go in and out of the aristocratic mansion and act as a "guest". At the same time, he made some friends as poor as himself, and he also made extensive contact with working people. His footprints range from mean streets to noble gardens, from Qujiang, where high-rise buildings and pavilions compete for luxury, to xian yangqiao, where people must go before they start recruiting. The failure of official career requirements made him objectively understand the corruption of the ruling class, and his personal hunger and cold made him realize the sufferings of the people. These two completely different lives are reflected in Du Fu's poems. Eleven years after Tianbao, he wrote immortal masterpieces such as Garage Shop, Second Way, Before Seal-up and After Seal-up. In the winter of the 14th year of Tianbao, Du Fu visited his wife in Fengxian and wrote "From Beijing to Fengxian, I want to recite 500 words", expressing the deep affection of "worrying about Li Yuan in poor years, sighing hot in the intestines", summarizing the sharp social contradictions with "the wine and meat in Zhumen stink, and the road freezes to death", and describing the family situation of "My youngest son is hungry and dead". This is his ten years. There are more than 100 poems handed down in this period, most of which are ancient poems with five or seven words.
Left-handers and Exile: From Su Zong to Deyuanzai (756) to Gan Yuan for two years (759). After the Anshi Rebellion, he went south and quickly occupied Luoyang and Chang 'an. Du Fu was unfortunately intercepted by the rebels and sent to Chang 'an. Du Fu was trapped in the city for nearly half a year, watching the solemn capital desolate and miserable, and listening to the news that Tang Jun was wiped out after two counterattacks in Chen Tao and Qingban, he was both sad and angry, and wrote poems such as Sad Chen Tao, Sad Qingban, Spring Hope and Aijiangtou. In April, the second year of Zhide (757), Du Fu escaped from Chang 'an and went to Fengxiang, the temporary residence of Su Zong, where he was left to glean. In August, the long poem "Northern Expedition" was completed, which is comparable to "Singing 500 words from Beijing to Fengxian". The following spring in Gan Yuan, Du Fu went to his former residence in Henan. On his way home, he witnessed the sufferings of the people under the cruel oppression of officials, and wrote six famous poems, such as Xin 'an Official, Tongguan Official, Shi Haoguan, Wedding Farewell, Farewell to Refugees, which were called "Three Officials" and "Three Farewells" by later generations. Disappointed with politics, Du Fu turned to the difficult Shu Road and later came to Chengdu.
Wandering in the southwest: from the first year of Shangyuan reign of Su Zong (760) to the fifth year of Dali reign (770). 1 1 year, Du Fu spent eight years in Shu and three years in Jingxiang. In fact, he has lived in Chengdu for five years, and his life is still relatively stable. However, he never forgot those people who were exiled and had nowhere to live. In "The Song of Autumn Wind Breaking the Cottage", he sang the famous sentence "There are thousands of spacious buildings in Qian Qian, and the poor in the world are happy." In the spring of Baoying, the Anshi Rebellion, which lasted for 78 years, ended. Du Fu was ecstatic when he heard the news. He blurted out the seven methods that were recaptured by the imperial army on both sides of the Yellow River and expressed his inner joy. This is the happiest song of Du Fu's life.
Four or five years in Dali is the last two years of Du Fu's life. He has no fixed address, and travels between Yueyang, Changsha, Hengzhou and Leiyang, spending most of his time on the boat. Dali died on a boat on the Xiangjiang River between Changsha and Yueyang in the winter of five years, at the age of 59. After Du Fu's death, the coffin was buried in Yueyang. It was 43 years later, that is, in the eighth year of Xian Zongyuan (8 13), and his grandson Du Cai was buried in shouyangshan, Henan.
Poetic style
First, frustration and frustration.
Linguistically speaking, Du Fu's poems are generally regarded as "gloomy". The word "depressed" first appeared in the Southern Dynasties, which means "depressed and thoughtful, sad and picturesque". Later, Du Fu wrote the word "depressed and frustrated", which accurately summarized the language of his works. "As for depression and frustration, they are agile at all times, while Yang Xiong and Gomez are ordinary. A further study of Du Fu's poems shows that the formation of his poetic style is closely related to his adherence to Confucianism. At the same time, Du Fu was at the end of his heyday. When he was young, he was ambitious. "Once you reach the top, you will see that other mountains are dwarfed under the sky. "Later, the Anshi Rebellion broke out, the national movement declined and the official career was unlucky. The great gap between ideal and reality has also caused great changes in Du Fu's poetic style, approaching realism. The individualization of image selection in Du Fu's poems is the basis of his language. The images that often appear in Du Fu's poems, such as ancient blockhouses, autumn clouds, apes whistling, broken torches, steep gorges, defending the world, solitary boats, fallen flowers, sunset and other natural landscapes, as well as ordinary people such as weaver girls, old women, old farmers and wives, as well as powerful forces such as officials, generals and villains, all show Du Fu's urgent mood of "saving the world and helping the people" and his spearhead to confuse Gan Kun. The evaluation of Du Fu's later poems in Wu Ling's Poems Around the Stream: "Yang opens and Yin closes" says: "Only the meaning is far-reaching, and the next sentence is unknown". Wu Ling added: "When a mortal writes a poem, he only says one thing in one sentence, but he says two more. Du Fu's poems can say three, four or five things in one sentence; Ordinary people write poetry, which is far less than dozens of miles in front of them. Du Fu's poems can be said to be hundreds of miles, two armies and States, and the world is wonderful. "
Second, inclusiveness.
As far as style is concerned, Du Fu's poems are diverse in style. Yuan Zhen's evaluation of Du Fu is: "As for the beauty of the son, it is called frivolous and coquettish. At that time, Shen Song seized Su Li and swallowed Cao Liu, hiding his face and thanking him for his loneliness. He was beautiful and beautiful, which was unique in ancient and modern times." Qin Guan also has a similar view: "So Du Zimei people are poor and expensive, extremely luxurious, full of diluted interest, delicate and clean, and have the beauty of algae, which is beyond the reach of other families." However, if you don't gather the strengths of many families, Du can't be immune. "For example, Du Fu also has a wild and unruly side, and Du Fu's heroism can be seen from his masterpiece" Singing the Eight Immortals ". The mainstream view holds that Du Fu's poems are gloomy in style, refined in language, rigorous in meter, skillful in craftsmanship, sincere in feelings, elegant in speech, profound in description, delicate and touching, and vivid in image. "Elaborating beautiful sentences for human nature and gushing" is his creative style. "As far as the narrative style and discussion style of Du Fu's poems are concerned, some scholars think that it is influenced by The Book of Songs Xiaoya, and his elegy and generosity are similar to Li Sao. Some scholars believe that Du Fu's poems have the traditional spirit of benevolent government and the spirit of Sima Qian's record. There are also views that Du Fu's poems have "humanitarian spirit". Han Yu, a great writer in the Tang Dynasty, once compared Du Fu and Li Bai, saying, "Du Li's articles are endless. Wang Anshi praised Du Fu's poem "Ugliness and beauty are so different, but how to carve them". Chen Shan's "New Theory on Qin Tick" Volume 7: "Old Du Fu's poems should be six classics in poetry, while others' poems are philosophers". Jiang Shiquan's Collection of Zhongyatang, the first volume, Preface to the Collection of Du Fu's Poems, is also called "Du Fu's Poet, Four Books in Poetry".
Third, the antithesis of exquisite words.
In terms of meter, Du Fu's poems are characterized by refined words and neat antithesis, which conforms to the "architectural beauty" of China's poems. For example, "the wind blows in the wide sky, apes crow and birds crow, the blue lake and white sand return to their nests, the leaves fall like waterfalls, and I see the long river rolling in", which is the embodiment of Du Fu's superb diction and antithesis. In addition, Du Fu also has many innovations in genre, such as his creativity in the Five-Seven Laws and his uniqueness in literary creation.
Fourth, the content is far-reaching
In the content of Du Fu's poems, most of his works reflect the social outlook at that time, with a wide range of themes and profound implications, especially describing the sufferings of the people and expressing his sympathy for the people and his feelings of worrying about the country and the people. Du Fu's poems are called the history of poetry, which first appeared in the late Tang Dynasty. "Du Fu's" Difficult in the Mountain, the flow of the dragon book, the poetry, pushed to the hidden place, almost nothing, so it is called the number. " In the Song Dynasty, the conclusion was drawn, but the significance of poetry history was different. Some people pay attention to Du Fu's poems about historical events, and think that Du Fu's poems are documentary poems, which can supplement and prove history, so they are called poetry history. This statement only pays attention to the truth and falsehood of historical events, but ignores the emotional characteristics of poetry. Some people think that Du Fu has profound historical knowledge and rigorous brushwork, which can be compared with Sima Qian, a historian of the Han Dynasty. Poetry has critics, and they can all be "the beauty that is not empty and the evil that is not hidden", so it is called the history of poetry. This is desirable. On the other hand, Du Fu's poems are called the history of poetry because they sympathize with others and sometimes feel sad, which is also desirable to some extent. But some people don't want to assign poems. Yang Yi is not Du Like mansion. Liu Fang's "Poems of Zhongshan" says: "Yang Danian is not a poem of Du Like's Ministry of Industry, and he is called the owner."
The influence of later generations
His poems are rich in social content, rich in the color of the times and distinctive in political inclination, which truly and profoundly reflect the political current affairs and broad social life prospect of a historical era before and after the An Shi Rebellion, and are called the "history of poetry" of a generation. The style of Du Fu's poems is basically "gloomy and frustrated", and the language and text structure are full of changes, emphasizing the refinement of words and sentences. At the same time, his poems have many styles. Besides the five ancient poems, the seven ancient poems, the five laws and the seven laws, he also wrote many lines. There are also various artistic techniques, which are the epitome of the ideological art of Tang poetry. Du Fu also inherited the spirit of Yuefu in Han and Wei Dynasties, got rid of the shackles of the ancient Yuefu themes and created many new Yuefu themes, such as the famous Three Officials and Three Farewells. After his death, he was highly praised by Huang Fan, Han Yu, Yuan Zhen and Bai Juyi. Du Fu's poems had a far-reaching influence on Bai Yuan's literary thought of "New Yuefu Movement" and Li Shangyin's near-body allegorical current affairs poems. However, Du Fu's poems were widely valued after the Song Dynasty. Wang Yucheng, Wang Anshi, Su Shi, Huang Tingjian and others hold Du Fu in high esteem, while Wen Tianxiang regards Du Fu's poems as the spiritual strength to stick to national integrity. The influence of Du Fu's poems, from ancient times to the present, has long gone beyond the scope of literature and art. For details of his life, see Old Tang Book (volume 190).
Although Du Fu is a realistic poet, he also has a wild and unruly side. It is not difficult to see Du Fu's heroism and dry clouds from his masterpiece Song of Drinking Eight Immortals.
Du Fu did not get much praise and attention during his lifetime and several years after his death, partly because of his innovation in style and meter. Some critics think that some of his works are still bold and eccentric. When he was alive, there were few references about him, only six poets *** 1 1 poems. Moreover, these poems did not mention that he was a model of poetry and ethics. However, as William Hung said, Du Fu is "the only poet with increasing influence in China".
In the 9th century, his works became famous. The early positive comments came from Bai Juyi, who popularized some ethical ideas in Du Fu's works, although he only found these ideas in some of Du Fu's works. Besides Bai Juyi, there is Han Yu, who wrote articles to refute the voices against Du Li and defend their aesthetic status. At the same time, the poems of these two poets have the shadow of Du Fu's poems.
/kloc-At the beginning of the 20th century, Wei Zhuang, a poet of Shu Kingdom five generations ago, discovered the ruins of the thatched cottage and reconstructed and protected it. During this period, China set off a frenzy of "New Yuefu Movement", and Du Fu was regarded as the initiator of this realistic poetry movement. Since Bai Juyi, Du Fu's realistic creative spirit has influenced the creations of Pi Rixiu, Cao Ye, Nie, Du Xunhe and others, thus forming a school of realistic poetry, which dominated the poetry circles in the late Tang Dynasty.
In the Song Dynasty, Du Fu's fame reached its peak. Huang Tingjian, Chen Shidao and others. Specially explore the strange ways of Du Fu's poems and form the "Jiangxi Poetry School". Later Wang Anshi, Lu You and Wen Tianxiang were also influenced by Du Fu to some extent. Wen Tianxiang made 200 episodes of Du Fu's five-character poems in prison, and said in the preface: "Whoever wants to make a noise, Zi Mei will speak first." Lu Xun also commented on Du Fu, "Du Fu doesn't seem to be an ancient man, as if he still lives in our pile today". Du Fu's wider influence is that Du Fu's works have turned metrical poems from word games into carriers of expressing political ambitions, which laid the foundation for later poets to write political themes.
The development of Neo-Confucianism in Song Dynasty ensured Du Fu's supremacy as a model of poetry. Su Shi explained the reason: "There are countless poets in ancient and modern times, but the one headed by Wu is not hungry and cold, but he never forgets your last meal!" . His thinking ability exerted his influence. Because of his yearning for establishing a good social order, he is highly respected by politicians, reformers learn from his sympathy for the poor, and writers learn from his innovation in artistic techniques.
Jin Shengtan, a literary critic in the early Qing Dynasty, called Du Fu's poems, Qu Yuan's Lisao, Zhuang Zhou's Zhuangzi, Sima Qian's Historical Records, Shi Naian's Water Margin and Wang Shifu's The West Chamber "the Book of Six Talents". In contemporary times, Du Fu's loyalty to the country and concern for the people are reinterpreted as nationalism and socialism, and he himself is appreciated by modern researchers for using the "people's language".
Du Fu's influence on later generations is also moral. Rex Ross, a modern American poet in the 20th century, thinks that Du Fu pays attention to the love between people and the tolerance and sympathy between people: "My poetry is undoubtedly mainly influenced by Du Fu. I think he is the greatest poet except epic and drama. In some respects, he even surpassed Shakespeare and Homer, at least he is more natural and kind. "
Du Fu is famous not only in China, but also overseas. 148 1 year, North Korea translated Du Fu's poems into Korean, which is called Interpretation of Du Fu's Poems and Proverbs. His influence on Japanese literature was relatively late. Until17th century, his reputation in Japan was the same as that in China. Du Fu's influence on Matsuo Bashō is particularly profound. Du Fu is also the favorite writer of American writer Kenneth Rexroth.