Compared with "sentimental poet" like Li Bai, Du Fu is a real "poet in distress". What is obviously different from Li Bai's life is that Du Fu has a strong sense of hardship. In the early years, Qiu Ma's frivolous and reading life was just a beautiful memory, and the emotions recorded in the poems were branded with profound practical experience. In Du Fu's experience, Tianbao's six-year imperial examination was the first to be hit. At that time, Xuanzong accepted people from all over the world and "instructed those who are proficient in art to take the exam", but Li was in charge, fearing that scholars would "show the opportunity at that time" (Yuan You), so all the candidates were dismissed, making the exam selection a shocking scam. When discussing Du Fu in the literary history of the Tang Dynasty, it will definitely involve this matter. But they all quote Du Fu's "Giving Twenty Rhymes to Fresh Beijing and Zhao" to explain from personal "resentment". In fact, the significance of this incident to Du Fu's creative activities lies not only in his true understanding of the political life of the upper class, but also in his life curve sinking to the grassroots 1 1 after the imperial examination was completely banned and "taking the name as the standard for the generation of subjects".
Suffering experience will rebuild the psychological course of scientific research different from that of ordinary scholars, "Reach the peak, the other mountains all appear dwarfs under the sky.." In his early years.
The son of a noble, obedient to Confucianism, keeps his job, but also sells medicine in the city and gives people food and clothing. There is no doubt that a broken cup and a cold roast can make people feel sad everywhere (A Gift for Wei Zuocheng). Poverty can make the youngest son die of hunger and cold, which will inevitably expand and deepen his sense of hardship. However, when the An-Shi Rebellion broke out, "Qinshan was broken at first, and the prestige of Beijing could not be found", the crisis in the prosperous period of the Tang Dynasty turned into a disaster, and the poet "stole millet and deed" in this anxiety, putting himself in the other's shoes was promoted to anxiety about a difficult country, which inspired the heroic spirit of "not loving yourself in times of crisis". Even before he died, he was still worried about the court, the country and the people: "Gong Sunshi still relied on risks, but Hou Jing was not captured alive. The letter is wider than the original, and the fight is deeper than the Beidou ... The blood is still there, and the military voice has moved to this day. " This very real psychological writing fully embodies the spiritual connotation of fully integrating one's mind into the times and history.
As a "poet in distress", Du Fu, like Li Bai, rejected the humble role of a "courtier" and became a poet with a completely independent personality, which changed the petty and charming courtier. In the face of national disasters and the trauma of the times, we can really show great sadness and grief with poems and pens, making it an eternal historical volume. In artistic expression, Du Fu also has different ways of expression from Li Bai. Although he is "sad and miserable, he is restrained, grumpy and helpless." Therefore, his poems are plain and simple, graceful and precise; Serious, mighty and handsome in the three armed forces; Those who are eager to move quickly, if they ride horses; Indifferent and quiet, if you are a hermit in the valley; There is a romantic meaning, and if the son is introduced, "12", but generally speaking, his poems do not use grand narrative techniques, nor pay much attention to grand images, but pay attention to specific people and things, pay attention to the subtle differences between people and things, refine the essence of the object through repeated brewing of feelings, and make the feelings and intentions thick and profound. At the same time, the author uses a moderate rhythm for this kind of feelings and intentions.
Yang Shen's Poems of Sheng 'an Temple says: "Taibai Poems are the words of swordsman, while Shaoling Poems are the words of Confucian poets. Taibai Biwen is a historical record, and Shaoling is a book of Han. " Indeed, if Li Bai's poetic style is high-profile and heroic, it brings infinite shocking beauty to the poetic world, while Du Fu's poems are gloomy and sincere. Poets who are also handed down from generation to generation have made great breakthroughs in all-round inheritance, and made great achievements in the creation of new narrative techniques, the improvement of near-body rhythm, the combination of rational thinking and image thinking. Both the content and the form are completely unfamiliar, so it also rewrites people's reading experience and updates people's poetic aesthetic concept.
To evaluate the significance of Li Bai and Du Fu in the development of Tang poetry, we should naturally start from two aspects: poetic style and poetic art. We should not only pay attention to the style, style and philosophy of their poems, but also find out that our "passionate poets" and "worried poets" have innovated and sublimated the poems of the Six Dynasties and the early Tang Dynasty in their poetic spirit, and pay attention to their innovative styles in the process of establishing poetry models. Due to the perfect combination of these two aspects, Du Li's situation of being dominated by court poets in the past hundred years has been completely changed, forming a grand situation in which two peaks are opposite and two stars shine. It is in this sense that we say that Li Bai made a final summary in the first half of Tang poetry, which is Li Bai's victory. However, it is unfair to completely recover Du Fu's seat at this victory celebration.
Du Li's Dissemination and Acceptance in Tang Dynasty
Many Du Li researchers warmly praised the historical significance of the two poets meeting in Tianbao for three years, and most of them said that the present is the past and even exaggerated. In fact, this meeting is nothing more than Du Fu's deep admiration for Li Bai's true feelings. "To Li Bai" boasts that "there is no great medicine resource, and the mountains and forests are swept away", and Li Bai "is a rich man in Hou Li, getting away from things", hoping that "there will be a tour of Liang and Song before picking herbs", which is very obvious. "Qiu Lai cares about him, but he is not ashamed of Ge Hong as cinnabar" is still an evaluation of his pursuit of immortality, and further expresses his admiration for Li Bai's sage demeanor. Although Du Fu did have the experience of "talking about debauchery" and "going to Taiwan Province in high spirits" (a trip to the past), his devotion to Li Bai was mainly due to his enthusiasm for seeking immortality. In "Winter with Li Bai", Du Fuyun "it's not too late to have a short brown wind and frost. I didn't go on a whim, but there was a deer gate period. " This can prove that Du Fu did have an agreement with Li Bai to seek immortality and visit Taoism. As for why "Lu Men Kong" is so, it is really unknown whether its own temperament is incompatible with Li Bai's celebrity demeanor of "drinking crazy songs and wasting his life".
Here, we point out that Du Li's direct friendship does not have the significance of poetry history evaluated by literary historians. The fundamental reason is that "the poet's Li Bai was concealed by the immortal Li Bai" 14, but we do not deny its significance for us to study the development process of Tang poetry. On the contrary, it reveals the fact that Li Bai and Du Fu had unequal communication in the early days of Tianbao. From the existing Friends materials, it is not difficult to see that Du Fu has feelings for Li Bai, such as "Yu Yidong is a guest, but he is like a brother" and "Bai Ye is invincible, and he floats in the clouds". Jun Yibao, who was fresh in starting a government, joined the army ("Memories of Li Bai in Spring"), but his poems rarely received corresponding praise. In his later years, Du Fu once expressed his feelings in "Southern Expedition" that "a hundred years of songs are bitter and there is no confidant".
Regarding this phenomenon, Qiu once analyzed and said: "Taibai has two articles about sending Shaoling, one is" Sending Du to Shimen in Luxian County "and the other is" Sending Du to Dune City ",both of which are temporary articles, which are not very good. It can also be seen that both Li Shukuang and Du Youchev have left. As for the harmony between Qin and Shu after Tianbao, the more years pass, the more refined the poetic theory is, and it is too white to see. If there is another gift, I will push Shaoling. I don't know how to dump it! " 15 There is emotional imagination here, which is difficult to win the trust. Huang Fan, the secretariat of Runzhou in the Tang Dynasty, prefaced The Collection of Du Gongbu: "When you use force, you will be gentle, so it is not known to the East." Jiang Zuo's ci writers all talk about popular operas. I didn't know you had elegant works, but now you are just a person. "Based on this, we know that Du Fu's poems were not widely recognized at that time. Objectively, Du Fu's poems were not widely spread because of the Anshi War and the separatist regime between the North and the South. Subjectively, readers tended to" play the topic "and paid little attention to the gloomy" elegant works "of poetry. Huang Fan worked in Runzhou for five to six years on behalf of Zong Dali. The Preface to Du Gongbu's Small Collection reflects the spread and acceptance of Du Fu's poems in Dali period.
When Du Fu's poems were not paid due attention, great changes took place in Zhenyuan, Yuanhe years. Han Yu's poem "Tune Zhang Ji" has "Du Li's article is there, and the flames are endless. I don't know, stupid, why use it to slander? Mayflies shake trees, which is ridiculous. After I was born, I looked at each other from a distance with my neck up. The specific background of this poem is unknown to us. At that time, there must have been an argument about Du Li, but it is difficult to know the details of the content and tendency of the argument. It is a basic fact that Du Fu can be called Li Bai and become one of the parties to the dispute over Li Bai's merits and demerits after the silence before his death and the Dali period, which in itself is a very meaningful turning point.
Most of the scholars in Zhenyuan, Yuanhe years were born after the Anshi Rebellion was settled. Do they escape from social reality like Dali poets and create some poems with style but narrow margins, or do they intervene in life with poetry pens and express the spirit of the times? In fact, when it comes to the relationship between literature and society and politics, we should ask not only the writer's attitude, but also the political environment, which often plays a very important role in stimulating the enthusiasm for learning. It is precisely because of Xian Zong's political enlightened attitude and the revival atmosphere brought about by it that many poets have restored their confidence in society, strengthened Confucianism, aroused strong national consciousness and aroused their sense of mission. Meng Jiao, Lu Tong, Han Yu, Li Ao, Liu Yuxi, Liu Zongyuan, Li Shen, Zhang Ji, Wang Jian, Yuan Zhen, Bai Juyi and other poets who care about reality are all born in this era.
It is in this context that Du Fu, a "poet in distress" with a high sense of salvation, is re-recognized, and the times need Du Fu, and the feelings of a man of Zhenyuan and Yuanhe are also very compatible with Du Fu. Therefore, although Li Bai has not been ignored in the minds of most poets, Du Fu has obviously received special attention. Bai Juyi's "Nine Books with the Same Yuan" said: "Everyone who is also a poet knows the works of Li and Du. It's amazing, but people can't catch it. It is elegant and there is nothing in it. Du Fu's poems are the most, and thousands can be handed down. As for running through ancient and modern times, the rhythm is perfect and it is too Li. " Here, Du Fu has taken a step forward slightly, and then in Yuan Zhen's Preface to Du Jun's Tomb, Yuan Wailang, the Ministry of Inspection and Correction of Tang Dynasty, there is obvious suppression. The following are classic materials that people often quote:
I read poems to Du Zimei, but I know that the small ones are always exquisite ... The so-called skinny and coquettish, the Shen Song, the ancient style, the gas, the loneliness and the beauty are all ancient and modern, and everyone is unique. ..... Li Bai, a native of Shandong, was also named after his strange writing. People called him Du Li. I have seen his strong waves unrestrained, free from restraint, images and Yuefu poems are modeled, and sincerity is not as good as beauty. In the end, the story layout, mostly rhymes, big or thousands of words, hundreds of times. The words are bold and clear, and the near law abandons everything. Then Li Shang can't pass his Fan Han, and the situation is very impressive!
Obviously, at this particular stage of Yuanhe, Wen Xin obeyed the heart of history. However, the representative significance of this comment is very prominent. It is worth noting that shortly after this, the first anthology of Zundu, Selected Poems of Tang Dynasty, appeared at 16. Editor Gu Tao not only selected more than 30 poems by Du Fu with unprecedented knowledge and tolerance, but also put forward the theory of "DuLi" for the first time in the preface, which made the atmosphere of respecting Du Fu more and more intense.
Poets in the late Tang Dynasty did not discuss Du Li's merits and demerits. We can't help thinking about their poetic spirit from the expressions of "Who is the coquettish general, who will climb Du Litan" (Du Mu's "Xue Qing visits Xifu in Zhao Tuo Street") and "Who can accompany Yushan to decay when Li Bai dies" (Wei Zhuang's "Little Cherry at Zhang Ting Station"). But spiritual respect is one thing, and the path taken in creation is another. Looking at the development of poetry in the late Tang Dynasty, it is not difficult to find the solid steps taken by poets along the "road of Shaoling".
In the late Tang and Five Dynasties, poets and works accounted for a large proportion in the history of Tang poetry, and it was not easy to group them. However, if the late Tang and Five Dynasties are divided into two stages according to their development, the evolution of 17 will be much clearer. The late Tang Dynasty was the era when Li Shangyin "walked towards the artistic conception and rhetoric of ci" 18. The representative poets of this era are Du Mu, Wen, Xu Hun, Li Qunyu and Zhao Wei. Universities and middle schools after the late Tang Dynasty and the Five Dynasties are generally divided into popular schools, bitter schools, colorful schools and documentary schools. Popular school is represented by Du Xunhe, Nie, Luo Yin, Pi Rixiu, Gu Yun and Zheng Ao. They are closely related to Bai Juyi and advocate the theory of satirical beauty in poetry teaching. They advocate that poetry should aim at "knowing the benefits and diseases of the country and worrying about the suffering of the people" (Pi Rixiu's Ten Prefaces to Zheng Yuefu). Yuefu poetry further played an allegorical role, and other styles also showed people's feelings. Kuyin School is the most extensive school of poetry in the late Tang Dynasty, which directly inherited from Meng Jiao and Jia Dao. Fang Gan, Li Pin, Xu Tang, Dong Li, Zhang Qiao, Cao Song, Zhou Pu and Miracle are all famous poets, all of whom are excellent in five laws. Seven-character Poetry School is a group of poets, such as Han, Tang, represented by Wen and Li, whose writings are gorgeous and almost gentle, and some of their works are full of personality and allegory. The representative writer of the documentary school is Wei Zhuang. Obviously, the chronological style of Li Shangyin's Hundred Rhymes in the Western Suburbs has a certain influence on him. His long narrative poem "Fu Qin Yin" became a milestone in the history of narrative poetry development with its perfect artistic structure. In addition, Zheng Gu's poem Feeling Nostalgia after the Rebellion at Old Weng Villa and Guan Xiu's many new poems The Book of Yuefu Chen Ming have a distinct documentary tendency of 19. Simply combing the poetic style of the late Tang Dynasty and the Five Dynasties, it is not difficult to see the ideological trend of Zongdu in the whole era. As we all know, Li Shangyin's nickname is "Jing Lizhi"
Works, its source is from Du Fu's "Collected Pieces" Volume 20. His poem "Hundred Rhymes in the Western Suburbs" is a history of poetry and should coexist with Shaoling's Northern Expedition. In his later years, Wang also liked to call Yishan poems, thinking that the Tang people knew how to learn from Lao Du and got their obstacles, and Yishan was the only one. "I even think that some of Yishan's works are" too old for Du Fu ",so later poets tend to learn from Yishan and join Shaoling all the way. Some commentators think that among the poets such as Du Mu, Wen, Xu Hun and others, Du Mu is too white. In fact, Du Mu is similar to Li Bai because he has the bearing and lofty sentiments of the descendants of the prime minister of the dynasty and his unique romantic style. As for his poems, they are bold, fantastic, like a plum, gloomy and elegant, and their charm is absolutely like Shaoling. In the Song Dynasty, the word "Du Mu's Poetry" was used by Lao Du's "Twenty-three, Qing Dynasty", which was preceded by Shaoling and followed by it. Popular school and documentary school, whose poems reflect people's feelings and the spirit of saving the world, are obviously in the same strain as Du Fu's poems, and their narrative techniques directly value boys over girls. The poets of Qiyan School and Kuyin School are both masters of writing metrical poems, and Du Fu's metrical poems give them not only enlightenment, but also direct demonstration. In fact, the appearance of Du Fu undoubtedly marks the arrival of the era of poetry writing technology. It was Du Fu's practice that "indulging in beautiful sentences is human nature, and the words are not surprising and endless" (on the value of "The River is like the sea") and "Thinking about floating clouds and things, the ghosts and gods in the law are surprised" ("Zheng Jian Shi Yun"), which opened up the atmosphere of bitter songs in the Tang Dynasty and made the promotion of good songs appear in the early Tang Dynasty. In the late Tang Dynasty, people's pursuit of "deep thinking, high speech and unattainable way of human being" (Sun Qiao's Essays with Friends) and attitude of "singing five words, using them to break the body and mind" (Fang Gan's Fu on Luming Literature in Yigantang County) were all influenced by Du Fu's thoughts and methods of seeking novelty and concentrating on refining ci. According to this, it can be said that the history of poetry in the late Tang Dynasty was generally carried out under the cover of the spirit and methods of Du Fu's poetry, and Zhen Yuan, Yuan Yuan and the poet's thought of respecting Du Fu produced practical results.
Fourthly, the poetic orientation in the post-Du Li era.
We emphasize here that the poetry in the middle and late Tang Dynasty mainly developed along the route of Du Fu, on the one hand, it was based on the human relations and discipline consciousness and humanitarian spirit of the "worried poet". "The poet has been out for a long time, and the country is clear. Respecting Du to dig a solitary grave and break it, and teaching it with elegance "(Pei Shuo's Tomb) is the prayer and theme of people in the late Tang Dynasty. On the other hand, it is based on "Shaoling focuses on everything", with extensive ideas and rich contents, which can be described as a masterpiece. On the other hand, it is the influence of its highly technical writing method. Du Fu's metrical poems combine the spirituality and verve of heaven and earth. Although they didn't push him to the imperial examination hall, as imitative and repeatable poetic achievements, they undoubtedly built a ladder of success for countless literati in the imperial examination era. The combination and application of technical elements can often test the poet's artistic ability and poetic level, so in that poetic country, its attraction to literati in the middle and late Tang Dynasty is self-evident. To sum up these three points, we might as well say that the post-Du Li era is actually an era influenced by Du Fu. In the history of modern ancient poetry, the "road to Shaoling" has been continuously extended, and later generations even "respected Shaoling, a few were poets Confucius and Mencius, studied poetry without returning to Shaoling, and still studied Taoism without returning to Confucius and Mencius, and eventually became saints" 25. Once he was "a poet saint", the positive influence of Du Fu, a great poet of the ages, was further expanded, and the negative influence on poetic research was inevitable.
So what is the significance of Li Bai in the post-Du Li era?
In the era when passion can't be ignited, the "passionate poet" can only become a lofty ideal, and his writing paradigm suitable for passionate expression is difficult to become a copy. As for his poetic skills, although his ancient style, poems and quatrains, as a model, are quite loved by later poets; His poetic style was imitated by Han Yu, Su Shi, Gao Qi, Huang Jingren, Yuan Mei and other outstanding poets after the Tang Dynasty, and his works were similar to those of Li Baizhe to some extent. However, it should be objectively admitted that, as far as talent is concerned, the artistic realm of Li Bai's poem "Five Mountains" is really too high to catch up with and there is no end to learning. Zhao Yi's assertion that "no one can learn violet poems" and Du Mu's assertion that "later generations write poems and learn more from Du Fu, so it is not too difficult to learn too white" (Nanhao Poems).
However, the later generations' saying that "learning more but learning better, being a teacher is too white" does not mean that Li Bai's influence in the middle and late Tang Dynasty and even in the history of modern literature has weakened. A poet's position in the history of poetry is composed of many factors, and its influence is also multidimensional. As Xiong Lian, a Korean, said, "Those who have never been good at poetry are not only good in rhyme, but also noble in style, with numerous generations, such as the festival of Yuan and Ming Dynasties, the madness of Taibai, the loyalty and filial piety of Huanhuaweng, and the rich politics of Xiangshan Dongpo." This generation should add color to the poetry world. " A complete history of China's poetry development proves that Li Bai is the most dazzling and vital image. He brought a powerful impact and far-reaching influence to the poetry circle in the prosperous Tang Dynasty with his outstanding talent and the true nature of different cultures. The beauty of strangeness and shock in his extraordinary poems is infinite. "Taibai Crazy" is not only a poetic wealth, but also a spiritual wealth. His arrogant and stubborn personality, his pursuit of ideals, his affinity for nature, his contempt for powerful people, his violation of bad rules, together with his heretical thoughts, romantic nature and powerful soul, have greatly influenced the personality of later literati and merged into the spiritual history of the nation. The absurd and tragic process of his life pursuit is also a chapter in the history of China's poetry. Li Bai's thousands of extraordinary poems and his unique life experiences have undoubtedly condensed into an idol, a legend, a realm and the most attractive symbol in the history of poetry culture. It is in this sense that we can fully understand Du Li's cognitive significance and practical value.