On poets, also called poems. All the comments on poetry by poetry, or the analysis of poetry, or the poet's experience in writing poetry from the Tao can be called poetry on poetry. At first, the content of poetry criticism was poetry, and later it broke through the scope of pure poetry and expanded to comments on words, songs, papers and poems. With the birth of Ci and Qu, comments on poems, Ci and Qu appeared. Broadly speaking, these can be called comments on poetry. In a narrow sense, poetry refers to works that discuss poetry with poetry, excluding poems and songs. As a branch of poetics, poetic quatrains refer to poetic works of art created in standard quatrains. The research object of this paper is the division of quatrains, which should belong to a narrow sense of poetics.
Chen Bohai also divided poetic theory poems into generalized poems and chivalrous poems in his Historical Draft of Tang Poetry, but his dividing standards are different. "If the theory of poetry is divided into a broad sense and a narrow sense, the theory of poetry in a broad sense is to talk about issues related to poetry in poetry. Such poetry is not necessarily designed for the theory of poetry. Poetry is a lifelong companion of the Tang people, and you can't live without it for a moment. Therefore, poetry in a broad sense can be seen everywhere and is difficult to exhaust. Poetic theory in a narrow sense began with Du Fu's "Drama is six quatrains", which is the forerunner of later generations to discuss poetry. "
In the development of quatrains, the Tang Dynasty is a very important period of development. Ten Thousand Poems contains 57 Tang poems *** 148. In addition to the great increase in the number of poems chanting objects in the Tang Dynasty, another outstanding achievement was the emergence of Du Fu's Six Jueju Drama and Si Kongtu's Twenty-four Poems, which had a far-reaching impact on later generations. Although the theory of poetry as a style had been produced before the Tang Dynasty, its position in the poetry circle and even in the history of literary criticism depended on Du Fu. After Du Fu, more poets engaged in poetry creation. It is precisely because of the works of Du Fu and others that poetry, as a relatively mature poetic theory, has entered people's field of vision and attracted attention. If the pre-Tang Dynasty was the birth period of poetics, then the Tang Dynasty was the prosperous period of poetics.
There are twelve quatrains in Du Fu's poem A * * *, some of which come from Six quatrains in Plays and the other from Twelve Poems to Relieve boredom. Du Fu's most famous contribution to poetry theory should be "Six Plays" written in the second year of Yuan Dynasty. Guo Shaoyu wrote in his Preface to the Interpretation of Six Poems: "At the age of fifty, Du Fu was a work in his later years, so he could do well."
The influence of Du Fu's "Six Unique Plays" on later generations is mainly reflected in the form of poetry. Although there are many works on poetry in later generations, on the whole, the proportion of poetry is still relatively large. Drama is six quatrains, which appeared in the form of group poems, which was the beginning of group poems, followed by Yuan Haowen's Thirty quatrains. In the Qing Dynasty, a large number of poetic works appeared, such as Wang Yuyang's "Imitating the Legacy of Yuanshan Mountain" and Chen Rong's "Reading Lingnan People's Poems".
Guo Shaoyu said in the preface of Notes on Du Fu's Plays as Six quatrains: "Du Fu's Plays as Six quatrains are the beginning of poetic quatrains and the theme of later poems. In its body, it is cut and its meaning is refined. Gai's life-long poetics, learning from poets, can't be played occasionally. " In order to illustrate the important influence and function of Du Fu's "play for six quatrains" on the development of poetry, the following two poems will be analyzed in detail: play for six quatrains one and play for six quatrains five.
The script is six quatrains, the first one.
Yu Xin's articles were more mature in his later years, and his pen was superb and vigorous, like a tide, with ease.
People today laugh at him and blame his works. If Yu Xin is still alive, I'm afraid he will really regard you as an afterlife.
Yu Xin mentioned in the poem is the representative of Qi and Liang poets. Qi and Liang poets pay attention to form when creating, and their works are carefully carved and deliberately decorated. The same is true of Yu Xin's early works. However, after entering the Zhou Dynasty, under the influence of the northern poetic style of "loyalty and firmness" and family hatred and national hatred, Yu Xin's poetic style has also undergone great changes, showing a clean and healthy style. Yu Xin's writing style became more mature in his later years. With superb brushwork, it is also full of literary thoughts and writes freely. It can be seen from this poem that Du Fu spoke highly of Yu Xin. In Du Fu's five poems about historical sites, Du Fu also commented: "Yu Xin's life is the most bleak, and his poems in his later years touched Kanto." It is not difficult to see from these poems that Yu Xin is a very excellent poet in Du Fu's eyes.
In this poem, the first sentence expresses Du Fu's admiration for Yu Xin and praises Yu Xin's old and more successful articles. The word "Geng" shows that Du Fu thinks Yu Xin's early works are excellent, while his old works go further. This expression has also appeared in Du Fu's other works, such as "The madman who laughs at himself gets crazier as he gets older" in Madman. The word "Geng" also shows that Du Fu spoke highly of Yu Xin.
On the basis of the first sentence, the second sentence "Lingbi Zongheng" further shows that Yu Xin's creative style is more mature, his brushwork is superb and vigorous. The "present generation" and "future generations" mentioned in the third and fourth sentences refer to some people ridiculed and reprimanded by Du Fu. These people comment at will and laugh at works that have been circulated for many years and have stood the test of time. However, Yu Xin's position in the history of poetry is by no means something that these people can "scoff at" or "laugh it off". Yu Xin accepted the temperament theory of Wang Rong and others, and wrote poems according to it. Yu Xin occupies a very important position in the history of poetry towards legalization. Therefore, "former sages" will not be afraid of the afterlife because of these taunts and comments. Qiu commented in the Detailed Notes on Du Fu's Poems: "Later generations take the gift handed down from generation to generation, laugh at it and point it out. I don't know the free character of the former sages, but I haven't seen them afraid of the afterlife. " Just to express this idea.
Drama is the sixth quatrain and the fifth.
You should learn to love the ancients, but you can't despise people like Yu Xin and Si Jie, and ask them to be consistent in love and words.
If you want to catch up with Qu Yuan and Song Yu in your heart, you must have the spirit and ability to keep pace with them, otherwise, they will follow in the footsteps of the lost source and frivolous in the Qi and Liang Dynasties.
This poem is one of the last three poems in Du Fu's Six Plays, which focuses on the methods of learning poetry. Among the purposes of Du Fu's poetics, the freshness of poetic style is a key point. "Fresh" is just as Yang Shen said in "Poems of Sheng 'an" in the Ming Dynasty: "The pure are beautiful but not turbid; Newcomers are original and not stale. "The modern people and the ancients in this poem refer to the same kind of people as the modern people and the ancients in the six quatrains in the drama. There are different opinions on the analysis of Du Fu's poems. The author thinks that Guo Shaoyu's explanation in Six Episodes of Du Fu's Plays is extremely subtle: "The so-called beautiful words and sentences in Ming Dynasty don't have to refer to modern people or the ancients, but only to the purpose of Du Fu's comments on poetry. The implication is that today's people love the ancients, scoff at Yu Xin's fu, scoff at Si Zi's articles, and correct the prevailing wind. Its original intention cannot be thin. However, since Jian 'an, those who say beautiful words are free and don't waste the river. "In view of the common phenomenon in the literary world at that time, Du Fu proposed to give reasonable evaluation and due respect to the four outstanding poets in the early Tang Dynasty or other contemporary poets. Du Fu's view of literature and art is neither as the Romans do, seeking truth from facts, but also rich in outstanding knowledge. In this poem, we can see the dialectical factors in Du Fu's poetics. He believes that both the superb and rich works of the ancients and the "clear pronunciation and beautiful sentences" by Yu Xin and Si Jie can become excellent works. "Modern people" only pay attention to the form of ancient works, but ignore the essence of works. What is the difference between this and those formalistic works that "follow in the footsteps of Qi Liang"?
From the analysis of the above two poems, it can be seen that in "Drama is Six Poems", whether Du Fu's admiration for Yu Xin and the Four Masters, or his criticism of "present people" and "later generations", it is hoped that everyone can treat all poems objectively and absorb and utilize all outstanding works from Sao, Han and Wei to Yu Xin and the Four Masters.
At the same time, as the earliest and most influential poetic work in China's poetic theory, Drama is a quatrain. It initiated a new form of literary criticism and was the first work in the history of China's ancient literary theory and criticism. Influenced by it, later generations began to create a large number of quatrains on poetry, which became an important thread in the history of ancient literary theory criticism. In Du Fu's Collection of Shuowen Jiezi, Guo Shaoyu thinks that this quatrain embodies Du Fu's admiration for Yu Xin and the four great masters, as well as his criticism of present and future generations. He hopes that people can look at cultural heritage objectively, "learn from many teachers" and realize equal emphasis on literary content and prose. This is due to Du Fu's feelings about the poetic atmosphere of "worshiping the past and inheriting the near, eliminating the truth in the affairs" at that time, which embodies Du Fu's concern for the poetic world and advanced poetic concepts. The outstanding achievements of Du Fu's poems are also inseparable from his comprehensive and advanced poetic concepts.
refer to
Guo Shaoyu, 1978, Collection of Six Dramatic quatrains, People's Literature Publishing House.
Qiu 1979 A Detailed Interpretation of Du Fu's Poems, Zhonghua Book Company.
Chen Bohai, 2003, Selected Poems of Tang Dynasty, Hebei University Press.