Present situation and evaluation. Li Bai and Du Fu are the greatest poets with the highest achievements in the history of China's poetry. They are all people who carry forward the past and forge ahead into the future. "Du Li's article is full of glory." (Han Yu) From the position in the history of poetry, Li Bai was the first pioneer who absorbed the fine traditions and foreign forms of his own nation, combined the advantages of jade and loose body, and pushed China's poetry into all-round development, and was called "Poet Fairy"; Du Fu, on the other hand, raised his poetry creation to an unprecedented level of realism, and was called "the history of poetry" and "the sage of poetry".
Background, personality and style characteristics. Both Li Bai and Du Fu have great political ambitions, and their personality differences are manifested in their different political paths: Du Fu is a standard orthodox, determined to be a virtuous minister, and his way of being an official is no different from that of ordinary scholars; Li Bai dreamed of being a counselor, offering wonderful strategies and achievements, and achieved great success in one fell swoop. But they all ended in tragedy in the political environment at that time. (Pei Fei's point of view)
Du Li * * * experienced the history of the Tang Dynasty from its heyday to turmoil. Due to the differences in birth, personality, experience and personal talent, a completely different artistic style of poetry has been formed. Generally speaking, Li Bai's poems and songs have a romantic writing style, while Du Fu's poems have a realistic writing style. Du fu's humanitarian concern and sympathy for others. Li Bai is bold and elegant, while Du Fu is depressed and frustrated.
Second, the performance of different styles
Li Bai's poems inherited the romantic tradition since Chu Ci and formed its own unique style: passionate, magnificent, imaginative, fresh and romantic. Li Bai's poems and songs were formed in the most powerful era of the Tang Dynasty, focusing on expressing personal feelings and praising the desire and pursuit of free life and personal value. Li Bai's ideal in life is to be detached from things and actively join the WTO. For example, the Shu Road is magnificent and steep. However, Li Bai can artistically show the winding, majestic, lofty and rugged characteristics of the ancient road of Shu Dao with unpredictable brushstrokes in Shu Dao Nan, and write the insurmountable obstacles of Shu Dao in history with myths and legends such as "Wuding Mountain" and "Six Dragons Return to Japan". It's even harder to write that Huang Hefei can't climb the ape, setting off people walking on it; Describe the expression and action ("panting, we brushed Orion, passed the well star, and then, holding our chest with both hands and groaning"), the danger is like in front of us; Lyricism by borrowing scenery ("Sad Birds and Ancient Trees" and "Singing in Zigui") makes people pale and sets off the difficulties of Shu Road; Exaggeration ("the highest cliff is only one foot from heaven" and "dry pine trees hang their heads from the cliff surface") is used to exaggerate the suffocating atmosphere. In Difficult Shu Road, he focuses on the magnificent mountains and rivers on Qin Shu Road, from which he reveals some worries about society. He said that "it's too high for a yellow crane to climb" and "the sword pagoda is indestructible" may be metaphors for political chaos or personal depression at that time.
After Tianbao was forced to leave Chang 'an in the third year (744), Li Bai's poems in frustration and pain still showed a bold and free style. "One day, I will ride the wind and waves, and set my cloudy sail straight and bridge the deep, deep sea" ("I can hardly walk") shows optimistic nature and persistent pursuit of ideals. The Dream of Mount Tianmu shows the resistance and freedom in frustration and disillusionment, and the pride and boldness of a civilian. "I move, my soul fly up, suddenly started. But let me, on my green slope, raise a white deer and ride to you, the great mountain. When I need you, oh, how can I seriously bow and scrape to those high-ranking people and people in high positions? They will never be shown an honest face! "
Du Fu's poems are characterized by rigorous meter, restrained emotion, depression and frustration, full of realism, and his personality characteristics of caring for the country and the people. His style was gradually formed in his miserable life, especially during the Anshi Rebellion and in his later years. Du Fu's lifelong wish is to "lead the monarch to Yao and Shun, and then make the folk customs simple", which is like "sunflower inclines to the sun, and its physical properties are solid" (Caotang is blown by autumn wind). Du Fu's strong sense of responsibility for the country and the nation "Although the country has broken mountains and rivers and endured, the plants and trees spring back, and the tears are like petals, and the lonely birds lament" ("Spring Watch") "But his death often makes the heroes cry" ("Book of Letters"). Du Fu has a profound understanding and exposure of reality and deep sympathy for the people. His Three Officials (Shihao), Three Farewells (Farewells to Newlyweds, Farewells to Homelessness, Farewell to the Old and Welcome to the New) and Chedian are all such works. Chedian was highly respected by all dynasties, which exposed the long-term belligerence of Xuanzong in Tang Dynasty and brought great disasters to the people, and had profound ideological significance. It is emotionally narrated in art, and the poet is eager.
Third, the use of different images.
Yuan Xingpei believes that both Li Bai and Du Fu are experts in establishing their own unique image groups. The two different styles, elegance and gloom, stand out in different image group. The most prominent images created by Li Bai are the flying Dapeng, the roaring Yellow River and the Yangtze River, the mountains above the sky and the falling waterfalls. These "all have extraordinary spirit, and twists and turns show Li Bai's enthusiasm for breaking free and pursuing freedom." However, Du Fu's feelings of worrying about the country when he was injured were expressed through objective images, forming images with strong melancholy colors such as thin horse and sick orange. "In these destroyed and abandoned creatures, Du Fu showed all kinds of deep and melancholy feelings." The author points out that the difference of Du Li's style is also reflected in the combination of images. The combination of images in Li Bai's poems is sparse, like a thin freehand painting, a vivid pen of three or two, perhaps better than a sketch full of paper. The combination of images in Du Fu's poems is relatively close, and several images are often compressed in the poems, which are dignified, mature and profound. The difference of Du Li's image density is also reflected in the composition of the poem: Li Bai's poem composition is sloppy and jumping, and the rhythm of the poem is rapid, which has constant impact; The images in Du Fu's poems are well-organized, well-organized and slow-paced, with a refreshing infiltration.
Fourthly, the use of different poetic styles and techniques.
In terms of poetic style, Li Bai is good at ancient songs and sentences. His free and unrestrained personality makes him not stick to the rules, and his Shu Dao Nan is uneven in length. Du Fu is good at meter and arrangement, so meter poems, especially seven meters, are his strong points. Li Bai spoke his mind straight, smiling and sad. But most of Du Fu's poems are subtle and tortuous.
Five, different creative ideas (poetic ideas, aesthetic ideas)
The similarity of Du Li's poetics lies in that they all advocate absorbing Ya Sao Fu, taking the works of various philosophers before Jian 'an, taking its essence and using its macro-view, so as to achieve its greatness; The difference mainly lies in their views on temperament, parting ways and going their own way, which have caused their different characteristics. Du Li's poetics is more specifically reflected in his creation.
Li Bai spoke highly of "halal". "Since Jian 'an is here, beauty is not precious. Sundae are retro and expensive to hang clothes. " ("the first ancient style"). This "halal" should be a kind of natural, simple and perfect beauty. "Look at the beautiful scenery of Jingshan, and the river abalone can move. Clear water produces hibiscus, carving nature. In contrast, Li Bai objected to imitating carved words, thinking that it would lose the "naive spirit" of poetry: "The ugly girl came and impressed her neighbors. Shouling lost step, laughing and killing Handan people. A brilliant song, the small skill of carving insects loses its innocence. Thorns make monkeys, and monkeys bathe. "Li Bai's modern poems are fresh, simple and free of impurities, which is the embodiment of his halal aesthetic pursuit.
Du Fu emphasized "vivid" and was highly praised by many literary critics and thinkers. Zhuangzi talked about "meeting God" and Liu Xie talked about "thinking with God". Du Fu, on the other hand, explicitly applied the concept of "God" to poetry creation. Du Fu's "spirit" refers to the profound spiritual charm contained in his poems: "The general is good at painting to cover the spirit" ("A gift from Dan Qing to General Cao") and "The book is expensive but thin and hard" ("Song of Xiao Zhuan by Li Chao"). Luo Zongqiang was also named after this in the History of Literary Thought in Sui, Tang and Five Dynasties. He most admired the realm of "both form and spirit". In order to realize this vivid beauty, on the one hand, Du Fu emphasized tempering, refining words, refining sentences, thinking hard and studying hard. "For the sake of humanity, words are not surprisingly endless." ("The river reaches the water like the sea, a brief talk") "Who knows that two thanks can accomplish things, so why bother to learn Yin?" (""talk about hard work and skills, and don't object to the talent of one step; It not only favors the natural expression of feelings, but also advocates metaphor and irony. It not only praises the fresh beauty of nature, but also pursues the tragic beauty (in the words of Luo Zongqiang). It can be seen that Du Fu's poetics not only reflects the tendency of the prosperous Tang people to pursue grandeur and character, but also shows the requirements of the middle Tang people to care about the disadvantages of the times and advocate the beauty of thorns. Luo Zongqiang's History of Literary Thought thinks that Du Fu summed up the prosperous Tang Dynasty and started the middle Tang Dynasty, while Li Zehou thinks that Du Fu's History of Beauty is the prosperous Tang Dynasty.