? -Reading Du Fu's poems
? Du Fu, a poet known as "the sage of poetry", sang the voices of thousands of literati in Qian Qian at that time, reflecting the historical reality that the Tang Dynasty turned from prosperity to decline, and became an important material for us to study Tang poetry and Tang Shi. In my opinion, Du Fu's fame is immortal. Du Fu's poems are called "the history of poetry", which has a lot to do with the "truth" expressed in his poems.
? In terms of content, Du truly reflects the fate of individuals and society and does not shy away from it. He wrote about his poverty, illness, ugliness, hunger and cold, and his real experience was full of helplessness and sadness. He wrote about poverty, "Rich is fat at dusk." . Broken cups are roasted in cold, and there are hidden worries everywhere "; Write a disease, "If you smell Ma Rongxiao, if you lean on the clock", "This body floats from west to east, and your right arm is half deaf"; Writing old ugliness, "fifty people are negligent today, and only a few lines stand when sitting and lying down" and "sitting with a blind eye on his head, his flesh is wrinkled like a row" ... are all true portrayal of personal fate. Personal misfortune makes poets who care about the whole world look to the country and society, which is also an important reason why their poems are known as "the history of poetry". His poems not only reflect the tragic situation caused by the An Shi Rebellion (three officials and three parting, etc. ), it also records historical facts that are not recorded in historical works, such as "the history of stabbing in Yuzhou the year before last, and the history of stabbing in Zhangzhou this year ..." In the three wonders written after going to Shu in the first year of Yongtai (AD 765). "Making up the legacy of history" fully shows the "truth" of Du Fu's poems. If the poems about personal and social destiny in Du Fu's poems truly reflect the great feelings of Confucianism about the country and the people, then his "Little Three Nature" poems also truly reflect the "Xiao Xi" contained in "Great Compassion". The poet began to live in Chengdu Xiguo Caotang in the spring of the first year of Shangyuan (760). After suffering, he was able to find a place to live, naturally in heaven, so this period became a rare leisure period in his life. " A cluster of peach blossoms has no owner. Lovely crimson loves light red? ","Huang Si Niangniang's home is full of flowers, and thousands of flowers are low. Even butterflies dance from time to time, and the charming Yingying just cries. " "I love flowers and don't want to die, but I'm afraid I'll spend my old age. "..... this sentence is fresh and free from vulgarity, which makes it hard for people to think of Du Fu, a poet with profound thoughts and concern for the country and the people. However, it is these unique leisure poems that let us see the poet's "small nature" style besides "depressed and frustrated", which is also a true portrayal of the poet's "complacent" mood at this time.
? According to the notes of Ye Jiaying, a master of classical literature, there is a sentence in his teacher Gu Sui's lecture "Tuo An Shi Hua": "All great poems are' alive' rather than written. The so-called' living' comes from life, especially from the practice of struggle. " I think this sentence is especially suitable for summarizing Du Fu's poems. Just as "poets should beware of prosperity" wants to express, Du Fu's poems have become more and more real and valuable because of the poet's many hardships. Poets' poems are not "written", but "lived" in all hardships. Although it can't be said that Du Fu's poems have made such achievements without vicissitudes of life, how can there be so many "raw materials" brewing in Du Fu's poems? How can we appreciate the "truth" of Du Fu's poems if we haven't experienced the days of national ruin, wandering around and even being forced to smile under the fence?
? In terms of language, there is no doubt that the language of Du Fu's poems is a model for many scholars to follow. To explore the relationship between the "truth" of his poems and language, I want to talk about it from three aspects. On the one hand, the language of Du Fu's poems is unpretentious, and it is not impossible to describe it with "luxury to the end". The rain in his works "Good rain knows the season, when spring comes" has only one word "good", which shows the poet's joy and appreciation of the spring rain, without any gorgeous carving. We don't have to rack our brains to imagine a scene or an image when reading Du Fu's poems, whether they describe life situations or exquisite landscape poems. That's it, unlike Li Shangyin's poems, which are so dense and obscure that it is hard to ponder. You see that he wrote "an old wife draws a piece of paper like chess, while a young son knocks on a needle to make a hook", and we can easily associate it with a happy family scene. His scenery is even more direct: "I'm in the north and I'm in the south, spring water is flooding, and I've only seen gulls day after day", "Round lotus leaves float, fine wheat leaves light flowers" and "Plum blossoms are outside Wan Li, and snow flakes are deep in one winter". He wrote "Welcome to the Son of Heaven", "Ma Xie welcomes the Son of Heaven with his sleeves showing two elbows." Our eyes immediately saw the poet's displacement after fleeing the rebels in disguise, and saw his ever-present compassion for the people of the whole country. The language is unpretentious and the emotion is real and moving, which is a great charm of Du Fu's poems. On the other hand, the poet is not satisfied with the present situation of his creation. He himself said that "the evening festival is becoming more and more proficient in poetic rhythm" and constantly pursues the beauty of poetic rhythm, which is not only out of his creative requirements of "being a man's sexual addiction", but also a true reflection of his creative psychology. His eight poems "Autumn Prosperity" and "Ascending the Mountain" have become monuments in metrical aspects, and also condensed the poet's myriad emotions. Only by following the psychological state of his own poetry creation can Du Like Fu gradually enter the creative realm of "old poetry". In addition, the poet uses colloquial expressions, which makes poetry closer to life, approachable and more real. "Thick flowers and leaves wrapped around the river, steep steps, afraid of spring. Poetry and wine can still be driven, and you don't have to take care of the white-headed people. "The colloquial expression is put into poetry without trace, and the words' wrapped' and' present' are just right." Spring water makes two wonders ":"Water is two feet high in one night, and it can't be banned for several days. There is a boat for sale in Shinan Jintou. If you have no money, you can buy one next to the fence! "Xiao's Note:" It's very lively to add poems to dialects. " The poet also said, "Tell a woman to open a big bottle and put it in a basin for me." An uninhibited and rude image emerged from the newspaper. Describing characters with such a bold pen also reflects the poet's other style besides his own Confucianism.
? Emotionally speaking, the highest state of "truth" is emotional "truth". As an external form, language is the basic element of presenting content. If the content is "raw materials" and the form is the processing of raw materials, then expressing emotions is the ultimate goal and the last process of both. "Poetry is based on emotion" and "Poetry expresses aspiration" are important theories in China's ancient literary theory. Poets need a form to express their feelings about everything. Whether lyrical or vivid, it is the natural expression of the true feelings at that moment. The truthfulness of Du Fu's poems is also an important factor for him to become the spiritual home of people of insight in past dynasties.
? In Du Fu's poems, the deep sorrow and great pain traced back to the present, and the personal feelings of being displaced and hurting spring and autumn are all the poet's deep feelings. Even passers-by who meet by chance, Du Fu can give birth to infinite compassion. This is the brand of his Confucianism, and is it not a portrayal of the poet's noble personality? Moreover, all the feelings of the poet are "deep poems", and there is no feeling of affectation. How many great writers write not for love, but for love? "Although a country is divided, mountains and rivers still exist, and trees and grass turn green again in spring. Petals fall like tears, and lonely birds sing their sadness … "Where can there be a home without a country?"? Poets look at flowers, and flowers splash tears; Smelling birds is exciting. Is it conscious? It's the poet's heart. When I was old and sick, I was still singing, "There are thousands of spacious buildings, and all the poor people in the world are smiling ... it is enough for me to freeze to death alone." For the country and the people, Du Fu really can be described as "worrying about the world first, and enjoying the world later". Sharp criticism of the rulers is full of sympathy for the people. For his family, Du Fu is always concerned. When the Yellow River flooded, he did not forget to comfort his younger brother. "Go to the Fourth World War at the age of one", when in danger, I worry that my sister who is far away from home "has a sister who is away from the clock, and her lover has already died alone"; In the face of the death of his youngest son, he felt deeply "ashamed to be a father and died of lack of food" ... All these heartfelt songs expressed the poet's greatest feelings and nature. He is also sincere to his friends. Bai has many poems and songs, and Gao Shi's poems and songs are very touching. In Wu Lang, he urged his relatives not to interfere with the behavior of the widow next door, so that such a woman who has no food and no children can have more hope for life because of several dates. Poems like this are numerous in Du Fu's poems, which is why the "true" Du Fu is more lovely and respectable.
? The more I read Du Fu's poems, the more I am moved by his "truth". Reading the sorrows of poets, the joys and sorrows of life, and the vicissitudes of the times ... often gives birth to many feelings. Before knowing Du Li's life, I always thought Du Fu was much older than Li Bai. Because there is always a white dress in my mind, a poet who goes straight to the sword and acts smartly, which is too white; Du Fu, on the other hand, should be the image of a man who has experienced many vicissitudes. His temples are gray, his brow is mixed with sadness, and he is dressed in linen and stands tall in the world. This image of Du Li in my mind is completely caused by their different poetic styles, but it is more natural to show my full respect for Du Fu. If it weren't for such an old man, how many people with lofty ideals would wander spiritually and try to find their own spiritual support?