What are the ancient poems written by Du Fu

The weather was new on March 3, and there were many beauties at the water's edge of Chang'an.

The state of thick meaning far from the lady and true, the texture of the delicate bones and flesh uniform.

The embroidered dresses are illuminated in the late spring, and the gold peacock and silver unicorn are knitted.

What's on your head?

What's on the back? I am not sure if I can see it on my back, but I am not sure if I can see it on my waist.

In the middle of the cloud curtain, the house of pepper is close, and the name of the great state of Guo and Qin is given to it.

The purple camel's peak is a green cauldron, and the disk of the water spirit is a scale of vegetation.

The art of the rhinoceros has not been down for a long time, and the luan knife has cut through the empty strands.

The yellow gate bridle does not move the dust, the imperial chef deduction to send eight treasures.

The drums and the pipes were all singing to the ghosts and the gods, and the guests and the guests were all in the same place.

Later on, when the saddles and the horses were in the air, they were all over the place! The first time I saw it, it was a very good one, and the second time I saw it, it was a very good one.

The snow falls on the white apples, and the birds fly away with red scarves.

The first time I saw the movie, I saw the movie, and I saw the movie, and I saw the movie, and I saw the movie, and I saw the movie, and I saw the movie, and I saw the movie.

What is so great about Du Fu's poetry?

Li Bai's poetry is good, everyone knows. Not only because Li Bai's poem that is really good, but also because He Zhizhang praise him in front. He boss have spoken: Li Taibai you are a human being! You are a star in the sky!

He big brother stood in the first, others then praise Li Bai, blowing the sky, no problem at all.

Bai Juyi's early years in Beijing, can emerge, but also because of Gu Fong a sentence. Gu Fong just read the poem "Wildfire is inexhaustible, the spring breeze blows again", and said that with such a poem, you can walk sideways in Changan.

The Tang Dynasty is such a good thing, as long as your poem is good, you can not give a damn about anyone. The emperor could not even care about you.

But there were very few people to honor Du Fu.

But very few people have ever given Dufu a reputation.

That's like calling the Tang poets blind.

This is the first time I've ever seen a poet who has been in a position to make a statement, and I've never seen one. But at least some people are not confused. The first time I saw this, I knew that I was going to be able to get my hands on some of the best products in the world, and that I was going to be able to get my hands on some of the best products in the world, and that I was going to be able to get my hands on some of the best products in the world.

Only, no one said it. There are two reasons. This one is only about the first one: what is so good about Du Fu's poetry?

The good thing is that it's not Tang poetry. The good thing is that it's out of step with the times.

Many people know that Du Fu's poetry is good, but it is difficult to judge how good it is. Why? Because anything that is first-rate and exists as an anomaly of its time is so.

-- Du Fu's style is different from the popular poetic style of the Tang Dynasty, and it is difficult for people to rate him in the coordinate system of the Tang Dynasty.

If there was no He Zhizhang to extend the reputation of Li Bai, everyone could judge how good Li Bai's poems were. The reason for this is that Li Bai is not an anomaly, but a genius. And Dufu is a genius and an anomaly at the same time. Li Bai's poetry, but is Qu Yuan, Song Yu, Cao Zhi, Xie Ling Yun and others, and even driving Cao Xie and on. Therefore, people can take the pulse of Li Bai. But Du Fu, not easy.

Dufu's poem, it is not the breath of the Sheng Tang, and even less the breath of the Kaiyuan Tianbao.

In the Six Hundred Poems of the Tang Dynasty, the breath of the Tang Dynasty is reflected to the fullest. You read that right, not 300 poems, but 600. This is a review of Jin Shengqan's selections, all of which are in seven-character stanzas, measuring the poetic style of the Tang dynasty on the same scale. In this book, there is no Lao Du.

Two reasons. First, the old Du is too high to be ranked with the rest of the poets. Secondly, the poems of Lao Du cannot be treated simply as Tang poems.

You can call the poems written by Dufu's contemporaries the poems written during the reign of Emperor Tianbao. But Du Fu's poems can only be described as poems of the Tang Dynasty, and should not be described as Tang poems. Because he is an anomaly in Tang poetry. The same in the Tang Dynasty, his odor is very different from others.

Since the Tang Dynasty, there are three heights of national poetry: Tang poetry, Song poetry, and Qing poetry.

Let's put it this way: in the Tang poetry camp, there is only one person who is Du Fu, and that is Du Fu himself. In the Song poetry camp, nearly half of the country is Du Fu's people, and the other half is influenced by Du Fu more than the sum of all other poets, including Li Bai, during the reign of Emperor Tianbao.

When it comes to poetry since the Tang Dynasty, it can be simply and roughly divided into: Du poetry, non-Du poetry.

We have never called Dufu's poems Dushi, but we have never called Li Bai's poems Li Shi, or Wang Shi, or Meng Shi. This is the reason. In this sense, in the entire history of China, the only poets who can be compared with Dufu are Qu Yuan and Tao Yuanming, and there are no more below the Sheng Tang Dynasty. This is the significance of Du Fu.

Poetry is divided into Tang and Song. The Tang and Song poems are very different in style. The Northern Song and Southern Song are slightly different. Simply put, they have different origins. Northern Song poetry style, mainly by the influence of the late Tang Five Dynasties, Li Shangyin, Wen Tingyun, Luo Yin, this gang of nine centuries of style directly affects the poetry world in the early years of the Northern Song Dynasty. The Southern Song Dynasty is simply Du Fu's world, the entire poetry world, are Du Fu's style, like Wang Wei, Meng Haoran, Gao Shi, Cen Sen, Bai Juyi those Tang Dynasty style, in the Southern Song Dynasty poetry is simply not even the shadow of the hair can not be seen.

In fact, they write very well. Casually cited, Cen Sen, "...... sudden pressure on the state of God, lofty as ghosts work. The four corners are in the way of the sun, the seven layers of the dome of the sky. The next peep refers to the high birds, down to hear the wind. The mountains are like waves, running together like towards the east.

Wei Yingwu, "I want to hold a ladle of wine to comfort the stormy night. The leaves are full of empty mountains, where to find the trail." This sentence, put in Li Bai Du Fu's collection, is also absolutely first-class.

Zhang Jiuling, "the moon at sea, the end of the world **** this time. The lover complains about the distant night, even the night of love. The candles are out and the light is full, and the cloak is full of dew. I can't give you a handful of gifts, but I'm still in bed dreaming of a better time." The first time I saw this is when I was a little girl, and I was a little girl, and I was a little girl.

Like these people, although their `poems are not all first-class, but the high place is not less than Li Du. But their poems, including Li Bai's, failed to do one thing: inject 100% of their emotions into their poems.

They injected 20 to 30 percent, and that's pretty much the limit.

They reached their limit when they injected 20 or 30 percent. It has to do with the subject matter. You see Li Bai, Wang Changling, Wei Yingwu, Zhang Jiuling, they all have a poetic interest, have a poetic meaning to write, such as "the bright moon on the sea", "the dangerous building is a hundred feet high", itself this poetic meaning is enough. Only need to put it into the six or seven percent tracing to the paper, enough.

As if you shoot the desert, shoot the sunset, shoot the aurora, even if the equipment is not so good, the light scene is enough for you to shoot a good work, impress people. But Dufu is different, Dufu what all shoot. When someone draws a sword, it has to be a good sword, or at least a sword, preferably a heavy sword, while Dufu can draw a sword from grass, wood, bamboo, and stone.

You are too easy to see this sentence in Du Fu's poem: "The chickens are crowing, the guest to the chicken struggle. Driving the chickens to the trees, I heard them knocking at the wood and thorns."

Many of the poets who are not powerful enough dare not write against this scene. There is no poetic meaning, you write a fart ah! Even a great poet like Wang Wei had to present it in this way:

"The wild old man remembers the shepherd boy, leaning on his staff and waiting for the thorns to open. The crowing of pheasant and wheat seedlings, the silkworms sleep in the mulberry leaves." To write about wheat seedlings and mulberry leaves, use "show" and "rare". But Lao Du doesn't care about that! Look at these four lines, not a single adjective. Completely unadorned so come, take a stick to whisk chickens on the tree dare to write!

In Du Fu's contemporaries and before Du Fu, almost no one dared to do this. I recall the man who carries firewood, but my heart is more concerned."

And after Du Fu's hand, these things can really on the stage. In the Northern Song Dynasty, some people even wrote "August 9, the morning of the toilet, there are crows pecking maggots".

Just like the regular script, although early in Ouyang Xun, Yu Shinan, Chu Suiliang, Feng Chengsu, but until after the hands of Yan Zhenqing, is not really set.

Poetry is more difficult than calligraphy. Until Du Fu died a hundred years ago, this style of writing was not mainstream. It was only in the hands of the Jiangxi School of Poetry in the Song Dynasty that it really opened up a big road and became a big river.

The same attempt was made by Han Yu, Liu Yuxi, Bai Juyi, and Yuan Zhen, but they could not reach the height of Du Fu.

Du Fu really managed to infuse his poems with a full range of emotions. The poets of the same dynasty, on the other hand, only managed to be able to inject poetic meaning into their poems. They also wanted to inject emotion, and once they did, they weren't as comfortable with it.

"The flameless shadows of the broken lamps, this night I heard that the king was banished to Jiujiang. The dying of the disease, sitting up, the dark wind blowing rain into the cold window", but also need to use the flameless lamp, dark wind blowing rain to set the mood and atmosphere. The words "I can't see the shadow of my temples, and I'm chanting to my white head. Dew heavy flight is difficult to enter, the wind more sound easy to sink" (this is the early Tang Dynasty), "sinking boat side of a thousand sails, the sick tree in front of the spring of ten thousand trees," although it is also good, but the borrowing of objects to make itself very intense emotions become diluted.

Looking back at Du Fu

Throwing a stick out the door, the same behavior is bitter. Fortunately, the teeth survive, the sad bone marrow dry ......

The ghost of the secluded place through the less, the old patient to help the difficult to worship again. There is no article shocked the sea, roaming the car and horse stationed in the river dry ......

Read other people's poems, will feel poetic. But the impact is not enough. Du Poetry, on the other hand, has a real impact. Du Fu does not want any tricks, and directly lifts people down with the power of overturning the river and spreading the sky and the earth. Historian Yan Kengwang said, throughout the ages, I admire a lot of people, but never worship who, with one exception is Du Fu, read his poems, empathy, can not help themselves.