What kind of person is Du Fu

Du Fu (712-770) was a poet of the Tang Dynasty. He was born in Gong County, Henan Province. He was born in Gong County, Henan Province, and was originally from Xiangyang (now Hubei Province). As he lived near Shaoling in the south of the city for a time when he was in Chang'an, he called himself Shaoling Naoao Lao, and when he was in Chengdu, he was recommended to be a sectional counselor and inspector of the Ministry of Public Works, and was also called Du Shaoling and Du Gongbu by later generations.

Du Fu grew up in a family with a literary tradition, his grandfather, Du Shenyan, was a famous poet during the reign of Empress Wu, and served as a minister of the Ministry of Catering, and his father, Du Xian, was the secretary of Yanzhou Prefecture and the magistrate of Fengtian County, and he began to study poetry at the age of seven, and by the age of fifteen his poetry had attracted the attention of the famous scholars in Luoyang. From the age of 20 onwards it can be divided into four periods.

The Period of Wandering From the nineteenth year of Emperor Xuanzong's reign to the fourth year of Tianbao's reign (745), Du Fu traveled for two long periods of time. Du Fu undertook two long periods of wandering. The first was in the south of the Yangtze River, where he traveled to Jinling and Gusu, crossed the Zhejiang River, and canoed up Tianmu Mountain. He returned to Luoyang in the 23rd year of the reign of the Emperor, but was not accepted. In the following year, he started his second wanderings in the area of Qi and Zhao. He recalled the scene in his later years as "debauched between Qi and Zhao, and his furs and horses were quite wild." （In these two wanderings, he saw the beautiful and majestic mountains and rivers of his motherland, absorbed the culture of Jiangnan and Shandong, expanded his horizons and enriched his knowledge. In the 29th year of Kaiyuan, he built a residence under Shouyang Mountain between Luoyang and Yanshi, and probably married his wife Yang at this time. Tianbao three years, in Luoyang and Li Bai met, the two traveled freely in Qilu, visit the road to find friends, talk about poetry and literature, and sometimes also discuss current events, formed a deep friendship. In the fall of the following year, Dufu was going to Chang'an, and Li Bai was going to revisit the eastern part of the Yangtze River. They parted ways in Yanzhou, and have not met again since then.

At this time, the Tang dynasty was still strong, and the government's coffers were quite full, but Emperor Xuanzong was beginning to be overly ambitious in his efforts to open up the borders, consuming a great deal of manpower and material resources, and there was already a crisis of instability in the society. Du Fu had a premonition of this, but did not face it squarely. He lived a romantic life of climbing mountains and wading in the water, singing and hunting. According to his own account, he may have written hundreds of poems during this period, but only about two dozen of them have been handed down, mainly pentameter poems and pentameter poems in ancient style. Although there are some extraordinary works like "Looking at Yue" among them, generally speaking, they have not exceeded the level of famous poets of Du Shenyan's period.

The Chang'an Period From the fifth year of Tianbao to the fourteenth year of Tianbao, Du Fu resided in Chang'an for ten years, and his life, thoughts, and creations underwent great changes. The purpose of his visit to Chang'an was to seek an official position and make a difference. In the sixth year of Tianbao, Emperor Xuanzong ordered the enlistment of those who were skilled in literature and art to be selected in Kyoto, and Du Fu took the examination, but due to the conspiracy of Li Linfu, who was famous for his "honey-tongued sword", none of the candidates was selected. In the 10th year of Tianbao, Emperor Xuanzong held three ceremonies to honor the "Xuan Yuan Emperor" Laozi, the Great Temple, and Heaven and Earth. Du Fu wrote three "Great Ritual Fugues" and presented them to Emperor Xuanzong, who appreciated them and ordered the prime minister to test his writings, waiting for them to be assigned, but there was no further news. He continued to write poems to the powerful and rich in the hope of getting their recommendations, but also to no avail. Finally, he was given the post of Counselor of the Right Guardian's Office, which was at the end of Du Fu's time in Chang'an, on the eve of An Lushan's rebellion.

In his later years, Emperor Xuanzong completely changed the good governance style that he had practiced during the reign of Emperor Kaiyuan, with his prime ministers being corrupt and arrogant, his border generals being militaristic, and himself enjoying himself in the palace. The cruel exploitation of the people by taxes and levies became more and more serious. In order to make ends meet, Du Fu had to go in and out of noble houses as a "guest", accompanying them in their poems and wine, and obtaining a small amount of financial support. At the same time, he made friends with those who were as poor as he was, and also came into contact with the working people more widely. He traveled from the poor alleys to the gardens of the aristocrats, and from the Qujiang River, where heavy buildings and highways competed with each other for luxury, to the banks of the Xianyang Bridge, where the conscripts had to pass through. The failure of the demands of his career enabled him to objectively recognize the corruption of the ruling class, and the hunger and coldness of his personal life enabled him to appreciate the plight of the people, and the two aspects of his life, which were very different from each other, were all reflected in Du Fu's poems. After the eleventh year of Tianbao, he wrote such immortal masterpieces as "The Walking of the Soldiers", "The Walking of the Lillies", "The Former Exit from the Seaside", "The Later Exit from the Seaside", etc., which began to add new contents and new methods of expression to the poetry of the time. In the winter of the 14th year of Tianbao, Du Fu visited his wife who was living in Fengxian, and wrote "Five Hundred Characters of Winged Memories from Beijing to Fengxian County", which expressed his deep feelings of "worrying about Liren in the poor years, and sighing for the heat in the bowels of his heart", and summed up the sharp contradictions of the society with the phrase "the stench of wine and meat in the vermilion door, and the bones of the frozen dead on the road", and depicted "the stench of wine and flesh, and the bones of the frozen dead on the road". He also depicted the family situation of "I heard the trumpet at the entrance, and my young son died of hunger", which was the summary of his ten years' life in Chang'an, and also marked the final summary of the flourishing Tang Dynasty. About one hundred poems have been handed down during this period, most of which are excellent poems in the ancient style of five or seven lines.

Serving as a left picker and the period of exile From the first year of Suzong Zhide (756) to the second year of Qianyuan (759). After An Lushan's revolt, he drove south and soon captured Luoyang and Chang'an. Du Fu was at that time in □zhou, and when he heard that Emperor Xuanzong of the Tang Dynasty had fled to western Sichuan and Emperor Suzong had assumed the throne in Lingwu, he settled his family in a Qiang village north of the city and went north to Lingwu, but unfortunately he was intercepted by the rebels and sent to Chang'an. Du Fu was trapped in the rebels for nearly half a year, looking at the solemn and orderly capital city is desolate, the people are suffering, listening to the Tang army two counter-attacks, successively in the Chen Tao, Qing Ban two places have been completely destroyed, full of grief and anger, wrote "sad Chen Tao", "sad Qing Ban", "Spring Hope", "sad Jiangtou" and other poems.

In April of the second year of the reign of Emperor Zhide (757), Du Fu escaped from Chang'an at the risk of his own life and went to Fengxiang, the temporary residence of Emperor Suzong, where he was appointed as the left picker. Soon after, Du Fu was interrogated because he had angered Emperor Su Zong by saving the life of Fang Mu, and in August, he returned to the state of Mu Zhou to visit the Emperor. In August, he went back to Muzhou to visit his wife, and completed a long poem called "The Northern Expedition," which is comparable to "Five Hundred Characters from Beijing to Fengxian County," depicting the bleak and miserable scenery on the journey and the poverty of his family, and expressing his opinions on the current situation.

The Tang army recaptured Chang'an in September of that year and Luoyang in October, and Emperor Suzong returned to the capital at the end of October, at which time Du Fu also returned to Chang'an, where he remained as left picker. In May of the following year, Du Fu was affected by the struggle between Suzong's new nobles and Xuanzong's old ministers in the court, and was transferred to the Huazhou Sigong Senator, and from then on, he said goodbye to Chang'an forever.

In the spring of the second year of the Qianyuan era, Du Fu traveled to Henan Province to visit his old residence, and on his way back, he saw with his own eyes the suffering of the people under the brutal oppression of the officials, and wrote the famous six poems of the group of "Xin'an Reigning Officials", "Tongguan Reigning Officials", "Shitengu Reigning Officials", "Newlywed Bidding Farewell", "Dying Bidding Farewell", and "Homeless Bidding Bidding Farewell", which are abbreviated by the later generations to be called the "Three Reigning Officials", The six poems are known as "The Three Officials" and "The Three Farewells".

Du Fu returned to Huazhou in early summer. At that time, there was a great famine in Guanfu, Li Fuguo was in power in the court, and the old ministers of Emperor Xuanzong, such as Fang Zhuo, were rejected. Du Fu was disappointed in politics, and he decided to abandon his post after the autumn and went west to Qinzhou. After four months in Qinzhou, Du Fu went to Tonggu in the early winter; he stayed in Tonggu for one month, and then went to Chengdu at the end of the year on the difficult Shu Road.

The Anshi Rebellion was the turning point of the Tang Dynasty, which was in decline, and the social, political, and economic situation changed dramatically. Politically, the court lost its centralized ruling power internally, and externally it could not resist the invasion of the tombs; economically, due to years of war and natural disasters, the countryside was in a state of depression, while the exploitation of the people by the ruling class continued unabated, resulting in a drastic reduction in population and productivity. Du Fu also personally experienced very intricate changes: exile, being trapped by thieves, serving as the left collector at the side of the emperor, being relegated to Huazhou, on the desolate Luoyang Road, living in Qinzhou, and traveling into Shu - both in terms of personnel relations and natural environment, all of them were very different from each other. Such life experiences were much richer and more grueling than those of the Chang'an period, resulting in a wide variety of poems, of which more than 200 have been handed down, most of them masterpieces of Du poetry.

The period of wandering in the southwest from the first year of the reign of Su Zong (760) to the fifth year of the reign of Daizong (770). in 11 years, Du Fu spent 8 years in Shu, and 3 years in Jing and Xiang. When he was in Kui Zhou, Du Fu said that he "drifted between heaven and earth in the southwestern part of the country" (《咏怀古迹》), but in fact he lived in Chengdu for five years, and his life was still relatively stable. In the spring of the first year of the reign of the first Emperor, he built the Cao Tang (草堂) on the banks of Runhua Stream (浣花溪) in the western part of Chengdu, ending four years of wandering and getting a place to live. He had left the Central Plains, which was troubled by the wars and the sorrows of the people, and was presented with an idyllic landscape, in which the flowers, birds, insects and fishes all seemed to show their solicitude to him, so that he could rest temporarily from his many years of toil and sorrow, and he wrote a lot of poems singing about the nature with infinite love. But he did not forget the people in exile, nowhere to settle down, in the "thatched cottage for the autumn wind broken song" sang the famous lines of "peace to get a wide range of ten million rooms, sheltering the world's poor people are all happy".

Toward the end of the second year of the reign of Emperor Shangyuan, Yan Wu came to Chengdu to serve as Chengdu's Yin and the Imperial Historian, and gave Du Fu a lot of help. In the seventh month of the first year of Emperor Daizong's Baoying reign (762), Yan Wu was summoned to join the imperial court, while Chengdu's junior minister and royal historian Xu knew that he had mutinied in Chengdu, and Du Fu was exiled to Zizhou and Langzhou.

In the spring of the second year of Baoying, the Anshi Rebellion, which had lasted for seven or eight years, came to an end. When Du Fu heard the news, he was pleasantly surprised and thought that there was hope for him to return to Luoyang, and he sang out of his mouth the Seven Rhymes of "Hearing the Officials Collect the River Henan and Hebei," which was one of the most joyful songs in Du Fu's life. But the happiness was only short-lived, the domestic chaos has not yet been clarified, the western Tubo invasion, October once captured Chang'an, Dufu expressed infinite concern: "Western capital is not stable? I don't see a single person coming." ("Early Flowers") He wrote many poems stating his political thoughts.

In the spring of the second year of Guangde's reign (764), Yan Wu was appointed as the governor of Chengdu and the governor of Jiannan, and Du Fu returned to Chengdu in March. Yan Wu recommended Du Fu to be the Counselor of the Sections and the Minister of the Ministry of Public Works. Du Fu stayed in the Chengdu Sectional Minister's office for a few months, but because he was not accustomed to the life in the office, he asked again and again to go back to the Cao Tang (grassy hall), and finally Yan Wu allowed him to request for his return. In April of the first year of Yongtai's reign (765), Yan Wu suddenly died, and Du Fu lost his support and had to leave Cao Tang with his family in May, traveling eastward by boat. The first half of Du Fu's period of "wandering in the southwest" ended with the words "five years in Shu County, one year in Zizhou" ("Going to Shu").

Du Fu arrived at Yun'an in September, but was unable to move forward because of his illness, and it was only in the late spring of the following year, when his illness subsided, that he moved to Kui Zhou. He lived in Kui Zhou for less than two years, but he was very creative, writing more than four hundred poems, accounting for two-sevenths of all of Du's poems. The poems sang of the poor working people of Kui Zhou, depicted its dangerous mountains and rivers, reflected the turmoil in Shu and his longing for Chang'an and Luoyang, and increased the number of his nostalgic poems for friends and old times. However, his health was deteriorating, with malaria, lung disease, wind paralysis and diabetes constantly haunting him.

Du Fu left the gorge in the first month of the third year of Dali's reign (768) because of the harsh climate in Kui Zhou and the scarcity of friends. He arrived at Jiangling in March. He wanted to return to Luoyang, but because of the chaos in Henan Province, the transportation was blocked, so he did not make the trip. He stayed in Jiangling for half a year, moved to Gongan for a few months, and arrived at Yueyang at the end of the year, where he wrote "The Years of Anxiety", which vividly reflected the hardship of the people in Hunan.

Du Fu lived the last two years of his life from the fourth to the fifth year of the Dali calendar. He had no fixed abode and traveled between Yueyang, Changsha, Hengzhou, and Leiyang, spending most of his time on a boat. He died in the winter of the fifth year of the Dali period in a boat on the Xiangjiang River between Changsha and Yueyang at the age of 59. Before his death, he wrote a long poem with 36 rhymes, "Writing in a Boat in the Wind and Difficulty", in which there is a line, "The blood of war is still flowing, and the sound of the army is still moving", still thinking of the disaster of the country. After his death, Du Fu's coffin was buried in Yueyang, and it was only 43 years later, in the eighth year of Emperor Xianzong's reign (813), that his grandson, Du Siye, was buried at the foot of Mount Shouyang in Henan Province.

Du Fu wrote more than 1,000 poems during this 11-year period, accounting for more than 73 percent of all Du poems, most of which were proximal poems -- stanzas and metered poems -- as well as long, formalized rhymes.

Poetry Du Fu's poetry is characterized by the close integration of social reality and personal life, and the perfect unity of ideological content and artistic form. Du Fu's poems profoundly reflect the whole of Tang society before and after the Anshi Rebellion of more than 20 years, and vividly record the journey of his life, as well as reaching the highest achievement of Tang poetry in terms of art. His poems enable the readers to "know his person" and "discuss his world", and play the role of "can be Xing, can be viewed, can be grouped, can be complained".

Du Fu's poems have been called the "history of poetry". However, Du Fu's poems as "history of poetry" are not objective narratives, writing history in poetic style, but reflecting the reality profoundly and expressing the author's mood through his unique style. Pu Qilong, a Qing scholar, said, "Shao-Ling's poetry is a person's disposition, and the three dynasties will be sent to him." ("Read Du Xinjie - Shaoling's Poems in the Chronicles with Notes") Most of Du Fu's poems deal with the major political, economic, military, and people's lives in the three dynasties of Xuanzong, Suzong, and Daizong, but they are imbued with the poet's true feelings. For example, Du Fu's two masterpieces in his middle age, "Five Hundred Characters from Beijing to Fengxian County" and "The Northern Expedition", contain lyricism, narrative, chronicle, reasoning, observation of nature, revelation of social contradictions, inner conflicts, political ambitions and ideas, personal encounters and family misfortunes, disasters of the country and the people, and hopes for the future. These two long poems include so many rich contents, the author's mood ebbs and flows, and his language runs freely, proving that he was keenly sensitive to the phenomena of nature and society in this unfortunate time. This kind of poem is the self-description of the poet's life and heart, as well as the portrait of the times and society, and the fate of the individual and the fate of the people of the country are closely related to each other, and the two have reached a high degree of fusion in art. Another example is "Climbing the Ci'en Temple Pagoda with the Duke" and "Lamenting the Head of the River", which are shorter in length, but also have the same characteristics.

Since the late Tianbao period, Du Fu wrote a large number of political poems on current affairs, no matter whether they were stating his political views, such as "Wash the Soldiers and Horses" and "Feelings" written in Zizhou; or exposing the ruler's despotism and cruelty, such as "Lillian's Journey", one of the two "Memories of the Past", and the "Three Extraordinary Verse" written in Yun'an; or allegorical and satirical poems, such as "The Phoenix Terrace", "The Ill Oranges", "The Withered Brown Palm", and "Guests from"; or sympathetic care of the poor people, such as "The Thatched House". Or the sympathetic concern for the poor people, such as the Song of the Thatched Cottage Broken by the Autumn Wind, and Another Presentation of Wu Lang; all of them are a combination of personal feelings and facts. There are also quite a few long pieces, some of which record the major events of the country in the past ten years or so, such as Kui Fu Shu Huai (The Book of Remembrance of Kui Fu) and Yu Zai (The Past in the Past); some of which describe the local changes, such as Cao Tang (The Cao Tang) and Heng Zhou (Into the State of Hengyu); some of which recollect the past events, such as Strong Journey (Strong Journey) and Dismissal of Wistfulness (Dispensation of Wistfulness); and even more so, like Pu Qilong's words "Lamenting the world or lamenting one's own body" (Read DU Xin Xie Jie (Reading Du Xinjie) - Read DU Ti Zhan (Reading Du's Outline)). The first is that the war was not over, and the second is that the war was not over, and the third is that the war was not over.

The subject of war occupies a considerable amount of Du Fu's poetry. Du Fu held different attitudes toward wars of different natures. He was against the militarism of the imperial court and the consumption of manpower and material resources, such as the "line of soldiers", the "sentimental" written in Kui Zhou, and the "foot of the mountain in the backyard"; for the quelling of the rebellion and the defense against the foreign invasion, it is in support of, such as the "view of the soldiers of the west of the Anxi soldiers over the standby for the Guanzhong two poems" written in the pre-Anshi Rebellion, "the view of the troops", and "the year of the end of the year" written during the invasion of the Turks and Tobans. These poems are very distinct in what they condemn and what they glorify. There are also some poems about war that both glorify and condemn. The two famous groups of poems, "Exit from the Seaside before" and "Exit from the Seaside after", recount the changing moods of the warriors in the course of their military service in twists and turns, actually reflecting the poet's different views on war from different perspectives. Both poems glorify the magnificent scenes on the battlefield, how the warriors were good at fighting and sacrificing themselves to achieve victory; they also condemn the king's endless frontier development and the arrogance and extravagance of the generals, which made the battle results lose their positive significance. Both of these poems summarize the unfortunate fate of countless brave soldiers through the confession of a warrior. Another example is "Three Officials" and "Three Farewells", which express the author's inner conflict in a more concrete way. When Du Fu was on his way to Luoyang, he saw tyrannical officials forcibly enlisting young boys and lonely old men into the army. He complained on behalf of these people and condemned the officials, but when he thought of the lack of strong soldiers and the enemy, he changed his tone and said a few words of comfort or encouragement to the conscripts as much as possible.

Du Fu wrote many poems about nature. The objects of his songs were often related to both himself and current events. Poetry commentaries and poetic commentaries throughout the ages have discussed Du Fu's high degree of "situational harmony" in his poems. However, Du Fu's poems not only have a high degree of situational integration, but also the integration of feelings, scenery and current events, the author in the writing of the scenery and lyricism, seldom leave the reality, at any time and any place to think of the times in which he lived in the war, the country is tired of the people. For example, "Spring Hope" written when he was trapped in the fallen Chang'an and "Jianmen" written when he entered Shu are the most representative ones. These poems, the later Du Fu's later years, the greater his achievements, such as the pentameter "Pavilion," "On the River," "Jiang Han," and the seven lines "Ascending a Building," "House of Residence," "Night in the Pavilion," "Eight Autumn Rising," and so on, are the most popular masterpieces that blend the scene with the current events.

In addition, Du Fu also wrote some poems about painting, music, architecture, dance, utensils and agricultural production, which were also imbued with the author's feelings and the atmosphere of the times, and can be regarded as a colorful cultural history. After years of displacement, Du Fu arrived in Chengdu, established the Cao Tang, opened up acres of land, and got a temporary rest, so for the flowers, plants, trees, birds, animals, insects, and fish to observe the dynamics of the delicate, and feel infinite love, with a profound experience. Such poems as "Screen Tracks", "For the Farm", "Field House", "Xu Bu", "Water Threshold", "After the Tour", "Spring Night Joyful Rain" and so on, from the title of the poem can be imagined Dufu's state of mind at that time. Of course, these poems cannot be compared with the previous ones, but they also represent another aspect of Du Fu's personality: not only did he have deep feelings of concern for the country and the people, but he also had a love for tiny creatures. He "lived in a secluded place, close to the feelings of things" ("Screen Tracks"), liked to see "the fishes come out in the fine rain, the swallows slant in the breeze" ("The Water Threshold"), and felt that "the flowers and willows are more disinterested" ("Afterward Journey").

Du Fu wrote a number of poems about the memory of his family and friends, most of which were sentimental and sentimental. He was nostalgic for his wife in the "Moonlit Night" written when he was caught in the trap of a thief, and for his younger brother in the "Moonlit Night Remembering Sherbrooke" written in Qinzhou; among the many poems of nostalgia for his friends, the one for Li Bai is the most prominent. Since his breakup with Li Bai until his later years, Du Fu wrote more than a dozen poems about Li Bai, remembering Li Bai, reminiscing about Li Bai, dreaming about Li Bai, sending Li Bai, and other poems about Li Bai, almost every one of them showing his deep affection, warm care, and heartfelt admiration for Li Bai.

Du Fu regarded poetry as his lifelong endeavor, believing that "Poetry is the business of my family" (Zongwu Birthday). He learned poetry at the age of seven, and did not stop writing poetry until the eve of his death. He wrote the most profound poems during the most difficult years from the Anshi Rebellion until his arrival in Chengdu; he wrote the most numerous poems when he was in Kui Zhou, where his body was weak and sickly. He had rich experience in life, full of political enthusiasm for the country and the people, and also made great efforts in artistic skills. "Words are not shocking" ("The value of the water on the river is like a sea of potential to talk about a short description"), "new poems are changed and long since the poem" ("Twelve Songs to Relieve Boredom," No. 7), which shows the seriousness of his creative attitude. Du Fu's serious attitude towards creation. Du Fu also discussed poems with poems, and expressed his ideas of inheriting the fine tradition and criticizing poets of the past and present in "Playing for Six Absolutes" and "Twelve Songs to Relieve Boredom" (No.4 to No.8).

Du Fu greatly expanded the field of poetry in both content and form. Hu Zhenheng of the Ming Dynasty said, "The use of current events in poetry began with Du Shaoling." ("Tang Yin Dec sign") This sentence is not quite consistent with the facts, because before Du Fu also have to current events into the poem, but like Du Fu so deep into the people, insight into the ills of the time, the social significance of the major issues are ceramic in the "amazing" verse, is rare. Yang Lun said: "Since the Six Dynasties, the rate of music has been plagiarized, and it is most disgusting to see that the rate of music has been simulated and plagiarized. But Zi Mei, who was touched by his feelings at that time, felt pity for the national tragedy and pain for the poor people, and freely set up his own title, which was free from the previous stereotypes." ("Du Poetry Mirror Ambrose" Volume V) Although this is "three officials", "three separate" comments, but also can summarize most of the important poems of Du Fu. Yuan Zhen's "Epitaph for the Tomb of Du Jun (杜君墓系铭)", which he wrote for Du Fu, says, "There is no poet like Zimei since the poet's time", which is not an overstatement.

Du's poems take many forms. Du Fu was most capable of mastering the various forms of poetry, and was able to develop each form in a new way. He was good at recording hard journeys, social events, people's lives, and many dramatic speeches and actions in five-character poems of ancient style, which were written so vividly that what one felt was not the limitations of the five-character language but the naturalness of the tone, the most notable examples of which are the Qiangcun, the Gift to Wei Bushi, and the "Three Farewells", "Three Farewells", and "Drinking in the Mud of Tian Father and Being Beautified by Mr. Yan Zhongcheng". He was good at expressing his bold or somber emotions and opinions on politics and society in his seven-character poems, such as "Song for Zheng Guangwen when Drunk", "Washing the Soldiers and Horses", "Seven Songs for Living in Tonggu County in the Middle of the Qianyuan Era", "Song of Thatched Cottage Broken by Autumn Winds", and "Years of Ancient Harmony", among many others. Du Fu's five- and seven-line poems were very powerful and reached a high level of achievement, accounting for more than half of Du's poems. The five-line poems were written during Du Fu's wanderings, and most of the famous seven-line poems were written after Du Fu's arrival in Chengdu. Du Fu's profound feelings were condensed in the five rhythms and fully developed in the seven rhythms. He wrote five lines, such as "Spring Hope", "Wistful for Li Bai at the End of the Day", "After the Journey", "Joyful Rain on a Spring Night", "The Water Threshold", "The Night of the Guests", "Nine Days in the City of Zizhou", "The Levies", "Lyrical Reminiscences of the Night of the Journey", "Staying at the Pavilion by the River", and "Climbing to the Yueyang Tower". Baidi", "Five Songs of the Generals", "Eight Songs of Autumn Xing", and "Ascending the Heights", etc. Few of the Tang's metered poems can surpass them. Du Fu also wrote a lot of pentameter rhymes and a few septameter rhymes, which led to a great development of the rhythms, such as the "Autumn Kui Fu Rhapsody Sending Zheng Supervisor and Li Guest 100 Rhymes" which is as long as 1,000 words. Except for a few more natural ones (e.g., the five-rowed "Sending Yan Gong to the court in ten rhymes," "Sending the ambassador to the office in Lingzhou," and the seven-rowed "Two Songs for the Brightening of the Day"), most of the poems are piled up with too many allusions, which conceal the richness of the emotions or fill in the void of the content of the works of honor. Most of Du Fu's stanzas were written during his last eleven years in the southwestern part of the country. Due to the great achievements of Du Fu's ancient poems and metrical poems, his stanzas often go unnoticed, but by expressing his feelings in immediate scenes, discussing his poems, and remembering his friends, reflecting the turmoil in Shu and the life of the people, and drawing on the essence of folk songs, Du Fu still made a lot of contributions to the stanzas. The poems of Du Fu are intended to be the axis of the Qing Dynasty Zhang □ made

Of course, Du Fu also wrote some of the more boring poems to give gifts to the rich and powerful, and flattering and socializing. When he was a "guest" of the nobles in Chang'an, begging for a position from the princes and ministers, and when he was wandering in the southwest of China and had to deal with the local officials for food and clothing, some of the poems he wrote were in five-character lines, using a lot of allusions to extol the other side's sagacity, and describing his own poverty in order to beg for mercy and favors. The style of these poems is not high.

Overall speaking, Du Fu was a man of hunger and cold who always had the will to help the world, and he was in a poor situation without any misanthropy; in terms of poetic art, he had collected the great masterpieces of classical poetry, and innovated and developed them, which gave a wide influence to poets of the next generation.

When Du Fu was alive, his poems were not valued by the people of the time, and 40 years after his death, he began to be emphasized by Han Yu, Bai Juyi, Yuan Zhen and others. Bai Juyi's and Yuan Zhen's new music movement was obviously influenced by Du's poetry in terms of literary thought. Li Shangyin's famous poems satirizing current events were y influenced by Du's poetry in both content and art. Famous poets of the Song Dynasty, such as Wang Anshi, Su Shi, Huang Tingjian, and Lu You, all held Du Fu in high esteem, and their poems each inherited Du Fu's tradition in different ways. At the end of the Song Dynasty, the national hero Wen Tianxiang was captured by the Yuan and imprisoned. He used Du Fu's five-character verses to compose 200 poems, and in his "Collection of Du Poems - Preface to the Poems," he said, "Wherever I wish to speak, Zi Mei will first be the spokesman for me." The influence of Du Poetry is not limited to the scope of literature and art, but more importantly, the spirit of love for the people in the poem has inspired the majority of readers for thousands of years, and has educational significance until today.