Analyzing the Artistic Achievements of Du Mu's Poems

Du Mu's seven-line poems occupy an important position in all his poems. His nephew Pei Yan Han's "Fanchuan Wenji" 20 volumes, the first four volumes **** collection of poetry of all kinds of 260, of which nearly 60 of the seven rhymes; if you add the Song's compilation of the "Fanchuan Waiji" and the "collection of seven rhymes collected in the collection of the other, the number of when even greater. Du Mu's seven rhymes are not only numerous, but also highly accomplished in thought and art. Wu Qiao's "Poetry in the Furnace" said, "Du Mu's poems, only the absolute line has the most wind tone,...... his seven lines of the law is also extremely good." This clearly points out that his seven rhythms are second only to the stanzas in terms of achievement.

On the artistic style of Du Mu's poems, Liu Xi contains a general summary: "Du Fanchuan's poems are majestic." ("The Art of Poetry") Liu's so-called "majestic and heroic" is compared with the style of Li Shangyin's poetry, which is "deep and emotional mián@(1) Miao", meaning that Du Mu's poems express the poet's ambition to save the country and the people in content, and emphasize the grandeur of the majestic and handsome atmosphere in the form of art. The meaning is that Du Mu's poems show the poet's ambition to save the country and the people in terms of content, and in terms of artistic form, he focuses on the magnificent and unrestrained atmosphere and emotional catharsis, and has a bold and handsome atmosphere. This is a more accurate evaluation of Du Mu's style from the unity of content and form. The artistic style of a poet is a relatively stable synthesis of the main ideological and artistic characteristics expressed in his works. In this synthesis, there is always a main tone and a main theme, and by grasping the main tone and the main theme, one recognizes the main body of a poet's artistic style. To summarize the general artistic style of Du Mu's poems with the words "majestic" can be said to be the most important feature, which is undoubtedly applicable to Du Mu's seven-line poems, and it is the basis for us to know Du Mu's seven-line poems' artistic style. However, the style of different genres of works written by the same poet will also show some individual differences on the basis of the general artistic style, which is the sign of the poet's artistic maturity. Du Mu's seven-character poems are based on the general style of "majestic and heroic" and sometimes have a different kind of character.

Liu Kezhuang said: "Du Mu's poems often contain a little bit of sophistication in his rhythms, in order to rectify the shortcomings of the times" (Houcun Poetry). （Yang Shen also said, "(Du Mu's) poems are bold and colorful, dangling and beautiful, and in the metrical poems, there is a particular arrogance in them to correct the ills of the times." ("Shengan Poetry") The so-called "arduousness" refers, on the one hand, to the steepness and steepness caused by the use of verses that are not in accordance with the regular pattern of the legal system; on the other hand, it refers to the heroic and majestic mood that is similar to the ancient style of poems expressed in the legal poems. To summarize Du Mu's artistic style of seven-line poems, we can say that the most important feature of his seven-line poems is that he has a strong and upright posture, and sometimes he makes a staccato or ancient meaning in his metrical poems, showing a strong and upright posture and a strong and vigorous momentum, which strengthens the majestic and heroic mood. For example, the title of Xuanshou Kaiyuan Temple Water Pavilion, Your Excellency Wanxi, clip the stream dweller:

Six Dynasties cultural relics of the grass even empty, the sky pale cloud leisure in the past and the same.

Birds go and birds come in mountain colors, people sing and cry in the sound of water.

The curtains in the late fall are full of rain, and the wind is blowing in the sunset.

There is no reason to see Fan Li in despair, and there is no reason for him to go to the east of the five lakes. The poet climbed up to see the scenery, to express his feelings, the gas contains a wide range, thinking about the thousands of years. The first line from the scene in front of the rise of the six dynasties of the sense of the rise and fall, said the former clothes and artifacts, all into the weeds, only light days of idle clouds, the same as in ancient times, the force of the pen through the focus, there is a package to lift up the universe, covering the momentum of the ancient times. Jaw and neck of the two lines of writing Wanxi area of the mountain color and water sound, birds living, curtains in the late autumn, the sun sets on the platform, a magnificent picture of the mountains and rivers and scenery in autumn, such as the present. The final couplet expresses the admiration for the ancients generated by climbing up to the pavilion and looking at the five lakes, and shows the yearning for the heroic figure Fan Li, who was boating on Taihu Lake after his success and fame. The whole poem is a mixture of scenario and grandeur. It is calm, strong and robust without losing its woodiness and straightness, and it is rhythmic without being weak and feeble. Xue Xue "a scoop of poetry" said: "Du Mu of the late Tang Dynasty, masterpiece quite a lot,......, such as the title of the Xuanzhou Kaiyuan Temple Water Pavilion, straight to create the old DU door wall, is not specially known as a small DU only." In fact, this poem is not only straight to create the old Du door wall, but also to enter the room, get its true essence.

But, Du Mu's poem of the metrical law, some people have raised objections, such as Xie Hazel in the "four diming poetry" said: "Du Mu's "Kaiyuan Temple Water Pavilion" poem, ...... this on the three lines of the foot word, are swallowing its voice, rhyme short tone, and no inhibition of the wonderful. " "Zhenyi Zhai Poetry said" also cloud: "Du Fanchuan talent is very handsome, the law is not complete and dense." Here actually involves the "argot" phenomenon of the rhythmic poetry of the view of the problem. According to the poetic law, it is not suitable to mix ancient lines in the legal form; it is not suitable to mix legal lines in the ancient form. Ancient poems emphasize the momentum, and pay attention to the strong and simple ancient; the rhythmic poems emphasize the sound and rhyme, and pay attention to the smoothness and fluency. However, if the characteristics of these two poetic styles are pushed to the extremes, the ancient poetry will be wooden, stagnant and dull; the rhythmic poetry will be gorgeous and soft, flowing in powerlessness. On the contrary, if some ancient poetic lines are interspersed and arranged in the regular poems to make them become variants, then the poems can be made to add some simple, strong and sturdy, craggy and staccato features to the elegant and flowing poems. This is just as Liu Xizai said: "the ancient body of strong and quality, near the body (according to the metrical poem refers to a kind of metrical poem) Wan and Yan, the poem of the usual also. On its changes, the ancient Wan near the strong, the ancient Yan near the quality." ("the arts - poetry") so, all have as a poet, not only can follow the poetic law, but also not muddy into the law. Shen Deqian said: "Poetry noble feelings, must also discuss the law. ...... But the so-called law, the line had to line, stop had to stop, ...... if the mud set here how it should be, how it should be, do not mean to run the law, turn to mean from the law, then dead law carry on. If you look at the water and clouds in heaven and earth, and the moon and the wind, where can you find the law of death?" ("Saying Poetry＠(2) Language", Volume 1) Shen was a typical poet of the T'ai Kuo style, and he discussed poetry and selected poems by "examining their purpose, reviewing their style, and satirizing their tone" ("Preface to the Collection of Tang Poetry"), i.e., apart from embodying a gentle and generous poetic teachings in their contents, he also attached great importance to poetic methods such as meter and rhyme. However, he did not regard the poetic method as a dead law, but advocated "to carry out the law with one's mind" and opposed "to follow the law with one's mind". Wang Fuzhi put it more directly: "The Records of Music says: 'The sound of every sound is born from the heart. It should be the standard of sound and rhythm that the heart is harmonized with the ear. The saying that 'one, three, five, no matter what, two, four, six, clear' is not to be relied upon as a criterion." ("Jīāng＠(3) Zhai Poetry", Volume 2) Wang recognized that metrical poems should pay attention to the laws of metre, but he also opposed to treating the dead law as a canon. Therefore, Du Mu's seven-character poems are sometimes characterized by "fewer disputes and crags" on the basis of his majestic style, which is not because he does not know the poetic law, but is intentional, and reflects the individuality of Du Mu's seven-character poetic art style.

How did the artistic style of Du Mu's seven-character poems form? There are many reasons for this, but I would like to analyze them from the following aspects.

The formation of a poetic art style has the closest connection with the poet's own political aspirations, life experience, personality temperament, emotional color, and so on. Western literature and art critics have the saying that "style is the person himself" (Bufeng); the famous ancient Chinese literature and art critic Liu Feiqiang also said, "Each teacher becomes the heart, and its difference is like a face." ("Wenxin Diao Long - body nature") can be seen, in a certain sense, artistic style is the writer's personality in the literary works of the refractive reflection.

Du Mu was politically bold, upright and outspoken, and ambitious. The New Tang Book - this biography" said Du Mu "just straight have a strange section, not for the sordid small honor, dare to discuss the great things, pointing out that the disease is especially cut to", and said that he was endowed with "sparse and straight". In the poem of "Sipping Alone in the County", he elaborated his political ideals as follows: "I wish to mend Shun's clothes with the five-color threads of my life. He taught Yan and Zhao with string songs, and bathed Huangshi with orchids. The fishy shān＠(4) is swept away, and all the viciousness is spread out. The living but sleeps and eats, and the life domain is rich in agriculture and mulberry." His political ambition and ambition on the one hand determined that his seven rhymes are mostly the words of political talk and military endeavor, and on the other hand determined that his seven rhymes show a kind of bold and majestic, strong and upright momentum. For example, Du Mu's poems in his seven rhymes reflect the seriousness of the serious problem of the invasion and disturbance of the people by the rulers of the foreign tribes in the northwest of China during the Middle and Late Tang dynasties.

Yuanzai Xianggong had borrowed chopsticks, Emperor Xianzong also stayed attentive.

When I saw the clothes and crown in the east market, I suddenly left my bow and sword and did not go on a tour in the west.

Sheep and horses were dressed in military uniforms, but the white hair and heart of a Han official.

Only the songs and dances of Liangzhou have spread to the world. The poet sings the praises of Yuan Zai, the prime minister of Emperor Daizong, who once intended to recover the borderland, and Emperor Xianzong of the Tang Dynasty, who wanted to make a difference, but both of them had unfulfilled aspirations and died in a present. Yuanzai and Xianzong, as aesthetic objects, are beautiful, a kind of magnificent beauty. The poet also praised the people of the fallen areas of the national spirit, white head looking back. As the aesthetic object of the fallen people, they are also beautiful, also a magnificent beauty. The poet put the emperor and ministers as well as the people with national integrity as an aesthetic object to be praised, which laid the foundation of the whole poem majestic. But what is even more valuable is Du Mu's ability to integrate the aesthetic object and the aesthetic subject into one, expressing the poet's own desire to secure the border and restore the land and realize the unity of the country through the praise of the aesthetic object, which makes the whole poem seem to be calm and majestic. This is just like he said in the poem "who knows I am also light-hearted, not the king of zhangji shu" in the seven rhymes "heard of the Qingzhou Zhao Zongjun and Dangjian war with the arrow death", he made it clear that he is not a bookworm who is afraid of death, in order to the security of the border, he is willing to throw his pen to the military, tasseled to execute a sword, and personally on the battlefield to kill the enemy. Between the lines of the poem, overflowing with the poet's sincere and heroic feelings of service to the country, and the poem's boldness and magnificent mood jumped off the page.

If it is said that the bold and enterprising side of Du Mu's character mainly influences the style of his seven-character poems on the subject of resisting the invasion of foreigners and the problem of the settlement of clans and towns, then the upright and outspoken side of Du Mu's character mainly influences the style of his seven-character poems on the subject of opposing the evil forces within the imperial court. For example, the seven-course poem "Li Gushi" was written in response to the people and events in the "Ganlu Mutiny" that took place in the ninth year of Emperor Wenzong's reign:

A chapter of the poem is written in a soap bag, and there is an ancient style in the court of the emperor.

Yuan Mu's poem is written in the style of the emperor's court.

Yuanli went to Gou Gou's school, and Jiang Chong came to see the Dogtai Palace.

The day is full of confusion and astonishment, and @(6)@(7) Zhu Yin is empty.

The people of the world will not be able to do so, and the seashore is now a place for fishing. One of the parties involved in the incident was Qiu Shiliang, the head of the eunuchs, and the other was Li Xun and Zheng Zhi, the favorites of Emperor Wenzong. The nature of the incident we put aside, only on behalf of the personal qualities of the two characters, Qiu Shiliang's autocratic domineering, has reached the point of hot. In the face of the harsh reality that "Qiu Shiliang stole the state's power, and his influence was so strong that it was overpowering" (Rhyming Language Yangqiu, Volume 9), most of the scholars dared to be angry but dared not to speak out, but Du Mu said, "The daytime was so diverse that it shocked the whole of the world, and @(6)@(7) Zhu Yin was several times empty," which exposed the crimes he committed against a large number of imperial officials during the Incident, including indiscriminate killings. He exposed his crime of killing a large number of government officials and the atmosphere of terror created by the incident, which should be regarded as very courageous. As for Li Xun and Zheng Zhi, who were on the other side of the Incident, their motives of cleansing the eunuchs were not bad, but they were narrow and short, and their personal qualities were also too bad. According to the "New Book of Tang Dynasty - Li Xun biography", Li Xun power in the hands of after, "hostage note phase than, business revenge. ...... tasted the evil, all trapped in the party, relocated depreciation without que day, class list several empty, shocked at home and abroad", Du Mu's good friend Li Zhongmin (i.e., Li give) is the direct victim of Li Xun and Zheng Note. In the face of such a horrible situation, Du Mu said, "Yuanli went to Gou's school, Jiangchong came to see the Dogtai Palace," comparing Li and Zheng to Jiangchong, who repeatedly raised witchcraft prisons in the time of Emperor Wu of the Han Dynasty in order to mutilate the loyal people, and rebuking them for being a sycophant who was fortunate enough to be able to use their own affairs, which is also said to be a very courageous one.

Du Mu criticized the representatives of both sides of the "Ganlu Rebellion", but praised Li Zhongmin: "A chapter in a soap bag, sù＠(5) sù＠(5) the court has an ancient style." Why was Li Zhongmin praised? Because of Li Zhongmin's "nature of just small-minded and outspoken, and the scholar Du Mu, Li Gan good, the article interesting direction, most similar" ("The Old Book of the Tang Dynasty - Li Zhongmin biography"). Li Zhongmin in the six years (832) had written to the Emperor Wenzong, requesting the beheading of Zheng Zhuzi to snow the injustice of the prime minister Song Shenxi, although the matter did not come to fruition, but the spirit of this just straight and outspoken, but y for the Du Mu praised. Du Mu praises Li Zhongmin for his "ancient style of sù＠(5) sù＠(5) court", which is also a self-portrait of his own upright and outspoken character. The whole poem, whether criticizing the evil forces or praising the righteous characters, is full of masculinity and still belongs to the category of majestic style and beauty.

Du Mu was a bold and ambitious man who spoke out, but his career path was bumpy. When he was twenty-six years old, his talent was over, and he was successful in the exams and examinations, and he was awarded the first degree in the imperial examinations, and he was famous for his work, and he was also famous in the capital. From then on, he could have risen through the ranks and achieved a high political status, but what awaited him was an almost lifelong career as a bureaucrat and a remote county guard. The disappointment in his career and the failure to realize his political ideals could not help but have an impact on his character, injecting some seemingly negative factors into his bold character. This is expressed to varying degrees in some of his seven-character poems. For example, "Nine Days on Mount Qishan":

Jianghan Autumn shadow of the geese first flew, and the guest with the pot on the Cuiwei.

It's hard to meet the world with an open mouth and a smile, and chrysanthemums must be inserted all over the head.

But I'm not going to be able to get a drink to honor the holiday, so I don't need to go up to the mountains and hate the sunshine.

This is the only way in the history of the world, and why should the Oxfordshire Mountains be the only place where you can get dressed? On the surface, it seems that the poet, faced with the falling sunshine in the fall, will see through the red dust, citing the yellow flowers and wine as a confidant, in order to get rid of the sadness of life's sorrows, the mood is low. But in fact, Du Mu did not become disillusioned, all thoughts are empty, he is only the past ambition with the help of the feelings of openness expressed in a twisted way. The feeling of openness is a special kind of boldness in the case of hard to fulfill ambition, and the tone is still cheerful and optimistic. The same is the evening scenery of the setting sun, why in Li Shangyin's writing is "the setting sun is infinitely good, just near dusk" ("Leyouyuan"), while Du Mu said "no need to climb up to hate the falling sun"? The key problem lies in the different emotional tone of the two men. Li Shangyin was y entwined and sentimental, and the rain and wind would stir up his sadness. The southern suburb of Chang'an, which was originally a prosperous tourist attraction in the Tang Dynasty, was touched by his sadness, and the reason for this was that he himself was "not in the mood for it". Du Mu is different, he in general rarely show any sadness, even in the sad fall season to visit is far away from the capital of the Chizhou (now Anhui Guizhi) Qishan, but he not only do not "hate the falling sunshine", but also full of flowers, drinking drunk. And his drinking is not purely to drown his sorrows, but very much like Cao Cao's "when the emotion to be generous, the sadness is unforgettable. How can I relieve my worries? Only Dukang" ("Short Songs"), in which the generosity and boldness of his feelings flowed from his pen. In some of his poems, Du Mu held Cao Cao's political aspirations and military prowess in high esteem, and his own behavior was similar to Cao Cao's in terms of his generosity and talk of politics and the military. Therefore, Cao Cao's poem, "Be generous at the drop of a hat," can serve as a footnote to Du Mu's "Ascension to Mount Qishan on the Ninth Day," while Cao Cao's poem's "sadness and desolation" (Chen Joming, "Selections of Ancient Poetry from Beans and Peas Hall," Volume 5) and "calmness and strength" (O Taosun, "Ao Taosun") are also similar to his. The stylistic features of Cao's "stumbling and sadness" (Chen Joming, "Selected Ancient Poems of Cai Bei Tang," Vol. 5) and "calm and strong rhythms" (Ao Taosun, "Commentary on the Poetry of Qú＠(8)óng") are also similar to the stylistic features of Du Mu's seven-verse poems.

Du Mu's character was also characterized by his dashing and suave personality. The Taiping Guangji - Du Mu chapter, according to him in Yangzhou Niu Sinru Curtain when the affair, said: "Tang Zhongshu Sherman Du Mu, young talent, the pen into a chant. ...... Mak is a young man with a wild and licentious nature." This suave talent temperament, influence and his seven poems, is manifested in the strong and bold style features increased some of the splendor of the flow of beauty. This is what Yang Shen meant when he said, "bold but colorful, tumultuous but beautiful". However, because Du Mu's character is bold and upright, he reveals a kind of boldness even in some erotic poems describing the red powder in the green house and the dance pavilion and singing stage. For example, in the poem "Seeing Liu Xiucai Farewell to the Prostitutes of Chizhou", although the whole poem is about parting with the prostitutes, it ends with the words "When I see you in gāo＠(9), I shall laugh at the wasted time in the mirror". The poet's lamentation of wasted years is not only about the red and pink side of the green house, but also includes the sigh of not being able to fulfill one's ambition and build a career in time. Yao Ying's "Poems on Poetry" (姚莹《论诗绝句》) reads: "When I was down and out in ten miles of Yangzhou, I wrote about my love for each other in the spring breeze (dòu＠(10)@(11)＠(11)). Who, from the bottom of the reddish-red wax and silver kite, did not recognize Du Muzhi, the talker of soldiers." This can be said to see the essence of Du Mu's character through the charming appearance. This essential character trait determines the basic style of his seven-character poems, which is majestic and vigorous, while the characteristic of gaudiness is only found in his seven-character poems from time to time, which has not become the mainstream, and even less because of the gaudiness, which has not flowed into softness and powerlessness.

"A scoop of poetry" cloud: "the fast people poetry will be dashing, thick people poetry will be solemn, suave people poetry will be flowing, sparse people poetry will be flowing, cold people poetry will be barren, rich people poetry will be Hua Jian, whisking the rich people poetry will be miserable, Lei Lu people poetry will be majestic, bold people poetry will be uninhibited,....... "Such a division, although not all accurate, but basically out of a poet's personality and its relationship with the artistic style of poetry. Du Mu's character can be said to be mainly bold and open-minded and also have a smooth, sparse and suave, belonging to the outwardly open type of character. Therefore, his seven-character poems sometimes show some flowing and beautiful airs in the strong and bold poems, which is in line with his character traits.

Liu Kezhuang and Yang Shen, when discussing the artistic style of Du Mu's seven-character poems, both talked about "correcting the ills of the times". So, what were the "contemporary problems" of the late Tang dynasty's seven rhythms? How did Du Mu correct them? This is also one of the important reasons for the formation of Du Mu's artistic style.

Since the early Tang Dynasty, when Shen quán＠(12) and Song Zhiwen were finalizing their poems, there were many authors, but in addition to Du Fu, who was the only one in the Sheng Tang Dynasty, there were not many works of all the families. In the Middle and Late Tang dynasties, the seven rhythms began to flourish and became a great spectacle. Mr. Shi Ziyu once counted the works of poets whose poems existed in more than one volume of the All-Tang Poetry, in which the number of seven-character poems was: 72 in the Early Tang, 300 in the Sheng Tang, 1,848 in the Middle Tang, and 3,683 in the Late Tang. (Quoted from Shen Zufen's "An Explanation of Tang Dynasty's Seven-Letters Poetry".) This figure shows that since the Middle Tang Dynasty, the seven-letetters poem, as a highly mature new genre, has added a bunch of oddballs to the garden of Chinese classical poetry, and has become a kind of new poetry favored by a large number of poets. However, the law of the development of things shows that when a thing develops to its extreme stage, it will often turn to its opposite. The development of the seven-line meter poetry is no exception, in the middle Tang Dynasty, while the seven-line meter flourished, the poetry world appeared in the "Dali ten geniuses" this retrogressive tendency of the school of poetry. They abandoned the fine tradition of Du Fu's realism in the content of their poems, rarely reflecting social unrest and people's hardships, and took the embellishment of peace and prosperity, the system of reward and singing, modeling the mountains and water, and claiming seclusion as the basic theme; in the artistic aspect, most of the ten geniuses had better artistic training, and were good at making the seven rhymes: "Seven rhymes of chapters and laws, Dali's gentlemen are the most pure and skillful. " ("Zhen Yi Zhai Poetry") they exhaustively in the strict limitations of metrical phrases, arrangement of sound and rhyme, the pursuit of formal skills of the gorgeous. Therefore, the main drawback of the "Ten Scholarly Men of the Dali Dynasty" was that they were detached from reality and their poetic style was gorgeous and soft. The Siku Quanshu General Catalog - Qian Zhongwenji Summary pointed out: "Dali also, the poetry style is changing, Kai Bao mellow gas, gradually far and gradually Li. Wind tone phase high, slightly floating sound, elevation of the off, ten son of the real for the job." This criticism is still profoundly pertinent. This gorgeous soft poetry style, directly affecting most poets in the late Tang Dynasty. Especially the seven poems due to a complete and strict set of meter, which more to the late Tang poets provide the conditions to show off skills. As a result of playing with technique, the soft and extravagant poetic style of rounded style, smoothness and lightness of color was particularly serious in the composition of seven-line poems. Qian Muān@(13), in his "Review of the Tang Dynasty" (唐音审體), discussing the late Tang's seven-line poems, said, "In the past, it was said that the late Tang Dynasty was the best place to compose seven-line poems, but the more authors there were since then, the worse the poetic way became. Most of the organization is clever, the style is fluent, slippery, light and colorful, and a thousand hands are the same; if you seek for righteousness, there is nothing in it." This is a summary of the late Tang seven rhymes of the "ills of the time". In order to rectify this "current defect", Du Mu, in his seven-character poems, not only emphasized the connection between ideological content and social reality, but also, and more importantly, no matter what he was reflecting, he was able to write with great passion and grandeur, and sometimes he was not very strict on the details of the metrical system, or made a stance of arguing in order to enhance the momentum of the bold and robust.

Yi Dump has not been recognized as a wise man, but he must go south to hang Xiangchuan.

At that time, the discussion of things was small, but the sound of the future generation is hanging by a white sun.

They are the most important of all, but they are the most important of all, and they are the most important of all.

The name of the stage is not easy to change, leaving the police towards the sky to be vigilant. The original note under the title of the poem reads, "The name of the post was the same as that of Yang Jianzhi, so it was changed to Fushui Post." Yang Jianzhi was Yang Cheng, the counselor of Emperor Dezong, who was respected for his frankness and boldness in counseling, and the name Yang Cheng Yi was changed to Fushui Yi for the sake of avoiding the taboo. In the first two lines of the poem, Du Mu writes about Kap Eun and Zhu Yun, who were straight officials in history, to accompany Yang Cheng's straightforwardness and courageousness. Kap An's stubbornness and uprightness, and Zhu Yun's unyielding speech are in themselves righteous and inspiring, and the poet's use of them in the poem paved the way for the expression of Yang Cheng's uprightness and boldness, and laid the foundation for the whole poem's strong and bold character. The two lines in the neck line positively describe Yang Cheng's life of hatred and poverty. Being a poor official is of course valuable, but as an admonition officer, it is especially important for him to be upright and outspoken. Yang Cheng was an admonishing official with a great characteristic: he did not admonish minor matters but major ones, and he dared to fight for his life on critical issues. When Pei Yan Ling falsely accused Lu @14, Emperor De Zong wanted to expel Lu @14 and phase Pei Yan Ling, but at this critical time, Yang Cheng wrote a letter to Pei Yan Ling, arguing that Lu @14 was not guilty, and the court was in dispute for many days. Du Mu summarized Yang Cheng's uprightness and boldness with the line "I spit in the face of every evil sycophant", which is vivid and powerful. The last two lines of the poem are the key to the poem's theme: the original name of the post should be retained so that officials going to the capital will be alerted by the name of the post. The official position Du Mu will take up when he passes through the Yangcheng Post and goes to the capital is the left supplementary queer and the compiler of the historical hall, and the position of supplementary queer belongs to the category of admonishing officials. Therefore, "I am alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be alert to the fact that I will be an admonishing official. The whole poem is full of righteousness and inviolability, and it is quite inspiring to read. However, the two lines in the neck line of the poem are a pair of arguments; and "the one who stays to warn the heaven is alert" is also an argumentative line, which breaks the usual pattern of the first four and the last three of a seven-character sentence into the first five and the last two, which strengthens the bold and craggy feeling of the whole poem. Therefore, the reason why Du Mu's seven-character poems are written in a bold and argosy style is to carry out a bold reform of the seven-character poetic style since the Middle Tang Dynasty, which is just like what Zhao Yi said: "Since the Middle Tang Dynasty, the rhythmic poems have been prevalent, and the competition is about the sound, so they are more harmonious in syllable, and the style is rounded and beautiful. Du Muzhi was afraid of being weak, and he created a school of bold and dramatic poetic style to correct its shortcomings." ("Oubei Poetry" Volume XI) Du Mu's seven rhythms of poetry can be unique in the late Tang poetry world with its unique style, unique, which is inseparable from his correction and reform of the "ills of the time".

The inheritance and reference to the creative experience of his predecessors was also an important reason for the formation of Du Mu's artistic style of seven-character poems.

Du Mu held Li Bai, Du Fu, Han Yu, and Liu Zongyuan in high esteem, and among the four, Du Fu and Han Yu were especially admired: "Du Poetry and Han Collection is sad to read, like a clinic to scratch the itch. Who can get the marrow of the phoenix outside the sky? No one has ever solved the problem of renewing the glue of the strings!" ("Read Han Du Collection") Qing Danyang He Shang Huang Gong "Wine Garden Poetry" Yun: "Ziwei tasted a sentence cloud: 'Du Poetry Han collection of sadness to read, like Qian Ma Gu scratching the itch.' This is the place where his life is strong, so his poems and writings are all bold and healthy." Du Fu's more than one hundred and fifty poems in seven rhythms, although the style of the fine and coarse, all have everything, but in the diversity of artistic styles, there is always a main style, which is Du Fu himself in the "into the carving of a fugue table," said the "somber and staccato". His masterpieces of seven rhythms, such as Eight Songs of Autumn Rising, Five Songs of Winged Memories, and Ascending to the Heights, which was called the first of the ancient and modern seven rhythms by Hu Yinglin, are all written in a deep, staccato, and clearly show the artistic style of "stoicism and staccato". Du Mu took this as his main reference. However, Du Fu's poems focus on worrying about the country and the people because of his lifelong poverty, coupled with his introverted character, so he shows his sadness and sorrow from time to time; Du Mu, on the other hand, is different, as he was born in a famous family, and his career is not as good as he would like to be, but he has not lost the position as the keeper of a county, and his poems reflect the reality, but focus on expressing his own grandeur, and his worry about the country and the people (especially his worry about the people) is not as good as Du Fu's, coupled with his open and outgoing character, so the poems are different in style from Du Fu. The style of his poems is different from that of Du Fu. The main sign of this difference is that in Du Fu's poems, the melancholy and staccato style has been reduced and the feeling of boldness has been increased. Du Mu's seven-character poems, such as "Two Songs of Runzhou," "Ancient Reminiscences of the Western River," and "Four Songs of Wyoming Zhongling's Old Travels," belong to the same type of subject matter as Du Fu's poems cited above, but they show a bold and handsome flavor in their depth. He Zhuo's "Yimen Reader" said: "In the late Tang Dynasty, Muzhi and Yishan both studied Zimei. Muzi's boldness and robustness are not free from too much." The so-called "too loose" is compared with the style of Du Fu's poems, which is exactly Du Mu borrowed from Du Fu's poems, but different from Du Fu's poems unique.

As for Han Yu, Wang Xuan said in the Preface to the Tone Score: "Han and Meng rose to prominence, and endeavored to emulate Li and Du's argosy style, in order to rectify the contemporary malpractice of roundedness." This spirit of correcting the ills of the time is in harmony with Du Mu's heart and hobbies, giving Du Mu inspiration and encouragement. And because Han Yu was rich in talent, only the ancient poems were enough for him to run wild, and once bound to the sound disease of meter, it would be difficult to show his strength, so he especially liked to make the ancient poems which were steep and straight, but he refused to make more in the metrical poems, especially "the seven rhythms were only twelve in the whole collection" (Oubei Poetry, Volume 3). Therefore, Du Mu's seven rhythms draws on Du Fu's seven rhythms of somber and staccato poetry, and at the same time takes into account Han Yu's ancient poems of downward and upward momentum. Du Mu's "Hearing of the Death of Ambassador Zhao Zong of Qingzhou in a Battle with the Dangjang" was described by Hu Zhenheng as "identical in meaning" to Han Yu's poem "Gift to Daoist Zhang" (Tang Yinyin Jizi, vol. 11). However, Han's poems have their own faults, some of his poems are written in hard language, difficult to pronounce, difficult to fight and dangerous, and especially awkward, which make people shocked and dare not look at them, but Du Mu did not copy them specifically. Yang Shen said that Du Mu's poems in the metered form were "particularly difficult and difficult", which shows that he intended to learn from Han; Liu Kezhuang said that Du Mu's poems in the metered form were "less difficult and difficult", which also shows that he did not copy a lot of the characteristics of Han Yu's poems into his own seven-line poems. The words "special" and "few" must be emphasized.

All poets who are successful can pay attention to the inheritance and reference to the creative experience of their predecessors, but not for the sake of Youmeng's clothes, learning from his predecessors, but rather, they can melt and mold the successful experience of their predecessors, and turn it into their own. When we read Du Mu's seven-character poems, we feel that it is like Du Fu's seven-character poems, but not Du Fu's poems; we feel that it has the shadow of Han Yu's ancient poems, but it is very different from the style of Han's poems. The reason for this is that Du Mu was drawing on the poetic styles of both Du and Han, and at the same time, he put in painstaking and creative labor, rather than copying them exclusively.

The formation of a poetic style is also related to the specific artistic expression. The formation of Du Mu's seven-line poem is a strong and bold artistic style, and its methods of expression are also diverse, I would like to focus on the poet's characteristics in the depiction of time and space.

Du Mu's seven-character poems are often written in a particularly broad space to create a magnificent image, the vastness of the realm of the vastness of the momentum, especially in the writing of the lyric poetry, this feature is particularly prominent. For example, in "Ancient Reminiscences of the West River", "Swallowing Ba Han and controlling Xia Xiang, and being as angry as the quiet mirror light of the continuous mountains"; in one of "Two Songs of Runzhou", "A thousand miles of Autumn in the East of Wu Pavilion, and singing songs, I used to be a traveler of the past years"; and in "A Long Sentence of Willow", "Ten Million Trees in Han Nan, Ba". In the "Willow Long Verse", "There are thousands of trees in Hanan at Ba, and several people are in the midst of separation"; in "The Northern Pavilion of Ganlu Monastery", "Autumn Water at Haimen in the Sky, and Twilight Bells at Suiyuan in the Smoke"; in "Wistfulness for the Former Travels of Zhongling", "Ten thousand curtains of the hanging building are closed by green clouds, and thousands of sails of the waves and the horses come"; in The fourth in the "control pressure Pingjiang 100,000 homes, the river is quiet in the fall mirror new grinding" and so on. These poems or write the river, or write the autumn color, or write the pavilion, or write the clouds and trees, all give people a kind of broad and grand, magnificent feeling. Du Mu was one of the famous "Dr. Calculator" among the poets of Tang Dynasty, which means that he liked to use numbers in his poems. He was especially good at using the words "thousand" and "ten thousand", which indicate large quantities, to let the imagination spread its wings and expand the space as much as possible. However, the poet's writing in this way is not a stupendous stroke; it is in line with the dialectical relationship between emotion and imagination. Wenxin Diao Long - Shen Si" said: "the thinking of the text, its God is far away. Therefore, the silence and condensation of thought, thinking a thousand years; quiet and moving, see through ten thousand miles." Du Mu's lofty ideals and broad-mindedness, determines his artistic conception of the momentum of the broad; and its magnificent feeling is the only place where this vast sky can be accommodated, give up this, then the Bureau of the lower carry on.

Sometimes, Du Mu in the poem will be broad space and long time into one, from the combination of space and time to describe, which increases the momentum of the strong and bold. For example, in the poem titled "The Water Pavilion of Kaiyuan Temple in Xuanshou", "The grass of the six dynasties is even empty, and the sky is light and the clouds are free, which is the same as in the past." "Grass even empty", the space is how broad; "ancient and modern", how long the time is. And the poet nostalgia for the old days feeling full of passion is in this infinite space and time to be fully expressed. In "Huai Gu of Xijiang River", "Thousands of fishing barges sing of the bright moon, and ten thousand miles of sand gulls play with the setting sun" is also a famous couplet combining time and space. The poem "Poetry in the Garden of Wine and Wine" praises this couplet as "a scene of the vastness of the river and the sky". However, those who criticized Du Mu as a "Dr. Calculator" advocated cutting off two words at the beginning of each of the two stanzas. If this is the case, of course, can still be reluctant to become a poem, but the connection between space and time is gone, the whole poem of the grandeur of the grandeur of the atmosphere suddenly disappeared. In fact, the benefits of these two lines of the poem is "a thousand autumns", "ten thousand miles" four words, the river and the vastness of the scene and the poet's thinking about the feelings of a thousand years is contained in the vastness of the boundless space and the long time in the long time. Therefore, the combination of time and space to describe the art of vertical and horizontal gallop is another important factor in the formation of Du Mu's powerful and bold artistic style.

One of the main contents of Du Mu's poems is threefold: firstly, he expresses his ambition and patriotic thoughts and feelings of the people. Such poems are mostly in the ancient style, such as the "Sentimental Poetry", "County Zhai drinking alone" two long poems, summarizes the history and reality since the Anshi Rebellion, on the clans and towns, foreign invasions, people's plight showed a deep lament, but also expressed their own "five-color line, would like to make up for Shun's clothes" ambition to serve the country. Another example is Huangshui River and Early Geese. Secondly, it satirizes the ruler's extravagance. These poems are mostly in the form of historical poems to satirize the present through the past. For example, the first two poems of "The Three Extravaganzas of Huaqing Palace" satirize the present by borrowing Xuanzong's despotism and misuse of the country, and "The Passing of Mount Li" satirizes the present by borrowing the first emperor of Qin Shi Huang. The Red Cliff" borrows the halberd and associates it with the previous dynasty, the so-called "the east wind is not with Zhou Lang便, the bronze sparrow spring deep locks two Qiao", in fact, it is lamenting that there is no hero. Thirdly, writing scenes and expressing emotions. Some of them send out their feelings by writing scenes of nostalgia, such as "Parking in the Qinhuai River": "The merchant girl does not know the hatred of the dead country, and sings "Houting Flowers" across the river." Some depict the beauty of nature to express the feelings of handsome, such as the "mountain line": "stop and sit in love with the maple forest evening, the frost leaves red in February flowers."

Second, Du Mu's poetic theory, advocating "to the meaning of the main, to gas as a supplement, to the rhetoric of chapter and verse for the defense" ("Answer to the Book of Zhuang Chong"), emphasizing that "the original seeks to be high, do not care about the strange and beautiful, and do not get involved in the custom" ("Dedicated to the Poetry of the Kai").

Third, the artistic achievements of Du Mu's poems. Du Mu liked to use the seven poems to express his feelings about history, and his poems about history were long in discussion, subtle and deep, and had the purpose of the wind people. His landscape poems are sensitive to observation, subtle and concise, and blend with the scene. Du Mu's poetry combines narration, discussion, and lyricism, and he expresses his feelings in soft words, forming an artistic style that is both bold and lingering.