Du Fu is a great realistic poet in China. Few poets can match the breadth and depth of social life reflected in his poems. The artistic proficiency and exquisiteness of Du Fu's poems are rarely achieved by poets in the vast literary river of our country. Du Fu is an immortal poet who "stands at the glorious peak of Tang literature". Du Fu's poems widely and profoundly reflect the major historical events and social contradictions of the era in which he lived, and its most notable feature is "depression and frustration". Therefore, it is more necessary to further study the artistic characteristics of Du Fu's poems.

Keywords:: the reality of poetic history repels the motive force

The artistic features of Du Fu's poems have always been a hot and difficult point in academic research. Du Fu is a great realistic poet in China. Few poets can match the breadth and depth of social life reflected in his poems. The artistic proficiency and exquisiteness of Du Fu's poems are rarely achieved by poets in the vast literary river of our country. Du Fu is an immortal poet who "stands at the glorious peak of Tang literature" (1). The artistic styles of Du Fu's poems are varied, and the contents involved are even more numerous. Critics have always recognized that "Du Fu's poems broadly and profoundly reflect the major historical events and social contradictions of the era in which he lived" (2) The artistic features of realism. Its most striking feature is that everyone agrees that it is "depressed and frustrated" (3). However, on the basis of inheriting the previous research results, this paper makes a comprehensive and detailed supplement to the artistic characteristics of Du Fu's poetry creation. This paper mainly talks about the types, creative attitudes, styles and language skills of Du Fu's poems.

Du Fu's poems have always enjoyed the reputation of "poetic history". For example, Hu Ceng in the Song Dynasty said, "Mr. Wang was famous for his poems in the prosperous Tang Dynasty. Whenever he reaches the source, he will rest and relax, with mixed feelings of sadness and joy, loyalty and anger, and be grateful. When you see a poem, you can know its world by reading it. The bachelor's degree doctor calls it the history of poetry. " (4) It can be said that Du Fu, as a witness of history, reflected his times through his own experiences and actual feelings. He is a great realistic poet, and his poems should be regarded not only as a biography of his personal life, but also as a reliable history of the Tang Dynasty in the middle of the eighth century.

The most brilliant achievement of Du Fu's realistic poems is to faithfully reflect the basic historical truth of class opposition in feudal society. More than once, he compared the extravagance of the landlord class with the hunger and cold of the peasants. For example, in his book "Five Hundred Words of Love from Beijing to Fengxian", he wrote: "The wine and meat in Zhumen stink, and the road freezes to death." ; In his "Drive the Vertical Axis and Pick the Xanthium", "The rich man stinks with wine and meat, and the white bones on the battlefield are white." ; In New Year's Eve, "Gao Benguan hates wine and meat, and this generation shows pomelo." And so on, these poems are typical of the disparity between the rich and the poor of the two classes. What is more commendable is that Du Fu has unconsciously come into contact with the problems of class oppression and class exploitation. He revealed: "The silks distributed by the imperial court are all cold women. Whip his husband's family and get together. " (5), "the child is inedible, and the money is sent to Ji Wang. Do your best to increase the military and force this public power. " (6) The political oppression and class exploitation of the people by the ruling class are clearly reflected in Du Fu's works. After long-term observation and analysis, Du Fu in his later years explained the relationship between the two opposing classes in feudal society, saying, "There is no distinction between high and low, and there is no distinction between rich and poor" (7), pointing out that the poor and the poor are so sad and miserable because of the rich. These should be said to be the essence of realism in Du Fu's poems.

In his poems, Du Fu faithfully reflects the pain of the broad masses of people being cruelly squeezed and enslaved and their extreme dissatisfaction with this situation. He always writes about people's experiences and psychological activities in that particular social background, and describes them with artistic images and poetic language, so he can fully show the characteristics of the dark and war-torn society at that time. Some of them are not recorded in the official history, thus making up for the shortcomings of the history books.

Du Fu's masterpieces "Three Officials" and "Three Farewells" not only reflect the great disaster brought to the society and people in the Tang Dynasty by the An-Shi Rebellion, but also reflect the cruelty of officials in the Tang Dynasty and the sufferings of the people under the unreasonable military service system. For example, his "New Security Officer": "I posted an official post last night and chose the male line for the second time. China men are absolutely short, so why should they guard the city? The fat man has a mother and the thin man is alone. " An extremely important issue in Du Fu's poems is the exploitation and oppression of women at that time. For example, Du Fu's "Travel Notes of Tiger's Teeth" wrote that the tragic experience of women is "eight famine and ten years to prevent thieves, levy defense and beg his wife to cry." In Bai Di, it says, "I mourn for the loss of my wife, and I cry for Qiucun." In "Send Encounter", "The fern girl picked among the stones and was defeated by Cao, an official in the city. Husband died in a hundred battles and returned to the empty village. " Du Fu's poems also exposed the political decay, luxury in life and moral corruption of the ruling class in the Tang Dynasty, and condemned all kinds of evils that brought disaster to the country and the people. These rulers are "in power, and clothes and horses are light and fat." (8) "There is no need for shuyun to count the rain." ("Poor Bank of Communications") He wrote in the poem "Washing Soldiers": "If the dragon is not attached to the phoenix, the world will become a vassal." Du Fu also made great efforts to expose and condemn the extravagance and debauchery of the upper ruling group in his poetry creation. For example, in his poem "Song of Paradise", he wrote, "The waves of youth are hibiscus gardens, and thunder beats in the city during the day." And so on, he wrote in "Zhuangyou": "The country is full of beans, and the official chicken loses the rice beam." There are poems such as "Cockfighting" and "The Second Way". Du Fu's poems, such as frontier fortress, frontier fortress and frontier fortress, reveal through concrete facts that during the reign of Tianbao, the ruling clique constantly launched a war of border expansion, which led to the long-term garrison of soldiers, a large number of deaths and serious damage to agricultural production. However, Du Fu's poems not only criticized the generals for taking credit for killing people: "The ancients paid attention to border work, but today people pay attention to high smoke." (9) It also directly criticized Xuanzong's desperate efforts to redeem the martial arts: "You are already rich, and it is meaningless to open up the frontier", "The frontier court is bleeding into sea water, and the heart of Emperor Jude is beating for the war. You don't know that there are 200 states in Shandong Province, and thousands of villages in Qian Qian are full of thorns. " Du Fu's realistic poems not only reflect the real life, but also express his deep concern and sympathy for the people's sufferings and angrily expose the evils of the ruling group. He also put forward his own political ideas and social ideals to criticize the ruling group and convey the wishes of the broad masses of people. These are all reflected in Du Fu's poems, such as Walking to Zhaoling Mausoleum, Reminiscing about Time Past, Going Out to the Frontier, Poems of Five Injuries to Spring, Poems of Farewell to Lingzhou Road, Poems of Five Senses, etc. In his poem "Up to now", he wrote more specifically: "The Lord will obey and Yuan Yuan will always come back. Once we have sinned against ourselves, Wan Li will know everything. The front hammer is used for hoeing plows and guarding against obedience. Mediocre officials have returned to work, and indigenous people have also worked hard in agriculture. Both the monarch and the minister are frugal, and the ruling and opposition parties cheer together. At the beginning of ZTE as a country, its successors were like Taizong. End arch and coachable, the wind will melt. " "These marks that Du Fu's poetry creation has entered a brand-new and brilliant period (10), and" also laid the objective and realistic creative direction and gloomy artistic style of Du Fu's poetry (1 1) ".

Du Fu is a creative poet. Comparatively speaking, Li Bai's poems and songs are natural, atmospheric, elegant and romantic, and cannot be imitated; However, Du Fu's poems are different. Du Fu's poems are hard-tempered and painstaking, which can serve as a model for future generations. At this point, Du Fu's poems have a great influence on later generations, at least compared with Li Bai. Du Fu inherited the tradition of graceful and restrained words, and absorbed the creative experience of Shen Quan and Song Dynasty's metrical poems. Some people say that Du Fu's poems are "unique in ancient and modern times", "omnipotent and omnipotent" and "no poet in ancient and modern times can compare with Du Fu" (12), which shows that Du Fu's artistic achievements in poetry are by no means ordinary.

Du Fu's poems are various and have different styles. There are two reasons: First, Du Fu's poems are widely used. He not only uses poetry to describe lyricism, but also describes biographies and autobiographies, letters, travel notes, political comments, poetry reviews, etc., and is almost omnipotent. However, this also brings some rationalization problems to Du Fu's poems.

On the other hand, Du Fu's inheritance of the previous generation of poems was relatively tolerant, and Du Fu advocated "turning to be a multi-teacher" without easily denying it. For example, Du Fu criticized the poems of the Southern Dynasties, but he never boasted like Li Bai that "beauty is not precious since Jian 'an". He sincerely affirmed and drew lessons from many writers of the Six Dynasties, such as Yu Xin, He Xun and Yin Keng, thus enriching Du Fu's own creation. This point was emphasized by Yuan Zhen in his epitaph to Du Fu.

Du Fu is good at using various poetic styles. His five-character poems, six-character poems and five-character and seven-character ancient poems were all first-class in the Tang Dynasty. Although Du Fu's seven-character quatrains are not as outstanding as those of Li Bai and Wang Changling, his poems also have their own characteristics. There are only five miracles, and the number is very small, which is slightly inferior. Among Du Fu's poems, several types are particularly original, which can represent his great contribution in the history of China's poetry. We will introduce them separately:

One is autobiographical poetry written in the form of five-character ancient poems, such as "Singing 500 words from Beijing to Fengxian", and "Northern Expedition" is one of the most famous masterpieces. Most of these poems are long, often integrating scenery, lyricism and discussion. In this way, they can express more complex content. For example, his poem "The Northern Expedition" is 700 words long, describing his experiences and thoughts from Fengxiang to Cao Zhou, as well as the scenery along the way, the scars left by the war, his worries about the fate of the country, his personal feelings and his reunion with his family. This kind of poetry is transformed from the style of ci and fu, with obvious prosaic elements. Poetry in Song Dynasty has a tendency of "taking literature as poetry". Obviously, it is deeply influenced by Du Fu's poems. However, in the governor's poems, there is still enough power to support such a long poem without losing the characteristics of poetry.

One kind is narrative poems with seven-character archaism and five-character archaism, represented by Chedian, Erdao, Sanguan and Sanbie. This kind of poetry is actually the evolution of ancient Yuefu folk songs. However, Du Fu's poems are unconventional, without the "famous articles" of Yuefu ancient saying (named according to the facts), which can better reflect the facts and be full of life flavor. This great creation directly led to the "New Yuefu" movement headed by Yuan Zhen and Bai Juyi in the middle Tang Dynasty. From the artistic point of view of narrative poems, these poems are good at portraying characters, especially using dialogue to express their characters, which occupies an extremely important position in the development of ancient narrative poems in China.

The other is Du Fu's Seven Laws. Du Fu's achievements in this respect have made great contributions to China's poetic art. Before Du Fu, the creation of the Seven Laws was mostly used for the court's response. The content of this kind of poems is very poor, and the language is tender and powerless. In addition, there are many excellent works. When Du Fu arrived, the situation was reversed. Du Fu's poems are full of weather, not only great, but also very lofty.

Du Fu's poems are magnificent and really like mountains and rivers on earth. Ordinary people can see his great strength after reading it, but they can't see Du Fu's great and noble taste.

"Two orioles sing green willows, and a row of egrets go up to the sky." This quatrain can really show Du Fu's nobility and greatness. The first sentence is clean and neat, which can show nobility. The last two sentences stand for heart. When the heart is closed, nothing can be accommodated, or noble taste and great power can't be found. "Window Containment" and "Door Berth" are the opening of Du Fu's mind. Although the window is small, it contains the autumn snow in Xiling. In front of the boat, ordinary people see the boat in front of them, but they are stupid and have no spirituality, but the author doesn't think so. In his eyes, the ship is spiritual, and the people on board are the brains of the ship, from Xishu to Soochow and from Soochow to Xishu. "Window contains" is a noble taste, and "door parking" is a great power. Later generations all think that this poem is realistic, but it is actually a symbolic technique and a true portrayal of Du Fu's personality.

There is a great power in Du Fu's poems, but this power is not a temporary brute force. Some arrogance is a disease, and the power of Du Fu's poems is not hasty, blind and wasteful. "Its power is like the water lapping on the shore. It is the power of life and the color of life. Those who are born with' color' and have no shape, although color is an appearance, and this appearance is revealed by the blending of inside and outside, color is a living color, just like the red of flowers and the green of willows, which is the radiation of inner life, not drawn from the outside. " (13) Du Fu's poems include "Play is a Six-quatrain" (1) and (4). Although I say "play is", I mean it. Views on written poems can be seen from the way of creation and the attitude of criticism. "Things" are made, but the strength is true. This shows that Du Fu's vitality is innate.

First of all, when reading Du Fu's poems, we should pay attention to his feelings. For example, his "branches and leaves are easy to fall one after another, and the buds are discussed in detail." (14) Look at the sentence "tender core", its feeling is really slender. It is really interesting to use the word "discussion", which shows that Du Fu's poems are meticulous and generous: this is related to his personality, followed by Du Fu's emotions and feelings. From The Fall of the King, we can see that Du Fu's feelings are keen and delicate, and his feelings are warm and sincere. In addition, another point is that Jin Shengtan criticized Shuihu, saying that Lu's "Yu Bo"-it has the tendency of stagnation and is erupting vigorously, so although it is erupting, it has the power of stagnation. Others' emotions are either warm or sincere, but they cannot be suppressed. Du Fu's poems are ideal, which can be seen from the poem Two Orioles.

Du Fu's seven unique skills are born by avoiding familiarity, just as Han Yu said in his composition, "Just do what he says" (15). Han Yu's words and deeds are limited to rhetoric, and there is nothing special in his thoughts. The materials are not necessarily good, and the ideas are not necessarily high. Du Fu was not only born in rhetoric, but also amazing. For example, the "fruit-seeking species" in the Four Wonders: "The Caotang wants to plant flowers today, and Mo Wen has green plums and yellow plums. When stalagmite street is swept away, the orchard looks for it. " There are "looking for pine species" and "begging for porcelain bowls in Dayi". Others write this kind of poems, which are beautiful and elegant, while Du Fu writes indecent, but not vulgar, coarse and fine.

The voice written by others is slender, and the voice written by Du Fu is grand. For example, the poem "The Catalpa tree leans on the rock bank, and the new flowers don't fly.". It's best to be drunk and it's windy outside, but when you wake up, it's raining? " This cover is related to Du Fu's nature.

Du Fu's fantasy gives people a feeling of grandeur, not beauty. The flowers in the greenhouse are "Tang flowers", but Du Fu's poems are not the beauty of flowers, but the beauty of pines and cypresses, which can withstand wind, frost, rain and dew, cold and heat. He opened his eyes, trying to write the truth of the matter, unlike the hazy beauty of a mountain biased towards dreams. For example, his "Begging for Porcelain Bowl in Dayi": "The porcelain bowl in Dayi is light and strong, and the buckle is as bad as the legend of Rujincheng. Your white porcelain is better than frost jade. It's a pity to send it to Mao Zhai in a hurry. "

Du Fu's poetic thought has this, but he won not by this, but by freshness. Its benefits lie in meteorology. The weather in Du Fu is magnificent. For example, the ninth poem of "Five Poems of Kuizhou" says: "Wuhou Temple must not be forgotten, and there are pines and cypresses towering into the sky. The war situation is sad and the clouds are as cold as fire. " Its flatness is: flat, flat, flat, flat, flat. Plain, plain, plain.

Use "three levels of concentration". Another example is Du Fu's poem: "Above the Hanshui River, women are big officials." (16) The second sentence is "three levels of concentration". "Three-level settlement" should be stable and easy to use in Gucci. However, in his seven ancient poems, Du Fu used a lot of "three-level meditation" sentences, and so did his seven unique poems. The third sentence of Qujiang's three sentences and five sentences: "Kill yourself, don't ask about Heaven, Du Qu is lucky to have mulberry fields. It is bound to move to the edge of Nanshan, and the short-sleeved horse will leave the land to watch the tiger die. "

Du Fu's poems absorbed the expressive techniques of Yuefu songs, but did not follow the old themes or stick to the old tunes. Instead, he set up new themes according to realistic themes, expressed them freely, and created many excellent poems reflecting major social and practical problems. "Rate is a famous article, and there is no one to rely on" (15)

It shows the pioneering significance of Du Fu's poems in this respect. "In ancient times, the predecessors of the Five Dynasties won by quality and thickness, and there were fewer tombs. Every time they write a large number of poems, they find a new way in them, and none of them are copied from the Han and Wei Dynasties, which makes sense. " (18) For example, a military vehicle shop, two roads and beautiful women are masterpieces of this kind.

Secondly, in the description method, he adopted simple narration and meticulous carving techniques, but he also made innovations, absorbed the artistic conception of Yuefu songs and promoted them to a new position. For example, Du Fu's "Second Way" and "Beauty" are simple in narration, vivid in dialogue and considerate, which are completely the artistic conception of Yuefu songs. However, the description of the characters' modeling and psychology is very detailed, but it is much higher than Yuefu music.

Third, narrative lyricism, that is, Du Fu does not express his thoughts clearly, but includes them in objective and concrete descriptions, and then reveals them through strong lyricism, just like "the tendency should be naturally revealed from the scenes and plots, and should not be pointed out" (18), which is the most distinctive realistic feature in Du Fu's narrative poems. For example, in poems such as Ai Jiangtou, Car Shop, Three Officials and Three Farewells, the author appears as the owner of the story, so his narrative and lyricism are more closely combined. There are fiery feelings in the narrative and the attitude of being named, which makes the whole poem condense into a complete image of rolling enthusiasm and enhances the shocking artistic power. This is Du Fu's creation, which is unmatched by later poets who wrote new Yuefu.

Fourthly, Du Fu not only absorbed the expressive techniques of Yuefu songs, but also absorbed the artistic achievements of many outstanding poets in ancient and modern times. He once admired Song Yu's literary talent, lingered in his Hometown of Jiangshan (Ode to Monuments), and praised Yu Xin's Lingyun Sword and Pen (Six Plays) and its "fresh" style. He praised Meng Haoran's poem "All Poems in Qing Dynasty are Legendary" and Wang Wei's poem "The Atlas of Poems is Full" (Twelve Poems for Relieving boredom). He praised the poems of Yang Jiong, Lu Zhaoxi and Luo as "the river flows through the ages" ("The play is six quatrains"), and even more devoted to Li Bai's poem: "Many poems are invincible and empty. Fresh and open, Junyibao joined the army. " (Li Bai in Spring). He praised the efforts of previous poets in choosing words and making sentences, and he also learned and inherited from his predecessors in expression techniques. He once said: "No matter how much people love the ancients, the beautiful words and sentences of Qing Dynasty must be neighbors" ("The Play is the Six Juequatrains"), and the poet who cast the beautiful words and sentences of Qing Dynasty as a homonym.

Fifth, the conciseness of language is characterized by high generality. In other words, a small amount of words can accommodate rich content, and the language is accurate, concise, precise, few but refined. For example, he said, "Take care of the world and help the elderly in two dynasties." The couplet summarizes Zhuge Liang's life, and the words "going to Zitai and returning to the desert, she has now become a green grave in the dusk" refer to Wang Zhaojun's life and death. Every word is pure gold as jade, and the lines are gloomy and desolate.

Sixth, the unique beauty of melody. Du Fu said: "The choice of words must be correct", "Find new sentences to know the law", and "The evening festival gradually becomes finer than the poetic method". Du Fu's poetry creation requires "no regrets"

It can be seen that Du Fu attached importance to poetry. Du Fu's mastery of the rhythm of poetry not only does not bind his thoughts, but also contributes to the expression of his literary thoughts, which has a stirring effect. In addition, Du Fu also wrote some gloomy poems. The syllables of this kind of poems are powerful and suitable for expressing intense emotions. Du Fu created a large number of touching five laws and seven laws, as well as arrangements for a person's academic qualifications and artistic accomplishment. Many later poets have a formalistic tendency of piling up, but Du Fu's poems can be neat in form without hurting the vivid and rich content, which is unmatched by other poets in the history of literature.

Du Fu's contribution to China's ancient literature and modern literature is enormous, especially in the form of "poetry is close to rhyme with Shen, Song, Wu and Qi"; By Wang, Meng, Li and Du, the five-character and seven-law had been perfected in form and expanded in content, creating the glory in the history of China's poetry! " (20)

Du Fu is a real master of art, and he has made great contributions to the thought and art of realistic poetry. He and Li Bai are both the peak of the development of Tang poetry and the crystallization of the prosperous Tang culture. The most appropriate evaluation of them is Han Yu's: "Du Li's article is there, and the flames are growing." ("Adjusting Zhang Ji")