Du Fu's tendency towards realism and the influence of the fashion of the times and folk songs Zhang Ji, Wang Jian's popularized poetic style and realistic performance of Yuan Zhen's poetry
Yuan and Bai's poetic school's emphasis on realism and popularity is a new trend of secularization of literature in the period of cultural transformation of the Middle Tang Dynasty, and its origins can be traced back to the "wind" poems in the 300 Psalms and Han-Wei Lefu folk songs. Its distant origin can be traced back to the "wind" poems in the Three Hundred Pieces and the folk songs of the Han and Wei dynasties, and its recent origin is the creations of a group of poets with a tendency toward realism since the Anshi Rebellion, especially the creations of the great poet Du Fu. In his later years, Du Fu experienced the war and y contacted the lower class society, and created a large number of excellent poems reflecting the hardship of people's lives, such as the famous "Three Officials", "Three Farewells", "The Line of Soldiers and Vehicles", "The Line of Peng Nga", "The Sadness of Chen Tao", and "Mourning at the River's Head", etc. These poems have two most noteworthy points. These poems have two most noteworthy points: one is the inheritance of the ancient form of the music, the new title of the self-developed, because of the incident, write real current events, personal experience; the second is the simple and sincere language and even colloquial into the poem, and strive to be popular and simple. After Du Fu's entry into Shu, this tendency was further developed, and he sometimes composed poems in slang dialect, which was "as picturesque as the weather of Park Ye" (Wang Sisi Shi, Du Gui, vol. 4). The Ming scholar Hu Zhenheng quoted Jiao Hong as criticizing Du's poems, saying, "Du Gong often wanted to get to the truth and the end, so he lost it." "The elegant way is greatly spoiled, and it was started by Lao Du." (Tang Yin Gui Zhi, Volume 6) These criticisms are a perfect counterfactual to the outstanding contribution made by Du Fu in breaking the refined and elegant classical poetic traditions and introducing poetry to the commonplace and realism.
The tendency toward realism and popularization in Du Fu's poetry was expressed and inherited to varying degrees by Yuan Jie, Gu Fong, and Dai Shulun, who were his contemporaries or came a little later, and was strongly echoed during the years of Zhenyuan and Yuanhe. Yuan Zhen and Bai Juyi both held Du Fu's realistic works in full esteem, and Bai Juyi put it more specifically: "Du's poems are the most numerous, and can be handed down in more than a thousand pieces,...... Ran summarized his chapters on Xin'an mandarin, Shitou mandarin, Tongguan mandarin, Seilu Zi, and Liuhuamen,'' Vermilion door wine and meat stinks, the road has frozen dead bones' sentence, but also only thirty or forty. If Du is still like this, how about those who are not caught by Du?" （Here, Bai Juyi devotes all his attention to Du Fu's realistic and ironic works, while his evaluation of Du's other works and the works of writers who "do not catch Du" is on the low side, which shows that Bai Juyi's awareness of inheriting Du Fu's realistic tradition is very clear. In addition to focusing on the content of Du Fu's poetry, Yuan Zhen also gave a heartfelt tribute to Du's tendency to popularize his poems: "Pitying the channel for speaking straight at that time, and not attaching the source of the heart to the ancients." (Rewarding Xiaofu for His Gifts, No. 2 of 10) "The language of the time" is the common language of the people at that time. The use of "the language of the time" in poems, since there is Lao Du in front of the source, then the successors will have a solid basis. Thus, Zhang Ji, Wang Jian, Bai Juyi, Yuan Zhen and others have risen to follow suit, dedicated to the creation of popular and fluent, clear-cut poetry, Bai Juyi's poems and even asked the crone to understand (Shi Hui Hong, "Leng Zhai Night Tales"), and for a time it became a trend.
Du Fu (712-770) was a poet of the Tang Dynasty. His name was Zimei. Ancestral home is Xiangyang (now Hubei), born in Gong County, Henan Province.
Since he once lived near Shaoling in the south of the city when he was in Chang'an, he called himself Shaoling Naoao Lao, and when he was in Chengdu, he was recommended to be a staff officer of the Sections and an inspector of the Ministry of Public Works, and was also known as Du Shaoling and Du Gongbu in later times.
Biography 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 the Department of Justice of Yanzhou, and the magistrate of Fengtian County. He began to study poetry at the age of seven, and by the age of fifteen his poems had attracted the attention of famous scholars in Luoyang. His life from the age of 20 onwards can be divided into four periods.
The Period of Wandering From the 19th year of Emperor Xuanzong's reign (731) to the 4th year of Tianbao (745). 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 rafted along the river until he reached the bottom of 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, and he recalled the scene in his later years as "debauched between Qi and Zhao, with a furry horse and quite a clear and wild one." （In these two wanderings, he saw the beautiful and majestic mountains and rivers of his country, absorbed the culture of Jiang
South and Shandong, expanded his horizons and enriched his knowledge. In the 29th year of the new year, built in Luoyang and Yanshi between the Shouyang Mountain, may be at this time and Mrs. Yang's marriage. 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. He came to Chang'an with the aim of seeking an official position and making something of himself. In the sixth year of Tianbao, Emperor Xuanzong ordered that those who were skilled in literature and art should come to Kyoto to take the examination. Du Fu took the examination, but due to the conspiracy of Li Linfu, the middle minister who was famous for his "honey-tongued sword", none of the candidates was chosen. In the 10th year of Tianbao, Emperor Xuanzong held three ceremonies to honor the "Xuan Yuan Emperor" Laozi, the Imperial 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 he also came into contact with the working people more widely. His footsteps from the poor alleys to the gardens of the nobles, from the heavy buildings and the luxury of the Qujiang River to the Xianyang Bridge, which must be passed by the departure of the conscripts, the failure of the requirements of his career so that he could objectively recognize the corruption of the ruling class, and the personal hunger and cold so that he could appreciate the people's plight, which are very different from each other, have been reflected in the poems of Du Fu. After the eleventh year of Tianbao, he wrote such immortal masterpieces as "The Walk of the Soldier's Cart", "The Walk of the Lillian", "The Exodus from the Seaside" and "The Exodus from the Seaside", 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, where he was unfortunately intercepted by rebel forces 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, because of the negligence to save the room □, offended Su Zong, even was interrogated. In August, he went back to visit his wife in the state of Muzhou, and completed a long poem called "The Northern Expedition," which is comparable to "Five Hundred Characters from Beijing to Fengxian County," describing the bleak and miserable scenery on the journey and the poverty of his family, and expressing his views 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 went to Henan 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, Xin'an mandarins, Tongguan mandarins, Shitenghu mandarins, Newlyweds' Farewell, Farewell to the Elderly, and Farewell to the House without a Home, which are referred to as the Three Mandarins,
"Three Mandarins," or the "Three Mandarins," for short.
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 first fall and went west to Qinzhou. After four months in Qinzhou, Du Fu went to Tonggu in early winter; he stayed in Tonggu for one month, and then took the difficult road to Chengdu at the end of the year.
The Anshi Rebellion was a turning point for the Tang dynasty, which went from strength to strength and underwent great social, political and economic changes. Politically, the court lost its centralized power internally, and externally it could not resist the invasions of the T'ang tribes; economically, due to years of war and natural disasters, the countryside was in a state of depression, and 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 Shangyuan, he built a grassy hall on the banks of Runhua Stream in the west of Chengdu, putting an end to four years of displacement and obtaining 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 seemed to show their attentiveness 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 west of the Tubo invasion, in October once captured Chang'an, Du Fu 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, and finally Yan Wu allowed him to do so. 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 in 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.
Because of the harsh climate in Kui Zhou and the scarcity of friends, Du Fu set out for the gorge in the first month of the third year of Dali (768). He arrived at Jiangling in March. He wanted to return to Luoyang, but because of the chaos in Henan, he was unable to do so because of the obstruction of transportation. He stayed in Jiangling for half a year, moved to Public Security for a few months, and arrived at Yueyang at the end of the year, where he wrote "The Years of Peace", 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 Jiye, was buried at the foot of the Shouyang Mountain in Henan Province.
Du Fu wrote more than 1,000 poems in these 11 years, accounting for more than 73 percent of all Du poems, most of which are near-genre poems - stanzas and metered poems - as well as lengthy rhythms.
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 Washing the Soldiers and Horses, and You Feeling, written in Zizhou; or exposing the ruler's despotism and cruelty, such as Li Ren Xing Xing, one of the Two Songs of Recollections of the Past, and The Three Extraordinary Verse written in Yun'an; or making allegories and satirizing the past, such as Huanghuang Tai, Sick Oranges, Dried Brown Palms, and Being Passengers; or sympathizing and caring for the poor people. sympathetic concern for the poor people, such as The Thatched Cottage Broken by the Autumn Wind and Again Presenting Wu Lang; all of them are a combination of personal feelings and facts. There are also quite a number of 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); some of which describe the local changes, such as Cao Tang (The Cao Tang), and Heng Zhou (Into the State of Hengyu); some of them recollect the past events, such as Strong Journey (The Journey of the Strong) and Dai Huai (Reminiscences); and some of them even contain strong lyrical elements, such as the one that Pu Qilong described as "Lamenting the world or lamenting one's own body" ( 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 the 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. In the Yuan Dynasty, Xian Yu Shu wrote Du Fu's "The Walking of the Soldier's Cart" 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, he wrote "Spring Hope" when he was trapped in the fallen Chang'an, and "Jianmen" when he entered Shu, which are the most representative poems. 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 Traces", "For Farmers", "Field House", "Xu Bu", "Water Threshold", "After Traveling", and "Spring Night Joyful Rain", etc., from the titles of the poems, you can imagine 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. From the time he parted with Li Bai until his later years, Du Fu wrote more than a dozen poems on Li Bai, remembering Li Bai, reminiscing about Li Bai, dreaming about Li Bai, sending Li Bai, and other poems about Li Bai, almost all 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's Birthday"). He learned poetry at the age of seven and did not stop writing poems until the eve of his death. He wrote the most profound poems during the most difficult years from the An Shi Rebellion until his arrival in Chengdu; he wrote the most numerous poems in Kui Zhou when he was physically weak and sick. 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 discusses poetry in terms of poetry, and in his "Six Extremities in Play" and "Twelve Songs to Relieve Boredom" (No. 4 to No. 8), he expresses his idea of inheriting fine traditions and criticizing poets of the past and the present. 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 Gui Zhi) This sentence is not quite true, because before Du Fu, there were poets who used current events in their poetry, but it is rare to find a poet like Du Fu who penetrated into the people's mind, who saw the ills of the time, and who melted the major issues of social significance into his "astonishing" verses. 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 Anne's Journey", 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 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. When he was a "guest" of the nobles in Chang'an, begging for a position from the princes and ministers, when he was wandering in the southwest and had to deal with the local officials for food and clothing, he wrote some poems, some of which were in five-character lines, using a lot of allusions to extol the other side of the wise and clever, and describing his own poverty, begging for mercy and favors, and the style was not very high. The style of these poems is not high. Song dynasty chunxi engraved "Du Gongbu Poetry Collection"
Overall speaking, Du Fu is a hungry and cold body always with the will to help the world, in the poor situation without misanthropy; in the art of poetry, the collection of classical poetry, and to innovate and develop, to the future generation of poets with a wide range of influences. When Du Fu was alive, his poems were not emphasized by the people of the time, but 40 years after his death, he began to be emphasized by Han Yu, Bai Juyi, Yuan Zhen and others. Bai Juyi and Yuan Zhen's new music movement was obviously influenced by Du's poetry in terms of literary thought. Li Shangyin's famous satirical poems on current affairs were y inspired by Du's poetry in terms of 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 patriotism and love of the people in the poem has inspired the majority of readers for thousands of years, and has educational significance until today.