Gemini in the History of Poetry _ Gemini in the History of China's Poetry

In China's ancient poetry, it was called Gemini () ().

The Gemini in the History of Poetry —— Li Bai and Du Fu

/famount/view famount . ASP？ FamousID= 130

Different creative paths

Li and Du are equally famous, but their poetic creation paths are quite different.

Li Bai is eleven years older than Du Fu. But this is a very important eleven years. Li Bai's main creative activities took place before the An Shi Rebellion. Du Fu's main creative activities took place after the Anshi Rebellion, which was the turning point of the Tang society from prosperity to decline. Coupled with their different life experiences and personality characteristics, their poems reflect different life contents. An important content of Li Bai's poems is to expose and attack the dark politics at that time before the catastrophe; An important content of Du Fu's poems is to reflect the worries of the country and the people after the disaster.

Li Bai's whole youth is the prosperous Tang Dynasty, which is known as the prosperous time of Kaiyuan in history. Being in the prosperous Tang society with economic and cultural prosperity gave him a high-spirited spirit and an ideal of making contributions. He looks at life with an idealistic vision, which seems unattainable, but it is easy to get. But when he knocked on the door of his official career, he was presented with not only the prosperity of the prosperous Tang society, but also its corruption and darkness. The society in the Tang Dynasty is going from peak to decline. At such a time, Li Bai will realize his ideal of making the atlas big and the sea county clear. At first, he hoped to be quoted in order to get a career, but he failed to do so; Later, he was called to Beijing to worship the Hanlin, and was soon pushed out of Beijing. He went to Beijing twice before and after, and saw the corruption and darkness of state affairs. This poem strongly reflects his anger. In "Fifteen Ancient Poems", he criticized the political situation of the far-reaching sages and relatives at that time: "Zhu Yu bought songs and laughed, and dross raised talents." Antique XXIV and Answering the Twelve Cold Nights of the King all expressed anger at this, exposing Xuanzong's preference for eunuchs and cockfighting. "Car flying dust, pavilion noon dark. China is more expensive than gold, and Lianyun has a room. He Huihe was dubbed cockfighting. Sniffing and rainbow, pedestrians are embarrassed. " "I can't learn cockfighting from a distance, sit down and snore and blow the rainbow." He also repeatedly criticized the unreasonable reality that powerful traitors are proud, talented people are down and out, and right and wrong are reversed: "fists can't be eaten, and donkeys are proud of the spring breeze." "Chickens gather for food, and chickens fly alone without neighbors; Dragonflies laugh at dragons, and good and evil people are mixed; Wear brocade and pay a negative salary. " He even pointed to the right traitor's nose and scolded: "Donglong is a chicken dog!" " Li Bai exposed the political corruption and darkness in the Tang Dynasty before the Anshi Rebellion, so deeply that there was no third person except Du Fu.

Although Du Fu was influenced by the culture of the prosperous Tang Dynasty when he was young, he had extraordinary ambition to make contributions, but his ten years in Chang 'an was the eve of the An-Shi Rebellion. Rather than seeing the prosperity of Kaiyuan, he was more aware of the danger of decline. Moreover, later, he was involved in the war, facing extinction, and vagrants ran around. Because of the hardships and separation of life, he saw the sufferings of the people and expressed deep sympathy for them. Du Fu also wrote many poems that exposed the dark politics, but his poems describing the national tragedy and people's sufferings accounted for a larger proportion. He wrote that the great damage caused by the war was: "countries tried their best to defend themselves, and fireworks piled up on the hills." The body was covered with grass, and the original Dan blood flowed from Sichuan. " He wrote about the sufferings of the people in the war: "The soldiers and revolutionaries did not stop, and their children tried their best to explore the East"; "In troubled times, something urgent, and CoCo Lee chaff is very narrow. What's the point of being full? What a waste. Rich kitchen stinks, white bones in the battlefield "; "The widow's funeral, the village of Yuan Qiu"; "Stone fern female, kuai city lose officer cao. The husband was ruined and returned to the empty village at dusk. As soon as I heard something similar, I carved the skin with an awl knife. " He wrote the famous Three Officials and Three Farewells, which vividly, concretely and truly described the tragic life of the people in the war. While describing the sufferings of the people, he also sincerely expressed his deep sympathy for the people in his poems. He hoped that someone could knock on the monarch's door to reduce the levy, and he could let his army rest and recuperate. For example, in the second year of Gan Yuan, Du Fu passed the Phoenix Terrace on his way from Qin Zhou to Tonggu, and wrote the poem Phoenix Terrace. He dreamed of feeding hungry chicks with his own efforts, and when he grew up, he would be able to drop the title of Ruitu from the sky and bring good luck to the country. At that time, Du Fu was on the road of hunger and cold, unable to save the people's suffering, and his wishes were only expressed in the form of fantasy.

From the comparison of the themes of Li Bai and Du Fu's poems, we can see obvious differences. Li Bai wrote about Ren Xia, seeking immortality and learning Taoism, writing about the magnificent mountains and rivers of the motherland, and expressing personal frustrations. What he reflected most deeply at that time were the poems that exposed and attacked dark politics. Du Fu also wrote about the magnificent rivers and mountains of the motherland, expressing personal frustration and injustice, and exposing and criticizing dark politics. He reflected the most touching poems describing the disparity between the rich and the poor, war disasters and people's sufferings at that time. The broad picture of social life reflected in those poems is unprecedented. He is called "the history of poetry" for no reason.

Different creative methods

Li and Du's poems are not only very different in subject matter, but also very different in creative methods. Yuan Hongdao in Ming Dynasty pointed out that Li Bai made good use of space and Du Fu made good use of reality. "Writing empty" and "realistic" are the main differences between Li and Du's poetry creation methods.

"Virtual" refers to the description that focuses on the spiritual world. When Li Bai reflects the objective reality, he often has a strong subjective color and replaces the logic of life with the logic of emotion. He wrote his sadness: "I can't open my heart, my hair turns white at dusk", "I can't see how lovely it is locked in a bright mirror in a high room, although it is silky black in the morning and turns into snow at night" and "I have been in Qiupu twice, but I have been declining for some time. The sound of an ape urges white hair to be as long as silk. " "White hair and three thousands of feet, like a long beard." Life itself is not important here, but the need for emotional outbursts is important. The need to express feelings, let the logic of life give way to the logic of feelings. There are many such examples, such as "the strong wind blows my heart and hangs the Xianyang tree in the west" and "the south wind blows in front of the Jiafei restaurant". Missing Chang 'an is a spiritual activity, and it is certainly impossible to hang on a tree. Homesickness is not an object, and it is certainly impossible to blow it away. But in this way, the longing for missing has been expressed more deeply.

Some of Li Bai's poems often turn realistic poems into dreams. For example, in the late Xuanzong, power was marginalized, and Li Bai saw the harm of this phenomenon. He wrote a farewell. In the poem, the power struggle within the supreme ruling clique turns into a sad landscape of nature: "The sun is miserable, the clouds are dark, orangutans smoke, and ghosts scream." The possible tragedy of usurping power is sublimated into the fantasy of a legendary tragedy story in the poem: Yao was imprisoned by Shun; Shun was forced by Yu to escape from the wilderness of Cangwu. The political crisis was poetically turned into a dreamland, and what about the dreamland? Overflow sadness and become more melancholy. Some of Li Bai's poems are even divorced from reality and directly use ideals to write dreamland. He has nearly one-eighth of his poems, which are about seeking immortality and learning Tao. The dreamland written in the poem is neither a reality nor a metaphor for reality, but an externalization of his ideal of becoming an immortal, and he turned that ideal into a non-existent dreamland. In those dreams, he associates with immortals and gets along with young children and jade girls. Those dreams they built themselves are described as the reality of life.

Li Bai also has some poems that are directly discussed. Most of his poems attacking the darkness of reality are like this. These poems are not subtle descriptions of objective reality, but strong feelings expressed through comments. These are all ways to express the spirit with subjective colors and write empty words. Of course, some of Li Bai's poems are realistic However, realism does not occupy a major position in Li's poems.

Unlike Li Bai, Du Fu mainly adopts realistic methods.

One characteristic of Du Fu's strict realism method is to reflect the essence of life as it is. For example, the scene of crying to see her husband off at the bridge of Xianyang Bridge in Chedian vividly reflects the disaster brought to the people by Yanbian War in the late Tianbao period and the people's attitude and mood towards Yanbian War. "Three Officials" and "Three Farewells" very truly wrote the hardships of the people on the battlefield at that time. Among them, Homeless is about a soldier who returned from defeat on the battlefield. When he saw that his hometown was beyond recognition, the countryside was deserted and his relatives were bereaved, he was left alone and still had to serve. If he wants to be homeless, he will feel sad involuntarily. This poem truly and profoundly reflects the fate of millions of soldiers and the common scene of millions of villages at that time.

Another point of Du Fu's strict realistic method is his subtle observation and accurate and vivid description of the objective world. Du Fu's subtle observation of reality is often amazing. For example, in his poem "Qiang Village", his first feeling about returning home is: "Chai Men is noisy with birds, and it takes thousands of miles to go home." After a thousand miles back, who will pay attention to the birdsong outside the door? But this is a subtle and vivid part of the description. The peaceful atmosphere in a temporarily calm corner in the spread of war, the warmth and intimacy of home, and the surprise that the family survived the disaster and finally met each other are all displayed in the flowers and birds. This is the common feature of many famous works of Du Fu. For example, in Delighting in Rain on a Spring Night, the spring rain reads: "Sneak into the night with the wind, moisten things silently", and the mist falls silently. A word "dive" and a word "fine" really convey the charm of spring rain.

Another point of Du Fu's realistic method is that he often uses description and narration. Many of his poems are essentially narrative poems. Different from Li Bai's direct lyric, he expresses his feelings in narration and description.

Of course, Du Fu sometimes uses imaginative techniques, such as Phoenix Terrace, Zhu Fengxing and Hakka Cong, but he is mainly realistic.

Li Bai is good at writing novels and Du Fu is good at writing realism, both of which have achieved great success.

Different artistic styles

Li Bai's and Du Fu's poems are also quite different in artistic style.

Li Bai's poems and songs have a clear and unrestrained beauty. The feelings expressed in his poems are often strong and clear, and the way of expressing feelings is explosive. He didn't describe or express his feelings there, but poured out his feelings like a volcano erupting and a river running. He is often angry and tends to stop. His poems are magnificent in imagination, often changing rapidly, galloping in the sky and underground, coming and going through the ages without a trace. The predecessors said that he was "thinking for no reason, like white clouds in the sky, winding and disappearing, without shape", which is exactly what he meant. The realm of Li Bai's poems is often very open. Watch him write about the Yellow River: "How does the water of the Yellow River go out of heaven and into the ocean, and it will never return"; Write Five Old Peaks: "Five Old Peaks in the southeast of Lushan Mountain, Jin Furong cut out from the blue sky", what a magnificent realm!

Strong and clear emotional tone, explosive emotional expression and magnificent poetic scene constitute Shi Li's unrestrained style.

The style of Du Fu's poems is characterized by depression and frustration. Depression and frustration are first manifested in the emotional tone of deep concern. In this deep worry, there is a deep thinking about the fate of the country and the sufferings of the people, so it is broad and far-reaching. Du Fu's lyric method is ups and downs, repeated chanting and ever-changing. Often feelings will break out, but they will turn back and flow back in the heart, blocking it like an emotional gate, so that feelings will slowly flow out after being blocked, so the expression of feelings will be more profound. He has a poem "Climbing Yueyang Tower", which begins: "I have heard about Dongting Lake for a long time, and now I finally climb this building. There is Wu in the east and Chu in the south, which shows that heaven and earth are endless. " Write about the magnificent scenery you saw when you went upstairs. Then: "I have no news from my relatives and friends, but I am old, weak, sick and lonely." It can be seen that in the face of the magnificent scenery of Dongting Lake, he suddenly has mixed feelings: he is sad for his bleak life and the old, weak and sick; Miss for lost relatives and friends; Worrying about the country and the people comes to mind. This strong and complicated feeling seems to be about to erupt, but there are no thousands of words, only one sentence: "There are wars and mountains in the north of this wall. How can I not cry next to this railing?" "Strong feelings don't end one after another, the floodgates are only slightly opened, and only one tide flows out of the turbulent sea of feelings. But that's enough. Although it's just this sentence, it already contains all the feelings that I don't show in my heart. Give people a sense of ups and downs in emotional expression. The ups and downs, ever-changing and repeated chanting are typical in poems such as Eight Poems in Autumn.

Deep worries and ups and downs of emotional expression, through language, image description and rhythm, are finally manifested as the tragic beauty of poetic artistic conception, which constitutes the depressed and frustrated style characteristics of Du Fu's poems.

There are many differences between Li Bai and Du Fu, such as differences in political ideals and life ideals, differences in literary and artistic thoughts, differences in expression skills, differences in poetic styles and so on. It is difficult to introduce all these in a short article, and even what has been mentioned above is only a little for two great poets.

In addition, you can also see: What are the differences between Li Bai's and Du Fu's poems? /f？ kz=20760730

The Gemini in the History of Poetry —— Li Bai and Du Fu

This is an old topic. 1962 comrade Guo Moruo's opening speech at the conference commemorating du fu's birthday1250th anniversary was on this topic. In his opening speech, he said: "Li Bai and Du Fu are close friends as brothers. Their position in the history of China literature is like a Gemini in the sky, shining side by side forever. " This is an accurate evaluation of the position of Li Bai and Du Fu in the history of China's poetry. Unfortunately, for some unknown reason, ten years later, in his book Li Bai and Du Fu, his views changed completely. He no longer thinks that Li Bai and Du Fu are twins in the history of China's poetry, but suppresses Du Fu and praises Li, making Du Fu almost useless. The unfair evaluation of Li and Du was criticized privately by academic circles at that time. In recent years, many articles criticized Li Bai and Du Fu.

For Li Bai and Du Fu, it is inappropriate to preach this and suppress that. They made a unique and irreplaceable contribution to the development of China's poetry. Although there have been ups and downs in their evaluation in history, the general trend has always been to recognize their Gemini status. We might as well make a rough review of this.

Historical Review of Du Li's Repression

Yang Du's suppression of Li began with Yuan Zhen, a poet in the middle Tang Dynasty. He said that Du Fu's poems "have all the characteristics of ancient and modern times and are unique to everyone". He thinks that although Li Bai can be slightly compared with Du Fu in some places, he lags far behind Du Fu in metrical poems. He thought that the idea that Yang Du suppressed Li was not common at that time. Although Bai Juyi, his good friend and famous poet, also thinks that Du You has surpassed Li, they are basically juxtaposed and said to be "immortal and famous". Completely different from Yuan Zhen's point of view is Han Yu. He wrote a poem "Diao" and said some harsh words to those who belittled Li and Du: "Li and Du's articles are all fanning the flames. I don't know how stupid they are, but they are slanders." Mayflies shake trees, which is ridiculous. "Obviously, he has the same respect for Li and Du. 1959, three poems of Kaman 'er were unearthed in the ancient city of Milan, Geqiang County, Xinjiang. One of them mentioned, "I appreciate Li and Du's poems, and I have been studying them." Kanyu was a native of Anxi in the late Yuan Dynasty, which was different from that of Yuan, Bai, Han and Liu Tong. This shows that after the mid-Tang Dynasty, Li and Du had the same extensive influence on the poetry circle, and there was no tendency to promote this and suppress the other.

Ouyang Xiu preferred Li Bai and Wang Anshi preferred Du Fu in Song Dynasty. Although Su Shi admired Du Fu more, his artistic features were actually closer to Li Bai's. And although he worshipped Du Fu, he did not restrain Li. He said: "Li Taibai and Du Zimei, with their heroic posture, have spanned hundreds of generations, and poets of ancient and modern times have been abolished." It can be seen that the evaluation of Li and Du in Song Dynasty is basic. Du Fu's poems had a high status in the Song Dynasty. Du Fu was the Sect of Jiangxi Poetry School, and Li was also highly respected. Although there are also people who admire Du and restrain Li (such as Su Zhe and Huang Che), they have not formed a general tendency. Yan Yu, a poetry critic, said: "Li and Durkheim are neither good nor bad. Taibai has one or two beauties, and the beauty of the son cannot be said; Zimei has one or two beautiful women, which is too white. " This is quite fair.

The evaluation of Li and Du in Ming Dynasty was similar to that in Song Dynasty. Du Fu's position is very high, but Li Bai's reputation has not declined at all. Li Dongyang of Chaling School is the founder of Du Fu, but he also admires Li. Li Panlong, Wang Shizhen and Xie Zhen all talked about Du Fu, who advocated the prosperity of poetry in the Tang Dynasty, and also praised Li Bai. Zhu Yunming and Tang Yin, who strive to get rid of the bondage of retro, admire Li Bai; Wen Zhiming worships Du Fu. Li Zhi, who had rebellious thoughts, admired Li Bai, while Yuan Zhonglang, who advocated expressing his soul alone, was called Li and Du.

So did the Qing Dynasty. Zhao Yi said a sentence with a summary nature: "All the kings in the Northern Song Dynasty regarded Du as authentic, and Du's name was immortal. Although Du is eternal, Li's name will not be slightly reduced. " It can be seen that the unique contribution of Li and Du in the history of China's poetry development is undeniable, and their status as a Gemini in the history of poetry can not be changed simply by promoting this and restraining the other.

Different creative paths

Li and Du are equally famous, but their poetic creation paths are quite different.

Li Bai is eleven years older than Du Fu. But this is a very important eleven years. Li Bai's main creative activities took place before the An Shi Rebellion. Du Fu's main creative activities took place after the Anshi Rebellion, which was the turning point of the Tang society from prosperity to decline. Coupled with their different life experiences and personality characteristics, their poems reflect different life contents. An important content of Li Bai's poems is to expose and attack the dark politics at that time before the catastrophe; An important content of Du Fu's poems is to reflect the worries of the country and the people after the disaster.

Li Bai's whole youth is the prosperous Tang Dynasty, which is known as the prosperous time of Kaiyuan in history. Being in the prosperous Tang society with economic and cultural prosperity gave him a high-spirited spirit and an ideal of making contributions. He looks at life with an idealistic vision, which seems unattainable, but it is easy to get. But when he knocked on the door of his official career, he was presented with not only the prosperity of the prosperous Tang society, but also its corruption and darkness. The society in the Tang Dynasty is going from peak to decline. At such a time, Li Bai will realize his ideal of making the atlas big and the sea county clear. At first, he hoped to be quoted in order to get a career, but he failed to do so; Later, he was called to Beijing to worship the Hanlin, and was soon excluded from Beijing. He went to Beijing twice before and after, and saw the corruption and darkness of state affairs. This poem strongly reflects his anger. In "Fifteen Ancient Poems", he criticized the political situation of the far-reaching sages and relatives at that time: "Zhu Yu bought songs and laughed, and dross raised talents." Antique XXIV and Answering the Twelve Cold Nights of the King all expressed anger at this, exposing Xuanzong's preference for eunuchs and cockfighting. "Car flying dust, pavilion noon dark. China is more expensive than gold, and Lianyun has a room. He Huihe was dubbed cockfighting. Sniffing and rainbow, pedestrians are embarrassed. " "I can't learn cockfighting from a distance, sit down and snore and blow the rainbow." He also repeatedly criticized the unreasonable reality that powerful traitors are proud, talented people are down and out, and right and wrong are reversed: "fists can't be eaten, and donkeys are proud of the spring breeze." "Chickens gather for food, and chickens fly alone without neighbors; Dragonflies laugh at dragons, and good and evil people are mixed; Wear brocade and pay a negative salary. " He even pointed to the right traitor's nose and scolded: "Donglong is a chicken dog!" " Li Bai exposed the political corruption and darkness in the Tang Dynasty before the Anshi Rebellion, so deeply that there was no third person except Du Fu.

Although Du Fu was influenced by the culture of the prosperous Tang Dynasty when he was young, he had extraordinary ambition to make contributions, but his ten years in Chang 'an was the eve of the An-Shi Rebellion. Rather than seeing the prosperity of Kaiyuan, he was more aware of the danger of decline. Moreover, later, he was involved in the war, facing extinction, and vagrants ran around. Because of the hardships and separation of life, he saw the sufferings of the people and expressed deep sympathy for them. Du Fu also wrote many poems that exposed the dark politics, but his poems describing the national tragedy and people's sufferings accounted for a larger proportion. He wrote that the great damage caused by the war was: "countries tried their best to defend themselves, and fireworks piled up on the hills." The body was covered with grass, and the original Dan blood flowed from Sichuan. " He wrote about the sufferings of the people in the war: "The soldiers and revolutionaries did not stop, and their children tried their best to explore the East"; "In troubled times, something urgent, and CoCo Lee chaff is very narrow. What's the point of being full? What a waste. Rich kitchen stinks, white bones in the battlefield "; "The widow's funeral, the village of Yuan Qiu"; "Stone fern female, kuai city lose officer cao. The husband was ruined and returned to the empty village at dusk. As soon as I heard something similar, I carved the skin with an awl knife. " He wrote the famous Three Officials and Three Farewells, which vividly, concretely and truly described the tragic life of the people in the war. While describing the sufferings of the people, he also sincerely expressed his deep sympathy for the people in his poems. He hoped that someone could knock on the monarch's door to reduce the levy, and he could let his army rest and recuperate. For example, in the second year of Gan Yuan, Du Fu passed the Phoenix Terrace on his way from Qin Zhou to Tonggu, and wrote the poem Phoenix Terrace. He dreamed of feeding hungry chicks with his own efforts, and when he grew up, he would be able to drop the title of Ruitu from the sky and bring good luck to the country. At that time, Du Fu was on the road of hunger and cold, unable to save the people's suffering, and his wishes were only expressed in the form of fantasy.

From the comparison of the themes of Li Bai and Du Fu's poems, we can see obvious differences. Li Bai wrote about Ren Xia, seeking immortality and learning Taoism, writing about the magnificent mountains and rivers of the motherland, and expressing personal frustrations. What he reflected most deeply at that time were the poems that exposed and attacked dark politics. Du Fu also wrote about the magnificent rivers and mountains of the motherland, expressing personal frustration and injustice, and exposing and criticizing dark politics. He reflected the most touching poems describing the disparity between the rich and the poor, war disasters and people's sufferings at that time. The broad picture of social life reflected in those poems is unprecedented. He is called "the history of poetry" for no reason.

Different creative methods

Li and Du's poems are not only very different in subject matter, but also very different in creative methods. Yuan Hongdao in Ming Dynasty pointed out that Li Bai made good use of space and Du Fu made good use of reality. "Writing empty" and "realistic" are the main differences between Li and Du's poetry creation methods.

"Virtual" refers to the description that focuses on the spiritual world. When Li Bai reflects the objective reality, he often has a strong subjective color and replaces the logic of life with the logic of emotion. He wrote his sadness: "I can't open my heart, my hair turns white at dusk", "I can't see how lovely it is locked in a bright mirror in a high room, although it is silky black in the morning and turns into snow at night" and "I have been in Qiupu twice, but I have been declining for some time. The sound of an ape urges white hair to be as long as silk. " "White hair and three thousands of feet, like a long beard." Life itself is not important here, but the need for emotional outbursts is important. The need to express feelings, let the logic of life give way to the logic of feelings. There are many such examples, such as "the strong wind blows my heart and hangs the Xianyang tree in the west" and "the south wind blows in front of the Jiafei restaurant". Missing Chang 'an is a spiritual activity, and it is certainly impossible to hang on a tree. Homesickness is not an object, and it is certainly impossible to blow it away. But in this way, the longing for missing has been expressed more deeply. Some of Li Bai's poems often turn realistic poems into dreams. For example, in the late Xuanzong, power was marginalized, and Li Bai saw the harm of this phenomenon. He wrote a farewell. In the poem, the power struggle within the supreme ruling clique turns into a sad landscape of nature: "The sun is miserable, the clouds are dark, orangutans smoke, and ghosts scream." The possible tragedy of usurping power is sublimated into the fantasy of a legendary tragedy story in the poem: Yao was imprisoned by Shun; Shun was forced by Yu to escape from the wilderness of Cangwu. The political crisis was poetically turned into a dreamland, and what about the dreamland? Overflow sadness and become more melancholy. Some of Li Bai's poems are even divorced from reality and directly use ideals to write dreamland. He has nearly one-eighth of his poems, which are about seeking immortality and learning Tao. The dreamland written in the poem is neither a reality nor a metaphor for reality, but an externalization of his ideal of becoming an immortal, and he turned that ideal into a non-existent dreamland. In those dreams, he associates with immortals and gets along with young children and jade girls. Those dreams they built themselves are described as the reality of life. Li Bai also has some poems that are directly discussed. Most of his poems attacking the darkness of reality are like this. These poems are not subtle descriptions of objective reality, but strong feelings expressed through comments.

These are all ways to express the spirit with subjective colors and write empty words. Of course, some of Li Bai's poems are realistic However, realism does not occupy a major position in Li's poems.

Unlike Li Bai, Du Fu mainly adopts realistic methods. One characteristic of Du Fu's strict realism method is to reflect the essence of life as it is. For example, the scene of crying to see her husband off at the bridge of Xianyang Bridge in Chedian vividly reflects the disaster brought to the people by Yanbian War in the late Tianbao period and the people's attitude and mood towards Yanbian War. "Three Officials" and "Three Farewells" very truly wrote the hardships of the people on the battlefield at that time. Among them, Homeless is about a soldier who returned from defeat on the battlefield. When he saw that his hometown was beyond recognition, the countryside was deserted and his relatives were bereaved, he was left alone and still had to serve. If he wants to be homeless, he will feel sad involuntarily. This poem truly and profoundly reflects the fate of millions of soldiers and the common scene of millions of villages at that time. Another point of Du Fu's strict realistic method is his subtle observation and accurate and vivid description of the objective world. Du Fu's subtle observation of reality is often amazing. For example, in his poem "Qiang Village", his first feeling about returning home is: "Chai Men is noisy with birds, and it takes thousands of miles to go home." After a thousand miles back, who will pay attention to the birdsong outside the door? But this is a subtle and vivid part of the description. The peaceful atmosphere in a temporarily calm corner in the spread of war, the warmth and intimacy of home, and the surprise that the family survived the disaster and finally met each other are all displayed in the flowers and birds. This is the common feature of many famous works of Du Fu. For example, in Delighting in Rain on a Spring Night, the spring rain reads: "Sneak into the night with the wind, moisten things silently", and the mist falls silently. A word "dive" and a word "fine" really convey the charm of spring rain.

Another point of Du Fu's realistic method is that he often uses description and narration. Many of his poems are essentially narrative poems. Different from Li Bai's direct lyric, he expresses his feelings in narration and description. Of course, Du Fu sometimes uses imaginative techniques, such as Phoenix Terrace, Zhu Fengxing and Hakka Cong, but he is mainly realistic.

Li Bai is good at writing novels and Du Fu is good at writing realism, both of which have achieved great success.

Different artistic styles

Li Bai's and Du Fu's poems are also quite different in artistic style.

Li Bai's poems and songs have a clear and unrestrained beauty. The feelings expressed in his poems are often strong and clear, and the way of expressing feelings is explosive. He didn't describe or express his feelings there, but poured out his feelings like a volcano erupting and a river running. He is often angry and tends to stop. His poems are magnificent in imagination, often changing rapidly, galloping in the sky and underground, coming and going through the ages without a trace. The predecessors said that he was "thinking for no reason, like white clouds in the sky, winding and disappearing, without shape", which is exactly what he meant. The realm of Li Bai's poems is often very open. Watch him write about the Yellow River: "How does the water of the Yellow River go out of heaven and into the ocean, and it will never return"; Write Five Old Peaks: "Five Old Peaks in the southeast of Lushan Mountain, Jin Furong cut out from the blue sky", what a magnificent realm! Strong and clear emotional tone, explosive emotional expression and magnificent poetic scene constitute Shi Li's unrestrained style.

The style of Du Fu's poems is characterized by depression and frustration. Depression and frustration are first manifested in the emotional tone of deep concern. In this deep worry, there is a deep thinking about the fate of the country and the sufferings of the people, so it is broad and far-reaching. Du Fu's lyric method is ups and downs, repeated chanting and ever-changing. Often feelings will break out, but they will turn back and flow back in the heart, blocking it like an emotional gate, so that feelings will flow out slowly after being blocked, so the expression of feelings will be more profound. He has a poem "Climbing Yueyang Tower", which begins: "I have heard about Dongting Lake for a long time, and now I finally climb this building. There is Wu in the east and Chu in the south, which shows that heaven and earth are endless. " Write about the magnificent scenery you saw when you went upstairs. Then: "I have no news from my relatives and friends, but I am old, weak, sick and lonely." It can be seen that in the face of the magnificent scenery of Dongting Lake, he suddenly has mixed feelings: he is sad for his bleak life and the old, weak and sick; Miss for lost relatives and friends; Worrying about the country and the people comes to mind. This strong and complicated feeling seems to be about to erupt, but there are no thousands of words, only one sentence: "There are wars and mountains in the north of this wall. How can I not cry next to this railing?" "Strong feelings don't end one after another, the floodgates are only slightly opened, and only one tide flows out of the turbulent sea of feelings. But that's enough. Although it's just this sentence, it already contains all the feelings that I don't show in my heart. Give people a sense of ups and downs in emotional expression. The ups and downs, ever-changing and repeated chanting are typical in poems such as Eight Poems in Autumn. Deep worries and ups and downs of emotional expression, through language, image description and rhythm, are finally manifested as the tragic beauty of poetic artistic conception, which constitutes the depressed and frustrated style characteristics of Du Fu's poems.

There are many differences between Li Bai and Du Fu, such as differences in political ideals and life ideals, differences in literary and artistic thoughts, differences in expression skills, differences in poetic styles and so on. It is difficult to introduce all these in a short article, and even what has been mentioned above is only a little for two great poets.