On Du Fu's uniqueness from three cherry poems.

Five people, including Wang Wei, Du Fu, Han Yu, Zhang Ji and Han Wo, have written poems about cherries, all of which have seven rhythms, and the themes are all related to cherries given by the court. Zhang Ji's "Cherry Blossoms in Asahi" and Han Wo's "There are few people in Hantao, Hunan Province, and I am sad because of new collectors" are slightly mediocre. The other three poems about cherries have been appreciated by future generations. After reading it, we can draw some important conclusions. The three poems are as follows: a hundred cherries for the official.

Wang Wei

There will be thousands of officials under the Lotus Que, and Zhu Ying will be forbidden to leave Lanzhou. It was after the spring recommendation of Sleeping Garden that the birds in the Imperial Garden were disabled. Returning to the saddle and fighting with the green silk cage, the middle makes the red jade plate tilt frequently. Don't worry about getting angry when you are full, and the cane pith is cold. The barbarians sent Zhu Ying.

Du Fu

The cherries in West Shu are red, too, and the savage gives a cage full. After several times of careful writing, the sorrow is still broken, and the flowers are even and round, which is amazing. I remember going out of the province yesterday, retiring from the DPRK and holding out Daming Palace. There is no news about Jin Banyu. I will try a new one today. Zhang Yuanwai, Minister of Water Affairs, presented a cherry poem to Baiguan.

Han Yu

The Han family originally planted the Mingguang Palace, and Emperor Yan returned the book. Is it like rain and dew, looking at the green ghost. Incense comes with the green cage, and the silver plate reflects color. After eating, I know I have nothing to report, but I feel ashamed and sweaty. Later generations compared and commented on these three poems. For example, the poet commented on Wang's poem: "The words are shallow, and Shaoling's poem" A Savage Send "is a masterpiece of the three Tang Dynasties." Lin Changyi said: "The beauty of Shaoling's poems lies in the fact that there are many interests but few. Guan Eshan said that Mo is elegant and Shaoling is elegant, as can be seen from the poem "Cherry". I don't know that Shaoling's poem "Cherry" is better than Xingti's, and there are people outside the words; "Cherry" is a special poem. " Another example is Hu Zai's comments on Wang and Han's two poems: "The two poems are similar in poetry. The poem of Mo is a poem that wins and loses. Cherry has no fragrance at first, and it is also a language disease to return it with fragrance. " (Volume 9, the last episode of Tiaoxi Fishing and Conceiving Conghua) Fan Wen commented on Du Fu and Han Er's poems: "Han Tui's poems cover Lao Du, but only seek deeds, than confrontation. Their words were out of reluctance, so they stayed away from each other. However, if Lao Du is absent, people will dare to discuss it lightly. " (Qian) Cheng Xuexun in Qing Dynasty compared three poems and commented on Han's poems: "Cherry poems are the most skillful and appropriate. Du second, this is the second. " (Biography and Interpretation of Han Changli's Poems, Volume 12) There are many discussions. What is right and wrong?

In ancient times, cherry was a special and important fruit. "The Book of Rites and the Moon Order" records: "Midsummer Moon ... The son of heaven recommended the sleeping temple first, and was ashamed of Han Tao for tasting millet." "Han Tao", that is, cherry, is a seasonal fruit used for offering sacrifices to ancestral temples, and of course it is extremely precious. In the Han Dynasty, cherry became a gift from the emperor to ministers. The Records of Picking Up Records records: "Emperor Han Ming gave a banquet for his ministers on a moonlit night, which was served on a red disc." This habit still existed in the Tang Dynasty. Li Chuo's Chronicle said: "On April 1st, the Inner Garden entered Sakura Sleeping Temple, and after the recommendation, it was awarded to different officials." This is recited by Wang Wei and other three poems. It is precisely because the contents of the three poems are related to court etiquette that future generations first pay attention to their appropriateness. Cheng Xuexun said that Wang's poems are "the most appropriate" for two reasons: First, the whole poem is solemn and elegant, which meets the style requirements of court poems. Second, the second couplet clearly stated that the person who wrote it to the official was the cherry "after the recommendation of Sleeping Garden in Spring", and the monarch, monarch and minister all had reputations. Of course, Du Shiyun and Han Shiyun also pay great attention to this. Du Shiyun "recalled the past and presented the province with the Daming Palace", and those who were "moved" also thanked the emperor. Those who "hold high" hold high to show respect. Korean poetry not only says "bearing rain and dew", but also says "I don't know what to eat, but I am ashamed of humiliation and respect the emperor", which is also the proper meaning in the title. However, Wang's poetry praise is implicit, while Han's poetry is slightly shallow. As for Du Fu's poems, because the whole article has another theme, it is not a pure ode. Therefore, from the perspective of court theme, Wang's poems are the most appropriate.

From the artistic point of view, Wang's poetry is also higher than Korean poetry. In addition to what Hu Zai said, "cherries are not fragrant at first, but also have bad words", the biggest shortcoming of Korean poetry is as Fan Wen said: the first couplet quotes classics and quotes cherries. Commentators of Korean poetry quoted Luoyang Palace Book as saying that cherries had been planted in the palace before the Han Dynasty, and also quoted Shennong Materia Medica as saying that cherries have the effect of "benefiting the spleen and stomach and making people feel good", which is indeed "seeking deeds". The two couplets in the middle describe the cherry given by the imperial court, which is a bit cumbersome. The meaning of the two couplets is only equivalent to the necklace of Wang's poems, and the words are not as refined as Wang's poems. Of course, Wang's poems are not perfect. At the end of Wang's poem, the poet once praised that "using the supplementary pen to jump the knot, the meaning is more sufficient, the method is better, and the pen is more round" (Volume 5 of Zhai Shi Tan), but it is not the case. Cherry is warm. If you eat too much, it will get hot inside. However, the official can balance it with cold cane pith, so don't worry. If this couplet makes the whole poem "more meaningful", it is still acceptable. As for saying that "the method is better and the pen is more round", it is not. The meaning of this couplet is plain. The first sentence says, "There will be thousands of officials under the Lotus Que", but the number of people who are rewarded with cherries is very large. How can they be "big officials"? Since only "big officials" can use sugarcane pith to clear heat, what about those who are not big officials? Do you want them to eat enough cherries to get angry? Is this the original intention of the imperial court to give cherry blossoms? Therefore, the author thinks that the meaning of this couplet is actually a snake's foot and a failure of this poem.

So, what about Du Fu's poems? Different from Wang and Han's poems, the theme of Du Fu's poems is not to give cherries, but to recall the cherries given by savages. On the surface, only the neckline in the whole poem positively recalls the scene of sending cherries the year before. However, if you look closely, many places in the whole poem are related to this. As Wang Siyan commented in "Du Yi", "When people see Zhu Ying, they think of the time to pay homage in the province, so they are' red',' worried' and' stunned', all recalling the words' recalling the past', and finally they all end up with' nothing to hear from'. Whole blood is integrated into one, and there are many public poems. " Another example is Shen Deqian's comments in Tang poetry: "I'm also red", "I'm still worried" and "I'm still surprised", all of which give cherry a pen. The second half of the DC, Gefa original. "If discussed in detail, the first four sentences of Du Fu's poems are completely close to the theme, describing what the savage sent to Zhu Ying, and only using the intermediary of function words to evoke the past in memory. The word "zihong" in the first sentence is really an abrupt pen: why does the poet lament that all these cherries produced in West Shu are "zihong"? This is of course for the cherries I saw in the past. The fourth sentence, also known as Zhu Ying's "10,000 circles are stunned". What do they use "Xu Tong"? Of course, it is also the cherry of the past. This kind of repeated accumulation will inevitably lead to a natural transition to recalling the past. Therefore, five or six sentences were changed to describe the things that were given to cherries in the past: In the first year of Su Zonggan Yuan (758), Du Fu stayed in Chang 'an to pick up his relics, which belonged to the province under the door, and was given cherries because of a banquet in the palace. Menxia province is located in the east of Zheng Xuan Hall of Daming Palace. Du Fu retired from the DPRK and returned to China with cherries, which should have come from Daming Palace. These two sentences are purely realistic, and only describe the process of giving away the cherry, not a sentence about the cherry itself, because its shape and color have been written in detail in the first four sentences, so there is no need to repeat them. "Door province" is the government office of the imperial court, and "Daming Palace" is the palace of the imperial city. These two sentences not only successfully render the background of cherry in Lizhuang, but also echo the "West Shu" and "Savage" in the first couplet, showing the huge gap between the present and the present. The waves of the article and the jumping of ideas are so seamless! The seventh sentence, on the surface, laments that the royal luxury scene seen in the past has disappeared, but in fact, the mourning Su Zong has passed away and the court is hopeless.

Later generations commented on this poem of Du Fu, and two of them are the best. First, from the perspective of poetry, Pu Qilong, a Qing Dynasty man, said that "the whole body is empty, and the skin and bones are preserved." ("Reading Du Xin's Explanation") Yang Lun said: "Tuoxing is far-reaching, Gree is vigorous, and it is excellent for chanting." (Du Jingquan) Indeed, this poem only uses "red" and "even circle" figures to describe the shape and color of cherries, but it is vivid and realistic, which can be called the finishing touch. In contrast, Wang's poems and Han's poems waste pen and ink on utensils and other things, but the shape of cherry itself is not very clear. The second one was said by Lin Changyi. Du Fu's poems are concrete, so there are people outside the words. Cherry, small ears. Savage to Zhu Ying, fine ear. Why does Du Fu have deep feelings and poetic thoughts? The theme of Du Fu's poetry creation in his later years is a lot of reminiscing about the past and history, which embodies a strong nostalgia. Paintings and paintings, song and dance performances will be the keys to his memory. The former is like a few painted eagles, which reminds him of the Lishan Palace in the past and moved to Yuan in winter. It's freezing in the cold, and Dayu Hunting is the king of all gods ("Yang Jian Draw Twelve Eagles Again"), while the latter, like the dance of Empress Li, makes him feel that "fifty years is a piece of cake, and the dusty cave surprises the royal family" ("Watching Gong Sundaniang's disciples dance swords"). Similarly, the small gift given by the savage to Zhu Ying reminded Du Fu of the grand occasion of cherry blossoms given by the imperial court in those days, and infiltrated the rise and fall of the country with personal joys and sorrows. Even so, the whole poem never leaves the cherry and expresses all its feelings without emotion. It is satisfactory to recite things to this state. This is the biggest feature of Du Fu's poems about objects.

(Author: College of Literature, Nanjing University) Poem II of Youmaozhai