The following is a very detailed introduction. I hope you can read it carefully. I believe it will be of great help to you. To understand a person's poetry, you must not only know the poetry itself, but also the corresponding cultural background. The work you requested is in Comparative Theory of Li and Du. In this chapter on Li Du's Creation, I hope you can have a good understanding of the background analysis of the signature, the humanistic environment, etc...

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< p>Li Bai and Du Fu are not only two great poets in the history of Chinese poetry whose stars hang over the sun and the moon, and mountains stand tall, they are also two major academic topics that have attracted the most attention from later generations of scholars. More than 1,200 years of exploration, research and chanting have been summarized and now have formed two disciplines, "Li Xue" and "Du Xue", with extremely large groups of in-depth research groups. Li Bai and Du Fu were often studied and discussed together by later generations. This is the so-called "Li Du Xue".

Li Duxue has three major characteristics: 1) It has a long history. Since the death of the two dukes, there have been discussions, praises and criticisms about the two men. In the mid-Tang Dynasty, the research and discussion on Li Du flourished and lasted for 1,200 years. The poems of the two men were also circulated very early. Before Li Du's death, their works had been widely collected and praised. Throughout the dynasties, their works were copied and published by later generations. 2) There are many famous people. The study of Li Du not only has a long history, but also is very in-depth. In every period, people have commented on Li Du's works or compiled them into collections. It can be said that since the Tang Dynasty, almost all the great literary commentators have paid attention to Li Du's works. They have certain interests, such as Yuan Bai, Xiao Li Du, Han Liu, Ou Wang Suhuang, Lu You, Yan Yu, Zhu Xi, Yuan Haowen, Yang Weizhen, Qizi before and after, San Yuan, Li Zhi, Gu Yanwu, Wang Fuzhi, Huang Zongxi, Shen Deqian, Weng Fanggang, Zhao Yi, Wang Shizhen, Yuan Mei, Jin Shengtan... there are also quite a few academic leaders in the modern and contemporary Li Du research team. In short, although Li Duxue has been discussing it for a long time, it has always been filled with famous scholars and high-level opinions. 3) Extremely wide angle. The study of Li Duxue is not limited to the narrow literary field. The study of the two men often involves many fields of history, philosophy, and aesthetics. The study of Li Du not only includes the appreciation of the two men's poems, but also the textual research of the two men's life stories. The analysis of people's thoughts and even the entire national culture, and the appreciation of their poems are from many angles. Scholars have entered into the study of Li and Du's poems from many angles, and have created fruitful and huge results.

Comparative Theory between Li and Du. Li Du's creative theory

Li Du's literary opinions

Although there is a tacit understanding between Li and Du, their poetic opinions are not exactly the same.

The word that best represents Li Bai's aesthetic proposition in poetry should be "Qingzhen" ("Ancient Style. One"). This kind of "halal" should be a kind of natural, simple and perfect beauty. Wang Anshi commented: "Poets each have their own merits. 'Clear water brings out hibiscus, and the natural carvings are removed'. This is what Li Bai got." ("Yu Yin Cong Hua") (I mentioned the beauty of Wang Changling's poetry in the last class, which also falls into this category. In contrast, Li Bai opposed the imitation of refined words and sentences, thinking that it would lose the "innocence" of poetry: "The ugly girl came to imitate the beauty and returned home to shock the neighbors. Shouling lost his original step and laughed. Killing the people of Handan. A brilliant song, the thorns make the monkeys lose their energy." ("Ancient Style. Its Thirty-four")

Therefore, most of Li Bai's poems are emotional. It is a sincere and casual work. When reading Li Bai's works, the biggest feeling is that Li Bai's ancient poems burst out and never come back; Li Bai's modern poems are fresh and simple, without impurities. These are all manifestations of his aesthetic pursuit of "halal". "Hey! The danger is so high. The road to Shu is as difficult as the blue sky. There are thickets of silkworms and fishes. How confused is the founding of the country. You are forty-eight thousand years old, and you are not in the vicinity of Qin Sai." ("The Road to Shu is Difficult" ) "Don't you see, the water of the Yellow River comes up from the sky, and rushes to the sea and never returns. Don't you see, the bright mirror in the high hall has sad white hair, and the morning is like blue silk, and the evening turns to snow." ("Will Enter the Wine") "I send my sorrowful heart to the bright moon, and follow the wind Until Yelangxi." ("I heard that Wang Changling moved to the left and Long Biao Weiyuan sent this message") There are many examples.

The fresh beauty of Li Bai's poems is not the result of deliberate carving. His poems are often completed in one stroke. However, this kind of skill cannot be learned by ordinary people. Wang Anshi commented: "It seems easy, but it is difficult to achieve." Li Bai's poetry creation has a rich accumulation of learning, and was conceived and brewed in an instant by a talented poet. This state is just like what Lu Ji said in "Wen Fu": "The words of the crowd are poured out, and the fragrance of the six arts is washed away. The abyss floating in the sky is filled with water, and the water is soaked in the spring. So Shen Ci is delighted, Like a swimming fish holding a hook, it rises out of the depths of a deep abyss; like a floating algae, it falls like a bird with its tassels and falls into the mountains of the clouds."

Like Li Bai, Du Fu also talked about accumulation. "Reading thousands of volumes, writing is like a spirit." ("Twenty-two Rhymes to Wei Zuocheng") Du Fu's poetic aesthetics can be summarized as "expressive". Many literary commentators and thinkers have rated this "god" very highly. "Zhuangzi" talks about "divine encounters", Liu Xie talks about "spiritual thoughts", and Du Fu clearly applies the concept of "divine" to poetry creation. Du Fu's "spirit" should refer to the profound spiritual charm contained in poetry: "The general is good at painting and has a spirit" ("Dan Qing Yin Presented to General Cao Ba") "Books that are expensive, thin and hard can reach the spirit" ("Li Chao Bafen") Xiaozhuan Song"). Luo Zongqiang also defined this "god" in "History of Literary Thought of the Sui, Tang, and Five Dynasties": "Alarm without being rigid, revealing charm in alarm."

Du Fu emphasizes expressiveness and realism, and he most admires the realm of "both form and spirit". In order to achieve this expressive beauty, Du Fu on the one hand emphasized tempering, refining words, refining sentences, thinking hard, and studying hard. "Because human nature is idiosyncratic, I can't stop saying good things. If the words are not surprising, I will never stop." ("The water on the river is as strong as the sea, a short talk") "Who knows that the two thanks will be able to do things? I have learned a lot, so why bother to use my heart." ("Relieving Boredom Twelve") "First") Huang Tingjian praised Du's poem: "The word "May Day" has no origin." On the other hand, only by extracting real and natural materials from nature and life, and with the author's diligent research and tempering, can he write a lifelike work.

In addition, Du Fu talked about expressiveness and realism; he talked about hard work and skill, but he was not opposed to talent that could be achieved overnight; he not only supported the natural expression of emotions, but also advocated comparison and irony; he not only praised the fresh beauty of nature, Also pursue tragic beauty (Luo Zongqiang said). It can be seen that Du Fu's poetic theory not only reflects the tendency of the people in the prosperous Tang Dynasty to pursue magnificence and character, but also shows the requirements of the people in the mid-Tang Dynasty to care about the current ills and advocate beauty and beauty. Luo Zongqiang's "History of Literary Thought" believes that Du Fu summarized the prosperous Tang Dynasty and opened the middle Tang Dynasty, while Li Zehou in his "The Course of Beauty" believes that Du Fu's "Prosperous Tang" is different from Li Bai's "Prosperous Tang", and Li Bai and Zhang Xu's The prosperous Tang Dynasty broke away from the old paradigm and formed an unfettered artistic paradigm with "content overflow". The prosperous Tang Dynasty of Du Fu, Yan Zhenqing and others defined and established the new aesthetic paradigm. Quoting Su Dongpo's words, Li Zehou believed that Du Fu was a "masterpiece".

Other scholars compare Li and Du's poetic theory from a higher perspective, summarizing Li Bai and others as the "character system", while Du Fu and others are the "Bixing system" (Jiang Changdong's "Xialun Li") Du's "Bixing System"), pointing out that the ideas of Li Bai and others mean the awakening of the poet's individual consciousness, and the ideas of Du Fu and others mean the awakening of the poet's "group personality consciousness". The ideas of Du Fu and others opened the first chapter of Tang poetry. The prelude to the second reform movement seems a bit too absolute. There are many scholars who have analyzed Li Du's artistic ideas in detail, and the items listed are very detailed and complicated, such as Kang Yi's theory of Du Fu's poetics "Zhen Xing Shen Law", etc., which will not be quoted in this article.

In general, Li and Du’s literary opinions have some similarities and differences, which makes their poems have both similarities and differences. Charming and each has its own style.

Li and Du worked both in style and style, creating brilliant achievements in both ancient and modern poetry. Due to space limitations, this article specifically analyzes the similarities and differences in the two expression methods through the artistic comparison between Li Du's seven-character ancient poems and modern poems:

Comparison of Li Du's seven-character ancient poems:

The term "archaic poetry" only appeared in the Tang Dynasty to distinguish it from "modern poetry". Archaic poetry roughly follows the Yuefu of the Han and Wei dynasties. The poetry style is relatively free and the length is not limited. There are four-character, five-character, six-character, seven-character and miscellaneous words, etc. Generally, more five-character and seven-character poems are written. Generally speaking, ancient miscellaneous poems are mostly composed of seven characters, so they can also be included in seven-character ancient poems.

Li Bai and Du Fu's seven-character ancient poems (including seven-character and miscellaneous words Yuefu Songxing) are the highest achievement of the seven-character creation of Tang poetry. Hu Yinglin, a scholar of the Ming Dynasty, once made a general comment on the seven-character songs of the Tang Dynasty: "The seven-character songs of the Tang Dynasty, hanging down to the four sons, are extremely colorful, but they are still in the Liang Dynasty. Zhang, Li, Shen, and Song Dynasty gradually became less flashy and The Tang Dynasty style has become more and more plain, but it is not smooth. The syllables of Gao, Cen, Wang, and Li are clear, the emotions are tortuous, thick and slender, and they are harmonious and smooth, but they are not big. It is big and transformed, and the work is completed. When Qian and Liu descend, their expressions are not far away, and their Qi and bones are suddenly weakened. Lu Tong's simplicity, Ma Yi's mediocrity, Li He's eccentricity, and Liu Cha's craziness, although they are shallow and deep, and their talents are vastly different, they are all winding and unsophisticated, and Zhang Ji and Wang Jian are less elegant. It is really dull, and the body is humble. Tingyun and others are more beautiful, gradually entering the rest of the poem, and the ancient meaning is gone." ("Shi Sou") This passage is relatively simple, and it is a simplistic summary of individual poets. trend, but it still relatively objectively highlights Li Du Qigu's status in the Tang Dynasty.

In terms of quantity, among the more than 900 extant poems by Li Bai, there are more than 130 poems by Qi Gu. Among the more than 1,400 extant poems by Du Fu, there are 140 poems by Qi Gu. There are more than ten poems. Among the poets in the prosperous Tang Dynasty, they are also the poets who wrote the most seven-character Yuefu songs. Qigu also plays an important role in their creations. It can be seen that the comparison between the two people's Qigu is quite representative.

Regarding the creation of Qigu, Fan Zhi, a Yuan Dynasty man, once summed up: Seven-character ancient poetry should be narrative, opening and closing, graceful, distant, dangerous, majestic, sonorous, and should avoid vulgarity and corruption. It must be like the waves opening and closing, just like the waves in the river and sea. One wave is not flat, but another wave rises again. It is also like a military formation. It is thought to be correct at first, and then becomes strange again. Then it is thought to be strange again, and suddenly it is right again, and strange things come in and out. The changes are unpredictable. The only person who prepared this method was Li Du. The opening and closing are brilliant, the music is sonorous, the teachings are profound, the knowledge is full, and the discussion is transcendent. The ancients said that poems are often subjective, but they are also mostly true insights. Fan Cheng's words point out one of Li Du Qigu's unique characteristics: his composition is changeable and his writing can be relaxed.

Many poetry commentators have talked about Li Duqi's changeable ancient compositions. Shen Deqian once commented in "Collection of Tang Poems": "Taibai's seven-character ancient poem, I want to fall out of the sky, and the situation will change on its own. There is no wind in the river, and the waves will surge by themselves. The white clouds will rise from the sky and disappear with the wind. This is almost a gift from heaven, not a human being. "It's within reach." Another saying goes: "Shaoling is like a palace built by the emperor, with thousands of houses; like the battle of giant deer, the princes are watching from the wall, walking forward on their knees, not daring to look up.

Like the water of the sea, strong winds and waves stir up mud and sand and dance with monsters. The spirits and fools are all gathered together. They are different from other schools in the prosperous Tang Dynasty and are uniquely called Dazong. Taibai wins with high altitude, and Shaoling wins with great victory. If you hold on to Jinwu and resist Yanxing, how can future generations be able to do it!"

Let's take Li Bai's "The Road to Shu is Difficult" as an example.

Gee-up play! The danger is high, Shu is high! The road is as difficult as climbing to the sky. The silkworms and the fish are so confused. You are forty-eight thousand years old and there is no human settlement in the Qin Dynasty. , then the stone stacks of the ladder are connected with each other. There are six dragons returning to the sun on the top, and there are rushing waves and turning back to Sichuan. Standing in the rocky mountains, I sat down with my hands on my head and sighed. I was afraid that the journey to the west would be unreachable, but I saw the mournful birds calling the old trees, and I heard them flying around the forest. Zigui cries about the moon at night, and worries about the empty mountains. The road to Shu is so difficult that it is difficult to climb up to the blue sky, which makes people listen to the withered beauty. Thousands of thunders are also dangerous. Those who have traveled a long way are here. The sword pavilion is towering and cuiwei. If one man guards it, no one can open it and turn into wolves and jackals to avoid the fierce tigers. , I avoid long snakes at night. Grinding my teeth and sucking blood, killing people is like numbness. Although Jincheng is happy, it is better to return home early. The road to Shu is difficult to climb to the sky, and I look to the west and sigh.

This poem. His writing style is free-flowing, unfettered, concentrated and ever-changing. It is no wonder that later generations hailed Li Bai as an immortal with this poem. The "Dictionary of Appreciation of Tang Poetry" records: "The Road to Shu is Difficult" before the Tang Dynasty was originally very thin. Short. And Li Bai not only used various styles of sentences, but also used prose sentences. The length of the whole poem was uneven, extremely unrestrained, and the rhyme of the poem was also unconstrained. , change the rhyme at any time, and are extremely versatile. This unpredictable writing style and vertical and horizontal movement are everywhere in Li Bai's seven ancient works, and you can often feel the changes in the chapters. And the spirit is smooth. This is a creation of genius, which is beyond the reach of others.

Du Fu is also famous for his changeable composition without losing the law. Its unique structure and unique composition have always been praised by scholars. Wang Sishi of the Qing Dynasty said: "This is a creative pattern. There is no reason in the past and future generations can't learn it." Describing the Eight Dukes, each has a very drunken life, but they all have a fairy spirit. Maybe two sentences, or three sentences, or four sentences, like clouds in the clear sky, curling and relaxing freely, which is also the fairy in poetry. "(Quoted from "Detailed Notes on Du's Poems")

Zhizhang was riding a horse as if he were riding a boat. He fell into a well and fell asleep in the water. Ruyang's three buckets began to face the sky. He salivated at the entrance of the road and met the Qu chariot. He couldn't bear to seal it to Jiuquan. Left Prime Minister Spending thousands of dollars every day, drinking like a long whale sucking in hundreds of rivers, holding a cup of music and being called a worldly sage. The handsome and handsome young man of Zongzong raised his glass and stared at the blue sky, as bright as a jade tree in front of the wind. When he was drunk, he often liked to escape to Zen. Li Bai wrote a hundred poems and went to sleep in a restaurant in Chang'an City. The emperor couldn't get on the boat, so he claimed that he was the immortal in wine. Zhuoran's eloquent talk shocked the four feasts.

In addition, the two people's learning methods from the seven ancient times, the Yuefu of the Han and Wei dynasties, and the Ci and Han Fu of Chu have provided them with rich nutrition. The wind is like a horse, and the kings of clouds come and go one after another." ("Sleepwalking Tianmu Yin Liu Farewell") "The wind and dust are blowing in the cave, jackals and tigers are biting people, suddenly I lost my two sticks, I will follow you" ("Peach and Bamboo Staff") It has the spirit of Li Sao, and poems such as "Battle in the South", "Difficulty on the Road" and "War Chariots" originated from the Yuefu of the Han, Wei and Six Dynasties, and the Yuefu of the early Tang Dynasty gave the two poets the most direct influence, such as "Baitou Yin". ", "Reminiscent of the Past and Send Qiao Jun Yuan to Join the Army" and "The Washing of Soldiers and Horses", etc. Can this kind of creative thinking that draws on nutrients from various sources explain the reason for the formation of the two men's varied sentence lengths and lengths, as Hu Yinglin said? He said: "All poems and styles are all inked, but the lines of songs come from Lisao and Yuefu, so they are extremely loose and horizontal. " ("Shi Sou")

There are two other points that need to be added. The two men's poems are extremely talented and learned, which can be clearly seen from the allusions and ancient methods that the two men picked up casually. Huang Tingjian said that Du "No word in a poem has its origin". In fact, Li Bai's poems have "many origins". This feeling is most obvious when looking at the annotations made by Wang Qi and others. However, neither of them necessarily sticks to allusions and allusions. The original meaning of the title often has new changes and new uses. This seems to help the above discussion.

In his paper, Xue Tianwei pointed out that both Li Bai's ancient Yuefu and Du Fu's new Yuefu have similarities. With the tendency of "song-oriented", both poets strengthened the lyrical function of Yuefu and transformed Yuefu into lyrical poems with strong emotions.

The difference between Li and Du Qigu is also obvious. Reading Li Bai's ancient poems, one has a very clear feeling that Li Bai is good at using broad intentions, such as "Wanli" and "Changfeng" that appear very frequently. Du Fu also has the word "Wanli" in his poems, but most of them are in "Wanli dewhan". In the palace, open a jade pot of ice and clear jade", "A good guest is welcome thousands of miles away, and the contemplation lingers" and other sentences are deep in emotion and there is no such sentence as "The wind blows thousands of miles to send the autumn geese", "Sorrow is separated thousands of miles away, and I hold the wine cup again" and other sentences. Heroic. This characteristic often comes from the heart, without worries and heroic spirit. In contrast, Du Fu's seven-character poems are mostly based on careful layout and planning. His ancient poems are precise in composition, precise in cutting, and emotional. It is deep and high-pitched, and has a vigorous and vigorous tone. For example, Du Fu's "Washing Soldiers and Horses" ("Washing Soldiers and Horses" in "Du Shi Detailed Notes"), "One poem has four turns of rhyme, one rhyme and twelve lines, and the lines are like rhythm. , self-contained, with vigorous writing power, old-fashioned lyrics, and an image of joy and joy floating in the pen and ink.

"(Wang Sixi's "Du Xi")

In fact, Li Bai and Du both relied on their Yuefu songs. Xiao Shiyun (yinhu) thinks that Li Bai's Yuefu songs are all literal references, which is a bit exaggerated. , but there is no doubt that most of Li Bai's ancient poems are allegorical, and Du Fu's is even more so. However, one of them "focuses on Qi" and the other "focuses on meaning", as Hu Zhenheng said: " In the five-character ancient selection and the seven-character song line, Taibai focuses on Qi, takes nature as the sect, and values ??elegance, elegance, and smoothness; Zimei focuses on intention, takes originality as the strand, and values ??excellence and majesty. "("Tang Yin Gui Zhu") Ge Jingchun believes that this energy is "the impulse of inspiration", and the source of this inspiration is his profound knowledge and unparalleled talent. Du Fu, on the other hand, acts according to the law and follows his own will. , that is "focusing on the meaning"

Consistent with this, Li Bai's Qigu is freehand from a large perspective, and most of the images are obtained from overlooking the distance, with a brief look and a magnificent "Yellow River Falling". The sky travels across the East China Sea, and thousands of miles are written into the mind. "("Gift to Pei 14th") "The Yellow River touches the mountains for thousands of miles, and the vortex spins around the mines of Qin. "("The Song of Yuntai in Xiyue as a Farewell to Dan Qiuzi") "The spectacular view between heaven and earth is as high as the sky, and the boundless river never returns. The yellow clouds are moving thousands of miles, and the white waves are flowing over the nine snow-capped mountains. "("The Ballad of Mount Lu") Du Fu started from the details and saw the big from the small. "The running water in Tianjin is red with blood, and the white bones are like tangles. "The barbarians returned and washed their arrows with blood, but they still sang barbarian songs to drink in the city." "Du Fu focused on the depiction of the scene in front of him, expressing it with deep and solemn emotions. Compared with Li Bai, he has a unique temperament.

In terms of song creation, many of Li Bai's seven-character Yuefu are old Yuefu He even drafted all the old Yuefu inscriptions (in Ge Jingchun's words), Hu Zhenheng said: "Taibai is the deepest in Yuefu, and there is no incomparable ancient inscription." Either use its original meaning, or reverse the case and come up with a new meaning. It combines but seems to be separated, and is separated but actually combines. It is a wonderful imitation of the ancient times. "("Tang Yin Gui Sign") However, Li Bai used the old Yuefu inscriptions to write new content, and quoted ancient events to satirize the present. Moreover, many of Li Bai's Yuefu poems are confusing and difficult for future generations to understand. "Li Bai Collection Annotation" contains many Each Yuefu chapter is followed by a long note from Zhan Jing, which enumerates the interpretations of poems such as "The Road to Shu is Difficult", "Liang Fu Yin", "Dream Wandering Tianmu Yin Leaving Farewell" and so on. It can be seen that Du Fu mostly wrote "famous poems at the moment, no longer to rely on". The theme of Yuefu is closely connected with reality and the theme is arbitrarily set up, creating a new trend. "Xialun Li Du's "Bixing System"" believes that Yuanbai's sentiments and Han Meng's freehand writing in the middle Tang Dynasty originated from Du Fu, and it was he who created " The embodiment of "Bixing System".

In addition, both of them have paid attention to the freedom of composition in the past seven years, but Li Bai is less restrained than Du Fu. Compared with Du Fu's strictness, Li Bai's ancient poems are more free. For example, Du Fu's " "Washing Soldiers and Horses", later generations believe that it has a lot to do with rhythm. The poem's twenty-four rhymes actually have seventeen pairs of verses. This poem has strict antithesis, harmonious syllables, and vigorous and old style, which shows that Du Fu has a unique style. There is a tendency to use rhymes to enter the ancient times; and there are many prose sentences in Li Bai's ancient poems, "Those who abandon me will not be able to keep yesterday's day, and those who mess up my heart will be troubled today" ("Xuanzhou Xie Yuezhao Lou Farewell School Secretary Shu Yun") " But he knows that soldiers are deadly weapons, and the saints have no choice but to use them." ("War in the South of the City") "One man can guard the gate, and ten thousand men cannot open it. Those who are guarded or not close will turn into wolves and jackals. Avoid tigers in the morning and snakes at night. Grinding teeth and sucking blood, killing people like numbness" ("The Road to Shu is Difficult") and so on. There are also prose sentences in Du Fu's ancient poems, but they are far less typical and exciting than those used by Li Bai. Some scholars believe that Li Bai "uses writing to enter the ancient times", and some There is a certain truth. Xiao Difei's book "Research on Du Fu" also analyzes the rhyme used in Du Fu's ancient poems and points out the characteristics of "three flat tunes" and "flat and oblique rhymes" in Du Fu's ancient poems, which can be used as a reference.

Li Du. Comparative Theory. General Theory of Li and Du

Comparison of Li and Du's Styles:

Style refers to the writer's thoughts, feelings, character, aesthetic ideals, aesthetic tastes, artistic qualities, etc. in his works. As for Li Du's style, Yuan Xingpei quoted Yan Yu in "Research on the Art of Chinese Poetry": "Zimei cannot be as elegant as Taibai, and Taibai cannot be as melancholy as Zimei." This seems to be a conclusion, Li Bai's. The style is elegant, while Du Fu is melancholy.

In fact, both Li Bai and Du Fu once summarized their own styles in "The History of Pei Chang of Shang'an Prefecture": "The former governor of this county, Ma Gong, was a powerful figure in both the government and the public. He was greeted with courtesy at the first sight and he was promised to be a genius. This is why Che Jingzhi, a long-time historian, said: "Everyone's writings are like a mountain without smoke and a spring without grass or trees." Li Bai's writings are pure and unrestrained, and his famous chapters and handsome words come from time to time. They are bright and insightful, and every sentence is moving. '" Du Fu said in "Jin Diao Fu Biao": "Although the minister's narrative works are not enough to promote the Six Classics, he first recited a few poems, and when he was depressed and frustrated, he was quick at any time and promoted the likes of Xiong and Mei Gao. The common people can step on their feet and reach them. "It can be seen that "kiyoo unrestrained" (elegant and unrestrained) and "depressed and frustrated" can indeed represent the styles of the two people. However, the academic community has always expressed their own opinions on the interpretation of these two concepts, and no unified consensus has been fully formed.

After comprehensively comparing the opinions of various schools of thought, I made the following analysis of the artistic styles of the two. Let’s talk about Li Bai’s “Qingxiong Elegance” first:

The first is the emotional strength and exaltation. Li Bai was a bold and confident person, which is related to the high-spirited and high-spirited psychological tendency of people during the prosperous Tang Dynasty in which he lived. It is also related to Li Bai's personal bold and bold character. Needless to say, the only periods when people had such a highly confident and heroic mentality were the early Han Dynasty and the early Tang Dynasty. Needless to say, scholars in the Song, Yuan, Ming and Qing Dynasties were more rational, and the shackles of theory were more obvious, so after the Tang Dynasty. It is difficult to achieve the majestic momentum of Tang poetry and Han Fu.

"There will be times when strong winds and waves break, and I will hang up my sails and send them to the sea" is an expression of ambition; "I am a madman of Chu, and the phoenix song laughs at Confucius. Holding a green jade staff, I bid farewell to the Yellow Crane Tower" is his self-portrait. And when he vented his depression, he was still able to let his emotions flow out. The landscapes he painted were grand and never bleak and insignificant. "I want to cross the Yellow River, which is blocked by ice, and I will climb the Taihang Mountains covered with snow." "An Neng is able to bend his eyebrows and bend his waist to serve the powerful, which makes me unhappy!" However, Li Bai's farewell or leisurely feelings are fresh and handsome, not lingering. Love, this is actually a manifestation of the emotion of high self-confidence.

Secondly, there is no restraint in the expression of emotions, and the gushing and gushing can be overwhelming. Li Bai's emotions are very grand and cheerful, not limited to a small area. When his emotions are galloping, just as Zeng Gong described: "Like a long river, vast and unrestrained, and it can be released thousands of miles away." ("Li Bai's Sacrifice on behalf of Li Bai") Li Bai's emotions are grand and majestic, and nothing can stop them. Once they explode, they have the power to continuously attack forward and never look back. "If you don't see it, the water of the Yellow River comes up from the sky and rushes to the sea and never returns. If you don't see it, the mirror in the high hall has sad white hair, and it looks like blue silk in the morning and turns to snow in the evening..." "Don't climb the sky, don't climb the dragon, and walk the mountain, don't ride the tiger. The high and low are friends. Without moving, only Yan Ling and Guang Wu are called great sages, and Guan Cai Ning is in harmony. A bucket of millet from Han Dynasty will not be pounded with Huainan..." ("Honghou Ballad")

It is again. The vertical and horizontal changes of imagination. Li Bai's imagination is wild, strange and ever-changing. In his poems, he goes up to heaven and down to the earth, the sages and dignitaries come before him, the wind blows thousands of miles, and the mist is vast. "Shuo Shi Shi Yu" commented: "Taibai wants to fall into the sky, the situation changes by itself, the river is windless, the waves surge by themselves, the white clouds relax and disappear with the wind." Moreover, Li Bai's imagination is very leaping, and he can go back and forth. There is no correlation, the span is huge. Accompanying the rich imagination is a bold and magnificent exaggeration: "The white hair is three thousand feet long, and the fate is as long as my head." ("Qiupu Song") "The flowing water falls three thousand feet, and it is suspected that the Milky Way falls from the sky." ("Qiupu Song") "Wanglu Mountain Waterfall")

Thirdly, it is a collection of highly personalized images. Yuan Xingpei has a special chapter discussing the relationship between personalized imagery and Li Du's style. My personal feeling is that when Li Bai chooses images, he often has a personal touch. Many of his images can be complementary to his style, such as "Changfeng", "Bright Moon", "Yellow River", "Yellow River", "Yangtze River"... In addition, Li Bai also adopted personalized language. This image is given a bold and far-reaching artistic life.

Moreover, that is Li Bai’s bright and clear language. Li Bai's language is sincere and natural, and comes out without any polish. Just as he said: "Clear water brings out hibiscus, and nature removes the ornaments." This is a natural mixed language, a natural and unrestrained language. This clear and bright beauty is also an important aspect of Li Bai's "pure and elegant" style.

Whether it is passionate and unrestrained, or bold and elegant, the connotation is probably this.

Let’s talk about Du Fu’s "depression":

"Depression" originally refers to the deep, subtle, solemn and melancholy style characteristics in his works. Chen Tingzhuo said in his "Bai Yuzhai Ci Hua": "The so-called melancholy means that the pen comes first, and the spirit leaves behind the words, writing about the resentment of the husband and missing the wife, and the feeling of being an evil son and a lonely minister. All the coldness of friendship, the indifference of life experience It can be found in any grass or tree, and it must be hidden and lingering, and it cannot be revealed in a single word. Hidden, undisclosed, lingering repeatedly, and finally unable to express it in a single word. The strong physique also shows the depth of temperament."

This kind of depression is actually the depth of emotion. This deep and rich emotion comes from Du Fu's broad mind and old-fashioned mentality. Pei Fei said: "He is so broad-minded that one poem and one couplet can cover a lifetime and an entire era." This deep and rich emotion comes from the turbulent era in which Du Fu lived, from the collective mentality of the Tang Dynasty scholars who were changing, and from his own ideological understanding formed in the embarrassment of life and the society under great changes.

I personally think that "frustration" is mainly reflected in some expression techniques in Du Fu's poems. The use of pauses in the style analysis of Du's poetry first appeared in the analysis of the language of Du's poetry. Pause inherently has the meaning of sadness and vitality, which is reflected through the painful and repeated narrative chanting, the choice of bleak and rustling images, and the steep and steep syllables. This kind of "frustration", as Du Fu's "strength increases with age, his interest is full of enthusiasm, his thoughts and experiences continue to mature and deepen, and he becomes more and more sophisticated" (Pei Fei, "Du Fu's "Oldness").