杜甫排律研究
摘要
杜甫（712—770），中国古代最伟大的诗人之一，一直以来都是人们关注的焦点和研究的重心。当今学界对杜甫及其诗作的研究已经相当全面和深入，但是对于杜甫排律的研究仍显不足。除古诗外，排律可以说是最能把大段冗长的议论、纷繁复杂的时事、深长的感叹等空前丰富的内容熔为一炉又自为一体的最好形式，特别在兼顾酬赠的需要和发挥偶对、声律、章法的技巧时来表现沉郁顿挫、壮阔恢宏的风格。而在唐代排律的发展过程中，杜甫排律代表了唐代排律的最高成就，对后世影响极深，有加以论述的必要。
本文绪论部分主要是了解杜甫排律的研究意义以及目前学界的排律研究状况。杜甫排律百二十余首，入蜀前有31首，东西川时有29首，夔州时有35首，荆湘时有32首，篇数之多是前人所不能比的。此外，他拓展了排律的篇幅，丰富了排律的题材，完善了七言排律等，这都体现了杜甫对诗律艺术技巧的执着追求与探索。因此对于杜甫的排律不能简单的视为“碔趺”予以抹煞。半个世纪以来，学界对于排律的系统研究少之又少，早期主要是作为一种存在的文体或词条来解释含义和归纳诗体特点的。至于学术性论著则是从80年代起才陆续发展起来的，多为单篇论文，研究主要集中在个别诗作赏析、蜀中排律、夔州排律、酬赠类排律、七言排律等方面，相对比较零散，缺乏一个整体的论述。
正文部分具体分为五个章节。
第一章是排律的概述，首先对排律有一个基本认识，了解排律这一诗体的基本特点和渊源，分为三节，第一节是排律的命名及其释义。现今学界对排律一词的理解相对明晰，就是十句以上的律诗。而古人对排律诗体名称的确立以及概念的界定各时期有所差别。唐宋时期，概念比较模糊，至元代杨士弘《唐音》首次提出“排律”之名，明代高棅《唐诗品汇》援用之，后人相沿成习。第二节是排律的体式特点。排律由于受到平仄、对仗、押韵到底等格律限制，表情达意上多有拘束，无法随心所欲的表达诗人的思想感情，很容易流于简单的字句堆砌，或语意重复、拖沓冗繁，很不容易写好。但与此相对，排律又具有自身的独特性，主要表现在其篇章结构方面，其点题、首尾、段落布局、起承转合、警句、用典等等都有自己的鲜明特点。这也是排律不同于四韵律诗最突出的一个特点。第三节是排律的溯源。探讨排律发展的源头，以及排律在唐代的创作环境。排律萌芽于南朝颜谢古诗之变，至齐梁时初具规模，到了隋唐之际，初具规模，唐初开始有意识地进行排律创作。
第二章是杜甫排律的分期。杜甫一生饱经磨难，社会大环境的变化与诗人生活状态的变化，对其诗歌创作产生了极大影响，呈现出阶段性变化，本章分为四节。第一节是杜甫蜀前排律。首先是漫游齐鲁时期，排律不多，只两篇；其次是困守长安的时期，杜甫应诏制举不第、四处干谒求汲引、再三献赋无果，甚至想要弃笔从戎。这一时期杜甫排律虽多，但内容多是为人歌功颂德，艺术价值不高；最后是安史乱中及客居秦州时期，时局动荡，杜甫也陷贼中几遭不测，后虽逃出，见肃宗拜左拾遗，不久又被贬华州，辗转至秦州、同谷，贫病交加，终于离陇入蜀。此时是杜甫生活最为艰苦并且也感慨极多的岁月，诗中所表现出的辗转兵焚与其后奔逃陇蜀的内容和思想境界成就了其诗歌所承载的诗史意义。第二节杜甫蜀中排律。杜甫到蜀后筑草堂，与严武、章彝往来密切，后入严武幕府。这一时期因地理环境，杜甫及时反映时事的排律不多，只有《建都十二韵》、《伤春五首》，更多是与亲友酬赠之作和反映幕府生活，抒发内心苦闷的诗篇。这一阶段杜甫对排律创作进行了多方面的探索，七言排律、排律组诗都有所得。第三节，杜甫夔州排律。杜甫在夔州住了两年，却写了三十多首排律，可谓大丰收。这一时期杜甫写了很多缅怀旧事、悼友自伤的诗篇，多流露出一种桑榆之年白头怀旧的悲愁，但《谒先主庙》、《赠李八秘书》等篇也有重返朝堂建功立业的意识。此外，杜甫还写了不少游历名胜古迹的排律，也有写给儿子宗武的、谈诗学源流和自己的作诗体会的、更有一篇百韵排律。第四节，杜甫荆湘排律。这一时期杜甫一家居于舟中，漂泊不定，饥寒交迫，境况寥落。排律仍以抒怀投赠为多，还有对沿途景物的描写，有对晚年漂泊的自伤，有对怀才不遇的悲愤。
第三章是杜甫排律的题材特点，分为两节。第一节是杜甫的酬赠类排律，包括对权臣的干谒汲引以及亲友的赠答往来。干谒的诗作在杜甫的排律中大约十首左右，并不太多，艺术性不高。杜甫较多是亲友之间的赠答之作，往往有感而发，不乏至情至性的佳篇。第二节是杜甫的非酬赠类排律。包括直抒胸臆、吊古伤今，纵论时事、忧心国策以及其他各种题材。直抒胸怀的排律不多，但几乎首首精妙，为研究杜甫的为人及其诗歌创作的思想性、艺术性提供了许多材料，特别是探讨诗人晚年的生涯和心境。杜甫一生心忧国事，有对唐代基业的歌颂，有对唐室之不振的叹惜，有对朝廷政策失误的批评，有对国家盛衰的感怀。此外，或写景、或抒情、或题画、或谈诗等，题材之丰富多样可见一斑。
第四章是杜甫排律的章法特点，分为四节。第一节是重视起句结句；第二节是段落层次分明；第三节是手法排比铺陈；第四节是语言千锤百炼。杜甫排律尤其是长篇排律，多有段落分明，逐层展开，章法纵横变化，抒情陈意通篇贯彻、浑融为一体的特点。杜甫排律几乎每一首都在起结上下有很大功夫，起笔多起到统揽全篇、提纲挈领的作用；结句多收束全篇且留有余意。杜甫排律在段落的起承转合之处可见功力。清代吴乔称“长篇须有构架，以杜氏祖孙二诗为法。”
第五章是后人对杜甫排律的评价，主要分为三种态度：一力推尊、斥为碔趺以及抑扬并存。
杜甫排律篇幅和数量大量增加，以排律写时局国事，抒发忧国忧民的情怀，开拓了排律的题材，绽放了新的活力，对晚唐以及宋元明清都产生了深远影响。
Du Fu, one of the greatest poets in ancient China, has been the focus of attentionand research. Besides ancient Chinese poems, poems in regulated verse may be thebest form to integrate long comment, complicated current affairs and deep-drawnemotional thoughts, especially in a situation where both reciprocating purpose and adepressed but grand style need to be achieved by skills of antithesis, rhyming,methodicalness. In the development process of poems in regulated verse in TangDynasty, Du Fu’s poems in regulated verse represented the highest achievement of histime, generating profound impacts on generations. Therefore, it is a necessity toanalyze and discuss Du Fu’s poems in regulated verse.
The introduction of this thesis mainly introduces research significance of Du Fu’spoems in regulated verse and the current research status of poems in regulated verse inacademia. Du Fu created more than120pieces of poems in regulated verse. Of them,31pieces were created before he was in Shu;29pieces during his stay in Dongchuanand Xichuan;35pieces when he was in Kuizhou, and32pieces when he was in Jing and Xiang. The number of Du Fu’s poems in regulated verse is larger than any otherpredecessors. In addition, Du Fu extended the length of poems in regulated verse,enriched the theme of it and improved the seven-character regulated verse. All theseembody the Du Fu’s pursuit and exploration for art and technique of poems inregulated verse. Therefore, Du Fu’s poems in regulated verse should not be recognizedas “Wufu” and be obliterated blindly. There has been little systematic study on poemsin regulated verse for half a century in academia, and early study mainly focused ondefinition and features of poems in regulated verse in form of vocabulary entry andsome existing literary forms. Academic works on poems in regulated verse did notappear until1980’s, and most of them were single papers, focusing mainly on poems inregulated verse of Shu, poems in regulated verse of Kuizhou, reciprocating poems inregulated verse, seven-character regulated verse, appreciation of individual poems inregulated verse and other aspects. All of these studies were scattered relatively, lackingof an overall overview.
The text is divided into five chapters.
Being divided into three sections, the first chapter will be a summary of poems inregulated verse. Firstly, it will present a brief definition some basic features and the source of poems in regulated verse. Poem in regulated verse is a kind of metrical versethat has more than ten lines, which is defined clearly in current academia. But inancient times, the name and concept of it were defined differently in different periods.In Tang and Song, they were vaguely defined. To Yuan Dynasty, the name of “poemsin regulated verse” was proposed for the first time by Yang Shihong in Tangyin, andthis name was cited by Gao Bing in The Collection of Tang Poem in Ming Dynasty.After a long time usage, this name became an accepted name. The second section willbe about style features of poems in regulated verse. Poems in regulated verse arerestrained in conveying poets’ ideas or feelings by metrical limitations of level andoblique tones, antithesis, rhyme from the beginning to the end. Poets could not expresstheir thoughts and feelings freely by poems in regulated verse, which made it hard tocreate. Even if it was created, it was created in a repetitive and miscellaneous way. Butat the same time, poems in regulated verse have their own advantages in bringing outthe theme, the beginning and the end, paragraph layout, transition, epigram, allusion,etc. This is also the most distinctive characteristic that poems in regulated verse differfrom four-rhythm metrical verse. The third section will trace to the source of poem inregulated verse, and discuss its forming and development in Tang Dynasty. The poems in regulated verse originated from ancient Chinese poems by Yan Yanzhi and XieLingyun in the Southern Dynasties and developed gradually in the Qi and LiangDynasties, then began to take shape between the Sui and Tang Dynasties. InEarly-Tang Dynasty, people began to create poems in regulated verse consciously. Bythe time of Shen Quanqi and Song Zhiwen, it had become an accepted poem style.
The second chapter will be about maturity of Du Fu and poems in regulated verse.Du Fu endured many trials and tribulations in his whole life. Changes of socialenvironment and his living conditions had a great influence on his poems, making hispoems undergo periodic change. This chapter will be divided into five sections, and thefirst section will be about Du Fu’s poems in regulated verse before he moved to Shu.Du Fu took a trip to Qi and Lu in his youth, and only two pieces of poems in regulatedverse were created during this period. Then he went to Chang’an and lived in there forten years. During this time, he attempted to get a post in imperial court through civilservice examination, but failed. After that, he wrote some poems to introduce himselfto the court, but failed again. Finally, he even hit upon the idea of giving up a civilianpursuit to join the army. Though many pieces of poems in regulated verse were createdduring this time, their artistic value was not high, because they all sang the praises of the court. Before long, his country fell into an instable condition because of An LushanRebellion. Du Fu also experienced a series of mishaps. Although survived from thechaos and was commissioned as a supervisor by Emperor Suzong of Tang, he soon wasdemoted and worn down by poverty and illness, and had to leave Shaanxi for Sichuan.This is the hardest time and the most emotional time for Du Fu. Thoughts and contentsexpressed in his poems written in this period had a great significance to the history.The third section will be about poems in regulated verse created when Du Fu was ineast Sichuan and west Sichuan. After arrived in Shu, Du Fu built a humble cottage andhad a good relation with Yan Wu and Zhang Yi. Later, he was offered a position in YanWu’s office. During this time, poems in regulated verse that reflected current affairswas not much due to geographical conditions. Except Twelve-rhythm on FoundingCapital and Five Poems on Grieving over Spring, the others all were reciprocatingpoems or reflected his office life and expressed his anguish and sadness. Du Fuexplored a lot of techniques on writing poems in regulated verse and contributed a lotto it in this period, including seven-character regulated verse and suite poem ofregulated verse. The fourth section will be about Du Fu’s poems in regulated versecreated when he was in Kuizhou. Du Fu lived in Kuizhou for two years, and wrote more than30pieces of poems in regulated verse, which could be said to have a harvest.In this period, most of his poems in regulated verse recalled the past and mourned forfriends, revealing the sadness of oldness. But some still expressed the ambition ofmaking contributions to his country, such as Pay Respect to Temple of Liu Bei and ToLibrarian of Li Ba. In addition, Du Fu created some pieces of poems in regulated verseon visiting places of interest, and some for his son Zongwu, some on origin anddevelopment of poetics, and some about his own experience on creating poems. Ofthem, one piece of poems in regulated verse he created had one hundred rhythms! Thefifth section will be about poems in regulated verse when Du Fu was in Jing and Xiang.During this time, his whole family just lived in a small boat and lived a miserable life.Therefore, most of his poems in regulated verse still expressed sadness, anguish of hislife and anger of having no chance to show his talent.
The third chapter will be about theme features of Du Fu’s poems in regulatedverse, being divided into four sections. The first section will be about poems inregulated verse that introduced himself to the imperial court. The number of this kindof poems in regulated verse was about ten, and their artistic value was not high. Thesecond section will be about reciprocating poems. Most of them are for relatives and friends, often finished without too much amending. Therefore, they were very true andpure. The third section will be about poems in regulated verse that spoke his minddirectly. Although the number of this kind of poems in regulated verse was not large,each of them was very ingenious, providing sources for studying character of Du Fuand for studying thought and artistry of his poems, especially for studying Du Fu’s oldage life and his mental mind. The fourth section will be about his poems in regulatedverse on current political situation and national affairs. Du Fu was concerned aboutnational affairs in his whole life. In his poems, he sang praises of Tang’s earlyprosperity, lamented the fall of Tang, criticized the Tang’s failures in policy andrecalled with emotion about the decline of Tang. Besides all of the above, his poemshave other rich themes, such as describing scenes, expressing emotion, syncretizingpoems and paintings, and appreciating poems.
The fourth chapter will be about methodicalness features of Du Fu’s poems inregulated verse, being divided into four sections. The first section will be about poem’sfirst line and the last line; the second chapter will be about paragraphing; the thirdsection will be about technique of parallelism; the fourth section will be aboutterseness in language. Du Fu’s poems in regulated verse, especially the long ones had a concise paragraph structure, integrated with emotion and thoughts from the beginningto the end. Du Fu put a lot of work on the first line and the last line of each poem. Thefirst line always played a role as a commanding summation while the last line alwaysbrought the poem to an end but left the artistic conception still to linger. Du Fu’spoems in regulated verse were good at transition, and were recognized as examples byWu Qiao of Qing Dynasty.
The fifth chapter will be about comments by later generations of Du Fu’s poemsin regulated verse, Some thought it flawless, some held a negative attitude towards it,some thought highly about it, but also pointed out some flaws.
Du Fu created much more pieces of poems in regulated verse than any other poets,and the length of these poems was much longer than other ones. The theme ofconcerning his country and his people in his works injected new vitality to poems inregulated verse, enriching the theme of these poems. His poems in regulated verse alsoproduced an important influence on poems of late Tang Dynasty, Song, Yuan, Mingand Qing Dynasties.
本文绪论部分主要是了解杜甫排律的研究意义以及目前学界的排律研究状况。杜甫排律百二十余首，入蜀前有31首，东西川时有29首，夔州时有35首，荆湘时有32首，篇数之多是前人所不能比的。此外，他拓展了排律的篇幅，丰富了排律的题材，完善了七言排律等，这都体现了杜甫对诗律艺术技巧的执着追求与探索。因此对于杜甫的排律不能简单的视为“碔趺”予以抹煞。半个世纪以来，学界对于排律的系统研究少之又少，早期主要是作为一种存在的文体或词条来解释含义和归纳诗体特点的。至于学术性论著则是从80年代起才陆续发展起来的，多为单篇论文，研究主要集中在个别诗作赏析、蜀中排律、夔州排律、酬赠类排律、七言排律等方面，相对比较零散，缺乏一个整体的论述。
正文部分具体分为五个章节。
第一章是排律的概述，首先对排律有一个基本认识，了解排律这一诗体的基本特点和渊源，分为三节，第一节是排律的命名及其释义。现今学界对排律一词的理解相对明晰，就是十句以上的律诗。而古人对排律诗体名称的确立以及概念的界定各时期有所差别。唐宋时期，概念比较模糊，至元代杨士弘《唐音》首次提出“排律”之名，明代高棅《唐诗品汇》援用之，后人相沿成习。第二节是排律的体式特点。排律由于受到平仄、对仗、押韵到底等格律限制，表情达意上多有拘束，无法随心所欲的表达诗人的思想感情，很容易流于简单的字句堆砌，或语意重复、拖沓冗繁，很不容易写好。但与此相对，排律又具有自身的独特性，主要表现在其篇章结构方面，其点题、首尾、段落布局、起承转合、警句、用典等等都有自己的鲜明特点。这也是排律不同于四韵律诗最突出的一个特点。第三节是排律的溯源。探讨排律发展的源头，以及排律在唐代的创作环境。排律萌芽于南朝颜谢古诗之变，至齐梁时初具规模，到了隋唐之际，初具规模，唐初开始有意识地进行排律创作。
第二章是杜甫排律的分期。杜甫一生饱经磨难，社会大环境的变化与诗人生活状态的变化，对其诗歌创作产生了极大影响，呈现出阶段性变化，本章分为四节。第一节是杜甫蜀前排律。首先是漫游齐鲁时期，排律不多，只两篇；其次是困守长安的时期，杜甫应诏制举不第、四处干谒求汲引、再三献赋无果，甚至想要弃笔从戎。这一时期杜甫排律虽多，但内容多是为人歌功颂德，艺术价值不高；最后是安史乱中及客居秦州时期，时局动荡，杜甫也陷贼中几遭不测，后虽逃出，见肃宗拜左拾遗，不久又被贬华州，辗转至秦州、同谷，贫病交加，终于离陇入蜀。此时是杜甫生活最为艰苦并且也感慨极多的岁月，诗中所表现出的辗转兵焚与其后奔逃陇蜀的内容和思想境界成就了其诗歌所承载的诗史意义。第二节杜甫蜀中排律。杜甫到蜀后筑草堂，与严武、章彝往来密切，后入严武幕府。这一时期因地理环境，杜甫及时反映时事的排律不多，只有《建都十二韵》、《伤春五首》，更多是与亲友酬赠之作和反映幕府生活，抒发内心苦闷的诗篇。这一阶段杜甫对排律创作进行了多方面的探索，七言排律、排律组诗都有所得。第三节，杜甫夔州排律。杜甫在夔州住了两年，却写了三十多首排律，可谓大丰收。这一时期杜甫写了很多缅怀旧事、悼友自伤的诗篇，多流露出一种桑榆之年白头怀旧的悲愁，但《谒先主庙》、《赠李八秘书》等篇也有重返朝堂建功立业的意识。此外，杜甫还写了不少游历名胜古迹的排律，也有写给儿子宗武的、谈诗学源流和自己的作诗体会的、更有一篇百韵排律。第四节，杜甫荆湘排律。这一时期杜甫一家居于舟中，漂泊不定，饥寒交迫，境况寥落。排律仍以抒怀投赠为多，还有对沿途景物的描写，有对晚年漂泊的自伤，有对怀才不遇的悲愤。
第三章是杜甫排律的题材特点，分为两节。第一节是杜甫的酬赠类排律，包括对权臣的干谒汲引以及亲友的赠答往来。干谒的诗作在杜甫的排律中大约十首左右，并不太多，艺术性不高。杜甫较多是亲友之间的赠答之作，往往有感而发，不乏至情至性的佳篇。第二节是杜甫的非酬赠类排律。包括直抒胸臆、吊古伤今，纵论时事、忧心国策以及其他各种题材。直抒胸怀的排律不多，但几乎首首精妙，为研究杜甫的为人及其诗歌创作的思想性、艺术性提供了许多材料，特别是探讨诗人晚年的生涯和心境。杜甫一生心忧国事，有对唐代基业的歌颂，有对唐室之不振的叹惜，有对朝廷政策失误的批评，有对国家盛衰的感怀。此外，或写景、或抒情、或题画、或谈诗等，题材之丰富多样可见一斑。
第四章是杜甫排律的章法特点，分为四节。第一节是重视起句结句；第二节是段落层次分明；第三节是手法排比铺陈；第四节是语言千锤百炼。杜甫排律尤其是长篇排律，多有段落分明，逐层展开，章法纵横变化，抒情陈意通篇贯彻、浑融为一体的特点。杜甫排律几乎每一首都在起结上下有很大功夫，起笔多起到统揽全篇、提纲挈领的作用；结句多收束全篇且留有余意。杜甫排律在段落的起承转合之处可见功力。清代吴乔称“长篇须有构架，以杜氏祖孙二诗为法。”
第五章是后人对杜甫排律的评价，主要分为三种态度：一力推尊、斥为碔趺以及抑扬并存。
杜甫排律篇幅和数量大量增加，以排律写时局国事，抒发忧国忧民的情怀，开拓了排律的题材，绽放了新的活力，对晚唐以及宋元明清都产生了深远影响。
Du Fu, one of the greatest poets in ancient China, has been the focus of attentionand research. Besides ancient Chinese poems, poems in regulated verse may be thebest form to integrate long comment, complicated current affairs and deep-drawnemotional thoughts, especially in a situation where both reciprocating purpose and adepressed but grand style need to be achieved by skills of antithesis, rhyming,methodicalness. In the development process of poems in regulated verse in TangDynasty, Du Fu’s poems in regulated verse represented the highest achievement of histime, generating profound impacts on generations. Therefore, it is a necessity toanalyze and discuss Du Fu’s poems in regulated verse.
The introduction of this thesis mainly introduces research significance of Du Fu’spoems in regulated verse and the current research status of poems in regulated verse inacademia. Du Fu created more than120pieces of poems in regulated verse. Of them,31pieces were created before he was in Shu;29pieces during his stay in Dongchuanand Xichuan;35pieces when he was in Kuizhou, and32pieces when he was in Jing and Xiang. The number of Du Fu’s poems in regulated verse is larger than any otherpredecessors. In addition, Du Fu extended the length of poems in regulated verse,enriched the theme of it and improved the seven-character regulated verse. All theseembody the Du Fu’s pursuit and exploration for art and technique of poems inregulated verse. Therefore, Du Fu’s poems in regulated verse should not be recognizedas “Wufu” and be obliterated blindly. There has been little systematic study on poemsin regulated verse for half a century in academia, and early study mainly focused ondefinition and features of poems in regulated verse in form of vocabulary entry andsome existing literary forms. Academic works on poems in regulated verse did notappear until1980’s, and most of them were single papers, focusing mainly on poems inregulated verse of Shu, poems in regulated verse of Kuizhou, reciprocating poems inregulated verse, seven-character regulated verse, appreciation of individual poems inregulated verse and other aspects. All of these studies were scattered relatively, lackingof an overall overview.
The text is divided into five chapters.
Being divided into three sections, the first chapter will be a summary of poems inregulated verse. Firstly, it will present a brief definition some basic features and the source of poems in regulated verse. Poem in regulated verse is a kind of metrical versethat has more than ten lines, which is defined clearly in current academia. But inancient times, the name and concept of it were defined differently in different periods.In Tang and Song, they were vaguely defined. To Yuan Dynasty, the name of “poemsin regulated verse” was proposed for the first time by Yang Shihong in Tangyin, andthis name was cited by Gao Bing in The Collection of Tang Poem in Ming Dynasty.After a long time usage, this name became an accepted name. The second section willbe about style features of poems in regulated verse. Poems in regulated verse arerestrained in conveying poets’ ideas or feelings by metrical limitations of level andoblique tones, antithesis, rhyme from the beginning to the end. Poets could not expresstheir thoughts and feelings freely by poems in regulated verse, which made it hard tocreate. Even if it was created, it was created in a repetitive and miscellaneous way. Butat the same time, poems in regulated verse have their own advantages in bringing outthe theme, the beginning and the end, paragraph layout, transition, epigram, allusion,etc. This is also the most distinctive characteristic that poems in regulated verse differfrom four-rhythm metrical verse. The third section will trace to the source of poem inregulated verse, and discuss its forming and development in Tang Dynasty. The poems in regulated verse originated from ancient Chinese poems by Yan Yanzhi and XieLingyun in the Southern Dynasties and developed gradually in the Qi and LiangDynasties, then began to take shape between the Sui and Tang Dynasties. InEarly-Tang Dynasty, people began to create poems in regulated verse consciously. Bythe time of Shen Quanqi and Song Zhiwen, it had become an accepted poem style.
The second chapter will be about maturity of Du Fu and poems in regulated verse.Du Fu endured many trials and tribulations in his whole life. Changes of socialenvironment and his living conditions had a great influence on his poems, making hispoems undergo periodic change. This chapter will be divided into five sections, and thefirst section will be about Du Fu’s poems in regulated verse before he moved to Shu.Du Fu took a trip to Qi and Lu in his youth, and only two pieces of poems in regulatedverse were created during this period. Then he went to Chang’an and lived in there forten years. During this time, he attempted to get a post in imperial court through civilservice examination, but failed. After that, he wrote some poems to introduce himselfto the court, but failed again. Finally, he even hit upon the idea of giving up a civilianpursuit to join the army. Though many pieces of poems in regulated verse were createdduring this time, their artistic value was not high, because they all sang the praises of the court. Before long, his country fell into an instable condition because of An LushanRebellion. Du Fu also experienced a series of mishaps. Although survived from thechaos and was commissioned as a supervisor by Emperor Suzong of Tang, he soon wasdemoted and worn down by poverty and illness, and had to leave Shaanxi for Sichuan.This is the hardest time and the most emotional time for Du Fu. Thoughts and contentsexpressed in his poems written in this period had a great significance to the history.The third section will be about poems in regulated verse created when Du Fu was ineast Sichuan and west Sichuan. After arrived in Shu, Du Fu built a humble cottage andhad a good relation with Yan Wu and Zhang Yi. Later, he was offered a position in YanWu’s office. During this time, poems in regulated verse that reflected current affairswas not much due to geographical conditions. Except Twelve-rhythm on FoundingCapital and Five Poems on Grieving over Spring, the others all were reciprocatingpoems or reflected his office life and expressed his anguish and sadness. Du Fuexplored a lot of techniques on writing poems in regulated verse and contributed a lotto it in this period, including seven-character regulated verse and suite poem ofregulated verse. The fourth section will be about Du Fu’s poems in regulated versecreated when he was in Kuizhou. Du Fu lived in Kuizhou for two years, and wrote more than30pieces of poems in regulated verse, which could be said to have a harvest.In this period, most of his poems in regulated verse recalled the past and mourned forfriends, revealing the sadness of oldness. But some still expressed the ambition ofmaking contributions to his country, such as Pay Respect to Temple of Liu Bei and ToLibrarian of Li Ba. In addition, Du Fu created some pieces of poems in regulated verseon visiting places of interest, and some for his son Zongwu, some on origin anddevelopment of poetics, and some about his own experience on creating poems. Ofthem, one piece of poems in regulated verse he created had one hundred rhythms! Thefifth section will be about poems in regulated verse when Du Fu was in Jing and Xiang.During this time, his whole family just lived in a small boat and lived a miserable life.Therefore, most of his poems in regulated verse still expressed sadness, anguish of hislife and anger of having no chance to show his talent.
The third chapter will be about theme features of Du Fu’s poems in regulatedverse, being divided into four sections. The first section will be about poems inregulated verse that introduced himself to the imperial court. The number of this kindof poems in regulated verse was about ten, and their artistic value was not high. Thesecond section will be about reciprocating poems. Most of them are for relatives and friends, often finished without too much amending. Therefore, they were very true andpure. The third section will be about poems in regulated verse that spoke his minddirectly. Although the number of this kind of poems in regulated verse was not large,each of them was very ingenious, providing sources for studying character of Du Fuand for studying thought and artistry of his poems, especially for studying Du Fu’s oldage life and his mental mind. The fourth section will be about his poems in regulatedverse on current political situation and national affairs. Du Fu was concerned aboutnational affairs in his whole life. In his poems, he sang praises of Tang’s earlyprosperity, lamented the fall of Tang, criticized the Tang’s failures in policy andrecalled with emotion about the decline of Tang. Besides all of the above, his poemshave other rich themes, such as describing scenes, expressing emotion, syncretizingpoems and paintings, and appreciating poems.
The fourth chapter will be about methodicalness features of Du Fu’s poems inregulated verse, being divided into four sections. The first section will be about poem’sfirst line and the last line; the second chapter will be about paragraphing; the thirdsection will be about technique of parallelism; the fourth section will be aboutterseness in language. Du Fu’s poems in regulated verse, especially the long ones had a concise paragraph structure, integrated with emotion and thoughts from the beginningto the end. Du Fu put a lot of work on the first line and the last line of each poem. Thefirst line always played a role as a commanding summation while the last line alwaysbrought the poem to an end but left the artistic conception still to linger. Du Fu’spoems in regulated verse were good at transition, and were recognized as examples byWu Qiao of Qing Dynasty.
The fifth chapter will be about comments by later generations of Du Fu’s poemsin regulated verse, Some thought it flawless, some held a negative attitude towards it,some thought highly about it, but also pointed out some flaws.
Du Fu created much more pieces of poems in regulated verse than any other poets,and the length of these poems was much longer than other ones. The theme ofconcerning his country and his people in his works injected new vitality to poems inregulated verse, enriching the theme of these poems. His poems in regulated verse alsoproduced an important influence on poems of late Tang Dynasty, Song, Yuan, Mingand Qing Dynasties.
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