Dù Fǔ ​杜 甫 712–770 Ce Tang Dynasty Poet

Total Page:16

File Type:pdf, Size:1020Kb

Dù Fǔ ​杜 甫 712–770 Ce Tang Dynasty Poet ◀ Dream of the Red Chamber Comprehensive index starts in volume 5, page 2667. DU Fu Dù Fǔ ​杜 甫 712–770 ce Tang dynasty poet One of the most prominent and influential of its proper function within courtly life. So he took up liter- Chinese poets, Du Fu expanded the reach of ary pursuits, supported by family and friends. poetic expression to include morality and his- Evidence from his poems suggests that it was during tory, along with literary concerns. He is often this period that he met Li Bai, who was a renowned poet by this time. However, Li Bai appears not to have assisted referred to as the “Chinese Shakespeare.” Statue of Du Fu, an eminent poet who lived he “golden age” of China is often associated with through the decline of the Tang dynasty. He is of- the Tang dynasty (618– 907 ce), especially with ten called “China’s Shakespeare.” Photo by Paul the reign of Emperor Xuanzong and three emi- and Bernice Noll. nent poets: Wang Wei, Li Bai (also Li Bo, Li Po), and Du Fu. Whereas Wang Wei and Li Bai wrote during the apex of the Tang period, Du Fu lived through the eventual de- struction of this golden era. Du Fu was born in Luoyang, in Henan Province, to a family of scholar-​­officials. From his earliest days, as was typical for a young man of his class, his education involved the rigorous study of the works of Confucius, the honing of writing skills, and the perfecting of poetry composed in various formal meters. Once such an education was deemed complete, the stu- dent was faced with the challenge of taking the imperial civil service examination. Those who passed became the younger generation of scholar-​­officials. At this time few people were literate, given the complexity of the classical Chinese writing system; thus the pool of scholar-​­officials was small. Because their skills were greatly needed, scholar- officials were often found at the center of courtly life. -How ever, such was not to be Du Fu’s life. He took the official examinations twice and failed both times. This made life difficult for him since he was trained in a vocation that had 648 T © 2009 by Berkshire Publishing Group LLC DU Fu n Dù Fǔ n 杜甫 649 in furthering Du Fu’s career at court. At the age of thirty- friends, chief among them the governor of Chengdu. four, Du Fu married and would eventually have five chil- When the rebels were finally driven from his native city dren. His hardships continued until at last he succeeded of Luoyang by the royal army in 762, Du Fu eagerly set in securing a minor court position. But political turmoil out, intending to return and live there once again. But his soon engulfed his world. life of deprivation had taken its toll, and he suffered from In 755 the An Lushan rebellion, which would last various ailments, making travel slow and often impos- for eight long years, began. The Emperor Xuanzong ab- sible. He died in 768 at Changsha, in Hunan province, dicated and fled to Sichuan. Du Fu and his family were just as he set out once more for Luoyang. captured by the rebels but managed to escape to Yinch- Nirmal DASS uan, in Ningxia, where Suzong, the son of Xuanzong, had been declared emperor by the royal army. But the new Further Reading emperor cared little for Du Fu and gave him a very minor post. This led to much resentment on the part of Du Fu, Davis, A. R. (1971). Tu Fu. New York: Twayne Pub- who eventually left the emperor’s service in 760. lishers. Graham, A. C. (1965). Poems of the late T’ang. Baltimore: He spent time wandering about until he came to Penguin. Chengdu, in the Sichaun province, where he took up res- Hightower, J. R., & Chou, E. S. (1995). Reconsidering Tu idence in his famed “thatched cottage,” where he wrote Fu: Literary greatness and cultural context. Cambridge, many of his poems. His poetry is unique in that it is filled U.K.: Cambridge University Press. with Confucian ideals, as well as personal concerns. This Liu, J. J. Y. (1962). The art of Chinese poetry. New Haven, allowed him to examine the plight of the individual in the CT: Yale University Press. wider flow of history. Owen, S. (1996). An anthology of Chinese literature. New His financial woes were allayed by the kindness of York: W.W. Norton. Man struggles upwards; water flows downwards. 水往低处流, 人往高处走 Shuǐ wǎng dīchù liú,rén wǎng gāochù zǒu Duilian ▶ © 2009 by Berkshire Publishing Group LLC.
Recommended publications
  • An Explanation of Gexing
    Front. Lit. Stud. China 2010, 4(3): 442–461 DOI 10.1007/s11702-010-0107-5 RESEARCH ARTICLE XUE Tianwei, WANG Quan An Explanation of Gexing © Higher Education Press and Springer-Verlag 2010 Abstract Gexing 歌行 is a historical and robust prosodic style that flourished (not originated) in the Tang dynasty. Since ancient times, the understanding of the prosody of gexing has remained in debate, which focuses on the relationship between gexing and yuefu 乐府 (collection of ballad songs of the music bureau). The points-of-view held by all sides can be summarized as a “grand gexing” perspective (defining gexing in a broad sense) and four major “small gexing” perspectives (defining gexing in a narrow sense). The former is namely what Hu Yinglin 胡应麟 from Ming dynasty said, “gexing is a general term for seven-character ancient poems.” The first “small gexing” perspective distinguishes gexing from guti yuefu 古体乐府 (tradition yuefu); the second distinguishes it from xinti yuefu 新体乐府 (new yuefu poems with non-conventional themes); the third takes “the lyric title” as the requisite condition of gexing; and the fourth perspective adopts the criterion of “metricality” in distinguishing gexing from ancient poems. The “grand gexing” perspective is the only one that is able to reveal the core prosodic features of gexing and give specification to the intension and extension of gexing as a prosodic style. Keywords gexing, prosody, grand gexing, seven-character ancient poems Received January 25, 2010 XUE Tianwei ( ) College of Humanities, Xinjiang Normal University, Urumuqi 830054, China E-mail: [email protected] WANG Quan International School, University of International Business and Economics, Beijing 100029, China E-mail: [email protected] An Explanation of Gexing 443 The “Grand Gexing” Perspective and “Small Gexing” Perspective Gexing, namely the seven-character (both unified seven-character lines and mixed lines containing seven character ones) gexing, occupies an equal position with rhythm poems in Tang dynasty and even after that in the poetic world.
    [Show full text]
  • China Poet: Wang Wei Poem: Living in the Hills
    Poetry 2012: The Written World Resources for Teachers Country: China Poet: Wang Wei Poem: Living in the Hills Contents 1. About this Resource 2. ‘Living in the Hills: Impromptu Verses’ 3. The Poet & His Work (and His Translator) 4. Reading the Poem 5. Discussion: Urban & Rural 6. Research Activity: Translations 7. Creative Activity: Imitations 8. Further Reading & Weblinks About this Resource Activities in this resource are aimed at pupils in upper secondary school (S4–S6). Developing global citizens within Curriculum for Excellence These resources, featuring poems from around the world, can help realise certain key principles within this document, including • enabling learners to appreciate the values and opinions of others with particular reference to environments and cultures • motivating learners to engage in local, national and global issues • promoting the concept of shared humanity • actively engaging [learners] in exploring a variety of traditions and cultures from around the world This resource • helps pupils to develop an understanding of the complexities of language through the study of a range of texts • provides learners with the opportunity to analyse and evaluate texts • provides learners with the opportunity to create and produce texts from SQA’s ‘Key points for English’ www.sqa.org.uk/sqa/45672.html (accessed 21 May 2012) The ‘Discussion’ topic below may also relevant to Geography, in the context of “[bringing] together the natural and social sciences”. Living in the Hills: Impromptu Verses I close my brushwood door in solitude And face the vast sky as late sunlight falls. The pine trees: cranes are nesting all around. My wicker gate: a visitor seldom calls.
    [Show full text]
  • Aristocratic Culture
    Part 3: Cosmopolitan Tang: Aristocratic Culture 12: The Unified Empire: Cosmopolitan Tang Historical Overview Year Event 589 Reunification The Sui defeat of the Southern Dynasties ended the north/south split and the split between the ethnically Han and non-Han dynasties. Like the Qin it its time, this period of reunification, into the first years of the seventh century, sowed the seeds for the cultural and socio-political trends that would come to fruition in the Tang: Strengthening of central control over civil and military authorities. Economic links between N and S that led to the building of the canal. Expansion of the empire into SE and NE Asia Flourishing of Sinisized state Buddhism 630 Tang begins Amid the military overextension and environmental pressures that fomented the Sui civil war, the NE military became a dominant force. By 630, if I understood the lecture correctly, this force had achieved hegemony. The first century-and-a-half saw a new centralized aristocratic empire. Taxes were reorganized around the equal-field system, centralizing control over land and taxes. Non-Chinese people were integrated into the empire. 755-763 An Lushan rebellion Expansion into new areas taxed the Tang militia, requiring professional armies to staff the frontier posts. The An Lushan rebellion of 755-763, a frontier military rebellion, wreaked havoc on the dynasty and ushered in the developments we associate with Later Tang (but not the Later Tang Dynasty of 923). 760-918 Later Tang In this period, the tax system broke down along with relationships with the frontier kingdoms. The government retreated from commerce, opening the way for private enterprise.
    [Show full text]
  • Li Shangyin: the Poetry of Allusion
    LI SHANGYIN: THE POETRY OF ALLUSION By TERESA YEE-WAH YU B.A., The University of Hong Kong, 1973 M.A., The University of British Columbia, 1977 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asicin Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1990 (o) Teresa Yee-wah Yu, 1990 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. 1 further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT A major poet of the Tang period, Li Shangyin is highly regarded yet criticized because his work is densely allusive. Dazzling and rich in meaning, it is also difficult and obscure because of its pervasive allusiveness. Chapter I reviews critical opinion of Li's use of allusion. Many traditional critics see allusion as an ornamental rhetorical device and consider Li's profuse allusiveness an idiosyncrasy to be tolerated in an esteemed poet. Chapter II studies allusion broadly and precisely as a literary concept: generally, allusion is a "connector" of texts, a link between a poet's work and his literary heritage; specifi• cally, it is a linguistic device serving metaphorical functions.
    [Show full text]
  • 5P.Qian,Part 1,Spirit and Self
    ∫ SPIRIT AND SELF IN MEDIEVAL CHINA Published with the support of the School of Hawaiian, Asian, and Pacific Studies, University of Hawai‘i ∫ SPIRIT AND SELF IN MEDIEVAL CHINA The Shih-shuo hsin-yü and Its Legacy Nanxiu Qian university of hawai‘i press honolulu © 2001 University of Hawai‘i Press All rights reserved Printed in the United States of America 060504030201 654321 Library of Congress Cataloging-in-Publication Data Qian, Nanxiu. Spirit and self in medieval China: the Shih-shuo hsin-yü and its legacy / Nanxiu Qian. p. cm. Includes bibliographical references and index. ISBN 0-8248-2309-5 (alk. paper)—ISBN 0-8248-2397-4 (pbk. : alk. paper) 1. Liu, I-ch’ing, 403-444. Shih shuo hsin yè. I. Title: Shih-shuo hsin-yü and its legacy. II. Title. DS736.L5363 Q25 2001 895.1'8240208—dc21 00-062949 Chapter 8 first appeared in Nan Nuu: Men, Women, and Gender in Early and Imperial China, Kononklijke Brill N.V., Leiden, The Netherlands (1999). Chapter 9 first appeared in Early Medieval China 4 (1998): 49–82. Both appear here in revised form with the permission of the publishers. University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by Deborah Hodgdon Printed by The Maple-Vail Book Manufacturing Group To Richard B. Mather ∫ Contents List of Figures ix Acknowledgments xi Chinese Dynasties xiii Japanese Periods Involved in the Japanese Shih-shuo Imitations xv Introduction 1 Part 1 From Character Appraisal to Character Writing: The Formation of the Shih-shuo Genre Chapter 1.
    [Show full text]
  • Chinese Art 1. Ancient Times to the End of the Tang Dynasty
    Chinese Art 1. Ancient times to the end of the Tang Dynasty Pinyin spelling mostly approximates to English pronunciation apart from, notably, Q = “ch” in cheap. X =”sh” in sham. Zh = “j” in jasmine. Z = “ds” hands. C = “ts” as in tsar. Names are given with surnames first Contents Shang (c 1600 – 1046 BC) and Western Zhou (c 1046 – 770 BC) Dynasties .......................................... 3 Warring States Period (400 – 221 BC) ............................................................................................................ 10 Qin (221-207 BC) and Han (206 BC – 220) Dynasties ................................................................................. 15 Period of Division: Three Kingdoms and Six Dynasties (220 – 589) ...................................................... 23 Calligraphy and Painting ................................................................................................................................... 23 Gu Kaizhi (also spelled Ku K’ai-chih, c 344-406) ...................................................................................... 29 Buddhist Art ........................................................................................................................................................ 32 Sui and Tang Dynasties (618-907) ................................................................................................................... 36 Wu Daozi (also spelled Wu Tao-tzu, 685-758) ......................................................................................... 37
    [Show full text]
  • Course Form for PKU Summer School International 2020
    Peking University Summer School International 2020 Course Form for PKU Summer School International 2020 Classical Chinese Poetry Course Title 中国古典诗词 Teacher MEI Shenyou First day of classes June 29, 2020 Last day of classes July 24, 2020 Course Credit 2 credits Course Description Objective: As a time-honored genre, poetry enjoyed an unrivalled status in classical Chinese literature. This course offers a survey of classical Chinese poetry by studying its evolution from about the 11th century B.C to the 12th century AD, when poetry had almost passed the zenith of its development. We shall study its two major forms — Shi poetry & Ci poetry (song lyrics) — and examine their various modes by focusing on the most representative works in history, particularly by ten major poets, with due attention to their distinctive life experience and the cultural context of each poem. By the end of the term, students will be enabled to cultivate their capacity for independent appreciation and to catch a glimpse of the breadth, depth and wealth of classical Chinese poetry. Pre-requisites Some basic knowledge of Chinese is preferable, but not mandatory. Proceeding of the Course This is a lecture/seminar-combined class. On class days, when a new genre or poet is being introduced, I will introduce at the very beginning some relevant historical and cultural background information, followed by students’ discussion. Generally, we focus on one genre/poet for each session. All the study materials will be in English. I shall find the best translations available, sometimes along with the Chinese original and relevant audio readings.
    [Show full text]
  • T'ang Dynasty Poetry and Art Lesson
    T’ANG DYNASTY POETRY AND ART LESSON The first three of six poems by Wang Wei and P’ei Ti Elizabeth Rosales [email protected] 06.16.2017 3rd GRADE ART GRADE THREE VISUAL AND PERFORMING ARTS: Visual Arts Content Standards 2.0 CREATIVE EXPRESSION 2.3 Paint or draw a landscape, seascape, or cityscape that shows the illusion of space. 5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS 5.2 Write a poem or story inspired by their own works of art. THIRD GRADE READING, SPEAKING, AND LISTENING STANDARDS READING STANDARDS FOR LITERATURE Range of Reading and Level of Text Complexity 10. By the end of the year, read and comprehend literature, including stories, dramas, and poetry, at the high end of the grades 2–3 text complexity band independently and proficiently. SPEAKING AND LISTENING STANDARDS Comprehension and Collaboration 1. Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacherled) with diverse partners on grade 3 topics and texts, building on others’ ideas and expressing their own clearly. a. Come to discussions prepared, having read or studied required material; explicitly draw on that preparation and other information known about the topic to explore ideas under discussion. b. Follow agreed-upon rules for discussions (e.g., gaining the floor in respectful ways, listening to others with care, speaking one at a time about the topics and texts under discussion). c. Ask questions to check understanding of information presented, stay on topic, and link their comments to the remarks of others. d. Explain their own ideas and understanding in light of the discussion.
    [Show full text]
  • A Study of Luo Yin's Writings of Slandering Shiwei Zhou a Thesis
    Understanding “Slandering”: A Study of Luo Yin’s Writings of Slandering Shiwei Zhou A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2020 Committee: Ping Wang William G. Boltz Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2020 Shiwei Zhou 2 University of Washington Abstract Understanding “Slandering”: A Study of Luo Yin’s Writings of Slandering Shiwei Zhou Chair of the Supervisory Committee: Professor Ping Wang Department of Asian Languages and Literature This thesis is an attempt to study a collection of fifty-eight short essays-Writings of Slandering- written and compiled by the late Tang scholar Luo Yin. The research questions are who are slandered, why are the targets slandered, and how. The answering of the questions will primarily rely on textual studies, accompanied by an exploration of the tradition of “slandering” in the literati’s world, as well as a look at Luo Yin’s career and experience as a persistent imperial exam taker. The project will advance accordingly: In the introduction, I will examine the concept of “slandering” in terms of how the Chinese literati associate themselves with it and the implications of slandering or being slandered. Also, I will try to explain how Luo Yin fits into the picture. Chapter two will focus on the studies of the historical background of the mid-to-late Tang period and the themes of the essays. Specifically, it will spell out the individuals, the group of people, and the political and social phenomenon slandered in the essays.
    [Show full text]
  • Paper Title (Use Style: Paper Title)
    Advances in Social Science, Education and Humanities Research, volume 142 4th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2017) The Value of Antique Music Score in Li Bai Poem Yanshuang Hou Libai Research Center The Institute on Libai of Sichuan Province Mianyang, China 621000 School of Music University of Jinan Jinan, China 250022 School of Education Tianjin University Tianjin, China 300072 Xiaona Zhao Xinglong Guo* School of Music Libai Research Center Mianyang Normal University The Institute on Libai of Sichuan Province Mianyang, China 621000 Mianyang, China 621000 *Corresponding Author Abstract—Researching on Li Bai poem and music is mainly the present as a genius and a romantic figure who took focused on aesthetics, history and literature. Tang dynasty traditional poetic forms to new heights, and also titled as a poem and music are inter-dependent and mutually promoting. “Poem God”. It is recorded that there are about nine hundred Many studies concern on the legendary personality charm of ninty poems created by Li Bai. Li Bai poems conquered Li Bai and some other respects, such as cultural characteristics, many people from government officials to civilians at that thought connotation and cultural influence of poetry. However, time, and he won the high prestige and status. Among the the historical trace of AMS (Antique Music Score) in Li Bai history of poem, Li Bai is one of the most prominent figures poem was obviously ignored. People concluded that Li Bai in the flourishing of Chinese poetry in the Tang Dynasty. poem can be sung through analyzing Absolutely Sentence (one kind poetry form, Jue Ju) of Tang Dynasty poetry, the Li Bai collected the classical poem and opens a new relationship between Li Bai poem and music as well as sing world first.
    [Show full text]
  • An Aesthetic Approach to the Translation of Wang Wei's
    Projections No 2 (2013) 1 An aesthetic approach to the translation of Wang Wei’s landscape poetry CHEN Xi, University of Macau Abstract Chinese landscape poetry is not only the concentration and embodiment of the unique Chinese landscape culture, but also demonstrates the harmonious integration of poetry and painting. The key question in translating Chinese landscape poetry into English is how to keep the aesthetic quality of an image. Through analysis of different English versions of Wang Wei’s landscape poems from the perspective of Chinese painting theory, this paper argues that aesthetic concepts in Chinese painting theory provide significant new perspectives for the translation of Chinese landscape poetry. An understanding of the method of creating “artistic conception” (Yi Jing) in Chinese painting and of composition skills such as “blank-leaving” (Liu Bai) and “cavalier perspective” (San Dian Tou Shi) might help to retain the beauty of artistic conception, beauty of blankness, and beauty of pictorial composition, representing the harmonious fusion of poetry and painting in the original poem. http://www.umac.mo/fsh/projections Projections No 2 (2013) 2 Key Words Chinese landscape poetry; Chinese painting theory; artistic conception; blank-leaving; cavalier perspective 摘要 中国山水诗歌是中国山水文化的浓缩和体现,也是诗画融合的绝佳诠释。在中国 山水诗的英译中,使译作保留原诗的画面美是翻译的关键。本文通过中国画论的 视角对王维山水诗的不同英译本进行分析,发现中国画论可以为中国山水诗的翻 译提供崭新的视角,借鉴中国画论中的意境营造和“留白”、“散点透视”等构图技 巧,可以使译文保留原诗的意境美、留白美和构图美,再现原诗中诗画融合的艺 术特色。 关键词 中国山水诗;中国画论;意境;留白;散点透视 http://www.umac.mo/fsh/projections Projections No 2 (2013) 3 1. Introduction China has been a country of poetry since ancient times and Chinese classical poetry has marked its significant place in the realm of world poetry by its melodious rhythms, refined language, profound cultural backgrounds, and the pursuit of artistic conception.
    [Show full text]
  • Recollection Without Tranquility: Du Fu, the Imperial Gardens and the State
    du fu, gardens, the state d. l. mcmullen Recollection without Tranquility: Du Fu, the Imperial Gardens and the State INTRODUCTION he famous dictum of Su Shi ᤕሊ (1036–1101) that Du Fu ޙ߉ T (712–770) “never for the space of a single meal forgot his sover- eign” encapsulates a theme that has long been considered central to his poetry.1 Through very different periods in dynastic history and into the modern era, Du Fu’s loyalty to the Tang has provided one reason for his colossal reputation. For centuries, it has conveyed a sense that his priorities were exemplary, and the rare critics who dissented even slightly from this consensus have themselves been criticised.2 Behind this foregrounding of Du Fu’s dedication to state service stretch longer literary and cultural perspectives, relating to the centrality of the dynas- An earlier version of this paper was given to the History Faculty at Peking University on 12 April 2002 and I am grateful for the polite and helpful comments offered on that occasion. I am grateful also to Professor Lu Yang of Princeton University for allowing me to present an earlier version at New Perspectives on the Tang: An International Conference, on April 20, 2002, at Princeton. I benefited from the comments of the Conference on that occasion. Pro- fessor Paul Kroll went far beyond the normal role of a referee for Asia Major in offering me detailed and invaluable help on numerous specific points. The anonymous second reader also provided much helpful advice. In addition, I am grateful to my Cambridge colleague Joe Mc- Dermott and my brother James McMullen of the Oriental Institute, University of Oxford, for ideas and for careful help.
    [Show full text]