There are two different views regarding the time of submission of Du Fu's"Fu of the Carved Birds"in the old annotations,namely,the ninth year of Tianbao and the thirteenth year of Tianbao.Combining with Du Fu's official appointments and comparing it with the"Tablet for offering sacrifices to heaven on the Huashan Mountain",it is inferred that it was Du Fu's first submission,occurring between his failure in the imperial examinations in the sixth year of Tianbao and his anticipated submission of"Three Great Rituals"in the winter of the ninth year of Tianbao."Fu of the Carved Birds"portrays a bird sculpture with the qualities of loyalty,righteousness,courage,and the determination to confront evil,symbolizing the political character of ministers who"establish a righteous and upright government".This ideal character is concretely realized through Du Fu's efforts to save individuals like Fang Guan.The spirit of"establishing a righteous and upright government"in the poem is rooted in Du Fu's political ideals during the Zhenguan era and echoes the model of admonishment and righteous governance in the Kaiyuan era,reflecting Du Fu's concerns about the political reality of the Tianbao era and the changing political atmosphere of the Kaiyuan and Tianbao eras.The result of the unsuccessful submission may be related to the declining political environment of admonishment during the Tianbao era and Emperor Xuanzong's orientation towards submissions.
Qiu Zhao'ao often directly adopts the variant text recordings of earlier scholars when recording variant texts in Du Fu's poems.Sometimes,he also replaces variant texts recorded by others with synonymous ones or adds variant texts based on annotations.Qiu's reasons for recording variant texts are related to his ideas of"seeking broad knowledge","researching the old","eliminating the dross","distinguishing the authentic",and"filling blanks".However,his method of recording variant texts also has drawbacks:perpetuating errors in previously cited references,abbreviated citations leading to unclear references,citation of unclear versions due to citation of references,and difficulties in tracing references due to errors in citation or lack of citation of the original reference.
The BBC documentaries Du Fu:China's Greatest Poet,The Cambridge History of Chinese Literature and The Columbia History of Chinese Literature differ in form and hierarchy,but share similar basic viewpoints and biases.They all use Du Fu's poetry as a representation of Chinese culture,and Du Fu as a spiritual hero of Confucian culture,to understand the cultural traits of China through an interpretation of his poetry.The comparison of the wandering poets,the analysis of the emotions in civilized tragedy,and the fresh perspectives are noteworthy.Furthermore,the explanations of Du Fu's three transformations,the in-depth analysis of textual details,and the emphasis on sincere awe and surprise are highly insightful,highlighting the cultural and literary value of Du Fu's poetry.
Traditional researches mainly focus on the literati who migrated to the South,while the local writers in Jiangnan who,despite being talented,did not gain much recognition.Fan Jun,as a Confucian poet,was concerned with national affairs but chose to live in seclusion.Instead of following the trends of the Yuan You style or the Jiangxi poetry school,he paid tribute to renowned Tang poets and was influenced by the poets of the mid to late Tang Dynasty.He pursued a poetic realm that was elegant and solitary,yet not constricting or narrow.This deviation and mismatch between his poetic ideals and creative personality can be attributed to his chosen model of inspiration as well as his personal experiences during the transition from the Northern to the Southern Song Dynasty.It also reflects a unique tendency in the poetry scene of the Southern Song period,where there was a preference for reviving the Tang Dynasty style instead of adhering to the prevailing Song Dynasty style.This exploration not only offers multiple layers of poetic significance worth interpreting but also provides an important case study for further understanding the value and significance of literary undercurrents.
The arrangement of Du Fu's poetry collection is an important basis for examining the origins of various versions and holds significant scholarly value.This paper examines the compilation order in Wang Zhuangyuan Collection:Annotated Chronological Du Fu's Poetry History(hereinafter referred to as Annotation by a Hundred Scholars),Du Fu Caotang Poetry Annotations(hereinafter referred to as Caotang Poetry Annotations),and A New Compilation of Du Fu's Classical and Modern-style Poetry(hereinafter referred to as Annotations of Both the Old and New).By comparing their compilation orders and cross-referencing Lu Yin's chronology against the poetic chronology in Annotations of Both the Old and New,new clues are found that Lu Yin's compilation order follows Zhao Cigong's compilation order.The paper collates and examines Lu Yin's annotations in various Song dynasty editions of Du Shaoling's poetry collection,and it is discovered that the source of Lu Yin's annotations in the extant Song dynasty editions can be traced back to Annotated by a Hundred Scholars.However,there are still significant differences between Lu Yin's annotations in Caotang Poetry Annotations and Annotation by a Hundred Scholars.Lu Yin claims to have derived his annotations from his own family's explanations,suggesting that his original work possessed the nature of an annotated collection.
2023年7月1日,由河南大学文学院、杜甫读书会主办的"2023中华经典文本细读研讨会暨第七届杜甫读书会"在河南大学召开.来自福建师范大学、河南大学、湖南师范大学、四川师范大学等高校、科研院所、出版社的35位专家学者参加会议,河南大学部分硕博研究生旁听了会议.
Some scholars believe that Du Fu was finally buried in Du Yu's tomb in Yanshi after his death.However,according to historical records,during the Tang Dynasty,Du Yu's tomb in Yanshi only had symbolic significance,and did not receive widespread recognition from the Du family in terms of practical funeral arrangements.Moreover,Du Fu's"Tomb Inscription of the Late Lady Lu from Fanyang of Tang Dynasty"and Yuan Zhen's"Epitaph for Du,Former Assistant Officer of the Ministry of Public Works of Tang Dynasty"did not directly associate Du Fu's family and tomb with Du Yu's tomb through"on-site texts".It was not until the Qing Dynasty that local officials in Yanshi"discovered"the close relationship between Du Yu's tomb and Du Fu's tomb in reality,while literati"demonstrated"that Du Fu was buried in Du Yu's tomb.Thus,a close relationship between literature and reality was established regarding the two tombs.
Wang Wei's late-year experience during the An Lushan Rebellion is a key to understanding his spiritual world and literary creation and holds special significance in studying the literary development of the post High-Tang period.By revisiting the relevant materials in the"Tang Shu"quoted in Taipingyulan,this article reveals that Wang Wei's"pretending paralysis to escape"during the chaos was actually a deception of pretending to be struck with apoplexy to create an illusion of speechlessness,along with taking medicine to induce diarrhea.After Wang Wei's disguise failed in Chang'an,he was quickly arrested and sent to Luoyang,where he underwent a dark period of inhumane incarceration,leading to a state of"depravity and dissoluteness"but still struggling to maintain his integrity.Finally,according to the description in the"Shinto inscriptions for Wei Bin",in a sincere conversation with Wei Bin,Wang Wei confessed that he was forced to accept a false appointment.Some scholars have questioned the authenticity of the record of Wang Wei"pretending to be paralyzed and losing his voice"in the"Tang Shu"quoted in Taipingyulan,as well as the claim that Wang Wei had received a false appointment.However,these new interpretations lack persuasive power.
Reading and criticizing poetry according to the methods of classical Chinese literature is an important concept in the Tongcheng School of poetry.Wu Rulun's review of Du Fu's poems is a typical example of the Tongcheng School.Wu's method of reviewing Du's poems includes circling and marking,eyebrow reviews,interjections,and overall reviews.The subjectivity of circling and marking is particularly strong and hard to understood.His comments are mostly concise and clear,linking the poem to historical contexts,clarifying allusions,and interpreting the meaning of the poem.He also cites Zhang Yuzhao's comments to reveal the artistic background,linguistic style,and grammatical subtleties of Du's poems.Wu Rulun frequently used the"transversal"poetry criticism term,which expresses the layering of meaning and the clash between the momentum and emotion of the poem.This inherited the practice of using grammatical methods to criticize poetry from Fang Dongshu's Zhaomei Zhanyan and achieved certain results.Wu Rulun's review of Du Fu's poems and his way of doing so had a significant influence on Wu Kaisheng's Ancient and Modern Poetry Standards.
The research on the evaluation of Du Fu's poems has developed rapidly since the 20th century.Significant achievements have been made in literature collation,the construction of the Du Fu Poetics system,the identification and authentication of new texts,and the overseas study on Du's poems.However,a series of imbalances in research have also emerged,which need to be addressed in order to further explore the evaluation of Du Fu's poems.
杜甫和白居易,究竟谁才是真正的"诗王"?探讨这一话题,意在辨析后人眼中的一朝之内、两代之间诗坛领袖的迁变."诗王白居易"的说法,尽管屡见不鲜,但未见可靠的文献依据.真正被称为"诗王"者,实际上是唐代大诗人杜甫.较早的文献出处,见于后唐冯贽所撰《云仙散录》,其中所称"诗王本在陈芳国"已成诗歌典故,为历代诗家所常用.从中国诗歌发展史上看,较白居易而言,前辈杜子美更堪称是当仁不让的诗王.白居易之所以会被误认为是"诗王",或源自《云仙散录》中引录的"声振扶桑享天福"所引起的误解.只有在一衣带水的扶桑,广大教化主白居易的声名和影响,才有可能成为老一代"诗王"之后而被人们所推举出来的新一代"诗王".
六朝梁代萧统编纂的诗文总集《文选》发展到唐代,已经孵化出一门新的学问——《文选》注释学,李善注和五臣注是其中两种为人所公认的注本.二者中,李善注以严谨且实证性的注释赢得了杜甫的青睐,对杜诗创作产生了巨大的影响.而对于杜诗中李善注的考证,也成为我们重新解读杜诗的一把钥匙.本文首先考查了杜诗中"怕春"的《文选》李善注出典,以此为基础,结合诗歌的整体基调,重新阐释了《江畔独步寻花七绝句》,读者也得以由此重新认识处于草堂时期的杜甫.
《乾元中寓居同谷县作歌七首》是杜甫创作的连章体诗,其既综历代诗家之长,又兼具独创性.文天祥对"同谷体"进行了改造,将之确立为一种较为成熟的诗歌体制."同谷体"兴于宋代以后,盛于明清易代之际,以底层文人和易代之际的死节之士、遗民诗人创作的两类作品为代表.此外,"同谷体"还被用来追悼师友、纪念生辰和记录灾难.而后人拟作既多,摹仿亦生积弊,其症结在于缺乏"时""兴".
赵翼推重性灵诗学,其崇杜诗学观念的形成,有一个曲折变化的历程.相隔千载的两位诗家在创作心态和个性特征上表现出较大的差距,但赵翼有着与杜甫几近相同的人生遭际,因而能对杜诗产生跨越时空的共鸣,这集中体现在赵翼对杜诗的诗学思考和创作摹拟上.对此进行探索,不仅可以推动对赵翼的相关研究,展示杜诗的经典魅力,而且能有效推动清代诗学的继承与创新研究.
《秋兴八首》作为杜甫七律组诗中的典范,不但在中国产生了巨大影响,在东亚汉字文化圈亦引起了广泛共鸣,是具有"世界文学"性质的经典作品.《秋兴八首》东传日本,以杜诗东亚刻本、杜集日本注本和唐诗选本、明人诗文集等文献为途径;而在此基础上,又形成了关于《秋兴八首》的本土化理解与阐释.同时,日本汉文学中也出现了大量拟效《秋兴》的作品,其中既有对杜甫的追摹,又有日本文人在主旨和情感基调方面的创新.考察《秋兴八首》在日本的阅读、阐释和拟效,可以了解日本杜诗学的特色,体认日本汉文学对中国文学之接受,从而揭示杜诗作为"世界文学"的意义.
宇文所安以文献型翻译首次英译杜甫诗歌全集,这一方面得益于他作为汉学家得天独厚的英语学养和古汉语功底,另一方面借力于他的文本细读功夫和敏锐洞察力.宇文所安立足唐代诗歌大语境,多年涵泳于杜诗文本,形成其研读杜诗的独到观照.文章运用文本细读法,提炼出宇文所安观照杜诗的四个视角——自我映照、意象对立、祈愿语气及溢余价值,并与其他著名译者的杜诗英译进行综合比较,论证宇文所安杜诗翻译镜鉴其杜诗研读的内在逻辑,揭示其翻译杜诗的独特思想,以期为杜诗翻译研究提供新视角、新思考.
昭陵女性碑志从文本格套、史事记录、作品遗文等方面揭示了初唐女性文学的多维面相与丰富内涵:首先,对女性文学的记录颂扬是碑志性别书写的格套化环节,这是女性创作实际与男性书写视角共同作用的产物;其次,碑志提供了初唐宫廷女性文学养成与应用的史料信息,两者共同指向初唐女性文学的政治面相与功利实用;最后,燕太妃碑中的涉佛铭文是初唐女性文学的重要遗文,更是武后融汇文学、宗教资源以行使和宣扬权力的实物见证.
在"以俗为雅"观念的影响下,宋人对杜甫诗中善用俚语、即俗为雅者推尊颇多.然而,杨亿、欧阳修、苏轼、吕本中等人尝有杜诗"不免村夫子""有俗气""真村陋""颇近质野"之论,洪迈、严有翼等亦尝围绕着"友于"一词的使用,斥杜"未能免俗""徇俗太过".诸家贬杜由单纯指摘杜诗之俚俗,到客观评价其"俗不害雅",再到针对具体俗词,与尊杜者观点相击撞,充分挖掘杜诗中的"俗中之雅",这些对杜诗用俗不同程度的认识与批判,体现着宋人"俗"概念的不断深化,也折射出时人雅俗观的渐次演变与成熟.
屈原崇高峻洁的人格品质和卓绝一世的文学成就对我国历代士人和文学都有很大的影响.王维、孟浩然深切同情屈子的不幸遭际,秉承了屈原忠洁、孤傲的高尚品质,在诗歌创作中无论是内容上还是艺术方面皆汲取屈骚营养,尤其是在山水诗中体现出了他们对屈骚幽寂阒寂意境的继承与发展.
杜甫《进〈雕赋〉表》中的"沉郁顿挫"与"随时敏捷"是在宫廷语境下的自我评价,展现了其意欲作赋劝讽的志向和"词感帝王尊"的敏捷才思.纵观杜甫一生的诗歌创作,二者亦是相辅相成的.笃行不怠的杜甫,用其敏捷的才思和充沛的感情,成功抒写了波澜壮阔的时代画卷."诗圣"杜甫的"随时敏捷"不仅指才思敏捷,还包含他志在天下的人生信念和推己及人的仁爱精神.内蕴深广的"随时敏捷"赋予了杜甫诗歌独特的魅力,"诗史""沉郁顿挫"和"集大成"成为其专属的称誉.
