China Studies Wiki - User contributions [en]

Du Fu

2012-03-05T07:06:25Z

Whatisthis:

杜甫 - Du Fu (712-770)

= 生平 - Life =

[[file:20070724153529691.jpg|thumb|right|A painting of me]]

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age (Du Fu, "Wanderings").

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

= 诗歌 - Poetry =

[[file:Dufucalligraphy.jpg|thumb|left|Part of my poem "On Visiting the Temple of Laozi"]]

More than 1400 of my poems survived; they were written during four periods:

*Schooling and Wanderings (712-747)

*Being stuck in Chang'an (747-756)

*An Lushan Rebellion/The Only Time I had a Job (756-760)

*More Wanderings (760-770)

My collection of poems are of a variety of topics - it was arranged into as many as seventy-two categories. I myself prefer to organize them into four subgroups: poems of travel, poems on paintings, allegorical poems, and poems of friendship (Davis 128).

== Poems of Travel ==

I am a traveler. In my early years, I wandered due to my own desires, and in later years, forced by the rebellion. My observations and emotions mixed with a hint of danger led to the creation of some powerful poems, in which "[my] hardships are treated with irony, [my] companions are shown compassion, and the barriers or land, water, and weather are accorded appreciation and awe" (Davis 129). A significant aspect of traveling is being apart from family. Therefore, many of my poems are more to do with homesickness then actual travels. In my youth, I missed my hometown and in later years, my wife and children. My later travels were caused by the rebellion, so some of my poems expressed my sadness and unwillingness (Davis 128-131).

=== 泥功山 - Nigong Mountain ===

朝行青泥上，暮在青泥中。

泥泞非一时，版筑劳人功。

不畏道途永，乃将汩没同？

白马为铁骊，小儿成老翁。

哀猿透却坠，死鹿力所穷。

寄语北来人，後来莫匆匆。

(Du Fu and Fang)

''In the morning we travel over black mud;''

''In the evening we are still amid black mud.''

''The mud is not all from one time;''

''Many men have labored to ram the earth here.''

''I do not fear the unendingness of the road;''

''Only it could be like drowning.''

''My white horse has become an iron black;''

''My small son has turned into an old man.''

''A miserable gibbon crossed but fell;''

''A dead deer whose strength failed.''

''I send word to those coming from the north,''

''That from here on they should not hurry.''

(as quoted in Davis 131)

== Poems on Paintings ==

One does not study poetry without studying calligraphy and paintings. I myself have great respect and affection for painters and composed twenty or so poems about paintings and their representations (Davis 133-134).

An example of one of the poems:

=== 画鹰 - The Painted Hawk ===

素练风霜起苍鹰画作殊

竦身思狡兔侧目似愁胡

绦镟光堪摘轩楹势可呼

何当击凡鸟毛血洒平芜

(Du Fu Poems 1)

''Wind and frost swirl up from the white silk surface,''

''so superb, this painting of the gray hawk!''

''Shoulders hunched, he schemes to outwit the wily rabbit;''

''peers to one side like a vexed barbarian.''

''Foot cord and ring, a gleam bright enough to grasp;''

''by pillar and eaves, poised to come if you should call.''

''When will he swoop down on those lesser birds,''

''feathers and blood splattered over the barren plain?''

(Du Fu and Watson 3)

There are three reasons to why a lyrical poem with an item - an object, live plants, or an animal - as the subject is difficult to write. First, the item must be accurately described. Second, the 'life characteristics' of the item must be clearly expressed. And third, a relationship between the item and people on a spiritual level must be established to suggest its importance and merge it into people's purpose of life. An inanimate object of an animated subject, such as the hawk paint in this poem, is especially difficult to write about. Writing it as a real hawk would make the poem a failure, since the painting is obviously not real, but writing it as just an object of static state makes it hard to convey the spirit that the painting suggests. I was, however, able to mix the two aspects, using the details of the painting to express how it "comes alive" (Du Fu Poems 1).

== Allegorical Poems ==

The expression of my personal emotions in my poems was done by using either allusions to earlier poets or symbolism relating to plants and animals. When the correct references are found, these poems are easy to understand; however, when the content move beyond the personal level to allegorical writings the poems' meanings are no longer apparent (Davis 140).

This poem is clearly not about me personally:

=== 萤火 - The Firefly ===

幸因腐草出，敢近太阳飞。

未足临书卷，时能点客衣。

随风隔幔小，带雨傍林微。

十月清霜重，飘零何处归。

(Du Fu, "The Firefly")

''Luckily you have come out from rotting weeds;''

''Dare you fly near the sun?''

''You are not able to illumine books,''

''But can always bespot a traveler's clothes.''

''Carried on the wind, you seem small outside the curtain;''

''Specked with rain, you are faint by the side of the wood.''

''When in the tenth month the chill frost is heavy,''

''In your distress where will you turn?''

(as quoted in Davis 142)

This poem is a political allegory with Li Fuguo (李辅国), an eunuch official, as the subject. I called him a rotten weed that shamelessly got too close to the emperor, the sun. I criticized the eunuch for being uneducated and thus causing sufferings to the people and the poet wished him to be removed from office as soon as possible (Davis 143).

== Poems of Friendship ==

Some of my most passionate poems were written to my friends, the most notable person - to be at least - being Li Bai (李白).

=== 春日忆李白 - On a Spring Day Thinking of Li Bai ===

白也诗无敌，飘然思不群。

清新庚开府，俊逸鲍参军。

渭北春天树，江东日暮云。

何时一尊酒，重与细论文？

(Du Fu and Fang)

''Li Bai—poems unrivaled,''

''thought soaring airborne, never banal:''

''the freshness, newness of Yu the Commander,''

''the rare excellence of Adjutant Bao.''

''Here by the northern Wei, springtime trees;''

''east of the Yangzi, clouds at the close of day—''

''when will we share a cask of wine,''

''once more debate the subtleties of the written word?''

(Du Fu and Watson 4)

He was the poet that I admired the most and I was so sad to have to part with him without knowing whether we would be able to meet again. Another poem titled "Dreaming of Li Bai" (梦李白) is possibly an "expression of a deep but generally unsatisfied desire" (Davis 149).

=「李杜」- "Li-Du" =

As single persons, Li Bai (李白) and I can only be considered very competent poets, but together, we are considered the greatest poets of all time, to the point that people called us "Li-Du" (李杜). This is because we were, in fact, as different as can be, while still balancing each other. We were complementary, him being Yin and I Yang. Li Bai was a Taoist; I was Confucian. Li Bai had a unique personality; I left no striking impression about mine. Li Bai was very well known during his own lifetime; I was a nobody. Li Bai was carefree Li Bai did not take the Imperial Examination because he believed himself worthy of higher positions; I took the exam twice and failed both times and was still content in getting a small post after wandering in poverty for years. Most of Li Bai's poems were about dreams and wine; most of mine were historical (Cooper 15-44).

= 结论 - Conclusion =

I was an ordinary man who lived an ordinary life in which I achieved extraordinary accomplishments. However, never in my 'life' did I expect such influence I have on the field of poetry. In fact, I considered myself a failure, having failed the Imperial Examination twice, being unable to secure a post for many years thus living in poverty, and getting captured right after finally getting an appointment after ten years of wanderings in frustration. I did not contribute to the politics of the time or hold high offices. I - and my poems - remained unknown until long after my death. I wrote about common things: objects, my feelings, farewells to friends, things I saw at during the rebellion, society, politics, the common life - things as I see them. I recorded truth: It is what it is.

= 参考 - References =
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

"Du Fu Poems 1" (杜甫诗(一)). 佛山市图书馆. Web. 25 Feb 2012. <http://www.fslib.com.cn/oldfslib/Study/chinaculture/view.Asp?ID=53>

Du Fu. "Wanderings of My Prime" (状游). 教學資源,成語字典,花蓮吉安鄉合法民宿. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu. "The Firefly" (萤火). 诗词名句网. Web. 04 Mar 2012. <http://www.shicimingju.com/baidu/list/118776.html>

Du Fu and Burton Watson. ''The Selected Poems of Du Fu.'' New York: Columbia University Press, 2002. Web. 25 Feb 2012. <http://www.questia.com/PM.qst?a=o&d=100345806>

Du Fu and Fang Zhouzi (方舟子). ''The Complete Poems of Du Fu'' (杜甫诗全集). Web. 03 Mar 2012. <http://www.njmuseum.com/zh/book/scgf/dufu/dufu.html>

Cooper, Arthur. ''Li Po and Tu Fu.'' Penguin Books, 1973. Print.

== Images ==
Web. <http://86art.net/art/hl/zghl/rw/200707/20070724153459.html>

Web. <http://en.wikipedia.org/wiki/Du_Fu>

Talk:Du Fu

2012-03-05T07:05:59Z

Whatisthis:

Good start, I'm impressed- your English writing is quite good. Just a word of advice, double check your spelling ( I have trouble with that too!). I corrected a couple of errors for you ("poets" instead of "poems" etc,).

I like the "tone" of your paper so far. It easy to imagine Du Fu really sitting here talking. I hope you can keep it up in the rest of the paper.[[User:Dekeo|Dekeo]] 05:56, 4 March 2012 (UTC)

Have you decided on an argument yet? One option is that you could argue about what had the strongest affect on Du Fu's writing; Taoism, Buddhism, his travels, other poets, personal experiences, or the Classics. You could contrast Du Fu with other poets of the time to prove how he was unique and a rebel, or you could compare him to other poets to show that he wasn't too different. You could try explaining why you think he wasn't popular during his lifetime and why he became popular later. You could argue that he was the best poet, or point out his flaws. You could even do a combination of these things. [[User:Name|Name]] 08:02, 4 March 2012 (UTC)

===Alchemist1330===
I generally like it so far. for your aurument you can analize a poem of your ffrom your point of view like WANTONG not Du Fu and support your claims. bye bye... black bird

== comment ==

I would <3 a picture. Or two. Or five. x3
But I love your tone and it is written very well, just needs meat on its bones.
You will hear more from me later!--[[User:Checksum|Checksum]] 03:39, 5 March 2012 (UTC)

== Comment ==
Late comment, but it seems a bit short... --[[User:Whatisthis|Whatisthis]] 07:05, 5 March 2012 (UTC)

Talk:Canonization of Chinese Literature in the East and West

2012-03-05T07:02:30Z

Whatisthis:

Dear Delon, you really still need to work on this paper! Can you add some more text and indicate the sources? Thanks! [[User:Root|Root]] 00:07, 5 March 2012 (UTC) 
Dear Root:
There seems to be a difference between the page linked in the Classical Literature page ([https://wiki.vm.ruhr-uni-bochum.de/uvu/index.php/Canonization_of_Chinese_Literature_in_the_East_and_West| here]) and the page attached to this discussion ([https://wiki.vm.ruhr-uni-bochum.de/uvu/index.php/Canonization_of_Chinese_Literature_in_the_East_and_West|here].) I hope this makes sense.--[[User:ArnoldQ|ArnoldQ]] 01:00, 5 March 2012 (UTC)
:I do not know what your links link to, both are dead links, but I guess the technical problem is solved now. If you have an alternative title to a Wiki article, please use the redirect function. The different links seem to direct to old versions of the article, which have been moved and redirected, when the title was corrected. Best [[User:Root|Root]] 01:48, 5 March 2012 (UTC)
::Now the full version of the article is visible. I have deleted the draft and redirected the old articles name. [[User:Root|Root]] 02:07, 5 March 2012 (UTC)

=MLA standard=
Dear Delon, please use MLA standard instead of footnotes. It should look like this:

instead [1] [2] [3]

(Stordalen 2008, Sun 2007, Wang 2004)

And please also link to Arnold Q's article about the 5 classics. Thanks! [[User:Root|Root]] 02:15, 5 March 2012 (UTC)

== Well done old chap. ==

I enjoyed this article very much! There are still errors to be corrected but I am sure you will iron those out in no time. I like the discussion on Ideology a lot and it is very well done. I also like the picture placement! I do not see any further adjustments necessary. 
Thanks, --[[User:Checksum|Checksum]] 03:44, 5 March 2012 (UTC)

== Comment 4 ==

Um, it seems that my comment on your (other) page was deleted but I see that you have fixed the stuff~ However, why is the picture of Bei Dao so near the bottom? --[[User:Whatisthis|Whatisthis]] 04:01, 5 March 2012 (UTC)

== Not a helpful comment but... ==

I think that this paper looks awesome. The content, length and formatting are all great. [[User:Name|Name]] 04:49, 5 March 2012 (UTC)

Talk:Canonization of Chinese Literature in the East and West

2012-03-05T07:02:07Z

Whatisthis: /* Comment 4 */

Dear Delon, you really still need to work on this paper! Can you add some more text and indicate the sources? Thanks! [[User:Root|Root]] 00:07, 5 March 2012 (UTC) 
Dear Root:
There seems to be a difference between the page linked in the Classical Literature page ([https://wiki.vm.ruhr-uni-bochum.de/uvu/index.php/Canonization_of_Chinese_Literature_in_the_East_and_West| here]) and the page attached to this discussion ([https://wiki.vm.ruhr-uni-bochum.de/uvu/index.php/Canonization_of_Chinese_Literature_in_the_East_and_West|here].) I hope this makes sense.--[[User:ArnoldQ|ArnoldQ]] 01:00, 5 March 2012 (UTC)
:I do not know what your links link to, both are dead links, but I guess the technical problem is solved now. If you have an alternative title to a Wiki article, please use the redirect function. The different links seem to direct to old versions of the article, which have been moved and redirected, when the title was corrected. Best [[User:Root|Root]] 01:48, 5 March 2012 (UTC)
::Now the full version of the article is visible. I have deleted the draft and redirected the old articles name. [[User:Root|Root]] 02:07, 5 March 2012 (UTC)

=MLA standard=
Dear Delon, please use MLA standard instead of footnotes. It should look like this:

instead [1] [2] [3]

(Stordalen 2008, Sun 2007, Wang 2004)

And please also link to Arnold Q's article about the 5 classics. Thanks! [[User:Root|Root]] 02:15, 5 March 2012 (UTC)

== Well done old chap. ==

I enjoyed this article very much! There are still errors to be corrected but I am sure you will iron those out in no time. I like the discussion on Ideology a lot and it is very well done. I also like the picture placement! I do not see any further adjustments necessary. 
Thanks, --[[User:Checksum|Checksum]] 03:44, 5 March 2012 (UTC)

== Comment 4 ==

Um, it seems that my comment on your (other) page was deleted but I see that you have fixed the stuff~ However, why is the picture of Bei Dao so near the bottom? --[[User:Whatisthis|Whatisthis]] 05:01, 5 March 2012 (UTC)

== Not a helpful comment but... ==

I think that this paper looks awesome. The content, length and formatting are all great. [[User:Name|Name]] 04:49, 5 March 2012 (UTC)

Talk:Canonization of Chinese Literature in the East and West

2012-03-05T07:01:54Z

Whatisthis: /* Comment 4 */

Dear Delon, you really still need to work on this paper! Can you add some more text and indicate the sources? Thanks! [[User:Root|Root]] 00:07, 5 March 2012 (UTC) 
Dear Root:
There seems to be a difference between the page linked in the Classical Literature page ([https://wiki.vm.ruhr-uni-bochum.de/uvu/index.php/Canonization_of_Chinese_Literature_in_the_East_and_West| here]) and the page attached to this discussion ([https://wiki.vm.ruhr-uni-bochum.de/uvu/index.php/Canonization_of_Chinese_Literature_in_the_East_and_West|here].) I hope this makes sense.--[[User:ArnoldQ|ArnoldQ]] 01:00, 5 March 2012 (UTC)
:I do not know what your links link to, both are dead links, but I guess the technical problem is solved now. If you have an alternative title to a Wiki article, please use the redirect function. The different links seem to direct to old versions of the article, which have been moved and redirected, when the title was corrected. Best [[User:Root|Root]] 01:48, 5 March 2012 (UTC)
::Now the full version of the article is visible. I have deleted the draft and redirected the old articles name. [[User:Root|Root]] 02:07, 5 March 2012 (UTC)

=MLA standard=
Dear Delon, please use MLA standard instead of footnotes. It should look like this:

instead [1] [2] [3]

(Stordalen 2008, Sun 2007, Wang 2004)

And please also link to Arnold Q's article about the 5 classics. Thanks! [[User:Root|Root]] 02:15, 5 March 2012 (UTC)

== Well done old chap. ==

I enjoyed this article very much! There are still errors to be corrected but I am sure you will iron those out in no time. I like the discussion on Ideology a lot and it is very well done. I also like the picture placement! I do not see any further adjustments necessary. 
Thanks, --[[User:Checksum|Checksum]] 03:44, 5 March 2012 (UTC)

== Comment 4 ==

Um, it seems that my comment on your (other) page was deleted but I see that you have fixed the stuff~ However, why is the picture of Bei Dao so near the bottom? --[[User:Whatisthis|Whatisthis]] 07:01, 5 March 2012 (UTC)

== Not a helpful comment but... ==

I think that this paper looks awesome. The content, length and formatting are all great. [[User:Name|Name]] 04:49, 5 March 2012 (UTC)

Du Fu

2012-03-05T06:59:49Z

Whatisthis:

Du Fu

2012-03-05T06:59:30Z

Whatisthis:

Du Fu

2012-03-05T06:57:53Z

Whatisthis:

杜甫 - Du Fu (712-770)

= 生平 - Life =

[[file:20070724153529691.jpg|thumb|right|A painting of me]]

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age (Du Fu, "Wanderings").

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

= 诗歌 - Poetry =

[[file:Dufucalligraphy.jpg|thumb|left|Part of my poem "On Visiting the Temple of Laozi"]]

More than 1400 of my poems survived; they were written during four periods:

*Schooling and Wanderings (712-747)

*Being stuck in Chang'an (747-756)

*An Lushan Rebellion/The Only Time I had a Job (756-760)

*More Wanderings (760-770)

My collection of poems are of a variety of topics - it was arranged into as many as seventy-two categories. I myself prefer to organize them into four subgroups: poems of travel, poems on paintings, allegorical poems, and poems of friendship (Davis 128).

== Poems of Travel ==

I am a traveler. In my early years, I wandered due to my own desires, and in later years, forced by the rebellion. My observations and emotions mixed with a hint of danger led to the creation of some powerful poems, in which "[my] hardships are treated with irony, [my] companions are shown compassion, and the barriers or land, water, and weather are accorded appreciation and awe" (Davis 129). A significant aspect of traveling is being apart from family. Therefore, many of my poems are more to do with homesickness then actual travels. In my youth, I missed my hometown and in later years, my wife and children. My later travels were caused by the rebellion, so some of my poems expressed my sadness and unwillingness (Davis 128-131).

=== 泥功山 - Nigong Mountain ===

朝行青泥上，暮在青泥中。

泥泞非一时，版筑劳人功。

不畏道途永，乃将汩没同？

白马为铁骊，小儿成老翁。

哀猿透却坠，死鹿力所穷。

寄语北来人，後来莫匆匆。

(Du Fu and Fang)

''In the morning we travel over black mud;''

''In the evening we are still amid black mud.''

''The mud is not all from one time;''

''Many men have labored to ram the earth here.''

''I do not fear the unendingness of the road;''

''Only it could be like drowning.''

''My white horse has become an iron black;''

''My small son has turned into an old man.''

''A miserable gibbon crossed but fell;''

''A dead deer whose strength failed.''

''I send word to those coming from the north,''

''That from here on they should not hurry.''

(as quoted in Davis 131)

== Poems on Paintings ==

One does not study poetry without studying calligraphy and paintings. I myself have great respect and affection for painters and composed twenty or so poems about paintings and their representations (Davis 133-134).

An example of one of the poems:

=== 画鹰 - The Painted Hawk ===

素练风霜起苍鹰画作殊

竦身思狡兔侧目似愁胡

绦镟光堪摘轩楹势可呼

何当击凡鸟毛血洒平芜

(Du Fu Poems 1)

''Wind and frost swirl up from the white silk surface,''

''so superb, this painting of the gray hawk!''

''Shoulders hunched, he schemes to outwit the wily rabbit;''

''peers to one side like a vexed barbarian.''

''Foot cord and ring, a gleam bright enough to grasp;''

''by pillar and eaves, poised to come if you should call.''

''When will he swoop down on those lesser birds,''

''feathers and blood splattered over the barren plain?''

(Du Fu and Watson 3)

There are three reasons to why a lyrical poem with an item - an object, live plants, or an animal - as the subject is difficult to write. First, the item must be accurately described. Second, the 'life characteristics' of the item must be clearly expressed. And third, a relationship between the item and people on a spiritual level must be established to suggest its importance and merge it into people's purpose of life. An inanimate object of an animated subject, such as the hawk paint in this poem, is especially difficult to write about. Writing it as a real hawk would make the poem a failure, since the painting is obviously not real, but writing it as just an object of static state makes it hard to convey the spirit that the painting suggests. I was, however, able to mix the two aspects, using the details of the painting to express how it "comes alive" (Du Fu Poems 1).

== Allegorical Poems ==

The expression of my personal emotions in my poems was done by using either allusions to earlier poets or symbolism relating to plants and animals. When the correct references are found, these poems are easy to understand; however, when the content move beyond the personal level to allegorical writings the poems' meanings are no longer apparent (Davis 140).

This poem is clearly not about me personally:

=== 萤火 - The Firefly ===

幸因腐草出，敢近太阳飞。

未足临书卷，时能点客衣。

随风隔幔小，带雨傍林微。

十月清霜重，飘零何处归。

(Du Fu, "The Firefly")

''Luckily you have come out from rotting weeds;''

''Dare you fly near the sun?''

''You are not able to illumine books,''

''But can always bespot a traveler's clothes.''

''Carried on the wind, you seem small outside the curtain;''

''Specked with rain, you are faint by the side of the wood.''

''When in the tenth month the chill frost is heavy,''

''In your distress where will you turn?''

(as quoted in Davis 142)

This poem is a political allegory with Li Fuguo (李辅国), an eunuch official, as the subject. I called him a rotten weed that shamelessly got too close to the emperor, the sun. I criticized the eunuch for being uneducated and thus causing sufferings to the people and the poet wished him to be removed from office as soon as possible (Davis 143).

== Poems of Friendship ==

Some of my most passionate poems were written to my friends, the most notable person - to be at least - being Li Bai (李白).

=== 春日忆李白 - On a Spring Day Thinking of Li Bai ===

白也诗无敌，飘然思不群。

清新庚开府，俊逸鲍参军。

渭北春天树，江东日暮云。

何时一尊酒，重与细论文？

(Du Fu and Fang)

''Li Bai—poems unrivaled,''

''thought soaring airborne, never banal:''

''the freshness, newness of Yu the Commander,''

''the rare excellence of Adjutant Bao.''

''Here by the northern Wei, springtime trees;''

''east of the Yangzi, clouds at the close of day—''

''when will we share a cask of wine,''

''once more debate the subtleties of the written word?''

(Du Fu and Watson 4)

He was the poet that I admired the most and I was so sad to have to part with him without knowing whether we would be able to meet again. Another poem titled "Dreaming of Li Bai" (梦李白) is possibly an "expression of a deep but generally unsatisfied desire" (Davis 149).

=「李杜」- "Li-Du" =

As single persons, Li Bai (李白) and I can only be considered very competent poets, but together, we are considered the greatest poets of all time, to the point that people called us "Li-Du" (李杜). This is because we were, in fact, as different as can be, while still balancing each other. We were complementary, him being Yin and I Yang. Li Bai was a Taoist; I was Confucian. Li Bai had a unique personality; I left no striking impression about mine. Li Bai was very well known during his own lifetime; I was a nobody. Li Bai was carefree Li Bai did not take the Imperial Examination because he believed himself worthy of higher positions; I took the exam twice and failed both times and was still content in getting a small post after wandering in poverty for years. Most of Li Bai's poems were about dreams and wine; most of mine were historical (Cooper 15-44).

= 结论 - Conclusion =

I was an ordinary man who lived an ordinary life in which I achieved extraordinary accomplishments. However, never in my 'life' did I expect such influence I have on the field of poetry. In fact, I considered myself a failure, having failed the Imperial Examination twice, being unable to secure a post for many years thus living in poverty, and getting captured right after finally getting an appointment after ten years of wanderings in frustration. I did not contribute to the politics of the time or hold high offices. I - and my poems - remained unknown until long after my death. I wrote about common things: objects, my feelings, farewells to friends, things I saw at during the rebellion, society, politics, the common life - things as I see them. I recorded truth: It is what it is.

= 参考 - References =
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

"Du Fu Poems 1" (杜甫诗(一)). 佛山市图书馆. Web. 25 Feb 2012. <http://www.fslib.com.cn/oldfslib/Study/chinaculture/view.Asp?ID=53>

Du Fu. "Wanderings of My Prime" (状游). 教學資源,成語字典,花蓮吉安鄉合法民宿. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu. "The Firefly" (萤火). 诗词名句网. Web. 04 Mar 2012. <http://www.shicimingju.com/baidu/list/118776.html>

Du Fu and Burton Watson. ''The Selected Poems of Du Fu.'' New York: Columbia University Press, 2002. Web. 25 Feb 2012. <http://www.questia.com/PM.qst?a=o&d=100345806>

Du Fu and Fang Zhouzi (方舟子). ''The Complete Poems of Du Fu'' (杜甫诗全集). Web. 03 Mar 2012. <http://www.njmuseum.com/zh/book/scgf/dufu/dufu.html>

Cooper, Arthur. ''Li Po and Tu Fu.'' Penguin Books, 1973. Print.

== Images ==
<http://86art.net/art/hl/zghl/rw/200707/20070724153459.html>

Du Fu

2012-03-05T06:57:36Z

Whatisthis:

杜甫 - Du Fu (712-770)

= 生平 - Life =

[[file:20070724153529691.jpg|thumb|right|A painting of me]]

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age (Du Fu, "Wanderings").

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

= 诗歌 - Poetry =

[[file:Dufucalligraphy.jpg|thumb|left|Part of my poem "On Visiting the Temple of Laozi"]]

More than 1400 of my poems survived; they were written during four periods:

*Schooling and Wanderings (712-747)

*Being stuck in Chang'an (747-756)

*An Lushan Rebellion/The Only Time I had a Job (756-760)

*More Wanderings (760-770)

My collection of poems are of a variety of topics - it was arranged into as many as seventy-two categories. I myself prefer to organize them into four subgroups: poems of travel, poems on paintings, allegorical poems, and poems of friendship (Davis 128).

== Poems of Travel ==

I am a traveler. In my early years, I wandered due to my own desires, and in later years, forced by the rebellion. My observations and emotions mixed with a hint of danger led to the creation of some powerful poems, in which "[my] hardships are treated with irony, [my] companions are shown compassion, and the barriers or land, water, and weather are accorded appreciation and awe" (Davis 129). A significant aspect of traveling is being apart from family. Therefore, many of my poems are more to do with homesickness then actual travels. In my youth, I missed my hometown and in later years, my wife and children. My later travels were caused by the rebellion, so some of my poems expressed my sadness and unwillingness (Davis 128-131).

=== 泥功山 - Nigong Mountain ===

朝行青泥上，暮在青泥中。

泥泞非一时，版筑劳人功。

不畏道途永，乃将汩没同？

白马为铁骊，小儿成老翁。

哀猿透却坠，死鹿力所穷。

寄语北来人，後来莫匆匆。

(Du Fu and Fang)

''In the morning we travel over black mud;''

''In the evening we are still amid black mud.''

''The mud is not all from one time;''

''Many men have labored to ram the earth here.''

''I do not fear the unendingness of the road;''

''Only it could be like drowning.''

''My white horse has become an iron black;''

''My small son has turned into an old man.''

''A miserable gibbon crossed but fell;''

''A dead deer whose strength failed.''

''I send word to those coming from the north,''

''That from here on they should not hurry.''

(as quoted in Davis 131)

== Poems on Paintings ==

One does not study poetry without studying calligraphy and paintings. I myself have great respect and affection for painters and composed twenty or so poems about paintings and their representations (Davis 133-134).

An example of one of the poems:

=== 画鹰 - The Painted Hawk ===

素练风霜起苍鹰画作殊

竦身思狡兔侧目似愁胡

绦镟光堪摘轩楹势可呼

何当击凡鸟毛血洒平芜

(Du Fu Poems 1)

''Wind and frost swirl up from the white silk surface,''

''so superb, this painting of the gray hawk!''

''Shoulders hunched, he schemes to outwit the wily rabbit;''

''peers to one side like a vexed barbarian.''

''Foot cord and ring, a gleam bright enough to grasp;''

''by pillar and eaves, poised to come if you should call.''

''When will he swoop down on those lesser birds,''

''feathers and blood splattered over the barren plain?''

(Du Fu and Watson 3)

There are three reasons to why a lyrical poem with an item - an object, live plants, or an animal - as the subject is difficult to write. First, the item must be accurately described. Second, the 'life characteristics' of the item must be clearly expressed. And third, a relationship between the item and people on a spiritual level must be established to suggest its importance and merge it into people's purpose of life. An inanimate object of an animated subject, such as the hawk paint in this poem, is especially difficult to write about. Writing it as a real hawk would make the poem a failure, since the painting is obviously not real, but writing it as just an object of static state makes it hard to convey the spirit that the painting suggests. I was, however, able to mix the two aspects, using the details of the painting to express how it "comes alive" (Du Fu Poems 1).

== Allegorical Poems ==

The expression of my personal emotions in my poems was done by using either allusions to earlier poets or symbolism relating to plants and animals. When the correct references are found, these poems are easy to understand; however, when the content move beyond the personal level to allegorical writings the poems' meanings are no longer apparent (Davis 140).

This poem is clearly not about me personally:

=== 萤火 - The Firefly ===

幸因腐草出，敢近太阳飞。

未足临书卷，时能点客衣。

随风隔幔小，带雨傍林微。

十月清霜重，飘零何处归。

(Du Fu, "The Firefly")

''Luckily you have come out from rotting weeds;''

''Dare you fly near the sun?''

''You are not able to illumine books,''

''But can always bespot a traveler's clothes.''

''Carried on the wind, you seem small outside the curtain;''

''Specked with rain, you are faint by the side of the wood.''

''When in the tenth month the chill frost is heavy,''

''In your distress where will you turn?''

(as quoted in Davis 142)

This poem is a political allegory with Li Fuguo (李辅国), an eunuch official, as the subject. I called him a rotten weed that shamelessly got too close to the emperor, the sun. I criticized the eunuch for being uneducated and thus causing sufferings to the people and the poet wished him to be removed from office as soon as possible (Davis 143).

== Poems of Friendship ==

Some of my most passionate poems were written to my friends, the most notable person - to be at least - being Li Bai (李白).

=== 春日忆李白 - On a Spring Day Thinking of Li Bai ===

白也诗无敌，飘然思不群。

清新庚开府，俊逸鲍参军。

渭北春天树，江东日暮云。

何时一尊酒，重与细论文？

(Du Fu and Fang)

''Li Bai—poems unrivaled,''

''thought soaring airborne, never banal:''

''the freshness, newness of Yu the Commander,''

''the rare excellence of Adjutant Bao.''

''Here by the northern Wei, springtime trees;''

''east of the Yangzi, clouds at the close of day—''

''when will we share a cask of wine,''

''once more debate the subtleties of the written word?''

(Du Fu and Watson 4)

He was the poet that I admired the most and I was so sad to have to part with him without knowing whether we would be able to meet again. Another poem titled "Dreaming of Li Bai" (梦李白) is possibly an "expression of a deep but generally unsatisfied desire" (Davis 149).

=「李杜」- "Li-Du" =

As single persons, Li Bai (李白) and I can only be considered very competent poets, but together, we are considered the greatest poets of all time, to the point that people called us "Li-Du" (李杜). This is because we were, in fact, as different as can be, while still balancing each other. We were complementary, him being Yin and I Yang. Li Bai was a Taoist; I was Confucian. Li Bai had a unique personality; I left no striking impression about mine. Li Bai was very well known during his own lifetime; I was a nobody. Li Bai was carefree Li Bai did not take the Imperial Examination because he believed himself worthy of higher positions; I took the exam twice and failed both times and was still content in getting a small post after wandering in poverty for years. Most of Li Bai's poems were about dreams and wine; most of mine were historical (Cooper 15-44).

= 结论 - Conclusion =

I was an ordinary man who lived an ordinary life in which I achieved extraordinary accomplishments. However, never in my 'life' did I expect such influence I have on the field of poetry. In fact, I considered myself a failure, having failed the Imperial Examination twice, being unable to secure a post for many years thus living in poverty, and getting captured right after finally getting an appointment after ten years of wanderings in frustration. I did not contribute to the politics of the time or hold high offices. I - and my poems - remained unknown until long after my death. I wrote about common things: objects, my feelings, farewells to friends, things I saw at during the rebellion, society, politics, the common life - things as I see them. I recorded truth: It is what it is.

= 参考 - References =
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

"Du Fu Poems 1" (杜甫诗(一)). 佛山市图书馆. Web. 25 Feb 2012. <http://www.fslib.com.cn/oldfslib/Study/chinaculture/view.Asp?ID=53>

Du Fu. "Wanderings of My Prime" (状游). 教學資源,成語字典,花蓮吉安鄉合法民宿. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu. "The Firefly" (萤火). 诗词名句网. Web. 04 Mar 2012. <http://www.shicimingju.com/baidu/list/118776.html>

Du Fu and Burton Watson. ''The Selected Poems of Du Fu.'' New York: Columbia University Press, 2002. Web. 25 Feb 2012. <http://www.questia.com/PM.qst?a=o&d=100345806>

Du Fu and Fang Zhouzi (方舟子). ''The Complete Poems of Du Fu'' (杜甫诗全集). Web. 03 Mar 2012. <http://www.njmuseum.com/zh/book/scgf/dufu/dufu.html>

Cooper, Arthur. ''Li Po and Tu Fu.'' Penguin Books, 1973. Print.

== Images ==
<http://86art.net/art/hl/zghl/rw/200707/20070724153459.html>

Du Fu

2012-03-05T06:57:13Z

Whatisthis:

杜甫 - Du Fu (712-770)

= 生平 - Life =

[[file:20070724153529691.jpg|thumb|right|A painting of me]]

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age (Du Fu, "Wanderings").

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

= 诗歌 - Poetry =

[[file:Dufucalligraphy.jpg|thumb|left|Part of my poem "On Visiting the Temple of Laozi"]]

More than 1400 of my poems survived; they were written during four periods:

*Schooling and Wanderings (712-747)

*Being stuck in Chang'an (747-756)

*An Lushan Rebellion/The Only Time I had a Job (756-760)

*More Wanderings (760-770)

My collection of poems are of a variety of topics - it was arranged into as many as seventy-two categories. I myself prefer to organize them into four subgroups: poems of travel, poems on paintings, allegorical poems, and poems of friendship (Davis 128).

== Poems of Travel ==

I am a traveler. In my early years, I wandered due to my own desires, and in later years, forced by the rebellion. My observations and emotions mixed with a hint of danger led to the creation of some powerful poems, in which "[my] hardships are treated with irony, [my] companions are shown compassion, and the barriers or land, water, and weather are accorded appreciation and awe" (Davis 129). A significant aspect of traveling is being apart from family. Therefore, many of my poems are more to do with homesickness then actual travels. In my youth, I missed my hometown and in later years, my wife and children. My later travels were caused by the rebellion, so some of my poems expressed my sadness and unwillingness (Davis 128-131).

=== 泥功山 - Nigong Mountain ===

朝行青泥上，暮在青泥中。

泥泞非一时，版筑劳人功。

不畏道途永，乃将汩没同？

白马为铁骊，小儿成老翁。

哀猿透却坠，死鹿力所穷。

寄语北来人，後来莫匆匆。

(Du Fu and Fang)

''In the morning we travel over black mud;''

''In the evening we are still amid black mud.''

''The mud is not all from one time;''

''Many men have labored to ram the earth here.''

''I do not fear the unendingness of the road;''

''Only it could be like drowning.''

''My white horse has become an iron black;''

''My small son has turned into an old man.''

''A miserable gibbon crossed but fell;''

''A dead deer whose strength failed.''

''I send word to those coming from the north,''

''That from here on they should not hurry.''

(as quoted in Davis 131)

== Poems on Paintings ==

One does not study poetry without studying calligraphy and paintings. I myself have great respect and affection for painters and composed twenty or so poems about paintings and their representations (Davis 133-134).

An example of one of the poems:

=== 画鹰 - The Painted Hawk ===

素练风霜起苍鹰画作殊

竦身思狡兔侧目似愁胡

绦镟光堪摘轩楹势可呼

何当击凡鸟毛血洒平芜

(Du Fu Poems 1)

''Wind and frost swirl up from the white silk surface,''

''so superb, this painting of the gray hawk!''

''Shoulders hunched, he schemes to outwit the wily rabbit;''

''peers to one side like a vexed barbarian.''

''Foot cord and ring, a gleam bright enough to grasp;''

''by pillar and eaves, poised to come if you should call.''

''When will he swoop down on those lesser birds,''

''feathers and blood splattered over the barren plain?''

(Du Fu and Watson 3)

There are three reasons to why a lyrical poem with an item - an object, live plants, or an animal - as the subject is difficult to write. First, the item must be accurately described. Second, the 'life characteristics' of the item must be clearly expressed. And third, a relationship between the item and people on a spiritual level must be established to suggest its importance and merge it into people's purpose of life. An inanimate object of an animated subject, such as the hawk paint in this poem, is especially difficult to write about. Writing it as a real hawk would make the poem a failure, since the painting is obviously not real, but writing it as just an object of static state makes it hard to convey the spirit that the painting suggests. I was, however, able to mix the two aspects, using the details of the painting to express how it "comes alive" (Du Fu Poems 1).

== Allegorical Poems ==

The expression of my personal emotions in my poems was done by using either allusions to earlier poets or symbolism relating to plants and animals. When the correct references are found, these poems are easy to understand; however, when the content move beyond the personal level to allegorical writings the poems' meanings are no longer apparent (Davis 140).

This poem is clearly not about me personally:

=== 萤火 - The Firefly ===

幸因腐草出，敢近太阳飞。

未足临书卷，时能点客衣。

随风隔幔小，带雨傍林微。

十月清霜重，飘零何处归。

(Du Fu, "The Firefly")

''Luckily you have come out from rotting weeds;''

''Dare you fly near the sun?''

''You are not able to illumine books,''

''But can always bespot a traveler's clothes.''

''Carried on the wind, you seem small outside the curtain;''

''Specked with rain, you are faint by the side of the wood.''

''When in the tenth month the chill frost is heavy,''

''In your distress where will you turn?''

(as quoted in Davis 142)

This poem is a political allegory with Li Fuguo (李辅国), an eunuch official, as the subject. I called him a rotten weed that shamelessly got too close to the emperor, the sun. I criticized the eunuch for being uneducated and thus causing sufferings to the people and the poet wished him to be removed from office as soon as possible (Davis 143).

== Poems of Friendship ==

Some of my most passionate poems were written to my friends, the most notable person - to be at least - being Li Bai (李白).

=== 春日忆李白 - On a Spring Day Thinking of Li Bai ===

白也诗无敌，飘然思不群。

清新庚开府，俊逸鲍参军。

渭北春天树，江东日暮云。

何时一尊酒，重与细论文？

(Du Fu and Fang)

''Li Bai—poems unrivaled,''

''thought soaring airborne, never banal:''

''the freshness, newness of Yu the Commander,''

''the rare excellence of Adjutant Bao.''

''Here by the northern Wei, springtime trees;''

''east of the Yangzi, clouds at the close of day—''

''when will we share a cask of wine,''

''once more debate the subtleties of the written word?''

(Du Fu and Watson 4)

He was the poet that I admired the most and I was so sad to have to part with him without knowing whether we would be able to meet again. Another poem titled "Dreaming of Li Bai" (梦李白) is possibly an "expression of a deep but generally unsatisfied desire" (Davis 149).

=「李杜」- "Li-Du" =

As single persons, Li Bai (李白) and I can only be considered very competent poets, but together, we are considered the greatest poets of all time, to the point that people called us "Li-Du" (李杜). This is because we were, in fact, as different as can be, while still balancing each other. We were complementary, him being Yin and I Yang. Li Bai was a Taoist; I was Confucian. Li Bai had a unique personality; I left no striking impression about mine. Li Bai was very well known during his own lifetime; I was a nobody. Li Bai was carefree Li Bai did not take the Imperial Examination because he believed himself worthy of higher positions; I took the exam twice and failed both times and was still content in getting a small post after wandering in poverty for years. Most of Li Bai's poems were about dreams and wine; most of mine were historical (Cooper 15-44).

= 结论 - Conclusion =

I was an ordinary man who lived an ordinary life in which I achieved extraordinary accomplishments. However, never in my 'life' did I expect such influence I have on the field of poetry. In fact, I considered myself a failure, having failed the Imperial Examination twice, being unable to secure a post for many years thus living in poverty, and getting captured right after finally getting an appointment after ten years of wanderings in frustration. I did not contribute to the politics of the time or hold high offices. I - and my poems - remained unknown until long after my death. I wrote about common things: objects, my feelings, farewells to friends, things I saw at during the rebellion, society, politics, the common life - things as I see them. I recorded truth: It is what it is.

= 参考 - References =
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

"Du Fu Poems 1" (杜甫诗(一)). 佛山市图书馆. Web. 25 Feb 2012. <http://www.fslib.com.cn/oldfslib/Study/chinaculture/view.Asp?ID=53>

Du Fu. "Wanderings of My Prime" (状游). 教學資源,成語字典,花蓮吉安鄉合法民宿. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu. "The Firefly" (萤火). 诗词名句网. Web. 04 Mar 2012. <http://www.shicimingju.com/baidu/list/118776.html>

Du Fu and Burton Watson. ''The Selected Poems of Du Fu.'' New York: Columbia University Press, 2002. Web. 25 Feb 2012. <http://www.questia.com/PM.qst?a=o&d=100345806>

Du Fu and Fang Zhouzi (方舟子). ''The Complete Poems of Du Fu'' (杜甫诗全集). Web. 03 Mar 2012. <http://www.njmuseum.com/zh/book/scgf/dufu/dufu.html>

Cooper, Arthur. ''Li Po and Tu Fu.'' Penguin Books, 1973. Print.

== Images ==
<http://86art.net/art/hl/zghl/rw/200707/20070724153459.html>

Du Fu

2012-03-05T06:56:42Z

Whatisthis:

杜甫 - Du Fu (712-770)

= 生平 - Life =

[[file:20070724153529691.jpg|thumb|right|A painting of me]]

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age (Du Fu, "Wanderings").

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

= 诗歌 - Poetry =

[[file:Dufucalligraphy.jpg|left|Part of my poem "On Visiting the Temple of Laozi"]]

More than 1400 of my poems survived; they were written during four periods:

*Schooling and Wanderings (712-747)

*Being stuck in Chang'an (747-756)

*An Lushan Rebellion/The Only Time I had a Job (756-760)

*More Wanderings (760-770)

My collection of poems are of a variety of topics - it was arranged into as many as seventy-two categories. I myself prefer to organize them into four subgroups: poems of travel, poems on paintings, allegorical poems, and poems of friendship (Davis 128).

== Poems of Travel ==

I am a traveler. In my early years, I wandered due to my own desires, and in later years, forced by the rebellion. My observations and emotions mixed with a hint of danger led to the creation of some powerful poems, in which "[my] hardships are treated with irony, [my] companions are shown compassion, and the barriers or land, water, and weather are accorded appreciation and awe" (Davis 129). A significant aspect of traveling is being apart from family. Therefore, many of my poems are more to do with homesickness then actual travels. In my youth, I missed my hometown and in later years, my wife and children. My later travels were caused by the rebellion, so some of my poems expressed my sadness and unwillingness (Davis 128-131).

=== 泥功山 - Nigong Mountain ===

朝行青泥上，暮在青泥中。

泥泞非一时，版筑劳人功。

不畏道途永，乃将汩没同？

白马为铁骊，小儿成老翁。

哀猿透却坠，死鹿力所穷。

寄语北来人，後来莫匆匆。

(Du Fu and Fang)

''In the morning we travel over black mud;''

''In the evening we are still amid black mud.''

''The mud is not all from one time;''

''Many men have labored to ram the earth here.''

''I do not fear the unendingness of the road;''

''Only it could be like drowning.''

''My white horse has become an iron black;''

''My small son has turned into an old man.''

''A miserable gibbon crossed but fell;''

''A dead deer whose strength failed.''

''I send word to those coming from the north,''

''That from here on they should not hurry.''

(as quoted in Davis 131)

== Poems on Paintings ==

One does not study poetry without studying calligraphy and paintings. I myself have great respect and affection for painters and composed twenty or so poems about paintings and their representations (Davis 133-134).

An example of one of the poems:

=== 画鹰 - The Painted Hawk ===

素练风霜起苍鹰画作殊

竦身思狡兔侧目似愁胡

绦镟光堪摘轩楹势可呼

何当击凡鸟毛血洒平芜

(Du Fu Poems 1)

''Wind and frost swirl up from the white silk surface,''

''so superb, this painting of the gray hawk!''

''Shoulders hunched, he schemes to outwit the wily rabbit;''

''peers to one side like a vexed barbarian.''

''Foot cord and ring, a gleam bright enough to grasp;''

''by pillar and eaves, poised to come if you should call.''

''When will he swoop down on those lesser birds,''

''feathers and blood splattered over the barren plain?''

(Du Fu and Watson 3)

There are three reasons to why a lyrical poem with an item - an object, live plants, or an animal - as the subject is difficult to write. First, the item must be accurately described. Second, the 'life characteristics' of the item must be clearly expressed. And third, a relationship between the item and people on a spiritual level must be established to suggest its importance and merge it into people's purpose of life. An inanimate object of an animated subject, such as the hawk paint in this poem, is especially difficult to write about. Writing it as a real hawk would make the poem a failure, since the painting is obviously not real, but writing it as just an object of static state makes it hard to convey the spirit that the painting suggests. I was, however, able to mix the two aspects, using the details of the painting to express how it "comes alive" (Du Fu Poems 1).

== Allegorical Poems ==

The expression of my personal emotions in my poems was done by using either allusions to earlier poets or symbolism relating to plants and animals. When the correct references are found, these poems are easy to understand; however, when the content move beyond the personal level to allegorical writings the poems' meanings are no longer apparent (Davis 140).

This poem is clearly not about me personally:

=== 萤火 - The Firefly ===

幸因腐草出，敢近太阳飞。

未足临书卷，时能点客衣。

随风隔幔小，带雨傍林微。

十月清霜重，飘零何处归。

(Du Fu, "The Firefly")

''Luckily you have come out from rotting weeds;''

''Dare you fly near the sun?''

''You are not able to illumine books,''

''But can always bespot a traveler's clothes.''

''Carried on the wind, you seem small outside the curtain;''

''Specked with rain, you are faint by the side of the wood.''

''When in the tenth month the chill frost is heavy,''

''In your distress where will you turn?''

(as quoted in Davis 142)

This poem is a political allegory with Li Fuguo (李辅国), an eunuch official, as the subject. I called him a rotten weed that shamelessly got too close to the emperor, the sun. I criticized the eunuch for being uneducated and thus causing sufferings to the people and the poet wished him to be removed from office as soon as possible (Davis 143).

== Poems of Friendship ==

Some of my most passionate poems were written to my friends, the most notable person - to be at least - being Li Bai (李白).

=== 春日忆李白 - On a Spring Day Thinking of Li Bai ===

白也诗无敌，飘然思不群。

清新庚开府，俊逸鲍参军。

渭北春天树，江东日暮云。

何时一尊酒，重与细论文？

(Du Fu and Fang)

''Li Bai—poems unrivaled,''

''thought soaring airborne, never banal:''

''the freshness, newness of Yu the Commander,''

''the rare excellence of Adjutant Bao.''

''Here by the northern Wei, springtime trees;''

''east of the Yangzi, clouds at the close of day—''

''when will we share a cask of wine,''

''once more debate the subtleties of the written word?''

(Du Fu and Watson 4)

He was the poet that I admired the most and I was so sad to have to part with him without knowing whether we would be able to meet again. Another poem titled "Dreaming of Li Bai" (梦李白) is possibly an "expression of a deep but generally unsatisfied desire" (Davis 149).

=「李杜」- "Li-Du" =

As single persons, Li Bai (李白) and I can only be considered very competent poets, but together, we are considered the greatest poets of all time, to the point that people called us "Li-Du" (李杜). This is because we were, in fact, as different as can be, while still balancing each other. We were complementary, him being Yin and I Yang. Li Bai was a Taoist; I was Confucian. Li Bai had a unique personality; I left no striking impression about mine. Li Bai was very well known during his own lifetime; I was a nobody. Li Bai was carefree Li Bai did not take the Imperial Examination because he believed himself worthy of higher positions; I took the exam twice and failed both times and was still content in getting a small post after wandering in poverty for years. Most of Li Bai's poems were about dreams and wine; most of mine were historical (Cooper 15-44).

= 结论 - Conclusion =

I was an ordinary man who lived an ordinary life in which I achieved extraordinary accomplishments. However, never in my 'life' did I expect such influence I have on the field of poetry. In fact, I considered myself a failure, having failed the Imperial Examination twice, being unable to secure a post for many years thus living in poverty, and getting captured right after finally getting an appointment after ten years of wanderings in frustration. I did not contribute to the politics of the time or hold high offices. I - and my poems - remained unknown until long after my death. I wrote about common things: objects, my feelings, farewells to friends, things I saw at during the rebellion, society, politics, the common life - things as I see them. I recorded truth: It is what it is.

= 参考 - References =
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

"Du Fu Poems 1" (杜甫诗(一)). 佛山市图书馆. Web. 25 Feb 2012. <http://www.fslib.com.cn/oldfslib/Study/chinaculture/view.Asp?ID=53>

Du Fu. "Wanderings of My Prime" (状游). 教學資源,成語字典,花蓮吉安鄉合法民宿. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu. "The Firefly" (萤火). 诗词名句网. Web. 04 Mar 2012. <http://www.shicimingju.com/baidu/list/118776.html>

Du Fu and Burton Watson. ''The Selected Poems of Du Fu.'' New York: Columbia University Press, 2002. Web. 25 Feb 2012. <http://www.questia.com/PM.qst?a=o&d=100345806>

Du Fu and Fang Zhouzi (方舟子). ''The Complete Poems of Du Fu'' (杜甫诗全集). Web. 03 Mar 2012. <http://www.njmuseum.com/zh/book/scgf/dufu/dufu.html>

Cooper, Arthur. ''Li Po and Tu Fu.'' Penguin Books, 1973. Print.

== Images ==
<http://86art.net/art/hl/zghl/rw/200707/20070724153459.html>

File:Dufucalligraphy.jpg

2012-03-05T06:55:35Z

Whatisthis:

Du Fu

2012-03-05T06:54:14Z

Whatisthis:

杜甫 - Du Fu (712-770)

= 生平 - Life =

[[file:20070724153529691.jpg|thumb|right|A painting of me.]]

[[file:| |]]

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age (Du Fu, "Wanderings").

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

= 诗歌 - Poetry =

More than 1400 of my poems survived; they were written during four periods:

*Schooling and Wanderings (712-747)

*Being stuck in Chang'an (747-756)

*An Lushan Rebellion/The Only Time I had a Job (756-760)

*More Wanderings (760-770)

My collection of poems are of a variety of topics - it was arranged into as many as seventy-two categories. I myself prefer to organize them into four subgroups: poems of travel, poems on paintings, allegorical poems, and poems of friendship (Davis 128).

== Poems of Travel ==

I am a traveler. In my early years, I wandered due to my own desires, and in later years, forced by the rebellion. My observations and emotions mixed with a hint of danger led to the creation of some powerful poems, in which "[my] hardships are treated with irony, [my] companions are shown compassion, and the barriers or land, water, and weather are accorded appreciation and awe" (Davis 129). A significant aspect of traveling is being apart from family. Therefore, many of my poems are more to do with homesickness then actual travels. In my youth, I missed my hometown and in later years, my wife and children. My later travels were caused by the rebellion, so some of my poems expressed my sadness and unwillingness (Davis 128-131).

=== 泥功山 - Nigong Mountain ===

朝行青泥上，暮在青泥中。

泥泞非一时，版筑劳人功。

不畏道途永，乃将汩没同？

白马为铁骊，小儿成老翁。

哀猿透却坠，死鹿力所穷。

寄语北来人，後来莫匆匆。

(Du Fu and Fang)

''In the morning we travel over black mud;''

''In the evening we are still amid black mud.''

''The mud is not all from one time;''

''Many men have labored to ram the earth here.''

''I do not fear the unendingness of the road;''

''Only it could be like drowning.''

''My white horse has become an iron black;''

''My small son has turned into an old man.''

''A miserable gibbon crossed but fell;''

''A dead deer whose strength failed.''

''I send word to those coming from the north,''

''That from here on they should not hurry.''

(as quoted in Davis 131)

== Poems on Paintings ==

One does not study poetry without studying calligraphy and paintings. I myself have great respect and affection for painters and composed twenty or so poems about paintings and their representations (Davis 133-134).

An example of one of the poems:

=== 画鹰 - The Painted Hawk ===

素练风霜起苍鹰画作殊

竦身思狡兔侧目似愁胡

绦镟光堪摘轩楹势可呼

何当击凡鸟毛血洒平芜

(Du Fu Poems 1)

''Wind and frost swirl up from the white silk surface,''

''so superb, this painting of the gray hawk!''

''Shoulders hunched, he schemes to outwit the wily rabbit;''

''peers to one side like a vexed barbarian.''

''Foot cord and ring, a gleam bright enough to grasp;''

''by pillar and eaves, poised to come if you should call.''

''When will he swoop down on those lesser birds,''

''feathers and blood splattered over the barren plain?''

(Du Fu and Watson 3)

There are three reasons to why a lyrical poem with an item - an object, live plants, or an animal - as the subject is difficult to write. First, the item must be accurately described. Second, the 'life characteristics' of the item must be clearly expressed. And third, a relationship between the item and people on a spiritual level must be established to suggest its importance and merge it into people's purpose of life. An inanimate object of an animated subject, such as the hawk paint in this poem, is especially difficult to write about. Writing it as a real hawk would make the poem a failure, since the painting is obviously not real, but writing it as just an object of static state makes it hard to convey the spirit that the painting suggests. I was, however, able to mix the two aspects, using the details of the painting to express how it "comes alive" (Du Fu Poems 1).

== Allegorical Poems ==

The expression of my personal emotions in my poems was done by using either allusions to earlier poets or symbolism relating to plants and animals. When the correct references are found, these poems are easy to understand; however, when the content move beyond the personal level to allegorical writings the poems' meanings are no longer apparent (Davis 140).

This poem is clearly not about me personally:

=== 萤火 - The Firefly ===

幸因腐草出，敢近太阳飞。

未足临书卷，时能点客衣。

随风隔幔小，带雨傍林微。

十月清霜重，飘零何处归。

(Du Fu, "The Firefly")

''Luckily you have come out from rotting weeds;''

''Dare you fly near the sun?''

''You are not able to illumine books,''

''But can always bespot a traveler's clothes.''

''Carried on the wind, you seem small outside the curtain;''

''Specked with rain, you are faint by the side of the wood.''

''When in the tenth month the chill frost is heavy,''

''In your distress where will you turn?''

(as quoted in Davis 142)

This poem is a political allegory with Li Fuguo (李辅国), an eunuch official, as the subject. I called him a rotten weed that shamelessly got too close to the emperor, the sun. I criticized the eunuch for being uneducated and thus causing sufferings to the people and the poet wished him to be removed from office as soon as possible (Davis 143).

== Poems of Friendship ==

Some of my most passionate poems were written to my friends, the most notable person - to be at least - being Li Bai (李白).

=== 春日忆李白 - On a Spring Day Thinking of Li Bai ===

白也诗无敌，飘然思不群。

清新庚开府，俊逸鲍参军。

渭北春天树，江东日暮云。

何时一尊酒，重与细论文？

(Du Fu and Fang)

''Li Bai—poems unrivaled,''

''thought soaring airborne, never banal:''

''the freshness, newness of Yu the Commander,''

''the rare excellence of Adjutant Bao.''

''Here by the northern Wei, springtime trees;''

''east of the Yangzi, clouds at the close of day—''

''when will we share a cask of wine,''

''once more debate the subtleties of the written word?''

(Du Fu and Watson 4)

He was the poet that I admired the most and I was so sad to have to part with him without knowing whether we would be able to meet again. Another poem titled "Dreaming of Li Bai" (梦李白) is possibly an "expression of a deep but generally unsatisfied desire" (Davis 149).

=「李杜」- "Li-Du" =

As single persons, Li Bai (李白) and I can only be considered very competent poets, but together, we are considered the greatest poets of all time, to the point that people called us "Li-Du" (李杜). This is because we were, in fact, as different as can be, while still balancing each other. We were complementary, him being Yin and I Yang. Li Bai was a Taoist; I was Confucian. Li Bai had a unique personality; I left no striking impression about mine. Li Bai was very well known during his own lifetime; I was a nobody. Li Bai was carefree Li Bai did not take the Imperial Examination because he believed himself worthy of higher positions; I took the exam twice and failed both times and was still content in getting a small post after wandering in poverty for years. Most of Li Bai's poems were about dreams and wine; most of mine were historical (Cooper 15-44).

= 结论 - Conclusion =

I was an ordinary man who lived an ordinary life in which I achieved extraordinary accomplishments. However, never in my 'life' did I expect such influence I have on the field of poetry. In fact, I considered myself a failure, having failed the Imperial Examination twice, being unable to secure a post for many years thus living in poverty, and getting captured right after finally getting an appointment after ten years of wanderings in frustration. I did not contribute to the politics of the time or hold high offices. I - and my poems - remained unknown until long after my death. I wrote about common things: objects, my feelings, farewells to friends, things I saw at during the rebellion, society, politics, the common life - things as I see them. I recorded truth: It is what it is.

= 参考 - References =
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

"Du Fu Poems 1" (杜甫诗(一)). 佛山市图书馆. Web. 25 Feb 2012. <http://www.fslib.com.cn/oldfslib/Study/chinaculture/view.Asp?ID=53>

Du Fu. "Wanderings of My Prime" (状游). 教學資源,成語字典,花蓮吉安鄉合法民宿. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu. "The Firefly" (萤火). 诗词名句网. Web. 04 Mar 2012. <http://www.shicimingju.com/baidu/list/118776.html>

Du Fu and Burton Watson. ''The Selected Poems of Du Fu.'' New York: Columbia University Press, 2002. Web. 25 Feb 2012. <http://www.questia.com/PM.qst?a=o&d=100345806>

Du Fu and Fang Zhouzi (方舟子). ''The Complete Poems of Du Fu'' (杜甫诗全集). Web. 03 Mar 2012. <http://www.njmuseum.com/zh/book/scgf/dufu/dufu.html>

Cooper, Arthur. ''Li Po and Tu Fu.'' Penguin Books, 1973. Print.

== Images ==
<http://86art.net/art/hl/zghl/rw/200707/20070724153459.html>

File:20070724153529691.jpg

2012-03-05T06:52:40Z

Whatisthis:

Du Fu

2012-03-05T06:46:44Z

Whatisthis:

杜甫 - Du Fu (712-770)

= 生平 - Life =

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age (Du Fu, "Wanderings").

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

= 诗歌 - Poetry =

More than 1400 of my poems survived; they were written during four periods:

*Schooling and Wanderings (712-747)

*Being stuck in Chang'an (747-756)

*An Lushan Rebellion/The Only Time I had a Job (756-760)

*More Wanderings (760-770)

My collection of poems are of a variety of topics - it was arranged into as many as seventy-two categories. I myself prefer to organize them into four subgroups: poems of travel, poems on paintings, allegorical poems, and poems of friendship (Davis 128).

== Poems of Travel ==

I am a traveler. In my early years, I wandered due to my own desires, and in later years, forced by the rebellion. My observations and emotions mixed with a hint of danger led to the creation of some powerful poems, in which "[my] hardships are treated with irony, [my] companions are shown compassion, and the barriers or land, water, and weather are accorded appreciation and awe" (Davis 129). A significant aspect of traveling is being apart from family. Therefore, many of my poems are more to do with homesickness then actual travels. In my youth, I missed my hometown and in later years, my wife and children. My later travels were caused by the rebellion, so some of my poems expressed my sadness and unwillingness (Davis 128-131).

=== 泥功山 - Nigong Mountain ===

朝行青泥上，暮在青泥中。

泥泞非一时，版筑劳人功。

不畏道途永，乃将汩没同？

白马为铁骊，小儿成老翁。

哀猿透却坠，死鹿力所穷。

寄语北来人，後来莫匆匆。

(Du Fu and Fang)

''In the morning we travel over black mud;''

''In the evening we are still amid black mud.''

''The mud is not all from one time;''

''Many men have labored to ram the earth here.''

''I do not fear the unendingness of the road;''

''Only it could be like drowning.''

''My white horse has become an iron black;''

''My small son has turned into an old man.''

''A miserable gibbon crossed but fell;''

''A dead deer whose strength failed.''

''I send word to those coming from the north,''

''That from here on they should not hurry.''

(as quoted in Davis 131)

== Poems on Paintings ==

One does not study poetry without studying calligraphy and paintings. I myself have great respect and affection for painters and composed twenty or so poems about paintings and their representations (Davis 133-134).

An example of one of the poems:

=== 画鹰 - The Painted Hawk ===

素练风霜起苍鹰画作殊

竦身思狡兔侧目似愁胡

绦镟光堪摘轩楹势可呼

何当击凡鸟毛血洒平芜

(Du Fu Poems 1)

''Wind and frost swirl up from the white silk surface,''

''so superb, this painting of the gray hawk!''

''Shoulders hunched, he schemes to outwit the wily rabbit;''

''peers to one side like a vexed barbarian.''

''Foot cord and ring, a gleam bright enough to grasp;''

''by pillar and eaves, poised to come if you should call.''

''When will he swoop down on those lesser birds,''

''feathers and blood splattered over the barren plain?''

(Du Fu and Watson 3)

There are three reasons to why a lyrical poem with an item - an object, live plants, or an animal - as the subject is difficult to write. First, the item must be accurately described. Second, the 'life characteristics' of the item must be clearly expressed. And third, a relationship between the item and people on a spiritual level must be established to suggest its importance and merge it into people's purpose of life. An inanimate object of an animated subject, such as the hawk paint in this poem, is especially difficult to write about. Writing it as a real hawk would make the poem a failure, since the painting is obviously not real, but writing it as just an object of static state makes it hard to convey the spirit that the painting suggests. I was, however, able to mix the two aspects, using the details of the painting to express how it "comes alive" (Du Fu Poems 1).

== Allegorical Poems ==

The expression of my personal emotions in my poems was done by using either allusions to earlier poets or symbolism relating to plants and animals. When the correct references are found, these poems are easy to understand; however, when the content move beyond the personal level to allegorical writings the poems' meanings are no longer apparent (Davis 140).

This poem is clearly not about me personally:

=== 萤火 - The Firefly ===

幸因腐草出，敢近太阳飞。

未足临书卷，时能点客衣。

随风隔幔小，带雨傍林微。

十月清霜重，飘零何处归。

(Du Fu, "The Firefly")

''Luckily you have come out from rotting weeds;''

''Dare you fly near the sun?''

''You are not able to illumine books,''

''But can always bespot a traveler's clothes.''

''Carried on the wind, you seem small outside the curtain;''

''Specked with rain, you are faint by the side of the wood.''

''When in the tenth month the chill frost is heavy,''

''In your distress where will you turn?''

(as quoted in Davis 142)

This poem is a political allegory with Li Fuguo (李辅国), an eunuch official, as the subject. I called him a rotten weed that shamelessly got too close to the emperor, the sun. I criticized the eunuch for being uneducated and thus causing sufferings to the people and the poet wished him to be removed from office as soon as possible (Davis 143).

== Poems of Friendship ==

Some of my most passionate poems were written to my friends, the most notable person - to be at least - being Li Bai (李白).

=== 春日忆李白 - On a Spring Day Thinking of Li Bai ===

白也诗无敌，飘然思不群。

清新庚开府，俊逸鲍参军。

渭北春天树，江东日暮云。

何时一尊酒，重与细论文？

(Du Fu and Fang)

''Li Bai—poems unrivaled,''

''thought soaring airborne, never banal:''

''the freshness, newness of Yu the Commander,''

''the rare excellence of Adjutant Bao.''

''Here by the northern Wei, springtime trees;''

''east of the Yangzi, clouds at the close of day—''

''when will we share a cask of wine,''

''once more debate the subtleties of the written word?''

(Du Fu and Watson 4)

He was the poet that I admired the most and I was so sad to have to part with him without knowing whether we would be able to meet again. Another poem titled "Dreaming of Li Bai" (梦李白) is possibly an "expression of a deep but generally unsatisfied desire" (Davis 149).

=「李杜」- "Li-Du" =

As single persons, Li Bai (李白) and I can only be considered very competent poets, but together, we are considered the greatest poets of all time, to the point that people called us "Li-Du" (李杜). This is because we were, in fact, as different as can be, while still balancing each other. We were complementary, him being Yin and I Yang. Li Bai was a Taoist; I was Confucian. Li Bai had a unique personality; I left no striking impression about mine. Li Bai was very well known during his own lifetime; I was a nobody. Li Bai was carefree Li Bai did not take the Imperial Examination because he believed himself worthy of higher positions; I took the exam twice and failed both times and was still content in getting a small post after wandering in poverty for years. Most of Li Bai's poems were about dreams and wine; most of mine were historical (Cooper 15-44).

= 结论 - Conclusion =

I was an ordinary man who lived an ordinary life in which I achieved extraordinary accomplishments. However, never in my 'life' did I expect such influence I have on the field of poetry. In fact, I considered myself a failure, having failed the Imperial Examination twice, being unable to secure a post for many years thus living in poverty, and getting captured right after finally getting an appointment after ten years of wanderings in frustration. I did not contribute to the politics of the time or hold high offices. I - and my poems - remained unknown until long after my death. I wrote about common things: objects, my feelings, farewells to friends, things I saw at during the rebellion, society, politics, the common life - things as I see them. I recorded truth: It is what it is.

= 参考 - References =
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

"Du Fu Poems 1" (杜甫诗(一)). 佛山市图书馆. Web. 25 Feb 2012. <http://www.fslib.com.cn/oldfslib/Study/chinaculture/view.Asp?ID=53>

Du Fu. "Wanderings of My Prime" (状游). 教學資源,成語字典,花蓮吉安鄉合法民宿. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu. "The Firefly" (萤火). 诗词名句网. Web. 04 Mar 2012. <http://www.shicimingju.com/baidu/list/118776.html>

Du Fu and Burton Watson. ''The Selected Poems of Du Fu.'' New York: Columbia University Press, 2002. Web. 25 Feb 2012. <http://www.questia.com/PM.qst?a=o&d=100345806>

Du Fu and Fang Zhouzi (方舟子). ''The Complete Poems of Du Fu'' (杜甫诗全集). Web. 03 Mar 2012. <http://www.njmuseum.com/zh/book/scgf/dufu/dufu.html>

Cooper, Arthur. ''Li Po and Tu Fu.'' Penguin Books, 1973. Print.

Talk:Li Bai

2012-03-05T06:34:49Z

Whatisthis:

==Author's Note==
# I'm really trying to get my sources tight- if you notice anything that you think should have a citation next to it, please tell me so!
# Quality over quantity! I know its rather short: if you think it should be longer just say so.
#I just have to say so myself, I think my topic is hilarious.
Thanks,
--[[User:ArnoldQ|ArnoldQ]] 07:53, 4 March 2012 (UTC)

Good Start- it sounds like reading your paper is going to be a lot of fun- totally suitable "voice" for your poet.
Be sure to double check you spelling though- right after saying you might be of Turkish descent, you say "My probably" instead of "I". Simple mistake; a good proofreading will take care of that.[[User:Dekeo|Dekeo]] 06:02, 4 March 2012 (UTC)

==Aclhemist1330==

Please talk about your death and horn growing story it was the highlight off your whole presentation and capture the voice of a drunkard in some areas.
I really like the lay out and flow make sure you have refences

== looking good ==

You don't have to worry about any of your sources. You were very thorough. I don't think the length of your paper is a problem. Being able to make a concise argument in a short amount of space is a good thing. Still, making the paper longer won't hurt you if you are worried about your grade and are still working on this paper. [[User:Name|Name]] 04:41, 5 March 2012 (UTC)

== Comment ? ==
The sources look fine. Considering yours is solid text and not poem fillers, the length is of no problem. More pictures would be nice though~ --[[User:Whatisthis|Whatisthis]] 06:34, 5 March 2012 (UTC)

Talk:Ouyang Xiu

2012-03-05T03:54:28Z

Whatisthis:

Hello!

The poem, White Egret, seems to have every other line in a giant box. I don't think this is what you intended! I'll post more comments when they arise. Thanks~

--[[User:Checksum|Checksum]] 18:34, 3 March 2012 (UTC)

I really like the style, it is very comforting and nice. I think you need to length some segments. You said you'll talk about how you were a writer and literary critic but that didn't really develop well. There is also a broken picture, I'm sure you'll fix that in no time. Besides that I'm really liking how its going.
--[[User:Checksum|Checksum]] 03:34, 5 March 2012 (UTC)

Instead of a simple list of facts, I think your paper should read more like an essay, with full sentences and paragraphs. [[User:Name|Name]] 07:51, 4 March 2012 (UTC)

Also, what is your thesis statement? I think it would be good if you put your thesis in the introduction, and then tried to carry it into each of your sections, and then made a final conclusion combining your mini conclusions from each sections. [[User:Name|Name]] 07:54, 4 March 2012 (UTC)
:I'm working on it- My thesis statement is still a little vague but it is in there- just not in the intro- next section. Hopefully, by the time I finish, the argument will seem clear. Right now, I think there will be two "conclusions" one for the first person part and one for the over all paper- and there, I plan to recap the paper's argument. Thanks for your suggestions.I need all the help I can get! [[User:Licia K|Licia K]] 08:47, 4 March 2012 (UTC)

== HELP! ==

1. Licia, can you tell me what page in the textbook it says that Su Shi liked to write about manly things? Do you remember it saying that? It wasn't in the first section labeled Su Shi, but in a section afterwards I think.

2. Can you find where it says that Su Shi argued to keep one of Wang Anshi's reforms?

3. Is there a simple description of Su Shi's writing style? I want to say that he writes mainly autobiographically and also looks outside instead of just introspectively, but my internet souces aren't helping me too much on this.

If you can find me any of these things, I would greatly appreciate it. And Professor Woesler should give you 100% for helping others. ;) Thanks! [[User:Alexis Sagen|Alexis Sagen]] 18:48, 4 March 2012 (UTC)

==Alchemist1330==
maybe add in a little section that you argue something with, i'm not sure what or maybe have a section by you that you analyze one of his peoem and support your claims, which i think is an argument.
anyway like it allot. If you want you can have more picture but i like the airy look.
also add a works cited or references at the bottom i can't see any

== Comment 6==
Nice work so far. It would be nice to have some more pictures~ Also, one of the lines of the poem is formatted weirdly, maybe fix that? --[[User:Whatisthis|Whatisthis]] 03:54, 5 March 2012 (UTC)

Du Fu

2012-03-05T03:52:11Z

Whatisthis:

杜甫 - Du Fu (712-770)

= 生平 - Life =

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age (Du Fu, "Wanderings").

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

= 诗歌 - Poetry =

More than 1400 of my poems survived; they were written during four periods:

*

*

*

*

My collection of poems are of a variety of topics - it was arranged into as many as seventy-two categories. I myself prefer to organize them into four subgroups: poems of travel, poems on paintings, allegorical poems, and poems of friendship '''(Davis )'''.

== Poems of Travel ==

I am a traveler. In my early years, I wandered due to my own desires, and in later years, forced by the rebellion. My observations and emotions mixed with a hint of danger led to the creation of some powerful poems, in which "[my] hardships are treated with irony, [my] companions are shown compassion, and the barriers or land, water, and weather are accorded appreciation and awe" (Davis 129). A significant aspect of traveling is being apart from family. Therefore, many of my poems are more to do with homesickness then actual travels. In my youth, I missed my hometown and in later years, my wife and children. My later travels were caused by the rebellion, so some of my poems expressed my sadness and unwillingness (Davis 128-131).

=== 泥功山 - Nigong Mountain ===

朝行青泥上，暮在青泥中。

泥泞非一时，版筑劳人功。

不畏道途永，乃将汩没同？

白马为铁骊，小儿成老翁。

哀猿透却坠，死鹿力所穷。

寄语北来人，後来莫匆匆。

(Du Fu and Fang)

''In the morning we travel over black mud;''

''In the evening we are still amid black mud.''

''The mud is not all from one time;''

''Many men have labored to ram the earth here.''

''I do not fear the unendingness of the road;''

''Only it could be like drowning.''

''My white horse has become an iron black;''

''My small son has turned into an old man.''

''A miserable gibbon crossed but fell;''

''A dead deer whose strength failed.''

''I send word to those coming from the north,''

''That from here on they should not hurry.''

(as quoted in Davis 131)

== Poems on Paintings ==

One does not study poetry without studying calligraphy and paintings. I myself have great respect and affection for painters and composed twenty or so poems about paintings and their representations (Davis 133-134).

An example of one of the poems:

=== 画鹰 - The Painted Hawk ===

素练风霜起苍鹰画作殊

竦身思狡兔侧目似愁胡

绦镟光堪摘轩楹势可呼

何当击凡鸟毛血洒平芜

(Du Fu Poems 1)

''Wind and frost swirl up from the white silk surface,''

''so superb, this painting of the gray hawk!''

''Shoulders hunched, he schemes to outwit the wily rabbit;''

''peers to one side like a vexed barbarian.''

''Foot cord and ring, a gleam bright enough to grasp;''

''by pillar and eaves, poised to come if you should call.''

''When will he swoop down on those lesser birds,''

''feathers and blood splattered over the barren plain?''

(Du Fu and Watson 3)

There are three reasons to why a lyrical poem with an item - an object, live plants, or an animal - as the subject is difficult to write. First, the item must be accurately described. Second, the 'life characteristics' of the item must be clearly expressed. And third, a relationship between the item and people on a spiritual level must be established to suggest its importance and merge it into people's purpose of life. An inanimate object of an animated subject, such as the hawk paint in this poem, is especially difficult to write about. Writing it as a real hawk would make the poem a failure, since the painting is obviously not real, but writing it as just an object of static state makes it hard to convey the spirit that the painting suggests. I was, however, able to mix the two aspects, using the details of the painting to express how it "comes alive" (Du Fu Poems 1).

== Allegorical Poems ==

The expression of my personal emotions in my poems was done by using either allusions to earlier poets or symbolism relating to plants and animals. When the correct references are found, these poems are easy to understand; however, when the content move beyond the personal level to allegorical writings the poems' meanings are no longer apparent (Davis 140).

This poem is clearly not about me personally:

=== 萤火 - The Firefly ===

幸因腐草出，敢近太阳飞。

未足临书卷，时能点客衣。

随风隔幔小，带雨傍林微。

十月清霜重，飘零何处归。

(Du Fu, "The Firefly")

''Luckily you have come out from rotting weeds;''

''Dare you fly near the sun?''

''You are not able to illumine books,''

''But can always bespot a traveler's clothes.''

''Carried on the wind, you seem small outside the curtain;''

''Specked with rain, you are faint by the side of the wood.''

''When in the tenth month the chill frost is heavy,''

''In your distress where will you turn?''

(as quoted in Davis 142)

This poem is a political allegory with Li Fuguo (李辅国), an eunuch official, as the subject. The poem called him the rotten weed that shamelessly got to close the emperor, the sun. It criticized the eunuch for being uneducated and thus causing sufferings to the people and the poet wished him to be removed from office as soon as possible (Davis 143).

== Poems of Friendship ==

= 论题 - Topic: =

==「李杜」- 'Li-Du' ==

= 结论 - Conclusion =

= 参考 - References =
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

"Du Fu Poems 1" (杜甫诗(一)). 佛山市图书馆. Web. 25 Feb 2012. <http://www.fslib.com.cn/oldfslib/Study/chinaculture/view.Asp?ID=53>

Du Fu. "Wanderings of My Prime" (状游). 教學資源,成語字典,花蓮吉安鄉合法民宿. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu. "The Firefly" (萤火). 诗词名句网. Web. 04 Mar 2012. <http://www.shicimingju.com/baidu/list/118776.html>

Du Fu and Burton Watson. ''The Selected Poems of Du Fu.'' New York: Columbia University Press, 2002. Web. 25 Feb 2012. <http://www.questia.com/PM.qst?a=o&d=100345806>

Du Fu and Fang Zhouzi (方舟子). ''The Complete Poems of Du Fu'' (杜甫诗全集). Web. 03 Mar 2012. <http://www.njmuseum.com/zh/book/scgf/dufu/dufu.html>

Talk:Canonization of Chinese Literature in the East and West

2012-03-05T03:47:18Z

Whatisthis:

Talk:Canonization of Chinese Literature in the East and West.

2012-03-05T01:37:57Z

Whatisthis:

Hi. Looks good, but needs to be longer and have more argumentation in it. Please add sources of pictures and tell us exactly, which passage comes from which of the 3 references indicated. Thank you very much! [[User:Root|Root]] 00:06, 4 March 2012 (UTC)

Make sure you source more and i would clean it up a bitt into more uniform blocks and make sure the pictures are contained within thier own section they seem to over lap. Alchemist1330

Good advice from the others. Now, for my two cents worth of comments. Watch out for "passive" sentences. I'll explain what I mean. Your first sentence talks about how Chinese cannon "has had" many different... Those "be" verbs (have had, would have done, had been done, was influenced, etc.) are prime indicators of a passive sentence. Try re-writing it with active verbs.

"The evolution of China’s literary canon ''has had'' (passive "be" verb) many different factors contributing to its formation." thus becomes " Many different factors ''contributed'' (active verb) to the evolution and formation of China's literary canon." Your sentences will flow better and sound more natural if you write with active verbs.

Also, be sure to double check your spelling and capitalization- "China" for example, should always be capitalized. I look forward to reading the final paper. [[User:Dekeo|Dekeo]] 06:23, 4 March 2012 (UTC)

== Comment 2 ==

Great paper. I would fix the spelling errors. One thing: there appears to be large quotations (such as in Politics and Ideology) that don't seem to be attributed to anyone. 
Thanks, 
--[[User:Checksum|Checksum]] 08:12, 4 March 2012 (UTC)

== Comment 5 ==

Nice report, check grammar though. Stuff like "Following was Han Dynasty following who stressed a major emphasis on the Confucian works to legitimize their rule" or the first sentence of the conclusion don't make too much sense. --[[User:Whatisthis|Whatisthis]] 01:37, 5 March 2012 (UTC)

Du Fu

2012-03-04T21:13:05Z

Whatisthis:

杜甫 - Du Fu (712-770)

== 生平 - Life ==

I am referred as the "Saint of Poems." It is of no surprise, really, considering what I had been as a child and what I had done later in my life.

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age ().

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

== 诗歌 - Poetry ==

About 1400 of my poems survived; they were written during four periods:

*

*

*

*

==「李杜」- 'Li-Du' ==

== 参考 - References ==
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

Du Fu. "The Wanderings of My Prime" (状游). http://www.gotop.idv.tw. Web. 03 Mar 2012. <http://www.gotop.idv.tw/content/dofu/travel1.htm>

Du Fu

2012-03-04T21:06:49Z

Whatisthis:

杜甫 - Du Fu (712-770)

== 生平 - Life ==

I am referred as the "Saint of Poems." It is of no surprise, really, considering what I had been as a child and what I had done later in my life.

I was born in 712 as the grandson of Du Shenyan (杜審言), a known prose writer and poet of his day. It is quite likely that his reputation motivated me to study literary works - his works included - in my early years (Davis 14-16). As stated in my poem "The Wanderings of My Prime," I was composing poetry at the age of seven, writing calligraphy at age nine, and had poems in the literary arena by fourteen/fifteen. Like most of the great poets of my time - Li Bai especially - I started drinking wine at a relatively young age, being rather mature and associating with elders who were far more wise then those of my own age.

At nineteen, I began a series of travels, although the poems that I wrote during that period were not preserved. Rather, my experiences were known through my works of reminiscence done much later, possibly resulting in them being in a lighter mood than they really were, after the harsh life I had endured. I returned to take the Civil Services Examination and was unsuccessful, much to my surprise. In my disappointment, I set out to travel again, this time focusing more on riding and hunting than poetry (Davis 17-20).

I was raised with traditional Confucian beliefs, but when I was around thirty, I became somewhat curious about Buddhism and Taoism. My interest in Taoism, especially immortality, increased with the meeting with Li Bai (李白) in 744. I so very fond of him that I wrote to and about him after we parted, and continued to write even though my feelings nor my letters were returned, however my interest in Taoism soon faded (Davis 23-27).

I was no longer young and cannot afford to waste the rest of my life away, so at age thirty-three I returned to the capital. In 747, I had the opportunity to take the Civil Service Examination again. This time, Prime Minister Li Linfu failed everyone. Never again did I attempt the exam; instead, I petitioned to officials and the emperor himself. I was not able to gain office and thus lived poverty for the next ten or so years. The elements reflected in my poems written during this period were not only disappointment and frustration but also an awareness in the state of society and sympathy towards those who were suffering (Davis 27-36).

In 755, I was finally given a small post as "adjutant in the Office of the Right Commander of the Heir-Apparent's Palace Guard" (Davis 41). An Lushan Rebellion (安史之乱) in December, and soon after I took my family and fled. My family was safe, but I was captured and forced to stay in Chang'an for eight months, during which I wrote my best lyric poems. Then I proceeded to record the war in my poetry and continued after the rebellion ended, which earned the title of "Poet Historian" (Davis 49-52).

== 诗歌 - Poetry ==

About 1400 of my poems survived; they were written during four periods:

*

*

*

*

==「李杜」- 'Li-Du' ==

== 参考 - References ==
Davis, A.R. ''Tu Fu.'' New York: Twayne Publishers, 1971. Print.

-not done- Du Fu. "The Wanderings of My Prime."

Talk:Su Shi (Su Dongpo)

2012-03-04T21:04:39Z

Whatisthis: /* Comment */

I suggest that you add in titles to separate information
like this.

==Title==
but you don't have to

but overall it looks great, also make sure you use in text citations in addition to your list of refrences at the bottom and i would sugest instead of writting (source Edgar pg. 34) just have (Edgar pg. 34) you don't need to say source but it is really up to you.

Alchemist1330

== Comment 2 ==

I think you should make the poems clearer, as in "cleaner"? Like right now it seems to blend in with the rest of the text, I think it should be more distinctive.
Thanks,
--[[User:Checksum|Checksum]] 04:53, 4 March 2012 (UTC)

== '''Proof Read!''' :) ==
1- You need to be sure to put a space before your source otherwise the parentheses are connected to the last word of the section you are citing.

2- Spelling and grammar errors are easier to spot after you take a break. I'm pretty sure you will spot what I'm talking about right away if you go to your paper now and try reading it out loud.

3- And, how about an argument? This is a nice autobiography, but, well, we were asked to defend something. Of course, it looks like you aren't finished yet- maybe the argument is still to come- right? [[User:Dekeo|Dekeo]] 06:44, 4 March 2012 (UTC)

== My Thesis Statement ==

Thanks for the advice, guys! My Thesis statement will be "I was an ordinary man whose greatest talent came from the desire to try what nobody else has attempted, without being tied down to the expectations of the time." Kind of a weird thesis,I know, but this is what I think of Su Shi, so that is what I will try to argue. Try and read my paper with this in mind. :) [[User:Alexis Sagen|Alexis Sagen]] 17:43, 4 March 2012 (UTC)

== Comment 4==
The stuff about what 'you' did is nice, but how are they things "nobody else has attempted?" As in, I don't know what other people normally did so I don't recognize what 'you' did as different, if this makes sense. --[[User:Whatisthis|Whatisthis]] 21:01, 4 March 2012 (UTC)

Talk:Su Shi (Su Dongpo)

2012-03-04T21:01:12Z

Whatisthis:

I suggest that you add in titles to separate information
like this.

==Title==
but you don't have to

but overall it looks great, also make sure you use in text citations in addition to your list of refrences at the bottom and i would sugest instead of writting (source Edgar pg. 34) just have (Edgar pg. 34) you don't need to say source but it is really up to you.

Alchemist1330

== Comment 2 ==

I think you should make the poems clearer, as in "cleaner"? Like right now it seems to blend in with the rest of the text, I think it should be more distinctive.
Thanks,
--[[User:Checksum|Checksum]] 04:53, 4 March 2012 (UTC)

== '''Proof Read!''' :) ==
1- You need to be sure to put a space before your source otherwise the parentheses are connected to the last word of the section you are citing.

2- Spelling and grammar errors are easier to spot after you take a break. I'm pretty sure you will spot what I'm talking about right away if you go to your paper now and try reading it out loud.

3- And, how about an argument? This is a nice autobiography, but, well, we were asked to defend something. Of course, it looks like you aren't finished yet- maybe the argument is still to come- right? [[User:Dekeo|Dekeo]] 06:44, 4 March 2012 (UTC)

== My Thesis Statement ==

Thanks for the advice, guys! My Thesis statement will be "I was an ordinary man whose greatest talent came from the desire to try what nobody else has attempted, without being tied down to the expectations of the time." Kind of a weird thesis,I know, but this is what I think of Su Shi, so that is what I will try to argue. Try and read my paper with this in mind. :) [[User:Alexis Sagen|Alexis Sagen]] 17:43, 4 March 2012 (UTC)

== Comment ==
The stuff about what 'you' did is nice, but how are they things "nobody else has attempted?" As in, I don't know what other people normally did so I don't recognize what 'you' did as different, if this makes sense. --[[User:Whatisthis|Whatisthis]] 21:01, 4 March 2012 (UTC)

Classical Chinese Literature

2012-01-20T20:08:26Z

Whatisthis:

[https://wiki.vm.ruhr-uni-bochum.de/uvu/index.php/uvu:Community_Portal Click here to learn how to use this Wiki.] [[User:Root|Root]] 11:42, 10 January 2012 (UTC)

= Contents =
* [[Roots of Chinese literature]] [[User:Root|Root]] 11:42, 10 January 2012 (UTC)

* [[Midterm Report - Du Fu]] ~Wantong 12:40, 18 January 2012 (UTC)

* 1: RIT: [[The 5 Canonized Classics]] --[[User:ArnoldQ|ArnoldQ]] 04:35, 20 January 2012 (UTC)

Du Fu

2012-01-20T19:45:32Z

Whatisthis:

Um, 您的访问出错了。

很抱歉，您要访问的页面不存在。 XD

[[File:Aa59892b78a115cae7cd4073.jpg]]

File:Aa59892b78a115cae7cd4073.jpg

2012-01-20T19:45:15Z

Whatisthis:

Midterm Report

2012-01-20T19:40:11Z

Whatisthis: moved Midterm Report to Midterm Report - Du Fu

#REDIRECT [[Midterm Report - Du Fu]]

Du Fu

2012-01-20T19:40:11Z

Whatisthis: moved Midterm Report to Midterm Report - Du Fu

Um, 您的访问出错了。

很抱歉，您要访问的页面不存在。 XD

Classical Chinese Literature

2012-01-20T19:38:42Z

Whatisthis:

[https://wiki.vm.ruhr-uni-bochum.de/uvu/index.php/uvu:Community_Portal Click here to learn how to use this Wiki.] [[User:Root|Root]] 11:42, 10 January 2012 (UTC)

= Contents =
* [[Roots of Chinese literature]] [[User:Root|Root]] 11:42, 10 January 2012 (UTC)

* [[Midterm Report - Du Fu]] Wantong Du 12:40, 18 January 2012 (UTC)

* 1: RIT: [[The 5 Canonized Classics]] --[[User:ArnoldQ|ArnoldQ]] 04:35, 20 January 2012 (UTC)

Du Fu

2012-01-18T19:45:49Z

Whatisthis:

Um, 您的访问出错了。

很抱歉，您要访问的页面不存在。 XD

Du Fu

2012-01-18T19:44:59Z

Whatisthis:

Um, 您的访问出错了。
很抱歉，您要访问的页面不存在。 XD

Du Fu

2012-01-18T19:44:36Z

Whatisthis:

= Um, 您的访问出错了。 =
很抱歉，您要访问的页面不存在。 XD

Du Fu

2012-01-18T19:43:28Z

Whatisthis: Created page with 'Um, 很抱歉，您要访问的页面不存在。 XD'

Um, 很抱歉，您要访问的页面不存在。 XD

Classical Chinese Literature

2012-01-18T19:41:16Z

Whatisthis: