Du Shi Approved The Study

Academic research on poetry of Du Fu is quite mature. However, since its special position in the history of Chinese poetry and Chinese culture, it is still an important topic in ancient Chinese poetry research. From the perspective of marks and annotations, using first-hand materials as much as possible, this paper studies the criticism and acceptance of Du Fu's poetry since Song and Yuan Dynasty through case studies. The subject of this paper is the marks and annotations on Du Fu's poetry in Song, Yuan, Ming and Qing dynasties. Since the marks and annotations on Du Fu's poetry by Fang Nantang in 12th year of the Yongzheng (1734) emperor in Qing Dynasty had completed the ideological content and forms of marks and annotations on Du Fu's poetry, case studies of this paper end with Fang.The first chapter is an overview of the subject, which mainly discusses the origin and development of marks and annotations on Du Fu's poetry, its types and characteristics, and its recording and holding. Based on achievements of bibliography and the science of edition, this paper points out that complete marks and annotations on literature finalized its form before the year of baoqing bingxu (1226) in the Southern Song Dynasty and marks and annotations on poetry originated from"Selected poems by Li changji",whose marks and annotations are authored by Liu Chenweng. This chapter also studies annotation authors and libraries of various rare book on Du Fu's poetry,in order to provide a more clear and convenient list to researchers on Du Fu's poetry.The second chapter is about marks and annotations on Du Fu's poetry in Song and Yuan Dynasty. Based on the compilation of annotations by Liu Chenweng from"Jiqianjiazhu Pidian Buyi DuGongbu Shiji" (Ming version) , the first section mainly discusses mentality,purpose,content and criticism theory of Liu Chenweng's annotations. Liu Chenweng started the trend of marking and annotating Du Fu's poetry. Liu also established the basic paradigms for marking and annotating Du Fu's poetry: returning to text instead of sticking on exegetic and improving old annotations.Based on the compilation of annotations by Fan Peng from "poems of DuGongbu selected by Fan Dejin",the second section discusses Fan Peng's admiration towards Du Fu reflected in his annotations and his viewpoint that Du Fu's poetry are well-reasoned. Fan is good at discovering beauty of Du Fu's poetry from perspectives ignored by others.The third chapter is about marks and annotations on Du Fu's poetry in the Ming Dynasty. This chapter focuses on characteristics of marks and annotations on Du Fu's poetry by Zheng Shanfu,Wang Shenzhong and Xu Wei,known for criticizing Du Fu.Through case studies, this chapter explores the background of the trend to criticize Du Fu, which rose from the mid and late Ming Dynasty. This chapter analyses different characteristics of Zheng, Wang and Xu. Although Zheng learnt from Du Fu, he did not approve variants of Du Fu's poetry. He thought Du Fu often said too much, lack of the elegance of poets. Wang criticized that Du Fu focused on form instead of content,and was a bit subjective and hasty. Xu criticized a few flaws in some of Du Fu's poems,such as "flat","naive","cobbling" and "coarse". He also criticized Du Fu's pedanticism. Zheng's annotations are complicated from "Dushitong" (Qing Shunzhi version) ,Wang's are complicated from "Dugongbuji" (Wujiapingben), and Xu's are complicated from "Xu Qingteng Pidu Ji" in Nanjing Library (authentic work of Xu's annotations).The fourth chapter is on the Qing Dynasty. The fourth chapter focused on marks and annotations of Du Fu's poetry from the changing of Ming to Qing Dynasty. Sun Chengze (a representative of turncoat officials at the beginning of the Qing Dynasty),Xu Shupi, Fu Shan (representatives of adherents of the Ming Dynasty) and Qian Lucan (a representative of officials of the Qing Dynasty) jointly pushed the marks and annotatations on Du Fu's poetry to the height. The first section reveals that Sun Chengze expressed his "loyalty and righteousness" via marking and annotating Du Fu's poetry. Sun was also good at using the philosophy of calligraphy and painting to review Du Fu's poetry. The second section studies the authenticity of Xu Shupi's"Dushi Zhibianlu", and reveals the mentality of adherents of the Ming Dynasty in Xu's transcribing and annotating Du Fu's poetry. Xu also favored Du Fu's poetry forewords. This favoring is a unique feature. The third section studies the authenticity of two inscriptions by Weng Tonghe on the start and end of "Fu Qingzhu Shoupi Dushi", and analysed the content of Fu's annotations on Du Fu's poetry. Fu dared to suspect viewpoints on Du Fu's poetry from JingLing's Zhong Xing and Tan Yuanchun and had a tendency to depreciate Du Fu's poetry. Moreover,the criticism concerning the marking and annotating of Sun's and Xu's is criticized by the author for the first time. Sun and Xu's annotations are complicated from Nanjing Library while Fu's are complicated from Shanghai Library.The fifth chapter is also on the Qing Dynasty. Focusing on marks and annotations by Shao Changheng (Officials at Kangxi) and Fang Nantang (led a life in Kangxi,Yongzheng and Qianlong,affected by Dai Mingshi's "Nanshanji case"),the fifth chapter discusses literati mentality reflected in marks and annotations of Du Fu's poetry under a solid government state in the Qing Dynasty. In this Rational Du Fu Worship period, the general feature of marks and annotations on Du Fu's poetry is not paying attention to the subject of patriotic and loyal to the throne in Du Fu's poetry. They focused on the correction of annotations of Du Fu's poems,such as those from Qian Qianyi's "Qianzhu Dushi",Zhu Heling's "Jizhu Dugongbu Shiji" and Pu Qilong's"Duduxinjie". They also judged the artistic accomplishments of Du Fu's poetry. In Rational Du Fu Worship period, under the influence of literary inquisition of the early Qing Dynasty, marks and annotations on Du Fu's poetry are earnest,objective, rigorous and staying away from political topics.