Romantic poetry is characterized by paying attention to the subjective inner world in reflecting the objective reality, expressing the passionate pursuit of the ideal world, and often using passionate language, magnificent imagination and exaggeration to shape the image. The formation of Li Bai's romantic poetic style is closely related to four important factors: the nourishment of the soil in the prosperous Tang Dynasty, the influence of Qu Yuan's Chu Ci, the domination of Taoist thought and the poet's strange life experience.
Keywords: Li Bai; Romantic poetic style; Cause of formation; The land of the prosperous Tang Dynasty; Qu Yuan's Songs of Chu; Taoist thought; Qite life
Li Bai is a master of China's ancient romantic poetry. Li Bai's poems are flashy, magnificent and elegant, and have the momentum to embrace the whole world. Li Bai's poems and songs have a strong subjective color. He wanted to go to Beijing to be an official, so he declared in a high-profile way: "If you go out and laugh to the sky, will I be Artemisia in my life?" ; When he was frustrated in politics, he shouted: "The road is like a blue sky, and God never shuts one door but he opens another!" " . Li Bai often expresses his feelings with bold exaggeration and amazing fantasy. For example, "Looking at Lushan Waterfall", "Going straight down to thousands of feet, it is suspected that the Milky Way has set for nine days", praised the spectacular scene of the waterfall flying from a height with highly exaggerated metaphors, and also showed the poet's broad mind and spirit.
After in-depth understanding of Li Bai's life thoughts and poems in various periods, the author believes that the formation of Li Bai's romantic poetry style mainly has the following four important factors:
First, the soil in the prosperous Tang Dynasty and Li Bai's romantic poetic style
Any work of art is the product of the times, and poetry is no exception. Li Bai's great achievements in poetry cannot be separated from the soil of the prosperous Tang Dynasty. In other words, the overall political and economic prosperity of the Tang Dynasty and the resulting prosperous atmosphere of the Tang Dynasty are the basis for the existence and great achievements of Li Bai's romantic poetic style. A specific era gave birth to a specific climate-political enlightenment and cultural tolerance, which gave birth to an optimistic, confident and positive social trend in the Tang Dynasty.
Li Bai lives in this magnificent era. The so-called "times make heroes", the cultural atmosphere at that time, was the fertile ground for Li Bai's growth. His spirit of pursuing ideals, flamboyant temperament, magnificent and elegant poetic style, and especially his imposing manner are undoubtedly the true portrayal of the all-round prosperity of political economy in the spiritual field in the Tang Dynasty. Style is the product of the times, and it can be said that Li Bai's romantic style is a reflection of the weather in the prosperous Tang Dynasty.
The formation of Li Bai's romantic poetry style is inevitably and profoundly related to the specific cultural background of the Tang Dynasty. The prosperous society brought the beauty of literature and created the golden age of China's poetry. Tang poetry has made great breakthroughs in the expression of different ideological tendencies, the development of different subject areas, the application of temperament, the creation of language style and the innovation of techniques. This vast cultural space and free cultural atmosphere had an inestimable influence on the psychology and temperament of poets in the prosperous Tang Dynasty. Li Bai attaches importance to tradition, is brave in innovation and is good at absorbing the essence of hundred schools of thought, which not only has a far-reaching influence on the ideological content of his poems, but also plays an important role in the formation of his poetic language style. For example, Chen Ziang's literary reform swept away Qi Liang's poetic style, which had a great influence on Li Bai-the literary proposition that "clear water produces hibiscus and natural carving" deepened Chen Ziang's literary innovation.
Throughout his life, Li Bai eulogized the ideal life with a naive heart, embraced the whole world with full enthusiasm, plunged into the torrent of life to transcend hardships, and realized his value with a high spirit. Therefore, one of the most beautiful romantic literary miracles appeared in the fertile soil of the prosperous Tang Dynasty at the right time.
Secondly, Qu Yuan's Chu Ci and Li Bai's positive romantic poetic style.
Qu Yuan was a great romantic poet in the Warring States Period. His works are full of passion for the motherland and loyalty to ideals, full of magical and magnificent imagination, and his positive and romantic artistic creation style has a far-reaching impact on future generations. Li Bai expressed his admiration for Qu Yuan unabashedly, and a poem said: "Qu Ping's ci poems hang the sun and the moon, and the king of Chu is empty." . Li Bai wrote in the poem "Meng Shaofu moved the document on behalf of Shoushan Mountain": "Shen Guan's words, seeking the skills of emperors, striving for their wisdom, and willing to help them ..." It can be seen that he has never left the mind of serving the country sooner or later. As far as creative thinking is concerned, the positive romantic styles of Li Bai and Qu Yuan are undoubtedly in the same strain.
In Li Bai's poems, we can always vaguely see the shadow of Qu Yuan's romantic style-both of them are good at expressing their appreciation and criticism of reality through the use of images; In order to increase the romantic flavor of poetry, both poets pay attention to the use of myths and legends to express their understanding and feelings about society and life. But in comparison, the author thinks that the image of Li Bai is richer than that of Qu Yuan. From their poems, we can clearly see that Li Bai inherited and developed Qu Yuan's romantic artistic techniques.
Li Bai's romantic poems often reflect reality with myths and legends, symbols and metaphors. For example, Farewell and Fu Liangyin all reflect social reality through myths and legends; Articles such as "Climbing to the Top and Looking Far" and "Antique" satirize the present by borrowing the ancient; "Difficult Road to Shu" also depicts the adventures of Shu with magnificent pen and ink and rich imagination, which is full of romanticism.
The perfect combination of romanticism and realism is embodied in the same poem-there is no doubt that Li Bai inherited and developed Qu Yuan's superb artistic creation skills. The biggest feature of this technique is that it is both realistic and exaggerated. The two are completely different, but they are closely connected and set each other off. For example, in the 19th poem of Li Bai's Antique, "Lotus Mountain in Shanxi, overlooking the stars ... overlooking Luoyang and Sichuan, walking in Hu Bing ..." The poem is about the Anshi Rebellion, but it doesn't pay much attention to it. But in the beautiful fantasy of ascending to heaven, I suddenly bowed my head and saw Luoyang being ravaged by rebels, and the poet's mood took a turn for the worse and his romantic fantasy was shattered. This poem and Qu Yuan's Lisao describe that he listened to the advice of Ling Chi and Wu Xian, prepared to travel far away, and when he was soaring in the sky in imagination, he suddenly saw the dangerous motherland condescendingly, but he was reluctant to leave, and his thoughts returned to reality from imagination. It is not difficult to see that these two poems have one thing in common, that is, they combine the wonderful fairyland with the suffering reality.
Li Bai inherited Qu Yuan's spirit of pursuing ideals, and in order to realize his ambition of "helping the poor", he pursued the opportunity of serving the country unremittingly all his life. This ideal became the cornerstone of his lifelong pursuit. Influenced by Qu Yuan, Li Bai's romantic poetic style is a true embodiment of the poet's life experience and an inevitable reflection of the social reality and spiritual outlook in the prosperous Tang Dynasty.
Thirdly, Taoism and Li Bai's romantic poetic style.
Li Bai's romantic poems are inextricably linked with the popular Taoist culture in the prosperous Tang Dynasty, and Taoist thought has an important influence on the formation and development of Li Bai's romantic style. It is no exaggeration to say that Taoist thought has created Li Bai's rich and bizarre imagination, and provided a large number of images to build a "fairy world" for Li Bai's romantic poems.
Li Bai lived in a river with a strong Taoist flavor since childhood and was deeply influenced by Taoist thought. He not only believed in Taoism, but also taught Taoism and was a Taoist once. Taoism brings Li Bai a warm and crazy mood. Under the profound influence of Taoism, two unique landscapes of Li Bai's romantic poetic style-gorgeous literary talent and rich imagination, have been formed. In particular, the Taoist thinking method of "thinking about God" has an important influence on the formation of Li Bai's strange imagination that transcends time and space and communicates with man and God.
During the prosperous Tang Dynasty, many people believed in Taoism, among which Li Bai was the most unique. He not only believes in the cultivation method of Taoism: "I go to pick calamus, and I can live long after picking it" ("Picking calamus in Songshan"); I sincerely believe in the fairyland described by Taoism: "It is said that there is Penglai Mountain on the sea, green leaves grow in Yushu, and every fairy climbs high" ("Miscellaneous Poems"); Moreover, he really believed that he was a "immortal" who descended from the sky and put himself in the ranks of immortals. This charm and passion that melts everything in the Taoist "thinking about God" makes the imagination of Li Bai's poems extremely sincere. Only when Li Bai is so naive and pious can he have such a magnificent and magical imagination and such a beautiful and romantic poem.
It can not be ignored that Taoist thought also provides a broad image space for the expression of Li Bai's romantic poems. As Li Bai wrote: "Immortals swim in the sky and sing everywhere"-in the Taoist world, immortals fly into the mortal world, and Yue Xian shines all the way, which is really fascinating and infinite. Being in this environment for a long time will inevitably stimulate Li Bai's imagination and provide a large number of images for the expression of Li Bai's romantic poems to build an "imaginary world", such as Dapeng, giant claws, mountains, rapids, rivers, fairyland, dreams and so on. Li Bai claimed to be a fairy in the poem "Traveling to Mount Tai": "Drinking Wang Muchi in the morning, throwing himself at Tianmen Que ... Raise your hand and understand it, and mistakenly board the Weaver Girl Machine. I lost my seat tomorrow morning, but I saw Wu Yunfei. " Many images in the poem, such as "Wang Muchi", "Tianmen Que" and "Weaver Girl", are also closely related to Taoism. There is no doubt that the immortal world advocated by Taoism is attractive to Li Bai's elegant and free-spirited personality. The darkness and filth of real life made him fantasize and pursue a beautiful fairy tale world more strongly. Taoism gave Li Bai wings of imagination and made his poems more romantic and fantastic.
Fourth, the strange life-the source of the fierce conflict between reality and ideal
Li Bai's life was accompanied by pursuing fame and fortune, traveling around the mountains and seeking immortality and learning Taoism. Confucianism, Taoism and Rangers are incompatible, but Li Bai combined them into the ideal of "retiring after success", which was the dominant thought that dominated his life. However, Li Bai's life ideal is too arrogant and idealistic to be realized in real life. The contradiction between romantic thoughts and grim reality often makes Li Bai fall into grief and disappointment. As a result, Li Bai's arrogant and uninhibited personality and elegant and free-spirited temperament were transformed into wild or uninhibited, or passionate or melodramatic romantic poems.
On the one hand, Confucianism has a great influence on Li Bai's life. It is his political ambition to "secure the country and help the poor". This ideal can be seen from his early poem "Send my nephew Zheng Guan to join the army": "My husband gambled his life to repay the son of heaven, beheaded his head, and returned with splendor." After getting the gold back, he sang "Breaking the Waves, and set my cloudy sail straight and bridge the deep, deep sea", which shows how heroic his ambition is. On the other hand, Li Bai's Confucianism, through its own transformation, has its own distinctive personality. Li Bai once studied under Zhao Kun, who was full of vigor and learned well, which influenced the formation of his strategists' thoughts, bold personality and poetic style.
Li Baikong was full of blood and brilliant, and worked tirelessly for his ideal, but he failed miserably every time. The huge gap between reality and ideal is placed in front of Li Bai, and the feeling of resentment gushes out: "I don't abandon the world, and the world abandons me." Ideals have been frustrated many times, and failures have followed. Therefore, Li Bai's poems and songs are intertwined with complex ideological and emotional contradictions, such as self-confidence and despair, pursuit and despair, nostalgia and resentment, loftiness and vulgarity. His representative works include Three Difficult Walks, Poems in Liangyuan and Entering Wine. For example, "One day I will ride the wind and waves, and set my cloudy sail straight and bridge the deep, deep sea" is so confident, but "I will cross the Yellow River and ice the ferry, who will climb the snow-capped mountains" is so confused. "The lovely hair in the bright mirror upstairs is silky black in the morning, but it turns into snow at night" is so sad and angry. "Since the world can't satisfy our desire, I will let go of my hair tomorrow and go fishing" is so free and easy. These are the soul springs generated by the collision between Li Bai's lofty ideals and the dark reality, which have thrilling power. They reflect the contradiction of the times in twists and turns, and also reflect the fierce conflict between ideal and reality interwoven in Li Bai's heart.
As the saying goes, "But since the water is still flowing, although we chop with swords, sorrows and sorrows are still there, although we drown our sorrows with wine"-Li Bai is like this: running around with his ideals, he is laughed at and indifferent, and he feels depressed and disillusioned. The real society has brought contradictions and pains to Li Bai, and he can't realize his ambition. So he can only find spiritual sustenance in the mountains, in the drunken state and in the fairyland, do his best to explore and explore the beauty, and write one romantic poem after another with his clever pen.
Du Fu praised Li Bai and said, "Bai is also invincible in poetry. He is full of thoughts. Qing Xin Geng opened the government, and Jun Yibao joined the army. " "Thinking without group" is the most appropriate evaluation of Li Bai's romantic poetic style. Li Bai's romantic poetic style is the true embodiment of the poet's life experience and the inevitable reflection of the social reality and spiritual outlook in the prosperous Tang Dynasty. Li Bai's romantic artistic style deserves to be regarded as an eternal and beautiful rainbow in the history of China's poetry development.
References:
1, edited by the Department of Classical Literature Teaching and Research of Fudan University, Selected Poems of Li Bai, published by People's Literature Publishing House, Beijing Third Edition, 1983, 1.
2. Xiao Bing, Complete Translation of Songs of Chu, 1998, 1, Jiangsu, Jiangsu Ancient Books Publishing House.
3. History of Ancient Chinese Literature (1), edited by Luo Zongqiang and Chen Hong, 2000 edition, [M]. Shanghai: East China Normal University Press, 83-95; 335-343.
4. Li Bai's Dictionary, edited by Yu Xianhao, published by Guangxi Education Press, first edition 1995.
(Author: longwen district Chaoyang Middle School, Zhangzhou City, Wang Haikun)