Li Bai did not show off his fame in his life, but he had high expectations, was not afraid of power, and despised the powerful. There were once popular sayings of "a strong man takes off his boots", "a noble concubine holds an inkstone", "a spoon in the hand" and "a dragon scarf wipes the earth". story. He unscrupulously ridiculed the hierarchical order centered on political power, criticized the corrupt political phenomenon of the time, and promoted the spirit of heroism in the culture of the prosperous Tang Dynasty with a bold attitude of resistance. Li Bai's anti-powerful ideology became increasingly mature with the enrichment of his life practice. In the early days, it was mainly manifested in the equality requirements of "not yielding to oneself and not being intrusive to others" and "being equal to the princes". Just as Li Bai said in his poem when he was drunk: "In the past, I was drunk with flowers and willows in Chang'an, and the five nobles and seven nobles shared a cup of wine. The air is far away. In front of the powerful men, the romantic ones are willing to lag behind others!" ("Liu Yelang Presents Judge Xin") "Praising the master of the Nine Levels of Ten Thousand Chariots, mocking the virtuous people of Chi Chi Qing" ("Yin of the Jade Pot") He also sometimes expresses contempt. The noble words of powerful people, such as "gold and white jade buy songs and laugh, and the prince will be young after being drunk for a long time" ("Reminiscent of the Old Travels and Send Qiao Junyuan to Join the Army"), etc., but they mainly express the arrogance in the heart. With the understanding of the actual situation of high-level power groups, he further revealed the opposition between the grassroots people and the powerful: "Pearls and jade buy songs and laughs, and chaff nourishes talents." ("Ancient Style" No. 15) "The phoenix in the sycamore nest, the mandarin thorns. "The mandarin ducks live in it." ("Ancient Style" 39) He also mocked the ugliness of those who stole power by flattering the emperor, such as: "The carriage is flying in the dust, and the pavilion is dark in the middle of the street." The gold is shining brightly on the road. The crown of the fighting cock is shining brightly, and all the passers-by are afraid. There is no such thing as a cleansing man. Who knows about Yao and Zhi?" , he made the loudest cry:
"An Neng can crush his eyebrows and bend his waist to serve the powerful, which makes me unhappy!" The meaning of this artistic summary in Li Bai's poems is just like Du Fu's famous line "The rich families have wine and meat." It stinks, and there are frozen bones on the road" ("Five Hundred Words of Odyssey to Fengxian from Beijing") is equally important in Du's poems. Li Bai
In the increasingly deteriorating political situation in Tianbaomo, Li Bai again linked anti-establishment with broad social criticism. For example, "Answer to the King Drinking Alone and Feelings on Twelve Cold Nights": If you don't see Li Beihai, where is his heroism and heroism now? If you don't see Pei Shangshu, there are wormwood and thorns living in the earthen tomb three feet away. The young man had long wanted to go to the five lakes, and when he saw this, he saw the bells, cauldrons, and Li Bai's pictures. Fight bravely for the wise men who died. ("Traveling is Difficult"): Don't you see, in the past, the Yan family valued Guo Wei, and there was no doubt about it. Xin Leyi is grateful for the drama, and the liver transfusion and gallbladder dissection are the most effective talents. King Zhao's bones linger in the vines, who is more likely to sweep away the golden platform? It expresses the poet's disappointment and anger towards the court due to not being reused. In poems such as "Letter to Cai She Renxiong", "Ancient Style" Chapter 51, "Climbing a High Hill and Looking at the Far Sea", Li Bai even used the past to satirize the present and made sharp rebuke to Xuanzong himself. In short, it can be said that he developed the theme of anti-powerfulness in Tang poetry to its fullest extent. Ren Hua said that Li Bai "has been a guest for decades and has never lost his dignity for a day" ("Miscellaneous Words to Li Bai"). This kind of consciousness of not yielding in front of the powerful and having the courage to resist in order to maintain self-dignity is what has been valued since the Wei and Jin Dynasties. It is under the new historical conditions that Li Bai inherited and carried forward this excellent tradition and became a superstar in poetry.
He never settles for loneliness and solitude, such as "Drinking Alone under the Moon", which shows that only a poet full of vitality can come up with such fantastic ideas. He has a poem "Dan Ge Xing", in which he conceives: "I want to attract six dragons, and I will hang a fusang on my carriage. Beidou will drink fine wine, and each of the dragons will have a cup. Wealth and honor are undesirable, and people live in ruins." There is no lamentation here. He laments his humiliation, but expresses his infinite attachment to life with the innocent imagination of "persuading him to drink". With their innocent taste, these poems inspire the beautiful humanity that is drowned by vulgar life, and thus gain permanent charm.
Li Bai had a strong sense of nature. He was good at integrating his personality into natural scenery, so that the mountains, rivers and valleys he wrote all had an idealized color. In his poem "Sunrise and Entry", he said: "I will cover the big pieces, Haoran and Mingju are in the same family." He also said: "Yangchun calls me with smoke and scenery, and the big pieces fake me with articles." ("Spring Night Banquet") "Preface to My Brother's Peach Garden") Li Bai had heroic demeanor and pursued a pure and noble state of mind. These different aspects of his personality formed two major types of his landscape artistic conception: one is to highlight the power in the majestic mountains and rivers. The beauty of beauty and movement expresses heroic sentiments and thoughts in a magnificent artistic conception; the other type deliberately pursues the beauty of light and clarity, expressing spotless and innocent feelings in a beautiful artistic conception. For example, Li Bai and Meng Hanliang's seal carvings are like the Yellow River and the Yangtze River in his works, roaring and flowing for thousands of miles: "The water of the Yellow River comes from the sky, rushing to the sea and never returns" ("Jiangjinjiu"); "The Yellow River touches the mountains for thousands of miles, and twists and turns. The vortex hub turns the Qin landmine... The giant spirit roars and breaks the two mountains, and the torrential waves shoot into the East China Sea" ("Song of Xiyue Yuntai Farewell to Dan Qiuzi"); "Climbing high and spectacular between heaven and earth, the vast river will never return. "The yellow clouds move thousands of miles away." The wind is like white waves and nine flowing snow mountains" ("A Ballad of Mount Lu sent to Lu Shiyu's Xuzhou"); "The sea god comes and the evil wind returns, and the waves hit the stone wall of Tianmen and open it. How is it like this in August in Zhejiang? The waves are like snow coming from the mountains" ("Hengjiang Ci"). The peaks in his works are towering and steep, and the sky is not full of feet, and the withered pines hang upside down and lean on the cliffs" ("Hengjiang Ci") "The Road to Shu is Difficult"); "Tianmu reaches the sky and stretches across the sky, pulling up the five mountains to cover Chicheng; the rooftop is 48,000 feet long, and it wants to fall to the southeast" ("Sleepwalking Tianmu Yin Leaves Farewell").
He used the heroic spirit in his heart to endow the landscape with sublime beauty. His praise of the power of nature is also a tribute to the ideal of life with far-sightedness and endless struggle. The extraordinary natural image is integrated with the proud heroic character.
At the same time, Li Bai wrote many landscape poems with crystal clear and beautiful artistic conception. For example, "A man travels to the moon, and the boat sails in the air" ("Send Wei Wan, a native of Wangwu Mountain, back to the king's house"); "A man rides on the moon on the sea, and his sail falls into the sky in the middle of the lake" ("Xunyang sends his brother off to Chang'an, Poyang, Sima Zuo") "); "The moon turns with the green mountains, and the water merges with the green mountains and rivers. It is like a starry river, but I feel the clouds and forest are quiet" ("Moonlight Night River Journey to Cui Yuanwai Zongzhi"); "The night in Jinling is quiet and cool breeze blows, I go up to the west tower to look alone Wu Yue. The white clouds reflect the water and shake the empty city, and the white dew drops drop the autumn moon" ("Yin under the Moon on the West Tower of Jinling City") etc. These poems win with clarity and purity. Li Bai's landscape poems are not so much realistic depictions of natural forms as they are pictures that have been transformed and idealized according to the poet's personality. He only strives to grasp the overall momentum or atmosphere, relying on the sudden surge of emotion to express freely, while omitting specific details, and even the sequence of visual transitions in observing the scenery is often indifferent. Li Bai's landscape poems are always lyrical. He is good at permeating and blending landscape scenery with specific emotions. There is a subtle "isomorphic and mutual feeling" between the situation of "scenery" and the characteristics of "emotion". response relationship. For example, in "Send Off a Friend": Green mountains stretch across Beiguo, and white water surrounds Dongcheng. This place is a different place, and I can conquer thousands of miles alone. The wandering clouds convey the love of an old friend. I waved my hand and went away, and the horses roared. The "floating clouds" and "setting sun" in the poem are not only the foreground, but also the metaphorical images with specific emotional content in ancient poems. It means that when a wanderer leaves, it is like floating clouds floating endlessly, and when an old friend bids farewell, it is like lingering on the setting sun. Leaves no gouge marks. Another example is "The clouds return to the blue sea in the evening, and the geese disappear in the sky. We are separated by thousands of miles, and we are confused and empty of thoughts." ("A Banquet at the Yao Temple Pavilion in Lu County in Autumn"), the first two sentences not only point out the seasons and Time, and the images of "clouds" and "wild geese" are used to refer to farewell and long journeys. In addition, "Sometimes white clouds rise, and the sky unwinds. I feel like it in my heart, and the support is not shallow" ("Wang Zhongnan Mountain Sends Purple Pavilion Hermit"), "Please ask the east flowing water, do you think it is better or worse?" ("Farewell at Jinling Wine Shop"), "The Western brilliance flows through the flowing water, rippling the wanderer's love" ("Visiting Qingling Spring in Nanyang"), etc.
Li Bai's free and emancipated thoughts and sentiments and his civilian-oriented personality also enabled him to explore more deeply the beauty of human emotions in social life. There is a yearning for a peaceful life here, such as the third part of "Midnight Wu Song": Chang'an is covered with a moon and the sound of thousands of households pounding their clothes. The autumn wind blows Li Bai endlessly, and it is always the love of Jade. When the Huru are defeated, the good men will stop the expedition. There is a feeling of praise for labor life, such as "Qiupu Song" 14: "The fire illuminates the sky and the earth, the red stars are scattered with purple smoke. On a bright moonlit night, the song moves the Han River." All these poems are all based on the ideal halo. It makes daily life themes glow with poetic richness. Li Bai is truly a knight-errant among Chinese poets. This great wanderer enriched the landscape of the Tang Dynasty with his feet and pen of poetry. His large pen swept across and surged forward, so that the smoke of Dongting, the wind and clouds of Red Cliff, the cries of apes on the Shu Road, and the mighty rivers all flew up at once. . In the poem, the poet is agile and heroic, like the clouds in the sky; he wanders around in all directions and gallops freely, like a galloping horse in the wilderness. In the poem, the poet swept away the dust of the world and completely restored his immortal posture: going up to the poor green and falling to the underworld. His romance, madness, love and hatred, loneliness and pain, dreams and waking, his heroism and loyalty, and his wandering, all reach extremes.
His poetry creation has a strong subjective color, mainly focusing on expressing heroic spirit and passionate feelings, and rarely giving detailed descriptions of objective things and specific times. His free and uninhibited temperament, his arrogant and independent personality, his easy-to-touch and explosive strong emotions form the distinctive characteristics of Li Bai's lyrical style of poetry. Once his emotions are aroused, they rush out without restraint, like a violent surge in the sky and an erupting volcano. His imagination is strange, often has unusual connections, and changes with the flow of emotions.