Secondly, the images in Li Bai's poems often transcend reality.
Thirdly, the vivid and bold exaggeration of Li Bai's poems.
Fourthly, Li Bai's poems are rich in strange imagination.
Five, fresh and bold language art
Li Bai was a great poet in Tang Dynasty, and his poetry creation "Du Like Fu" represented the highest level of Tang Dynasty poetry and even China classical poetry. His poetry creation is not only ideological, but also artistic.
When we read Li Bai's poems and songs, we will find that his poems have strong artistic appeal. Du Fu praised him for "striking the storm with a pen and making the poem cry" precisely because Li Bai's poems have a strong romantic spirit. We can discuss the art of Li Bai's poems from the following points:
1. Li Bai's poems have strong subjective feelings, which shape the poet's own image.
Li Bai's poems have strong subjective feelings. In many works, we can feel that the poet's self-image is active in it. For example, Su's Xun Family:
I stayed in Wusong Mountain, lonely and unhappy. The farmer is busier at work, and the girl next door is not afraid of the cold autumn night all night. The owner of the house, the old woman, brought me rice, full of white rice like moonlight. I can't help but feel ashamed to think of this. I helped Park Mu, and declined politely and dared not eat it. The poet spent the night in an old house in a mountain village. The hostess was very poor, but she was still hospitable. This moved the poet very much. "From mother to mother, three thanks can't be eaten" expresses the poet's deep feelings for the working people.
Even poems that narrate or write scenes can make people feel that there is a poet living in it. Such as "Emei Mountain Moon Song":
Mount Emei should be like the Pingqiang River in half moon and autumn. Qingxi went to the Three Gorges in the evening, but I missed Yuzhou.
Under the half-moon light, we saw the figure of the poet boating alone.
His poems are sometimes like whirling winds, erupting volcanoes, roaring and angry, changing vertically and horizontally. Even in this kind of poems, you can see the poet's feelings and image. For example, his masterpiece "Difficult Travel in Shu" first describes the history of Shu Road through myths and legends, and then describes the scenery along the way, showing a picture of danger. Shu Dao Nan is Li Bai's masterpiece, and this poem is written like this:
Ouch! High risk! Such a trip was more difficult than climbing the blue sky, until the two rulers of this area squeezed in in the foggy age. Forty-eight thousand years have passed. Don't talk to Qin Sai. And Dabaishan, to the west, still has only one bird path, all the way to the peak of Emei. Once it was broken by an earthquake, some brave people lost it, and then the ladder stone pile was hooked. On the high flag, six dragons drive the sun, while the river below lashes its twisted route. Even the yellow crane can hardly reach this height. Have pity on those poor monkeys who can only use their claws. The Green Mud Mountain is made up of many circles. For every hundred steps, we have to turn nine times in the middle of its mound. Panting, we passed Orion, passed Jingxing, and then fell to the ground with our arms folded and groaned. We wonder if this road to the west will never end, and the terrible road ahead is getting darker and darker, even darker. Nothing can be heard except the cries of birds surrounded by ancient forests. The male bird rotates smoothly and follows the female bird. Jathyapple, what comes to us is the melancholy voice of Du Fu, a sad empty mountain. This kind of trip is more difficult than climbing the blue sky, and even hearing it will make people pale. The highest cliff is less than a foot from heaven, and the withered pine trees hang low on the cliff surface. One thousand waterfalls rushed forward one after another, and Aoya turned into a stone. If the risk is the same, people from afar will come for nothing! Although the bunker is strong and severe, and guarded by one person, ten thousand people can't break it, but what if he is not loyal to his companions but a wolf? . There are hungry tigers in the daytime, and there are poisonous reptiles at night. Their teeth and fangs are ready to kill people like hemp. Although the Silk City is beautiful, I'd rather go home soon. Such a trip is more difficult than climbing the blue sky. Look at the west obliquely and ask for advice!
This poem tries its best to describe the adventures of Shu Dao. The phrase "it is hard to go goes to heaven" appears three times in the poem, which is full of the poet's strong emotional color and has a strong artistic effect. However, this poem is full of momentum and passion, which makes people excited and want to meet and conquer the danger of nature. Readers have a feeling of ecstasy and four hearts when reading. This is precisely because Li Bai's unrestrained personality has been integrated in his poems. That is to say, the images in Li Bai's works are often personalized and have strong subjective feelings. Even in the poem "Difficult Road to Shu", it describes the dangers of Shu, but it also incorporates Li Bai's uninhibited character.
Secondly, the images in Li Bai's poems often transcend reality.
Images in Li Bai's poems often transcend reality. He rarely gives a detailed and true description of his life process, but gallops in the vast space, interspersed with history, myths, dreams, dreamland and natural scenery, capturing many seemingly logically unrelated pictures, forming thrilling pictures with unique ingenuity and expressing ups and downs. This is true of poems such as "Dream on Mount Tianmu" and "Song of Fu Liang". There is also a masterpiece, that is, "Shu Yun, Xuanzhou Xie Lou farewell school book", which is also a famous work of Li Bai. This poem is written like this:
Since yesterday, I have to leave Bolt and me behind. It hurts my heart even more today. Autumn geese are escorted by Changfeng, and I treat them in this villa and drink my wine. The bones of great writers are all your brushes. In Tianyuan, I grew up beside you, Xiao Xie. We all yearn for the distance and want to go to the blue sky to embrace the bright moon. But since the water is still flowing, although we cut it with our swords and raise our glasses to drown our sorrows. Since the world can't satisfy our desire, I will loosen my hair and get on a fishing boat tomorrow.
In a short poem of twelve sentences, the feelings jump several times, and if it is intermittent, it will be done in one go, and the anxiety and anger in the chest will be vividly expressed. "Since I had to leave Bolt and me yesterday, today hurts my heart even more." The two images of "yesterday" and "today" here can be said to have never been used, and only Li Bai can think of and use them. These two sentences are lamenting the passage of time and the boredom in my chest. Tao Yuanming said in his poem: "The sun and the moon abandon people and cannot win." This is what Li Bai meant in two sentences. However, Tao Yuanming's poems have deep feelings and gentle tone, while Li Bai's two sentences have strong feelings and urgent tone, and they are carefully chosen, even ignoring the rules. This poem was originally seven words, but it broke the form of seven words at the beginning. "Since I had to leave Bolt and me yesterday, it hurts my heart even more today." Just two prose sentences. This is because Li Bai's feelings are very strong, so the poem is blurted out, so he can't consider any meter. These two sentences mean that yesterday's day was a day I stayed, so I can't stay yesterday's day. What disturbs my heart is today's day and how many worries I have today. This is a farewell poem, and it is really rare to write it at the beginning of a farewell poem. Li Baiji has too many worries in his heart. He couldn't hold it any longer, so he took this opportunity to get it off his chest. Think carefully, the images of "yesterday" and "today" are actually "yesterday's me" and "today's me". Although there are two images, they refer to one person. We may think that Li Bai will continue to write along this line of thinking, but otherwise, Li Bai changed another angle in the third and fourth sentences: "Autumn geese are always accompanied by the wind, so I face them from this villa and drink my wine." With a stroke of a pen, I turned to this farewell dinner. Facing autumn scenery, it is just right to drink a cup of "Tall Building" on the Drum Tower. On the one hand, it's a farewell to his uncle Liu Yun, on the other hand, it's also for sadness. The fifth and sixth sentences are another leap: "The bones of great writers are your brushes. In Tianyuan, I was Xiao Xie who grew up beside you." "Penglai Articles" refers to Han Dynasty articles, "Jian 'an Bone" refers to Jian 'an Style, and "Xiao Xie" refers to Guide poet Xie Shu. Li Bai is associated with Xie Shu's poems, articles in Han Dynasty and figures in Jian 'an from the high-rise building (that is, Xie Tiao Building). So are these two sentences talking about the history of literature? Maybe so, but the foothold of these two poems is still on themselves. Please note: Li Bai uses the word "zhong" here, which means that he will talk about it next. These are the last two sentences: "We all hold high the thought of going far away, and I want to go to the blue sky to embrace the bright moon." "Everything" is everything, "Everything breeds ease and prosperity" means everything breeds ease and prosperity. So who should be included? It should include the essayist of Han Dynasty and the poet of Jian 'an, and it should include Li Bai himself. Only in this way can there be a "middle" Xiao Xie. Li Bai wrote that, like them, he wanted to fly high, fly to the blue sky and embrace the bright moon with extraordinary interest. These two sentences show Li Bai Lingyun's ambition and bitterness, and also summarize the style of his own poetry. With such ambition and talent, Li Bai has no way out in society. How can he not worry? So the poem returned to the word "sorrow": "But since the water is still flowing, although we cut it with a sword, it is even more worrying to raise a glass to eliminate our sorrow. Because the world can't satisfy our desire, Liang Ming sent a ship. " But since the water is still flowing, although we cut it with the sword, this sentence is a metaphor for his sadness. How strange and appropriate this metaphor is; How smooth the timbre is and how vivid the rhythm is. This tone and rhythm are reminiscent of endless running water, which is as endless as running water. Because Li Bai's sorrow for the world can't be eliminated, he has to wander in the rivers and lakes in seclusion: "Since the world can't satisfy our desire, I will let go of my hair tomorrow and take a fishing boat." The poem "Minister Shu Yun at Xie Tiao Villa in Xuanzhou" shows that Li Bai often captures some seemingly unrelated images in his poems, but he can organize these seemingly unrelated images into a complete poem. The jump between images just shows his ups and downs. I like this poem, just 12 sentences, and my feelings jumped several times, and I said this and that for a while; Say yesterday for a while, say today for a while, if it is intermittent, but it will be done at one go. This is a very prominent artistic feature of Li Bai's poems.
As I said just now, the images of Li Bai's poems and songs are often beyond reality, and there is little detailed and true description of the life process. The nineteenth song of "Antique" can explain this problem very well.
This poem is written like this: Go to Lianhua Mountain in the west and watch the stars all the way. Holding a white hibiscus flower in both hands, curled up into a ball. Dressed in colorful clothes, elegant clouds floated high into the sky. I boarded the rainbow platform and bowed to Wei Shuqing. Anxiously follow them and take Hongyan to Zixuan. Inadvertently, the Luoyang Plain was full of soldiers in the Anshi Rebellion. The bones are bloody, and the traitors turn their backs on the court. What is this poem about? At first glance, what he wrote seems to be wandering immortals, but from the last few sentences, we can see that the poet wrote about current events, the Anshi Rebellion and the historical fact that he proclaimed himself emperor in Luoyang. However, Li Bai's writing is not a true and detailed description of this political event. He put it in a theme of wandering immortals, overlooking the world from high altitude and revealing the changes of the current situation through wandering immortals. The first few lines are about immortals. He climbed the Lotus Hill and soared into the sky. Looking down from the sky, he saw a large group of "Hu Bing" in Luoyang, that is, An Lushan's army. The war caused many casualties. "The jackals are covered with blood and weeds." The jackals are all officials. Li Bai did not write this realistic political event from the human world, but from the perspective of heaven and immortals. Therefore, I say that the images in Li Bai's poems are beyond reality, imagination galloping in a vast space, interspersed with myths and fantasies, and depicting real life in this way. This is completely different from Du Fu's description of An Shi Rebellion. Du Fu writes about life and politics on the spot. Li Bai's poems are observed from the sky, which is a completely different place for two people. Li Bai is romantic and Du Fu is realistic.
Thirdly, Li Bai's poems are vivid and bold exaggeration.
Exaggeration in Li Bai's poems can be seen everywhere, especially in his landscape poems. For example:
White waves are like mountains that can be crossed, and strong winds worry about steep sails to kill people. ("Hengjiang Ci")
Baling didn't drink enough wine and got drunk together in the autumn of Dongting Lake. ("Traveling with Uncle Yu in Dongting")
Why not quit drinking and killing people with red makeup? ("Give Duan Qi Niang")
These exaggerations are bold but vivid. Who has seen "Baling Unlimited Wine" can "kill Dongting and Autumn", but readers only feel that the image is vivid and vivid, not abrupt and unbelievable.
We say that the exaggeration of Li Bai's poems is the boldest, but his exaggeration is the most acceptable. For example, his fifteenth poem "Ode to Autumn" Pu:
White hair three thousands of feet, sorrow like a beard. I don't know where to get autumn frost in the mirror.
In the poem, he wrote about his white hair, saying that "white hair is three thousands of feet", which is extremely exaggerated. Who has such long white hair? Who has ever seen such long white hair? But when we read this poem, we don't think that Li Bai's description is unacceptable and unreliable, but we feel natural. "White hair and three thousands of feet, like a long beard." Why is it so long? Because I worry too much. "I don't know where to get autumn frost in the mirror." At this time, Li Bai was looking in the mirror. When he looked in the mirror, he saw a piece of white hair like autumn frost. He asked: where did you get so much autumn frost in the mirror? "White hair and three thousands of feet", this is the first time I look in the mirror and sigh: my hair is really as white as "three thousands of feet"! Only Li Bai can write such an exaggeration, and it can be accepted by readers. There are many examples like this. For example, Li Bai said in "Popular in the North" that "Yanshan snowflakes are as big as seats". Yanshan Mountain is of course very cold, with snow and heavy snowflakes, but no matter how big it is, it won't be as big as a summer mat, will it? But Li Bai dared to write: "Yanshan snowflakes are as big as seats." After reading it, we didn't feel abrupt, but it felt good. Regarding this poem, Mr. Lu Xun once said: "Yanshan snowflakes are as big as seats", although it is exaggerated, it does not deviate from the facts. Yanshan is really cold, and it will snow. If it is said that "the snowflakes in Guangzhou are as big as seats", it is not true. Lu Xun means that exaggeration cannot be divorced from reality. Like this poem by Li Bai, although it is exaggerated and bold, it is still true. Similar examples are "A gust of wind blows down the mountain in three days" in Hengjiang Ci, and "it is hard to go goes up to the sky" in Shu Dao Nan. These examples are obviously exaggerated, but they are not dangerous or true.
Fourthly, Li Bai's poems are rich in strange imagination.
Li Bai's poems and songs are full of strange imagination, and some poems really make us feel whimsical when we read them. For example, he has a farewell poem called "Golden Elephant Sending Wei Ba to Xijing". He said: "The wind blows my heart and hangs Xianyang trees in the west." My friend went to Xianyang and Chang 'an, and my heart followed. How did you get there? My heart was blown away by a strong wind and hung on the Xianyang tree in the west. Li Bai can imagine that his heart was blown so far by the strong wind to Xianyang. Not only was his heart blown to Xianyang by the strong wind, but his heart could also be hung on the treetops of Xianyang, like a kite with a broken line. This farewell poem is really amazing after reading it. There is also a poem called "Twelve Summers Climbing Yueyang Tower". There are two sentences in the poem: "The geese lead the sorrow away, and the mountains hold the good moon." My sadness was taken away by the goose. When Li Bai and Shi Xiaer boarded Yueyang Tower, they saw a flock of geese descending from the sky. He said: the geese took away my sadness. Seeing such a vast scene, my sorrow was led away by wild geese and disappeared, so I said, "Wild geese lead my sorrow away, and the mountains support the moon." In the evening, the moon rises from Dongshan. He didn't say that the moon rises from Dongshan. He said that the mountain was coming with a beautiful moon in its mouth. Send me such a beautiful moon. He also wrote a famous seven-character quatrain entitled "I heard that Wang Changling moved to the left, and Long Biao Yao had this saying".
Friend Wang Changling was demoted to the dragon label. When the poet heard the news, of course, he felt sorry for his friend's demotion, so he wrote this poem and gave it to Wang Changling, saying:
After the easy autumn, cuckoo clock, I heard you pass five streams. My heart is full of sorrow, and the moon is full of sorrow. I will always follow you until Yelangxi.
In a late spring season, the flowers have fallen and the birds are crying. At this time, I heard that you were going to be demoted to Longbiao, and you had to go through Wuxiguan of Longbiao. I can't take you there. I can only entrust my sadness to the moon to take away and accompany you all the way to Yelangxi. Because the Dragon Label is in a remote area in the southwest, the moon rises in the east and sets in the west, so Li Bai fantasizes that he can take his sadness away from the moon and let the moon accompany my sadness until you are demoted to the Dragon Label. Li Bai imagined that his heart could leave his body and fly far away, either with the strong wind, with the wild geese or with the bright moon. In such a naive imagination, I showed deep feelings.
Li Bai's rich imagination is also manifested in his personalization and individualization of nature. He has a poem called "A Kind Pillow and a Kind Bowl from Zhongnanshan to Hu Si" (Hu Si is a friend's surname, but it is a compound surname). In this poem, there are two sentences: "Walking down the blue mountain in the evening, moonlight is my way home." Walking down the green hill in the evening, Shanyue came back with me.
When we read these two poems, we always feel that the poet is still like a child. When we were young, when we walked, we often felt that the moon was leading people forward. We often think: Why does the moon always follow me? Li Bai's imagination of this poem is naive. He kept the childlike innocence of children, and at the same time personified Shanyue, who seemed to be his companion and came down from Zhong Nanshan with him. He also has a poem called "Drinking the Bright Moon Alone", which contains two sentences: "Until, holding up my cup, I asked the bright moon to bring me my shadow and let the three of us." "Drinking the bright moon alone", a person always wants someone to keep him company, so who will accompany him? "Until, I raised my cup and asked Mingyue", and asked Mingyue to accompany me. Not only do you have the bright moon as your companion, but you also invite your own figure as your companion (the bright moon leaves a figure on the white ground). In this way, "until, I raised my cup and asked the moon", until the shadow became three people. "Three people" refers to themselves, the bright moon and their own figure. This is also the embodiment of the bright moon and characters. There is also a poem called "Waiting for Wine", which has such a sentence: "The mountain flower smiles at me." This poem is simply vernacular. Can mountain flowers laugh? Of course not. But open mountain flowers are like people's smiling faces, and mountain flowers are also personalized. In Li Bai's works, nature is often vivid. Let's look at one of his famous five-character quatrains, entitled "Sitting alone in Jingting Mountain":
The birds flew without a trace, leaving the lonely clouds free and unfettered. You look at me, I look at you, and there are only my eyes and Jingting Mountain's eyes. Sitting on Jingting Mountain, Li Bai saw birds and clouds, but after a long time, the "birds" gradually flew out and the clouds went somewhere to relax themselves. "All the birds fly high, and the lonely clouds go to relax alone." The only thing left is Jingting Mountain. And this Jingting Mountain will neither fly away nor relax. Only this Jingting Mountain sits opposite the poet and "meets each other tirelessly". "Never tire of seeing two things", not only Li Bai never tire of seeing Jingting Mountain, but also Li Bai never tire of seeing Jingting Mountain. People look at mountains, and mountains look at people; People love mountains, and mountains love people. This is a daydream generated by the poet sitting alone for a long time. We studied the landscape poems of Xie Lingyun, a famous poet in the Southern Dynasties. If we compare the poems of Li Bai and Xie Lingyun, we will find that their poetic styles are quite different. Xie Lingyun only objectively described the landscape appearance and posture, and rarely saw the poet's own spirit and temperament. Li Bai always personifies and individualizes nature, and nature is his friend. Different styles.
Five, fresh and bold language art.
The main features of Li Bai's language are freshness and boldness. He doesn't stick to the rules, he doesn't carve words, and everything is unified with nature. He has two poems that say, "Clear water produces hibiscus, and carving is natural." These two poems of Li Bai can be used to illustrate his own language characteristics. For example, his famous poem Midnight Wu Ge:
There is moonlight in Chang 'an, and all the families in Yi Dao are there. The autumn wind blew Yi Dao's voice, and every household remembered the people guarding the border. Oh, when will the Tatar army be conquered and when will my husband come back from the long battle! ?
Autumn is coming and women are making clothes. What are you doing? Is to make clothes; Why are you making clothes? Because it is autumn, the weather is cold, and my husband is far away from the border. After making clothes, give them to the husband in the frontier to keep out the cold. "A bright moon is hanging high in the capital, and ten thousand hammers are scouring." At night, in the moonlight, women's voices are everywhere in Chang 'an. And the autumn wind blows my heart, and the autumn wind can't blow away, suggesting that there are many women who pound clothes, and also suggesting that there are many soldiers guarding the border. Moreover, the sound of smashing clothes conveys a feeling of missing Yutong. "Jade Pass" is Yumen Pass. In the Tang Dynasty, there was a garrison in Yumenguan. My wife's husband is stationed in Yumen Pass, and she wants to send her warm clothes there, so there is always a feeling of missing Yumen Pass in the sound of my clothes, so the last two sentences say, "Oh, when will the Tatar army be conquered and when will my husband come back from the long battle!" ? "When can we win the war? Can your husband go home? A language like this is really fresh and natural, without any carving or modification. Another example is his famous seven-character quatrain "Early Sending Baidicheng":
Early in the morning, I bid farewell to Jiangling city, which is high into the sky, thousands of miles away, and the boat is only one day away. Apes on both sides of the Taiwan Strait are crying endlessly, and the canoe has crossed Chung Shan Man.
These poems all express profound feelings in very simple, pure, natural, heroic and powerful language. The first two sentences are exaggerated, but pure white; The last two sentences describe the speed of canoeing, which is also very clear. Is the poem "The First Mail of Baidicheng" based on Zhu? 0? 3 River Notes, but when we read it, we didn't think that Li Bai was using allusions. His nature can reach this level. In addition, Li Bai never tied his feelings with rules. When his feelings reached their climax, he often broke through the restrictions of metrical patterns and appeared some prose poems. For example, "Breeze and bright moon are free to buy, Yushan is not pushed by others" ("Xiangyang Song"), "Breeze and bright moon are free to buy" breaks the seven-character format. Another example is "If it is dangerous, why do people who live at a safe distance come here?" ("Shu Dao Nan") is simply a prose sentence. Another example is the poem "Jiangxia presents Wei Nanling with ice", in which he said, "I smashed the Yellow Crane Tower for you, and you smashed Nautilus Island for me." I will smash the Yellow Crane Tower for you, and you will lift this Nautilus Island for me. ) This is also a prose sentence. When Li Bai's feelings reach a climax, there will be some prose poems, as if forgetting that he is writing poems. Li Bai also paid great attention to learning the language of folk songs and absorbing the spoken language at that time. For example, the Long March was obviously influenced by peacocks flying southeast and Yuefu folk songs in the Southern Dynasties. A trip to Jiangxia has the emotional appeal of the folk song Opera in the Southern Dynasties. His "Hengjiang Ci": "Human nature is good and farming is evil." (Others say that Hengjiang is good, and I say that Hengjiang is not good. ) "Nong" is what I mean. In modern Wu dialect, "Nong" is the second person to address you, while in the Southern Dynasties folk songs and Li Bai's poem, "Nong" is the first person to address me. Another example is: "the rain can't fall into the sky, and the water can't be collected." Your feelings are different from your intentions. "Another example is:" Once it was called heartbroken, I remember March 3rd column. "These poems all use vivid spoken language and are full of folk songs. The unpredictable imagination, magnificent images, fresh and lively language and bold and elegant style of Li Bai's poems had a wide influence at that time, which was not only praised by poets of the same age as He and Du Fu, but also that "new poems spread among the palace population, and good sentences could not be separated from enlightened mind" (Ren Hua's Li Bai Zayan). By Zhenyuan, his poetry collection had been "in every family" (Liu's Li Bai's poems had an impact on later generations) Han Yu, Meng Jiao, Li He and Du Mu in the middle and late Tang Dynasty were deeply influenced by them and admired them. For example, Han Yu said, "Du Li's articles are everywhere, and the flames are constant." (Diao) Su Shunqin, Mausoleum, Su Shi, Lu You and Xin Qiji in the Song Dynasty, Gao Qi, Yang Shen, Huang Jingren and Gong Zizhen in the Ming and Qing Dynasties were all deeply influenced by Li Bai's poems, which made the romantic, bold and elegant poetic style continue to develop.