Author: Li Bai
Hey, hey, it's dangerous! The difficulty of Shu Dao is difficult to go to the sky!
Until the two rulers of this area forced their way through 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, and far below, the river lashes its twisted channel.
Such a height is difficult for a yellow crane, poor monkey, they only have claws to use.
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.
Poets generally follow the clues from ancient times to the present, from Qin to Shu, and describe them by grasping the landscape characteristics of various places to show the difficulty of Shu Dao.
It is a passage from "Aye, Woo, Aye" to "Then the ladder is connected with the stone pile". At the beginning, he spoke highly of the difficulty of Shu Dao and pointed out the theme with strong emotion, which laid the tone for the whole poem. With the ups and downs of feelings and the changes of natural scenery, the chant of "it is difficult to get through the Shu Road and get to the sky" appears repeatedly, like the main theme of a piece of music, which touches the readers' heartstrings.
It is said that Shu Dao is more difficult than Tian Dao. This is because since ancient times, Qin and Shu have been blocked by mountains. When Qin entered Shu, Taibai Peak bore the brunt, and only birds flying high could fly low. Taibai Peak, located in the southwest of Xianyang, Qin Dou, is the highest peak in Guanzhong area. There is a saying among the people that "martial arts are too white, and three hundred miles reach the sky." The poet wrote an insurmountable obstacle in history with exaggerated pen and ink, which blended into the myth of Wuding Mountain and touched the magical color, just like the overture of a movement, which was fascinating and magical. The following is a description of the high danger of Shu Dao.
From a height, such as on a high flag, six dragons drove the sun to the point where even hearing its pale cheeks was another passage. This paragraph describes the high risk of this mountain. The more complete the mountain is, the harder the road is. Look at that abrupt mountain, towering high in the sky, blocking the operation of the sun god; At the foot of the mountain is a choppy and winding river. Poets not only combine exaggeration with myth, but also write about mountains and heights, and are lined with the risk of "returning to Sichuan" Only its water risk, but also its mountain high risk. The poet's meaning is not enough, and he compares it with that of an ape. The mountain is so high that even the yellow crane flying thousands of miles away can't fly, and the agile ape is worried that he can't climb it. It goes without saying that it is even more difficult for people to walk. The above is the foil of layers of imaginary writing, and the following is a detailed description of the difficulty of clearing the spirit.
Qingniling, "Wan Ren on the Cliff, Cloudy and Rainy" (Yuanhe County Records), is the main road leading to Shu in the Tang Dynasty. The poet focuses on the entanglement of the peak road and the steepness of the mountain, showing the difficult situation and fear of pedestrians, and capturing detailed actions such as wandering on the ridge, touching the stars, breathing nervously, touching the chest and sighing. In a few words, he vividly described the difficult steps and expressions of fear of pedestrians, and the situation of being trapped and dangerous was like this.
At this point, the difficulty of Shu Dao seems to have been written to the extreme. However, when the poet turned his pen, he used "ask the gentleman" to draw out his travel worries, and with a low melody, he brought the reader into a realm of desolate ancient trees and sad birds. The cuckoo is ringing in the empty valley, full of sadness, which makes people feel pale and more difficult to escape from the road. Poets express their feelings with scenery, and use natural landscapes with strong feelings such as "sad birds, ancient trees" and "Zigui Strip" to render the lonely and desolate environment and atmosphere on Shu Road, which effectively sets off the difficulties of Shu Road.
However, the winding Shu Road has a more magical scenery. From "barely one foot below the highest cliff in the sky" to the end of the whole article, it mainly reveals the difficulty of Shu Dao from the danger of mountains and rivers, and tries to render a thrilling atmosphere. If "the sky is high and the rocks are low" is a boast of the height of mountain peaks, then "the dry pine hanging from the cliff surface" is a danger of causing precipice.
The poet first showed the high risk of the mountain, then turned from static to static, and wrote the thrilling scene of water and stone stirring and valley roaring. seemingly
A series of focal planes: at first, it is a distant view of ups and downs of mountains and peaks; Then gently push it into a close-up of dead pine hanging upside down; Then, followed by a group of fast shots, speeding rapids, waterfalls, cliffs and rocks. With the sound of thousands of valleys and thunder, it flashed quickly from the eyes, which was amazing and dizzying, thus causing overwhelming artistic effects and making the description of Shu Road difficult to reach its peak. If the high risk of the mountains above is daunting, then the mountains and rivers here are even more thrilling.
The scenery is changing and there are many dangers. In a very thrilling atmosphere, I finally wrote the Jiange fortress in the middle of Shu. There is a 30-mile plank road between Dajianshan and Xiaojian Mountain. The peaks are like swords, standing tall, cutting walls like doors, forming a natural fortress. Because of its dangerous terrain, it is easy to defend but difficult to attack. Historically, there were many people who claimed to be kings here. The poet described a political situation from the danger of Jiange. He used the phrase "If you win, it's not suitable for bandits' relatives to live in" in Zhang Zai's Ming of Jiange in the Western Jin Dynasty to advise people to take warning and be alert to the occurrence of war. In connection with the social background at that time, he revealed that "he bared his teeth and claws, and Sichuan jackal killed people like hemp", thus expressing his anxiety and concern about state affairs. In the early years of Tianbao in the Tang Dynasty, there was a crisis lurking behind the peaceful and prosperous times, and the Anshi Rebellion that happened later proved that the poet's worries were of practical significance.
Li Bai vividly described the dangers of Shu Dao with unpredictable brushwork, artistically expressed the winding, majestic, lofty and rough face of ancient Shu Dao, and described a colorful landscape painting. The touching scene in this poem seems very vivid.
Li Bai's description is so touching because of his romantic passion. The poet sends his feelings to the mountains and rivers. He is not indifferent to the natural scenery, but enthusiastically praises it to express his ideal feelings. Surging water and dangerous peaks and valleys endow the poet with emotional temperament, thus showing a flying soul and a magnificent posture. Poets are good at combining imagination, exaggeration and myths and legends to write scenery and express feelings. The mountain height is called "high, such as on the Gao Qi, where six dragons drive the sun"; If the road is dangerous, it is called "it was destroyed by an earthquake once, and some brave people lost it, and then the ladder was connected with the stone pile". The poet "galloping away from the clouds and whipping the sea and the moon" (a comment on the seven sentences of Li Bai's ancient saying in Lu Shiyong's A General Theory of Poetry and Mirrors) has created a broad artistic realm full of romanticism, from the beginning of silkworms to the beginning of mountains in Wuding, from the return of six dragons to the night cry in Zigui. Through the spectacular scenery of mountains and rivers, I seem to see the tall image of the poet "shaking the five mountains with pen and laughing proudly at Cangzhou".
Before the Tang Dynasty, Shu Daonan's works were short and pithy. Li Bai innovated and developed the ancient poems of Dongfu, and used a large number of prose poems, ranging in length from three words, four words, five words, seven words to eleven words, forming a very unrestrained language style. The rhyme of poetry also broke through the old rhyme procedure in Liang and Chen Dynasties. Later, I described the sinister environment in Sichuan and changed the rhyme three times in a row, trying my best to change things. Therefore, Yin Kun's "He Yue Ling Photo Collection" called this poem "strange and strange, and it is rare for the poet to return."
There are various moral theories about this article, and the conclusion is addressed to someone or something. According to Hu Zhenheng and Gu in Ming Dynasty, Li Bai "sang for himself" and "had no other intention". Nowadays, some people say that this poem is difficult to write on the surface of Shu Dao, but in fact it is a bumpy career, reflecting the resentment that the poet's life experience and talents are not satisfied during his long-term roaming. So far, there is no conclusion.