Now there are only over 900 poems by Li Bai, which are probably lost, but they are very rich and colorful. Li Bai cared about national affairs all his life, hoping to make contributions to the country, but he was not satisfied with the dark reality. His "Fifty-nine Antiques" is a masterpiece in this field, which widely exposes and criticizes the dark and corrupt politics in the late Tang Xuanzong period, and reflects the grief and indignation of the talented people who have no choice but to go. A lot of words are ironic, and the spirit is very high. Li Bai is eager to make contributions and serve the country, but he does not envy wealth. What do you think of are bells and drums, treasures and treasures? . After making contributions, he will follow the example of Lu Zhonglian, a senior scholar in the Warring States period, and quit without respect. His thoughts were obviously influenced by Taoism, especially Zhuangzi.
Many of Li Bai's poems show concern and sympathy for people's lives. This content is often combined with criticism of rulers. Some of his Yuefu poems reflect women's lives and sufferings, which focus on thinking about women and remembering people, as well as the grievances of businessmen, abandoned wives and maids. His "Lodging in Wusongshan Mountain, Uncle Xun", "Song of Protection" and "Song of Autumn Pu" describe the lives of farmers, boatmen and miners respectively, showing concern for the working people.
Li Bai wrote many poems describing natural scenery in his life. His poems "It's difficult to ascend to heaven through the Shu Road", "The water of the Yellow River can't be moved out of the sky and into the ocean, and it will never return" ("Into the wine"), "Flying down three thousands of feet, it is suspected that the Milky Way has fallen for nine days" ("Looking at Lushan Waterfall") and so on are all famous sentences that have been passed down through the ages. This kind of poetry, just like some of his works praising Dapeng birds, shows his lofty aspirations and broad mind, and reflects his desire to pursue extraordinary things from the side.
Other poems, such as Qiu Deng's North Building of Xuancheng Qi Xie, Sitting Alone in Jingting Mountain and Journey to Qingxi, are good at depicting beautiful scenery, fresh and meaningful, and their styles are close to those of Wang Wei and Meng Haoran.
Li Bai also has many poems about love and friendship. His Yuefu poems often express euphemistic and profound love from the perspective of female inheritors. There are also some poems about giving gifts and missing your wife, and their feelings are quite deep. Li Bai donated a large number of works to his friends, including many excellent works. Some of these poems show a distinct political attitude, and more often they show their daily farewell and lovesickness, such as the Yellow Crane Tower's farewell to Meng Haoran and Du Fu at Dunmenmen, hearing that Wang Changling moved to Longbiao Kiln for this purpose, reminiscing about the past, visiting the army and giving Wang Lun a present. Deep feelings, vivid images and strong artistic appeal.
The content of Li Bai's poems also contains some feudal dross, among which more is the negative nihilism of promoting life as a dream, eating and drinking, and the religious superstition of seeking immortals to visit the Tao and alchemy. Some of his poems about women and love are vulgar. In Li Bai's poems, exaggerated and vivid metaphors are widely used. His poems "But since the water is still flowing, although it is a knife cut, raise a glass to ease the sorrow" (Uncle Yun, a farewell school book at Xiezilou in Xuanzhou) and "Three thousands of feet with white hair, Sorrow is like a beard" (Song of Autumn Pu, Part XV) depict his deep anxiety after the failure of political activities in Chang 'an, which are widely circulated famous sentences. His poem "Poetry from the North Window is not as good as a glass of water" ("Answering the Twelve Cold Nights of the King") wrote his own talent; "I would like to cross the Yellow River, but the ice will choke on the ferry, and Taihang Mountain will be covered with snow" ("Difficult to Travel"), which is difficult to write a career; "Peach Blossom Lake is deeper than thousands of feet, not as good as Wang Lun" ("To Wang Lun"), writing about the deep friendship between friends, etc. , all impressed readers with distinctive and prominent images.
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Artistic features of Li Bai's poems
Like many great writers, all Li Bai's works also contain romanticism and realism, but as far as his dominant tendency is concerned, he is a master of positive romanticism. As a romantic, although he also accepted the influence of realism in The Book of Songs, it was Qu Yuan's works in The Songs of the South that influenced him more deeply. Li Bai and Qu Yuan have similar political ideals and misfortunes, the same rebellious spirit of dissatisfaction with reality, and equal noble quality and artistic genius. On the basis of these characteristics, he is bound to embark on the road of positive romanticism initiated by Qu Yuan, and enrich and develop it according to his own life practice and artistic practice. Li Bai inherited and developed Qu Yuan's tradition. He combined his political ideal of "securing the country" and "helping the poor" with the Taoist cynicism and the spirit of resisting violence, saving the weak and helping the poor in the ranger thought, and expressed his love for the motherland. Express sincere sympathy for the oppressed and damaged people; He expressed deep hatred and anger at the dark phenomenon hatched by feudal system; He expressed strong resistance and contempt for the dignitaries in the ruling class-his positive romantic spirit is indeed broader than Qu Yuan's. In terms of expression, he also inherited and developed Qu Yuan's romantic expression, especially the exaggeration in folk poems, and improved it in creative application to make it more perfect. On the object of description, he contacted more subjects than Qu Yuan, so he used romanticism more widely. He not only uses this technique to express romantic themes such as "self", seeking eternal life and sleepwalking, but also often uses this technique to reflect wars and describe daily life and natural scenery, so as to gallop his imagination of "wanting to fall from the sky". He expressed his hatred for the cruelty and ugliness of the enemy and his sympathy for the suffering of the people through such a fantasy realm:
The fairy shines like a star on the lotus peak in Huashan Mountain. In Su Lian's hands, the imaginary step is too clear, the dress is wide and she is on cloud nine. 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.
-"Antique" 19th
In this way, he expressed his sincere friendship and nostalgia for Chang' an through wonderful imagination:
The guests came from Chang 'an and returned to Chang 'an. The wind blows my heart and hangs Xianyang trees in the west. This situation is outrageous. When shall we meet again? I can't see you, even the mountains are full of smoke.
-"Jinxiang sends Wei Ba Xijing"
Because of Li Bai's love for nature and deep hatred for the ugly reality bred by feudal system, and his bound personality can not be liberated freely, he is eager to seek spiritual sustenance in natural beauty, and often regards nature as a confidant, seeking comfort and happiness from it, and even sharing his own worries.
Birds fly high, and lonely clouds go to leisure alone; You look at me, I look at you, and there are only my eyes and Jingting Mountain's eyes.
-"Sitting alone in Jingting Mountain"
Here, he regards Jingting Mountain as his soul mate, as if it can understand his loneliness and loneliness. He also fantasized that he could get the news of spring from Meihua: "Wen Daochun walked beside Han Mei to inquire about the news before he met"; He imagined that the beautiful moon could go with him: "In the evening, the blue mountains will go down, and the moonlight will escort me on my way home"; He imagined that the spring breeze would sympathize with his own sorrow, so "the spring breeze knows that it is not bitter, and it does not make wicker green"; Moreover, "wild geese lead the heart to worry, and the mountains and plains are full of good months", and even Feiyan Qingshan has become his confidant. They can bring what he hates and what he loves-his bold anthropomorphic expression in unusual imagination, inject the poet's passionate feelings and wishes into the described objects, make his works poetic, and thus produce exciting artistic charm.
Li Bai's use of exaggeration is also very creative: for example, "white hair is three thousands of feet, and sorrow is like a long beard", boasting the depth of sorrow by boasting white hair; For example, "if fame and fortune exist, Hanshui River will also flow to the northwest", boasting that fame and fortune cannot exist because Hanshui River cannot flow to the northwest; For example, "Cangwu Mountain collapses, tears on bamboo can be extinguished", boasting that Cangwu Mountain does not collapse, Hunan water does not die, and the tears of Queen E and Nvying do not die. Because Li Bai is a great positive romantic, he has a clear attitude towards the beauty and ugliness of things, and it is difficult to express his huge and strong thoughts and feelings without exaggeration. It is precisely because he has great and strong thoughts and feelings for the object being described that his exaggerated performance has reached the state of "impeccable", which makes people feel necessary.
But what he can't achieve is that he can often combine these romantic expressions of myth, fantasy and exaggeration beautifully. In Shu Dao Nan, Meng Li Deng Tian Mu Shan, Ci Popular in the North and Farewell, he combined these expressions to varying degrees. These works, because he adopted this expression technique, opened up an infinitely broad fantasy realm and a magnificent and colorful image field for us, and more fully expressed the poet's positive romantic spirit and theme. For example, in Shu Dao Nan, because he adopted this technique of expression, he can fully express the poet's bold and enthusiastic character and the lofty and dangerous reality of Shu Dao. In the same way, the rebellious spirit of the poet breaking up with dignitaries can be fully demonstrated in Tianmu Mountain in a Dream. Only in Fu Liangyin can the poet's grief and indignation after being hit politically be fully expressed; In "Popular North" and "Farewell", where will you go and your deep hatred for missing women can be fully expressed. In these works, he can use bold, enthusiastic and exaggerated language, rely on myths and bold fantasies, create a huge artistic image, express the beautiful ideals and desires inspired by reality and strong love and hate, and make it a masterpiece combining realism and romanticism.
Li Bai not only critically inherited the fine tradition of ancient poetry since the Han and Wei Dynasties, but also was another great poet who was able to learn from folk poetry seriously and in many ways and absorb its essence after Qu Yuan. In art, his remarkable achievement in this inheritance and learning is his outstanding achievement in poetic language, thus forming his vivid, clear, gorgeous and natural language style, especially in natural language, which is beyond the reach of later poets. The formation of his language style first depends on his tireless research on folk poetry. Among his more than 900 poems, Yuefu poems account for 140. He used almost all the ancient poems of Yuefu and often made innovations, especially Xiqu and Midnight Song, which were widely circulated among Yuefu people in the Six Dynasties. Under the influence of folk poems, his works such as Midnight Wu Ge and Long March not only have the vivid and natural features of folk songs, but also reach the realm of "expressing one's feelings".
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! ?
-"Midnight Wu Ge" Part III.
My hair is newly repaired. I am picking flowers and paying by my door. When you, my love, ride a bamboo horse, run in circles and throw your childhood. We live in an alley in Qingkan. We are all young and happy. ……
-"Long March"
It is his own work, especially the five-character quatrains, which are full of folk songs. Such as the aforementioned "Silent Night Thinking"; Such as Yue Nv into the hole, presented to Wang Lun:
Girls Picking Lotus If the girls picking lotus in Yexi saw the guests, they sang back to the boat. He smiled and hid in the lotus, pretending to be ashamed.
-"Yue Nv Ci" the third song.
Li Bai was just about to leave when he heard a farewell song from the shore. Even if the Peach Blossom Pond is deep, it is not as deep as Wang Lun's sending away my love.
-"To Wang Lun"
Li Bai's and Wang Changling's seven-character quatrains are the highest in the Tang Dynasty, and they really benefited from the study of folk poetry in language. It is precisely because Li Bai has gained valuable artistic experience in this kind of study that he advocates nature and opposes carving in language. In his poem, he said: "Clear water produces hibiscus, natural carving" and "carving insects is naive" are all explanations of this proposition. He also critically absorbed the language skills of outstanding poets since Wei and Jin Dynasties. He said: "Since Jian 'an came, beauty is not precious. While abandoning the poetic style of the Six Dynasties, he inherited the language art of Tao Yuanming, Xie Lingyun, Bao Zhao, Xie Tiao and Yu Xin. Du Fu praised his works, saying that "Qing Xin Yu opened the government and Jun Yibao joined the army"; In his own poems, Li Bai once praised or quoted Xie Lingyun's "Spring grass grows in the pond" and "Beautiful landscape", and Xie Tiao's "Chengjiang is as quiet as practice" and "The north wind blows and rains", which are fresh, natural and creative. His works describing natural scenery are really influenced by Xie. His "Giving a Kind Pillow and a Kind Bowl to the South Mountain" is very close to Tao in language style and content. Because he absorbed the language art of folk poetry and critically inherited the fine artistic tradition made by the poet, his language is not only vivid and natural, but also bright and beautiful, romantic imagination and unrestrained enthusiasm, which makes his language have the characteristics of "luxury" and "boldness" mentioned by predecessors.
Li Bai is another great positive romantic poet after Qu Yuan, and his achievements have reached the peak of romantic art in the history of China's classical poetry development. His positive romantic poems, both in spirit and in expression, had a great influence on the Tang Dynasty and later generations. Han Yu in the Tang Dynasty has given a high evaluation: "Du Li's article is there, and the flame is long." Many writers after the Tang Dynasty, such as Su Shi and Lu You in the Song Dynasty, Gao Qi in the Ming Dynasty and Gong Zizhen in the Qing Dynasty, all accepted his influence to varying degrees and made different achievements. Today, when China advocates the combination of revolutionary realism and revolutionary romanticism as a socialist art method, it is obviously necessary for us to critically inherit the legacy of Li Bai's poems and songs in order to facilitate the development of socialist literature and art in China.