Translation ①
Oh, dear, so high, so close! The difficulty of Shu Dao is difficult to go to the sky!
Can Cong and Yufu were both emperors of ancient Shu, and their founding was in a state of loss. From ancient times to the present, Qin and Shu have never been inhabited. There is only one route for birds to fly on Taibai Mountain in the west, which can lead to the top of Emei Mountain. How many brave people died in the ground fissures and landslides, and then a ladder-like plank road was interlocking.
There is a peak in the world that the Japanese will turn back when they drive the train with six dragons, and there is a torrent rushing back to Sichuan. Even the flying yellow crane can't pass, and the ape can't climb if he wants to. Qingniling is on the road, winding around and winding around the mountain. Looking up, I dare not step out of the atmosphere and touch the sky above the starry sky. I had to put my hand on my chest and sigh: "Westbound man, when will you come back?" This terrible Shu Road is really hard to climb! "
I only heard the birds whining in the ancient trees, and the females followed the males flying around in the forest. I also heard Zi Gui crying under the moon: "Let's go home! Why don't you go home ... "However, sadness is full of empty mountains. The difficulty of Shu Dao is difficult to go to the sky! Listening to it will also make people lose their youthful appearance. The mountain peak is connected with the mountain peak, less than a foot away from the sky, and the dead branches of the Millennium hang upside down on the hanging rock. The rapids and waterfalls show their magical powers, shaking rocks and pushing boulders around like thunder echoing in this vast Qian Shan. "Shu is too dangerous! I'm sorry (you people) came all this way. Don't know why? "
The weather in Jianmenguan is unusual, but it is also extremely risky. One guard makes ten thousand people sad. If the gatekeeper is unreliable, he will be a disaster. Pedestrians come here to guard against the attack of tigers in the morning and the plot of snakes at night. They grind their teeth and have to eat meat all the time. They killed thousands of people. "Although Jincheng is a good place, it is better to go home early!"
The difficulty of Shu Dao is difficult to go to the sky! When I set foot on my way home and looked around, I couldn't stop sighing.
Translation ②
Alas, how noble and majestic! It's hard to compete in the Shu Road, and it's too far to climb the sky! Can Cong and Yufu, two emperors of ancient Shu, are so far away from the establishment of People's Republic of China (PRC). After that, about 48,000 years, Qin and Shu were separated by the Qinling Mountains and did not communicate with each other. Taibai Mountain in the west of Chang 'an is blocked, and only one bird has a tortuous route and flies over the majestic Emei Mountain. Five heroes were buried in the landslide, connecting the high-risk mountain road with the plank road. There is a mountain top that blocks the six dragon cars of the sun god, and there is a winding river that goes straight into the sky. The oriole, who is good at flying high, still can't fly. Even if the lynx wants to climb over, she is worried that she can't climb over. How does the winding Qingniling hover around the mountain, and the surrounding rocks turn nine times within a hundred steps. You can touch the stars of god and scenery, making people hold their heads and hold their breath, touching their chests and sighing.
Westbound prodigal son, when will it be returned? Dangerous mountains and bad waters, the terrible Shu Road is really difficult to climb! I only saw birds whining among the ancient trees, and male and female birds flying among the desolate mountains. What I heard on the moonlit night was the sad cry of the cuckoo, which made me sad. What a desolate empty mountain! Shu Dao is difficult, and it is difficult to go to the sky. After listening to it, people will worry about their lives and make their faces suddenly fear. The peaks are connected together, less than a foot from the sky; The withered old branches hung upside down and got stuck between the cliffs. Swirls and waterfalls scramble to make noise; Water and stones collide and rotate, just like a thousand valleys are thundering. Wow, Shu Dao is so difficult; Alas, how did you come all the way to make a guest appearance in this place?
The land of Jiange is towering into the sky. As long as one person is guarding it, it is difficult to capture a thousand troops. If the officials stationed there are not their cronies, they will become rebels. Sooner or later, we should be wary of tigers and snakes. Jackals, tigers and leopards have prepared their teeth and fangs, which is really disturbing; Poisonous snakes and beasts kill people like hemp, which makes people tremble with fear. Although Jinguancheng is said to be a happy place; So sinister, it is better to return to China early. Shu Dao is too difficult to walk, and it is almost impossible to go to heaven; Looking sideways to the west is a pity.
Difficulties in Shu Dao is a famous work by Li Bai, a poet in China in the Tang Dynasty. It talks about the difficulties in Shu Dao with the danger of mountains and rivers. Poetry fully shows the poet's romantic temperament and feelings of loving the motherland. "Difficult Road to Shu" describes the breathtaking adventures and magnificence of nature, giving people a thrilling feeling. Many pictures are hidden here and there, whether it is the height of mountains, the urgency of water, the improvement of rivers and mountains, the desolation of trees, or even the danger of peaks and cliffs, they are all threats. Its magnificent weather and vast realm are really beyond the reach of others. Generally speaking, the changes are rapid, becoming more and more strange, and often unexpected and dizzying. As Shen Deqian, a poetry critic in the Qing Dynasty, said, "The strokes are vertical and horizontal, such as flying, and the fingers are like thunder."
Overall grasp
This poem was written by Li Baichu when he came to Chang 'an in the early years of Tianbao, Emperor Xuanzong of the Tang Dynasty. "Difficulties in Shu Road" is an ancient theme of Yuefu. He developed a rich imagination about it, focused on describing the wonderful and breathtaking mountains and rivers on Qin Shu Road, and revealed some worries and worries about society.
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 "Ehu" 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 chanting 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.
Why is Shu Dao more difficult than Tian Dao? This is because since ancient times, Qin and Shu have been separated by mountains. From Qin to Shu, Taibai Peak bears the brunt, and only birds flying high can 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 for people in Shu in the Tang Dynasty. The poet focuses on the entanglement of the peak road and the steepness of the mountain, showing the hardships and fears 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. Like a series of focal planes: at first, it is a distant view of rolling mountains and continuous 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"; Obstacles in the shape of roads are called "once broken by earthquakes, lost by brave people, and then connected by ladders and stone piles" ... The poet "galloped away from the wind and clouds and lashed Haiyue" (Lu Shiyong's evaluation of the seven sentences of Li Bai's ancient saying in "A General Theory of Poetry and Mirrors"), from the creation of silkworm clusters to the creation of mountains in Wuding, from the return of six dragons to the night cry of Zigui, and it was unconstrained and unconstrained. 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 it is concluded that it was written specifically for 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.
Piecewise analysis
There is a myth about Shu Dao in Biography of King Shu. It is said that during the reign of King Hui of Qin, King Shu had five Hercules, called "Five Powerful Men". Their strength is infinite. So King Hui of Qin gave a beautiful woman to Wu Ding, the king of Shu, who ordered Wu Ding Lishi to move mountains to open the way and marry the beautiful woman. On the way back, I saw a big snake jump into the cave. Wu Ding Lishi stepped forward to hold the snake's tail and dragged it out. Suddenly the ground shook, the mountain collapsed and five Ding Lishi died. The five beauties of Qin all ran up the mountain and became stone men. This myth reflects that in ancient times, many working people cut mountains to open the way, sacrificing many people, and finally opened the Qin-Shu passage. Li Bai wrote the second sentence of the fifth rhyme with the motif of this myth: "It was once broken by an earthquake, but the brave were lost", which can also be said to refer to the five Ding Lishi, or the working people who sacrificed their lives to pave the way. They died, and then entered Shu from Qin to connect the mountain road with the plank road. The poem ends here, describing the origin of Shu Dao with four rhymes and eight sentences.
The second paragraph * * * enjoys nine rhymes, describing the Shu road of the ladder stone stack. "Six Dragons Return to Japan" is also a fairy tale. It is said that the sun god He drives six dragons every morning from Fusang to Xichi to Ruomu. There are two sentences describing the mountains and rivers in the middle of Shu in Zuo Si's "Shu Du Fu": "He Xudao is in Junban, and Wu Yang's wings are near high." He and Wu Yang are synonymous with the sun. It means: the sun wants to borrow from the mountain. And the highest mountain also lets the sun fly back to escape. "As high as the Gao Qi, six dragons drive the sun." This sentence means that there are peaks on it that even the sun can't cross. "High standard" means holding high and towering, but it can be interpreted as a peak because it is used as a noun. Xiao quoted the cloud in the classic painting: high standard is the name of the mountain. This is because later generations misread Li Bai's poems, or attached them intentionally, and insisted on naming a mountain Gaobiao. In the original poem, "Gao Biao" and "Hui Chuan" are compared, which shows that it is by no means a proper noun.
These two poems have different versions. There are two anthologies in the Tang Dynasty, one is Yue Ying Ling He Ji and Ji Xuan Ji, the other is Tang Dynasty manuscripts found in Dunhuang stone chambers, and Tang Cui Wen in the early years of the Northern Song Dynasty. These two sentences are not "high above, six dragons drive the sun, and thousands of valleys are difficult to fill", but "there are clouds on the river that break the sea, and there are rapids under the river." From the dual point of view, the latter is more neat, while the former is more stable if the sentence is bold and unconstrained. Perhaps the latter was the first draft circulated at that time, while the former was the author's final draft. Therefore, the anthology at that time was Crossing the River and Breaking the Sea, while the anthology compiled by Li was Six Dragons Returning to Japan. Now let's copy according to the album.
The following paragraph also describes the height and danger of Shushan. Yellow cranes can't fly, and apes are afraid to climb. Qingniling, in Lueyang County, Shaanxi Province, is the only way for Qin to reach Shu. This mountain road twists and turns, winding back and forth on the rocks, and the road is extremely difficult. Shenhejing is one of the 28 lodgings. Shu belongs to the dividing line of Betelgeuse and Qin belongs to the dividing line. On a high-risk mountain road, going from Qin to Shu is like lying on your back, holding your breath and touching the starry sky. During such a difficult journey, pedestrians put their hands on their chests and sighed. The word "sit" is not sitting on your feet, it should be called "therefore".
The above is the first half of the second paragraph, with four rhymes and eight sentences, which renders the difficulty of Shu Dao. The next sentence was suddenly added, "We wonder if this path to the west will never end", which revealed the theme of the gift line. The author didn't say something like a farewell poem, but inserted "When will you come back?" This reflects that it is not easy to come and go. This sentence itself has also become a description of the difficulty of Shu Dao.
The following four rhymes and seven sentences are still written immediately after the above four rhymes, but the object of description has changed. Now don't write high mountains and high roads, write birds in the mountains. The poet said: these towering rocks that cannot be climbed are really roads that travelers dare not take. On this road, all you can see is the birds moaning on the ancient trees, and the female birds are flying around with the male birds in the secluded forest. There is also the famous Zigui bird in Sichuan, which often cries under the moon. It is said that in ancient times there was a Shu king named Du Yu, nicknamed Wang Di. He died of national subjugation and became a bird, whining in the mountains every night, as if crying.
There are one or two rhymes below, which are the conclusion of the second paragraph. Repeat "this kind of trip is more difficult than climbing the blue sky" first, and then say: people will turn pale with fear after hearing these things. The "fading face" here can only be said to be "discolored" because of fright, although it should be said to be "aging" elsewhere.
Below the second paragraph, the rhyme and composition seem a little uneven. Now I write according to rhyme, which is divided into three paragraphs. But judging from the structure of ideological content, it can only be said to be two paragraphs. From "breaking up with heaven" to "fooling around" is a paragraph, which is the third paragraph of the whole poem. From "although the dagger-tower passage is firm and stern" to the last sentence is another paragraph, that is, the fourth paragraph of the whole poem. The first four sentences of the third paragraph still describe the danger of mountains and rivers in Shu, but the author uses two rhymes. The rhyme of "ruler" and "wall" is only two sentences, and then the rhyme changes immediately, making readers feel that there is a lack of atmosphere here. Suddenly inserting such a short rhyme syntax into a long line is usually considered as a disadvantage. Although Li Bai is brilliant, free in rhyme and unconstrained style, these two rhymes are urgent and incoherent, which is not desirable in the eyes of people who pay attention to poetry.
The first two sentences of this paragraph describe the withered pine hanging upside down on the cliff, and the last two sentences describe the violent trend of the mountain spring rushing to the cliff, such as the thunder of thousands of valleys. Finally, end with a sentence "This is at stake". This "so" not only refers to the above two sentences, but also summarizes all the following descriptions: "high, just like on a high banner, six dragons drive the sun." The danger of Shu Dao in the landscape situation has passed. Here comes another question: Why do you want to be a long-distance guest here? This is another unexpected remark. From the standpoint of people in Shu, it means that our place is difficult to walk, so why did you come? If you stand in the sender's position, that is, why do you have to go there to embark on such a dangerous journey?
Then I turned to the fourth paragraph and suddenly talked about the military situation in Sichuan. "One man is better than ten thousand men" is easier to defend than to attack. It's very dangerous for a place like this to be guarded by someone you can trust. These poems are entirely based on four sentences in Zhang Zai's Ming of Jiange in the Jin Dynasty: "One person holds a halberd, ten thousand people stumble, the ground wins, and bandits are close." Li Bai's description of the difficulty of Shu Dao is related to the political significance of the situation in Shu, which has actually gone beyond the scope of the old Yuefu title "The difficulty of Shu Dao". Bashu is rich in products, which is very important for the economic supply of Sanqin. Therefore, the first sentence of the poem "Farewell to Du DuDu's appointment in Shu" said that Sichuan "this wall surrounds Sanqin" and also pointed out this point. Although Li Bai's Yuefu poems all use old topics, they often inject new ideas and have practical significance. This poem reflects that since the early Tang Dynasty, Shu, because of its non-blood relationship, caused many invasions by Tubo and Naman, which led to a devastating war and made Sanqin shake.
This poem is a part mentioned by Li Bai in passing when describing the difficulties of Shu Dao. But it made later readers mistakenly think that this is the theme of the whole poem. Some people satirize Zhangqiu and Joan of Arc for this poem, some people think it's satirizing Yanwu, and some people think it's satirizing officials who usually take risks. They are all confused by this poem and come to these conclusions. However, these poems do destroy the unity of the whole poem, and they are written in poems for friends in Sichuan, which really make people feel the feeling of two different themes. In the Ming Dynasty, Li Yulin once commented on Li Bai's poems: "Too white is vertical and horizontal, and it is often a spent force. There are long articles in between, and heroes deceive others." For this poem, I also think it is "a spent force" (superfluous words) and "a long speech".
Theme of whole poem
The main sentence of the whole poem is: Shu Dao is difficult to learn and it is difficult to go to the sky.
Ideological content
Difficulties in Shu Dao is an old theme of Han Yuefu, which belongs to the "tonal song" in "Harmony Song". Guo Maoqian's Poems of Yuefu quoted Yuefu Jie in Volume 40, saying, "The suffering in Shu is called the resistance of Tongliang Jade Base (all mountains in Sichuan)". From Wendi to Zhang in the early Tang Dynasty, many people wrote poems on this topic. Li Bai's poem, although it also describes the difficulty of Shu Dao along the old topic of Yuefu, is richer in content and more positive in ideological significance.
Describing the sudden emergence of Shu Dao and its dangers is the main content of this poem, which occupies most of the whole poem. Li Bai loves his hometown of Sichuan and the mountains and rivers of the motherland very much, and many of his poems strongly express this emotion. The same is true of Shu Dao Nan. Although, in order to convince his friends, he tried to exaggerate and describe the dangers and horrors of Shu Dao, his sincere love for the mountains and rivers of his motherland made him involuntarily devote all his enthusiasm to Shu Dao in his works. While describing the dangers and horrors of Shu Road, he also wrote its abrupt, majestic, powerful and insurmountable majestic momentum. It shows the magnificence of the mountains and rivers of the motherland.
Secondly, this poem reflects the profound friendship between the author and Wang Yan. Li Bai attaches great importance to friendship. His friendship with poet Du Fu, Taoist Wu Yun and farmer Wang Lun has always been a beautiful talk in the history of literature. He and Yan Wang have a deep friendship. When Wang Yan entered Shu, he wrote a series of poems such as Ode to Jiange and Sending Friends to Shu. When Wang Yan died, he wrote three poems "Crying Wang Yan on Lishui Road" to express his deep condolences. In this poem, when he describes Shu Dao, he can't help saying, "We are wondering, is this westward path endless?" "Well, people from afar are coming!" Looking sideways to the west for a long time, I expressed deep concern about Wang Yan's trip, and sincerely advised Wang Yan to return to China as soon as possible, showing real concern and affection for his friends.
As mentioned above, this poem is the beginning of Tianbao. At that time, the Tang society was stable and prosperous on the surface, but there were many contradictions and dangers in its bones. On the one hand, the law is not strict, and land annexation is serious. On the other hand, it was difficult for the imperial court to control the self-esteem of the soldiers in the buffer region. Therefore, some of Li Bai's third poems, although still mainly describing the topography of Shu Road, intentionally or unintentionally show anxiety about the crisis of state affairs and show concern for the future and destiny of the country.
Artistic feature
No matter from which artistic point of view, Shu Dao Nan can be regarded as Li Bai's masterpiece. It embodies the artistic features of Li Bai's poems and the author's creative personality. The first is strong feelings. At the beginning, the author used "Alas, thief!" High risk! The strong chant of "Shu Dao is difficult, but it is difficult to go to the sky" rushes forward, expressing his amazement and emotion at the height and danger of Shu Dao. Then in the middle and the end of the poem, he repeated this chanting twice, wrapping his strong feelings in the whole poem, giving people a feeling of singing three sighs and going back and forth, which made people feel excited.
The second is extreme exaggeration. Exaggeration is a common artistic technique used by poets. However, Li Bai's exaggeration is rare. He often exaggerates things to the extreme in his works, and he often uses "money". "Ten thousand" and other huge numbers to describe this modification. The well-known poems such as "White Hair Three thousands of feet", "Flying Down Three thousands of feet" and "The canoe has crossed Chung Shan Man" are typical examples. As far as Shu Daonan is concerned, his exaggeration has reached its peak. People say that ascension is the hardest; He also said, "It is difficult to get through the Shu Road, and it is difficult to go to the sky!" There is a saying in the idiom "anticlimactic", but he says, "Shu Dao is difficult to learn" and "it turns you pale when you hear it!" According to folklore, "Kung Fu is too white to die for 300 days", but in his works it turns out that "the highest cliff is barely less than a foot a day". In order to emphasize the long time of traffic jams in Qin and Shu, he said it was "48,000 years", and in order to highlight the twists and turns of Qingniling Mountain Road, he said it was "100 steps and 90 folds"; In order to show the loftiness of Shu Dao, he even exaggerates that even the six dragons driven by the sun will turn around and return to the East ... These extreme exaggerations, although not in line with the reality of things, strongly highlight the dangers and wonders of Shu Dao, highlighting its awe-inspiring momentum.
Third, the imagination is rich and strange. Li Bai's imagination in this poem is amazing, beyond the limitation of time and space, without any constraints. From the ancient legend of Can Cong's founding and Wuding's pioneering, to the terrible reality that "there are gluttonous tigers in the daytime and poisonous reptiles in the night", from the six dragons to the ups and downs; There are all kinds of pictures with the highest cliff barely a foot below heaven and dry pine trees hanging, head down, from the face of the cliff, as well as various sounds of sad birds, Zigui strips and stones sent through Wan Gulei's rotation. There are even personal experiences and on-the-spot feelings of "panting, we brush Orion, cross the well star, and then, holding our chest with both hands and groaning, collapsed to the ground". With magical imagination, the author described the face of this road in the middle of Shu, vividly rendered its gloomy and quiet atmosphere, and made people see and hear it. Ouyang Xiu once said: "The difficulty of Shu Dao, it is difficult to go to the sky, and the pen is too white to produce clouds" (Taibai plays Yu Sheng), which vividly tells people's artistic feelings after reading Shu Dao Nan.
It should be noted that the author also combines myths and legends with his peculiar imagination and wanton exaggeration, so that the three complement each other and blend into one. This is a remarkable feature of the romantic style of Li Bai's poems, and it is also another artistic feature of this poem. In this poem, the author adopts the ancient legend that silkworms open the country, open mountains in five seasons, cry and hate their children, and the magnificent myth that six dragons return to Japan, weaving into his strange imagination and exaggerated description of the hardships of Shu Road, and smearing a layer of quaint, sad and mysterious colors on the rocks in the work, which makes the whole work exude a strong romantic atmosphere. It should be pointed out that these myths and legends are not only the content of the author's imagination, but also the embodiment of his wanton exaggeration. They are external to each other and inseparable.
Finally, talk about the flexibility of sentence patterns and the unrestrained language in Shu Dao Nan. Li Bai is bold by nature, and he also likes to write poems with free sentence patterns and Ye Yun's rambling aria, so as to express his ups and downs. This poem is composed of seven words and one line, with seven words as the main sentence pattern, four words, five words, six words and eight words. There are only three short words and eleven old ones, which vary in length, scattered and handed in, sometimes scribbled, sometimes neat, casual and comfortable. From the language point of view, there are not only the symmetrical order of "one person defends it, but also the loose stretch of" people are far away "; There is both the delicacy and solemnity of hanging my head and facing the cliff, and the smoothness and lightness of the Silk City. Although it is delicious, I would rather go home as soon as possible. The phrase "high risk" is tautological and pretentious. Rewrite in order to raise the momentum: for the words "Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww, Eww.