Li Bai's poems have two remarkable characteristics: one is bold and unconstrained, and the other is elegant. These two characteristics are integrated in many cases. We separated it for the need of research. Difficulties in Shu Dao undoubtedly represents the main feature of Li Bai's poems-bold and unconstrained. Don An Ying's "He Yueling Photo Album" said: "It's as strange as it is difficult to get through the Shu Road. However, since the poet came back, there is very little such tone. " Therefore, it is not only feasible but also necessary to analyze the artistic characteristics and ideological tendency of Li Bai's poems from his representative works.
First of all, look at the artistic features of Li Bai's poems from The Difficult Road to Shu.
As I said at the beginning, this poem represents the main feature of Li Bai's poetry, which is bold and unrestrained. Below I will discuss the specific performance of bold and unconstrained features from several aspects:
1, it's magnificent.
Metaphors can be found everywhere in Li Bai's poems. Fu Dapeng, written in his early years, is a famous trust work. "Taibai ancient style, its text is rich in Ziang's love, and it is frugal in the memory of Heizong. It expresses spirituality and places irony and the origin of reality. " (Hu Zhenheng, "Li Shitong")
So, how do we view the metaphor in Li Bai's Shu Dao Nan? "I am compassionate and I am really interested; Qu Ping' s funeral also helped Jiangshan. " (Huang's Notes on Wen Xin Diao Long) Li Bai's Shu Dao Nan is definitely not an ordinary work of Mo Shan Pan Shui. The triple meaning of "it is hard to go ascended to the sky" in the poem has always been associated with its profound meaning from its fierce commercial voice and sad melody. If we examine Li Bai's life experience, it is not difficult to find that this is a masterpiece of "expressing ambition by comparing happiness".
We know that Li Bai, a teenager, "promised his sword to the Ming Dynasty". He "fifteen good swordsmanship, all dry governors; 30% articles, from the calendar to the Qing Dynasty. " He came to Chang 'an hopefully and dedicated his literary talent and martial arts to "Kaiyuan Shi Sheng". I even dreamed of "helping the prosperous times" (Poem of Liang Garden) and "settling down and settling down in Li Garden" (Away, visiting the fortress wall with Shi Pei three times). As Yao He said in "Farewell to Li Yu for Shu" in the middle Tang Dynasty, the result was "Li Bai was so embarrassed that he had nowhere to go". This great contrast between ideal and reality left a deep ideological imprint in Shu Dao Nan. On the surface, "high, like on a tall banner, six dragons drive the sun, and a wave rushes back to Sichuan" is a difficult way to write Shu Dao. In fact, it means that his life journey as a "vassal of the world" and "Lida Qing Xiang" only ended with the fall of a book and a sword. "Although the steeple is firm and severe, although one person guards it, ten thousand people cannot force it; Guard or not, but the wolf to his companion? " , don't "and one person to keep it" in the "off" only refers to the sword door closed? "Don't think of you and Yu Tao, your door is ten percent off. The fierce dog is stubborn and the beam is closed. " (Song Yu's "Nine Debates") The ancients have long used "Guan" as a metaphor for "Jun's Gate". How could Bai, a coquettish poet, not know? This is what "nine doors are blocked, and those who shovel their foreheads are angry" ("Fu Liangyin"). Li Bai's experience in Chang 'an tells us that it was in Chang 'an that eunuchs and cockfighting children who were "calling the shots" mastered certain powers, which made the poet "move south and become fascinated in the north". It seems that Cui Wei's Jiange actually refers to the imperial court. "There are greedy tigers to be feared during the day and poisonous reptiles at night." This kind of tiger and snake is rampant, which is the madness of evil forces. "Although the Silk City belongs to Huang Cancan, I would rather go home as soon as possible." This "Chengdu" is Chang 'an. Throughout the whole article, we find that this difficult and dangerous Shu road is a replica of the poet's career path; The poem "it is hard to go goes to heaven" is the poet's feeling that there is no way to serve the country. In another poem, Yao He wrote: "Your son cried to death, and your father listened to it without worry, and he was famous for his studies, full of nostalgia", which is the contrast of Li Bai's frustrated career in "Difficult Road to Shu". It seems that the metaphor of Li Bai's Shu Dao Nan is very clear in the eyes of the Tang people. Of course, it is a metaphor of official career in Shu Dao, which is complicated and thrilling. This can only be written by a big hand like Li Bai.
2, novel metaphor, strange exaggeration.
Li Bai is famous as a great romantic poet. Subjectivity and lyricism are the essential characteristics of romantic literature. He likes to use metaphor, exaggeration and contrast in artistic techniques to create strong artistic effects.
In Shu Dao Nan, Li Bai used many novel metaphors. "Such a trip is more difficult than climbing the blue sky" is of course an exaggeration. In Difficult to Walk (II), the poet wrote: "The road is as wide as the blue sky, but there is no way out before my eyes." This metaphor is similar to the previous exaggeration. The metaphor of "heaven" for "road" is novel and unique. On the road as wide and flat as the blue sky, "Hua Xiang (a good horse) can't eat his fist, but the donkey can sing with ambition" (Twelve Nights in Answer to the King). "High light flashing; My desire is getting deeper and deeper. I lift the curtain, sigh and stare at the moon. Lonely as a flower, from the center of the cloud. " (Sauvignon Blanc) This series of metaphors reflects the hard life of a man with lofty ideals. On the other hand, to the west, there is still only one bird path. The mountain road is steep and narrow, and only birds can fly over it. "Thousands of waterfalls rush out, and the cliff hits the stone and thunders." The sound of waterfalls hitting rocks is like thunder. "There are tigers and wolves in the day and poisonous snakes in the night", among which "tigers" and "long snakes" are of course the rulers of Yu. These metaphors all represent the bold features of Li Bai's poems.
The exaggeration in the poem is even more peculiar. "it is hard to go goes to the sky" attacked the steep and difficult road of Shu. "Forty-eight thousand years have passed, and it is not connected with Qin Saitong." It is extreme to say that Shu has been isolated from the outside world for a long time. "Panting and brushing Orion across the well star, then holding your chest with your hands and falling to the ground with a groan" is a high risk from the feeling. "The highest cliff is less than a foot from the sky, and the withered pine trees hang down from the cliff", a very high mountain. "There are terrible hungry tigers during the day and poisonous reptiles at night. Answer blows with blows, killing people like hemp ",which is an exaggerated prediction of social contradictions at that time in the Tang Dynasty. Chen Ling, a critic in the Qing Dynasty, called this poem "a crying event" in "Poetry is not as good as walking as a mirror", which shows that the poet's description of Shu Dao embodies his sighs and feelings about his life journey.
There are many exaggerations in other articles: "Three thousand white hairs are as long as sorrow" ("Song of Autumn Pu"), and sorrow grows with the length of white hair; "Flying straight down to thousands of feet, it is suspected that the Milky Way has fallen for nine days" ("Looking at Lushan Waterfall"), writing the magnificence of Lushan Waterfall; "How does the water of the Yellow River move to the sky, enter the ocean, and never return" ("Entering Wine") wrote the mighty Yellow River, flowing thousands of miles; "Thirty-six thousand days in a hundred years, three hundred cups will be poured every day" ("Xiangyang Song") is a hymn of alcoholics.
3. The combination of myths and legends in narrative enhances the depth of poetry.
Li Bai, who "started the storm with a pen and made a poem to cry", integrated myths and legends into the description of Shu Road, greatly enriching the artistic conception of his poems. The opening words are unusual, with three senses, two exclamations and one exaggeration. After expressing the poet's lament about the high-risk Shu Dao very strongly, he turned to the myths and legends of Shu Dao: "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. It was broken by the earthquake, and the strong men fell, and the stairs and stones were hooked. " The poet extended his brush strokes to ancient times and described the history of the founding, isolation and communication with Qin State of Shu. However, the road to Shu is still difficult: "as high as a banner, six dragons drive the sun;" Far below, the river is churning. 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 brushed Orion and passed the well star, and then, holding our breasts with our hands, groaned and sank to the ground? " In the order of space, the poet described the twists and turns in the northern section, the high risk in the middle section, and all kinds of sadness. Finally, I focused my pen and ink on Jiange, the gateway to the world, and described the majestic horror of Jiange. At this point, all the difficulties of Shu Dao are displayed in front of us. Myth, legend and narrative are integrated into one furnace, criss-crossing, with clear latitude and longitude, which greatly broadens the artistic conception of poetry and enhances the sense of depth of poetry. This feature is also prominent in other poems. Such as "Yin", "Singing with Sen" and "Reminiscing about Time Past, Traveling to the County to Join the Army" are all inseparable parts of Li Bai's bold and romantic poetic style.
4. Strong lyrical color.
Subjectivity and lyricism are the characteristics of romantic literature. Most romantic poets have lofty ideals and extraordinary imagination.
They always use an ideal ruler to measure real life. Therefore, their sorrows and joys are extremely strong and clear. In "Difficult Road to Shu", you see "Alas!" Dangerous hands are high! "When I started singing, my mood was like a volcanic eruption." "It's more difficult to walk the Wan Li Road than to ascend to heaven" has three meanings in an article, which strongly expresses the poet's lament that there is no way to serve the country. The poet described the difficulties and twists of Shu Dao with the grateful colors of pursuit, yearning, grief and indignation. Whether describing ancient myths or realistic landscapes, poets have endowed Shu Dao with an unattainable majestic posture. In the poem, on the one hand, the poet "goes west" for his own ideal, on the other hand, he "wishes to return to his hometown as soon as possible, even though the silk city is yellow". This contradiction reveals the alternation of light and shade in the society at that time, and embodies the poet's infinite feelings for the future ideal! Above the Shu Road, birds are "sad", apes are "sad" and people are "afraid of the Road", which shows the towering steepness of the Shu Road. From Fu Liangyin, we can see that after Li Bai left Chang 'an, "nine doors are blocked, and those who knock at the door are angry" to express his disappointment in life. In the middle Tang Dynasty, Tao Yong's poem "Shu Dao is tired of feeling" said at the end: "It's not just hurting this trip, but also depending on the official position." It can be seen that Shu Dao is a witness of life frustration.
5. The rhythm is harmonious, the sentence pattern is flexible, and there is a rhythm of singing and sighing.
This poem rhymes harmoniously, cadently and catchily. In rhyme, from the beginning to "the smell turns pale", there are two sentences that rhyme with "Ian". In the second half of the poem, due to the need of content expression, the rhyme has changed and it is still harmonious and natural to read. The whole poem is magnificent, touching and poetic. In sentence structure, seven words are basic sentences. There are as many as eleven words, from "Wild Xu Kouxi" to "Ye Er", and the person from afar is Hu Weiwei. "As high as a banner, six dragons drive the sun, go far down the river and lash its flow" is close to a parallel body; "If the risks are the same, people from afar will come for nothing" is the meaning of prose; The sentence "Although the bunker is indestructible, it is difficult for ten thousand people to defend it" belongs to the fu style. The flexible use of various sentence patterns has played a very good service role in expressing the theme. In addition, in order to highlight the arduousness of the Shu Road, the poet praised "this trip is more difficult than climbing the sky" three times at the beginning, middle and end of the poem, which conveyed the poet's infinite feelings about the road of life and made people feel sad and sad to read.
Above, we analyzed the artistic features of this poem from five aspects. In fact, when we analyze these characteristics, we have already felt the overall characteristics of Li Bai's poems, which are bold and elegant. Of course, it is mainly bold. Elegant people such as "the highest cliff is only one foot below the heaven, the dry pine tree hangs, and the face is bowed from the cliff", "There is also the melancholy voice of our cuckoo jathyapple, the sad empty mountain". In fact, there is magnanimity in boldness and boldness in magnanimity. This poetic style of "putting pen to paper scares the wind and rain, making poetry cry" is unique to Li Bai. Expressed by contrast, exaggeration and strong lyricism. At the same time, it is Li Bai's metaphor, exaggeration and lyricism, which represents Li Bai's unique characteristics.
Second, the ideological tendency of Li Bai's poems is 1, and the lofty ideal of "being wise and ready to help others" is seen from the difficult road in Sichuan.
As a poet, Li Bai is extraordinary. As a hero, Zhuo Wei longed for politics from his childhood. The prosperous Tang Dynasty gave birth to his lofty ideals. Dapeng, which he repeatedly recited in many chapters, is the embodiment of his lofty ideal. Dapeng spirit is the spirit of Li Bai.
As I said before, Difficult Road in Shu is the work of Li Bai after he entered Chang 'an. He "waved his sword to serve the country, resigned from his relatives and traveled far away" and sincerely hoped to spread his wings in Chang' an and realize his long-cherished wish; I didn't expect to encounter all kinds of hardships. In the first year of Tianbao, when Emperor Xuanzong of the Tang Dynasty recruited him to Beijing, his pride was different: "It is not early to lobby, but it is far across the ocean." Go out laughing, we are Artemisia people. "(Nanling Biezi went to Beijing) So, which part of Shu Dao Nan implies the author's political ideal?
As we all know, romantic writers use their inner feelings to reflect real life. No matter what the actual Shu Dao is, in fact,