The differences between the times and personal circumstances have caused a great contrast in the tone of romantic poems between Li Bai and Li He. Poets are children and singers of the times. Life is the source of literature and art, and a certain literature and art is always a reflection of a certain social existence, that is, politics and economy. No one can leave a specific era and create it out of thin air.
Li Bai spent most of his life in the prosperous Tang Dynasty. During this period, the national strength of the Tang empire was extremely strong, the economy and culture showed unprecedented prosperity, and the people's creative spirit was also carried forward. At the same time, various crises lurk in all aspects of politics and economy. The strength of the country inspired Li Bai's ambition to pursue fame and fortune; The political crisis aroused his desire to save the world. Li Bai was born in a wealthy family with rich economy; I have lived in vagrancy for most of my life, with freedom of movement and less constraints; Famous poems in their prime are appreciated and praised by the world. Xuanzong worshipped Hanlin because of his life. Therefore, Li Bai has a high opinion of himself all his life, and his unique personality of being bold and cheerful, loving freedom and pursuing liberation is also the source of his lofty and passionate romantic poetry style.
Li He lived in Zhenyuan, Yuanhe years in the middle Tang Dynasty. As the "grandson of the Tang Dynasty", Li He was angry, anxious and desperate when he witnessed the dark social reality of complicated political affairs, declining national strength, warlordism and depressed people's livelihood. Coupled with his poor family, ups and downs and illness, his anger is strong and intense. He integrated this kind of thoughts and feelings into his own creation, and formed what Li He called a gloomy, lonely, sorrowful and strange "long auspicious style" poetry style.
Second, imagination: Li Bai's magic exaggeration, Li He's strangeness.
Both Li Bai's and Li He's poems have rich and peculiar imaginations. Li Bai's poems rarely describe the life process in detail and truly, but gallop in the vast space, interspersed with history, myth, fantasy and natural scenery, capturing many seemingly illogical images, using unique ingenuity to form a thrilling picture and show ups and downs. For example, the poem "Difficult Road to Shu" was written out of thin air with a stroke of genius. From Can Cong Yufu to Wuding Mountain and Liulong's return to Japan, all myths and legends are used to set off the atmosphere of adventure. The following is an exaggerated embellishment with yellow cranes, apes, sad birds, sub-rules, ancient trees and withered pines, in which the narrative of threatening, comforting and dying faces is inserted as the backbone of the whole poem. The poem "It's hard to get through the Shu Road, and it's hard to get to the sky" appears three times in the text, which sets the tone for this pentatonic movement. Li Bai has never been to Jiange in his life. This poem was written entirely by legend and imagination, and his love and pride for the magnificent rivers and mountains in his hometown permeated it.
Another example is "Lushan Ballad". Li Bai sees the scenery of the great river from the top of Lushan Mountain: "I climbed to the top of the mountain. I look around the world, and the great river is gone forever. The yellow cloud was blown away by the wind for hundreds of miles, and a snow peak was surrounded by a vortex of nine times the current. " He completely got rid of the shackles of the sense of real space and exaggerated it with bold imagination, highlighting the magnificence of mountains and rivers and showing the poet's magnificent mind. Look at the second paragraph of Li Bai's "Climbing Mount Tianmu in a Dream" and describe the author's colorful dreams. In time, from the morning of "the sun is halfway through the ocean, and the cock crows in space" to the evening of "I am fascinated by flowers and leaning on stones"; As far as climate is concerned, it was originally the rising sun, but later it became "dark clouds darkened with the darkness of rain, and streams faded with the paleness of fog". This change of time and climate is consistent with people's mood. When people's mood changed from the joy of wandering mountains and rivers to melancholy and sadness, the fairy world suddenly appeared in front of them, and immortals rode clouds and tigers and drums in rainbows and came to attend the grand event one after another. What a spectacular sight it is. Li Bai describes the imaginary fairy world, but actually reflects the author's impression of Chang 'an's three-year life.
Li He's poetry, with its rich and peculiar imagination and fantastic ideas, has brought people into a mysterious and colorful artistic realm. Li He's poems are full of passion and thoughts. No matter what theme, through the poet's rich imagination and completely different artistic ideas, the picture is colorful and superimposed with new ideas. The imagination of Li He's poems is very strange, and a lot of synaesthesia is skillfully used, which makes people understand objective things more comprehensively and clearly, thus obtaining a higher level of aesthetic enjoyment. Make the work more artistic and shocking, and achieve the effect of attacking people's hearts and spleen.
For example, Listening to Piano Music was written by Li He after listening to the piano performance in Chang 'an as Feng. It describes Ying Shi's wonderful piano sound and praises his superb piano skills. In the poem, many artistic techniques are used to describe the fortune of Qin, such as "talking about the two winds" and "knocking on the water and jade", as well as the martial arts of "carrying a sword and long bridge" and the calligraphy of "immersion", which is refreshing. There is also the use of synaesthesia to write hearing with vision. A Farewell to Clouds, Leaves of Hibiscus and Autumn Leaves are used to describe the quiet and beautiful sound of the piano, and the King of Yue swims in the sky at night and the fairy rides a deer across the river to describe the lightness and elegance of the piano rhyme. It is even more ingenious and amazing. The use of synaesthesia makes this poem inspiring, interesting and lasting.
For example, in Dream of Heaven, the poet imagines the dim light of the moon as the tears of toads and rabbits, and depicts the clouds in the sky as a magnificent building. For example, the phrase "the jade wheel shows wet light" refers to the moon floating in the clouds as "the jade wheel shows dew", which is really whimsical. "Dream of Heaven" is not only unique in image, but also unique in conception. It's strange to invite you to visit the Moon Palace. It is even more strange to suddenly turn to the exploration of philosophy. Another example is the Song of the Golden Bronze Immortal in Han Dynasty, which is a well-known poem by Li He. The metaphor of "Remembering the monarch and clearing tears like lead water" is extraordinary, vividly writing the pain of nostalgia and parting of the golden bronze immortals-tears dripping. The sentence "If there is love in the sky, the sky will be old" is particularly fantastic in imagination, expressing the ruthless feelings of history. Its artistic charm lies in its multi-layer implication, moral and profound philosophy.
Li He's poems often create mysterious and gloomy atmosphere and magnificent and cold artistic conception, thus fully expressing the poet's boredom, depression, desolation and anger towards a morbid society. For example, in front of the poem "Into the Wine", there is a wonderful smoke picture of a banquet. The scene is colorful and gives people a strong sense of understanding. Good wine and wine, singing and dancing, the joy of life seems to be so much, but in the end, the pen suddenly turned and introduced the idea of death and the sadness of death, a bitter and resentful mood. In "Qiu Lai", the poet deeply feels that youth is fleeting, and no one appreciates the thoughts of spitting and lamenting. Only the souls of ancient poets who are in the same boat come to comfort each other, which means that there is a feeling of compassion for others and it is an eternal gift. Sad thoughts and beautiful artistic conception strengthen Leng Yan's strangeness and beauty.
Third, lyricism: Li Baixian's romance and Li's beauty.
The deep dissatisfaction with the dark reality and the deep sympathy for the working people have produced the ardent ideal pursuit of participating in and discussing state affairs, changing reality and making contributions, which is particularly strong in Li Er's poems.
For example, Li Bai's "Soldiers Hugue in Yunyang" describes the suffering of tugboats in summer, while Tian Jia's "Su Xun's Family" is full of deep sympathy for the hard life of working people. Li He's Song of the Jade Picker also reveals the tragic situation of the jade pickers who created wealth for the ruling class through the blood and tears of an old jade picker. In contrast, Li He's poems reflect the miserable life of working people more profoundly. Hunger and cold, life hangs by a thread, blood and tears, cliffs and blue pools, life and death worries and hates, cold environment and hard life are integrated. This kind of meticulous writing is exactly what Li Bai lacks.
In expressing his ardent pursuit of ideals, Li Bai's poems and songs are mostly archaic, with dozens of sentences and hundreds of lines, expressing his feelings to the fullest. Such as "Fufeng Song" and "Li Shangyong". Li He's poems in this respect are mostly short chapters, such as Twenty-three Poems by Ma and Thirteen Poems by Nanyuan, which are short in length and ingenious in conception. In contrast, Li Bai's poems and songs are bold and passionate.
Li Bai's Taoist thought made him write many poems reflecting his life of seeking immortality and learning Taoism. His unique character of loving freedom and pursuing individual liberation is often expressed through such poems. He often combines his rebellious and unruly character with majestic mountains and rivers and illusory gods to create a magnificent and magical poetic realm. It should be noted that the purpose of Li Bai's study of Taoism is to get rid of the troubles and worries of life, pursue the absolute freedom of the immortal beyond reality, and follow the Taoist spirit of despising the powerful and detached from the world, instead of really going to practice in the deep mountains and forests or looking for the illusory overseas fairy mountains. His concern for the country, the nation and the people also made him unable to escape from reality. For example, the 19th ancient style (Lotus Mountain in the west) obviously bears the trace of Li Sao. In the beautiful fantasy of ascending to heaven, I suddenly thought of my old country, which suffered greatly in the Anshi Rebellion. Since the An Shi Rebellion, Li Bai's poems and songs have shown more concern for the current situation. Although he occasionally reveals some thoughts of seeking immortality and learning Taoism in seclusion, the tone of his works is much deeper and more realistic after all. Therefore, in the final analysis, Li Bai is still a great poet who loves the motherland, cares about the people and never forgets the reality. For more than a thousand years, he has been called "fallen immortal" and "poetic immortal", which is related to his detached and proud personality, many immortal poems he wrote and his due honor as a people's poet.
Contrary to the experience of Li Bai's works, Li He's works have repeatedly caused controversy and won different reputations. Some people envy him, curse him and crowd him out; Some people respect him, praise him and imitate him. These views with different reputations all involve Li He's supernatural poems describing ghosts and gods. The number of such works is small, about a dozen. These poems are about battlefields, graves, ghosts, weirdness and so on, from which the titles of "ghost talent" and "Shi Gui" and the comments on "ghost poems" all come. However, as long as it is carefully analyzed, Li He's "ghost into poetry" can not be simply summarized by words such as "grotesque terror", but contains rich and profound ideological content. Some use the ancient times to satirize the present, such as the ghost of Maoling and the tears of copper men in Song of Copper Immortals, satirizing the emperors in the Tang Dynasty for seeking immortality and placing their hopes on the rise and fall. Some expose the sufferings of the people and sympathize with the miserable experiences of the working people. For example, The Song of the Old Lady Picking Jade is about the feud between the poor jade pickers and ghosts from generation to generation. There is a saying in Walking in Nanshan Field that "a ghost lamp is like a picture of a pine blossom", which uses a ghost fire to render the atmosphere and depict the dilapidated scene in the countryside. In "Green Seal", there is "I am willing to take Han Ji to recruit ghosts from books, and stop hating bones and filling Artemisia", which uses ghosts to write about the pain of poor scholars' silent death. Some use it to express their feelings and express their unexpected worries. For example, Qiu Lai wrote: "Think straight tonight, the rain is cold and fragrant. Autumn ghosts sing precious poems and hate blood for thousands of years. " With ghosts, ghosts, ghosts, sad and lonely thoughts can be seen between the lines, which made a fierce and unfair voice for Qian Qian, a lifelong scholar who was penniless in feudal society. Some may be a kind of love sustenance, such as "Su Xiaoxiao's Tomb": "You Lan Lou, like crying eyes. There is no knot in the knot, and the flowers in the cemetery are even worse. Grass is like grass, loose as a cover, wind as a skirt, water as a compliment. The oil-wall car used before death should be waiting around at night. Wildfire Wildfire green, courtesy, lightning. Under the Xiling, the wind blows and the rain blows. " Writing is light and ethereal, similar to Qu Yuan's Shan Gui. It is worth noting that there are two grotesque poems, "Fairy Song" and "Fairy Song", which expose the deception of witches and oppose feudal superstition in their bones. He wrote down the process of descending the gods: "laurel leaves blew, laurel trees fell, green raccoons cried blood, and cold foxes died." A hundred-year-old stork becomes a wooden charm, and laughter rises from the fire nest. ""Poseidon Shan Gui came to his seat and notes rustled. Calling stars and ghosts to Xin cups and plates, people feel cold when the mountains are enchanted, "vividly describes the arrival and dynamics of ghosts and gods, and the atmosphere is eerie and very ghostly. Finally, the conclusion that "the sun is low in the south and the gods grow harmoniously" is not without humor. "God is angry with God, and he likes teachers to be more beautiful, so he can ride God back to Qingshan." It turns out that everything is empty and false, and the witch is just playing tricks.
It can be seen that Li He's writing ghosts into poems, just like Li Bai's writing immortals into poems, contains profound and rich ideological content, but the external performance is different. We can't leave the poet's emotional world to Bai's immortal spirit or Li He's ghost spirit, and judge the quality of their works by this. Instead, we should deeply analyze their works, so as to further understand and grasp the different imagination, conception methods, language characteristics and the original artistic image of the two poets.