Into the ocean, never to return.
Have you ever seen how cute the lock in the bright mirror in the tall room is?
Although it was still silky black in the morning, it turned into snow at night.
Oh, let a man with courage take risks where he likes.
Never point his golden cup at the moon! .
God gave me the ultimate useful talent.
Spin a thousand silver coins and come back! .
..... sober people and sages in the past are forgotten.
Only great drinkers can be immortalized.
Prince Chen gave a banquet in the Hall of Completion.
Li Bai is the greatest poet in the prosperous Tang Dynasty. His poetry is an outstanding representative of the weather in the prosperous Tang Dynasty, which embodies the spiritual outlook of that era most intensively. His poems show the characteristics that the society in the Tang Dynasty reached its peak and turned into a declining era.
First of all, Li Bai's poems reflect the positive spirit of the times in the prosperous Tang Dynasty. He is full of confidence in his political ability and expects to "apply Yan Guan's words, seek the skills of the emperor, seek his wisdom, and be willing to help him." Make the atlas area big, and Hai Xian is quiet and easy. ". ("Dai Shoushan answers Meng Shaofu's command"). He often takes Guan Zhong, Sean, Le Yi, Zhuge Liang, Xie An and Lu Zhonglian as examples or boasts. He also compared himself to Dapeng: "Dapeng rises with the wind one day and soars into Wan Li. If the wind stops, it can still surge." (Li Shang Yong) He firmly believes that "since God has given talents, let them be used!" (Into the Wine) and "I'm going to climb the wind and waves one day and go straight to Yun Fan to cross the abyss" ("It's hard to go to the sky") or "but I use Xie Anshi from Dongshan as a joke." ("Wang Yong's Dong Xunge") ... These spirits of actively using the world and striving for progress are the spirit of the times in the prosperous Tang Dynasty.
Li Bai's poems and songs show a strong anti-power consciousness, but also have obvious thoughts of denying fame and fortune. In his poems, such as "Gold and white jade buy songs and laugh, and being drunk for a long time makes the monarch light" ("Looking back on the past" sends Yuan to join the army), and in "Climbing Mount Tianmu in my dream", he ends with heroic poems such as "Oh, how can I bow and scrape to high officials and generous people, and no one will suffer", which makes it easy for people to appreciate his heroic spirit and heroism after thousands of years. Du Fu said that "the emperor would come at the call of the moment, but he didn't go aboard, calling himself Brewmaster". Ren Hua called him "a guest for decades, and he won't change color for a day" ("Miscellaneous Words Send Li Bai"). Obviously, the poet is eager to make contributions, but also wants to maintain an independent personality and is unwilling to "bow down" to the powerful. This is probably the reason why "poetry is poor and backward" (Ouyang Xiu's language) and "a poet should beware of prosperity" in ancient times. Maintaining an independent personality is one of the basic prerequisites for successful creation. Maintaining an independent personality, not obfuscating, is a trick under duress. This is because almost all the great writers in ancient times were "poor" but not "up to". From Li Bai, it is not difficult to think of Tao Yuanming, who "bowed down for five buckets of rice." ?
Third, Li Bai's extraordinary love for the mountains and rivers of the motherland. Li Bai's heroic poet character, which is half immortal and half chivalrous, can only be well expressed by borrowing the magnificent mountains and rivers of the motherland. The Shu Dao he wrote is "it is difficult to go to the sky"; Then "I'll climb up. I look around the world, and the vast rivers are gone forever. The wind drives Huang Yun for hundreds of miles, and the snow peaks are around nine streams ("Lushan Song Yushilu Xuzhou") Lushan Mountain; Tianmu mountain in "the sun is halfway through the ocean, and the crow is sacred in space"; The mother river of the Chinese nation, "How does the water of the Yellow River get out of heaven and into the ocean, and never return"; Qingxi, or magnificent, or Ming Che, "in the pedestrian mirror, in the screen of birds" reflects the poet's noble character and personality, and also writes the poet's aesthetic interest and pursuit of nobleness and brightness.
Li Bai always attached the fate of the country and the people to his chest: in the farewell, he was worried that "the monarch lost his minister, and he wanted the dragon to be a fish, and the power belonged to the minister, and the mouse became a tiger"; Worried, "What if he is not loyal, but to his fellow wolves?" Difficult in Shu Dao; His attack on "you can't learn from Shu Ge, you can carry a knife in Qinghai at night, and the western earth and stone treasures take purple robes"; His poem "Antique", "Yin acquired chaos, and Chu Huai was unconscious", pointed the criticism at the supreme ruler at that time. On the contrary, he devoted himself to ordinary working people, such as steel workers, beer brewers, the old woman at the foot of Wusong Mountain and a friend Wang Lun who had no position ... without any pride. After the Anshi Rebellion, his poems directly reflected the reality of the war: "Luoyang flew to the lake and sand in March, and the people in Luoyang complained." The running water in Jinmen is full of red blood, and the bones support each other like a mess "("Heroes' Song of Fufeng ","What is the crime of ordinary people "("Give Jiang Haozai "). In his later years, he was invited by Lin, which may be in line with his desire to "save the country and the people". "
Li Bai's poems show the prosperity of the Tang Dynasty from different aspects, and also reveal its serious crisis. However, there are some dross in Li Bai's poems. It is not appropriate to preach "Oh, let a spiritual person take risks in his favorite place", live like a dream and seek eternal life to learn Taoism.
Li Bai's poetry has made great achievements in art, making it a treasure in China's poetry heritage.
Wang Shizhen's Art Garden points out that Li Bai's poems are based on Qi and nature. Li Bai's poems are magnificent, and Wang Yang is unrestrained and free to fly. He Shang said, "It's too white and broad-minded, with the feeling of being in the clouds and chaff. He disdains to take scraps as things, and his words are like clouds, and there is no trace to be found. " Li Bai's poems combine the artistic styles of Qu Yuan and Zhuangzi, forming a magnificent, elegant and unrestrained style. His poems use rich imagination, vivid metaphor, high exaggeration and other rhetorical devices to form a striking momentum. In some of his representative works, such as Shu Dao Nan, Tianmu Sleepwalking Poem, etc. The flying brushwork is often used to combine reality with dreams and imagination, or ascend to heaven or enter the earth, breaking the boundaries of time and space, or "Xing Han put pen to paper, shook the five mountains, and made poems into Cangzhou with a smile and pride" (poems on the river), or "We both respect thinking far ahead". However, Junshan Mountain is good and Xiangjiang River is flat ("After accompanying Uncle Fu to visit Dongting and get drunk"). The structure of poetry is rarely straightforward, but jumping and undulating. Some of his masterpieces especially embody these characteristics. Such as "drinking" and "difficult to go".
Another notable feature of Li Bai's poetry is that it is natural and not carved. The ancients have already talked about this. He Shang said, "It is too white and lofty, and its poems are like Da Gui, which has its own color of winning the rainbow." Joe said, "Try reading violet poems, like the sea flying, and they will become wonderful and carefree." Li pointed out more clearly: "Sok Li Ben Tao Yuanming, Du Shiben Yuzishan." (Yu Hua) Some people also borrowed Li Bai's own poem "Clear water gives hibiscus a natural carving" ("After the chaos, Tian En Liu Yelang recalled old books and gave Jiang Haozai") to praise the language style of his poems. In fact, this can also be attributed to "nature". Just mentioning his two short poems can be seen. One is "Questions and Answers in the Mountains": "Ask Yu why he lives in the blue mountains, and laugh without answering his heart. Peach blossom [[〖FJF〗] and running water [[〖FJJ〗]] are gone, and it is another world. " Another example is "Interaction with Lovers in the Mountain": "Two people drink flowers in the mountain, one cup after another. I am so drunk that I want to sleep, and I plan to hold the Ming Dynasty piano. " The same is true of some of his famous works, such as Silent Night Thinking, Long March and Midnight Wu Ge. Li Bai's Yuefu poems and seven-character songs all have the characteristics of ballads. Li Bai's poems are not only shallow and close to nature, but also close to emotion.
The highest artistic achievement of Li Bai's poems is his Yuefu poems, with 149 existing Yuefu poems. He inherited the old theme of Yuefu and changed it within the traditional scope. "His greatness lies not in expanding the theme and changing the theme. On the contrary, he developed along the original theme, image, atmosphere and rhythm on the basis of inheriting the overall character of predecessors' creation, that is, the same side.
Write this topic deeply, thoroughly and thoroughly, and give full play to it, making it difficult for later generations to continue. (Preface to Yu Xianhao's Selected Works of Li Bai)
Li Bai's * * has more than 80 songs, among which there are many famous ones, such as Climbing Mount Tianmu in a Dream, Farewell Secretary of Xuanzhouzhuang, Song of Lu Yushi and Lu Xuzhou, etc. , are well-known works. Feng Ban once pointed out: "The name of the song line, the movement of the book, the length of each sentence is different, or similar to the ancient Yuefu. Today, it is concentrated in Bao Mingyuan and prospered after Tang Tianbao, such as Li Taibai. Taibai has many effects and three ancestors, and Bao Mingyuan's language is especially close to the ancient ear. " Guan Shiming also said: "Li Chongge has a long line and can't be traced." Feng Heguan has some common understandings: in Li Bai's Gexing poems, the use of long and short sentence patterns is closer to ancient times. Li Bai's songs can be better described as "in his bold, pure and elegant air". (Zhu Tingzhen's "Xiao Yuan Poetry")
Li Bai's "Ancient Style" consists of fifty-nine poems with a wide range of contents. It is not written in one place at a time, but has its own system. Poetry is about chanting things, denouncing corruption in state affairs, sentimentalizing one's own experience, chanting history and wandering immortals, and so on. Tall? It has been pointed out that both volumes of Li Bai's Antique are from Chen Ziang's Feeling, which is too white to be far away, and so are Gao Huai and Mu Shang. Shen Deqian said, "Taibai's poems are fierce, only two volumes, and the ancient style is neither arrogant nor impetuous. Originally, the style was generous and handsome, but after Apollo's poem "Feeling", there was an inherited voice. " (Poems of Tang Dynasty) These works inherit the coquettish tradition more, but they refer to profound things, affectionate feelings, lingering, and each has its own meaning.
Li Bai's collection also has the 87 method and the 115 method. In the era of Li Bai's life, the five laws have already matured and the seven laws tend to be stereotyped. Li Bai's regular poems roughly reflect the creative situation of this era. Some people think that Li Bai doesn't like bondage, so there are few condensed seven methods. This explanation does not hold water. The bondage of the seven laws is not much stricter than the five laws, as evidenced by Li Bai's collection of more than 100 five laws. Seven rhymes were not fully finalized until some of Du Fu's poems "Wandering in the Southwest". The seven laws of Li Bai and contemporary Cui Hao are not very stable in the arrangement order, even if they are basically the same, they are mostly coincident. Li Bai's metrical poems have achieved great success. Tian Wen said: "The close-up portrait of Violet is an ancient style, which is done in one go, without any treatment. Pop music has a high status." (Essays of Ancient Tang Huan) The ancients especially praised its five laws. Wu Qiao said: "Taibai five laws, simple and naive, generous." Guan Shiming said: "The five-character law is too white. If you listen to the music in the sky, your mind will become clear. " Such as looking at the sea fairy mountain, Yun Qi water surges. Or there is no duality from beginning to end, but interests are natural and cannot be pooled. Chang Wei and Mengshan people have it from time to time, and Taibai is especially wonderful. "("preface to reading Tang poems in Snow Mountain House ") The three people's exposition of Li Bai's rhythmic poems is acceptable, each with its own length, and they all agree.
There are only 93 Taibai quatrains, including 48 pentaquatrains and 45 heptaquatrains. Hu Yinglin pointed out: "Taibai's five or seven words are absolutely unique, and every word is magical." "Taibai quatrains are formed by words, and the so-called people who have no intention of working have no jobs." He also said: "Five words are definitely two ways: the mystery of rubbing is too white to escape." "Seven words are absolutely unique, Taibai and Jiangning are the most." "Five or seven words (absolutely) are extremely hard, too white." ("Poetry") Mao pointed out: "Seven words are absolutely taboo, too white is straighter, and after two words, only thoughts overflow and sighs are louder." ("Poetry Debate") Modern people's discussion of Li Bai's quatrains is generally beyond the above scope. Among various anthologies of Tang poetry, Li Bai has many quatrains. There are only seven sentences in Wang Shizhen's Selected Poems of Tang Poetry, that is, 21 poems of Li Bai are selected. Sun Zhu's Three Hundred Poems of Tang Poetry is eight poems of Li Bai's quatrains, ranking first with Wang Wei and Du Mu. Among the most popular quatrains in the Tang Dynasty, Li Bai's Thoughts on a Quiet Night, Early Writing of Baidicheng and Yellow Crane Tower Farewell to Meng Haoran are the most widely circulated chapters. The poem "The foot of my bed is so bright" is often the first Tang poem that children who learn English "Ya Ya" come into contact with.
Li Bai pushed the art of ancient poetry in China to a peak, which had a far-reaching influence on later generations. Li Bai enjoyed a high reputation in front of him and won high praise behind him. Li's preface to the collection of thatched cottage says, "If you walk alone for a thousand years, the only person is public." Wu Rong wrote in "Preface to the Collection of Zen Moon": "There are many people who can sing and be good at poetry in the national dynasty, and Li Taibai is the first one." Yu Xianhao's Preface to Selected Works of Li Bai pointed out: "Han Yu, Li He and Du Mu in the Tang Dynasty were all influenced by Li Bai's poetic style from different aspects; In Song Dynasty, the poems of Su Shi and Lu You, and the bold words of Su Shi, Xin Qiji and Chen Liang were also obviously influenced by Li Bai's poems. What about Yuan Haowen, Sadula, Fang Hui and Zhao Meng in the Jin and Yuan Dynasties? , Fan, Wang Yun, etc. Learn more about Li Bai's elegant style; Liu Ji, Song Lian, Gao Qi, Li Dongyang, Gao Kun, Shen Zhou, Yang Shen, Zong Chen, Wang Deng and Li Zhi in the Ming Dynasty, Qu Dajun, Huang Jingren and Gong Zizhen in the Qing Dynasty all admired Li Bai and studied his creative experience hard. " Since modern times, Li Bai has not only been well known to the orientals, but also widely respected by western countries. Li Bai's poems have become one of the most dazzling parts in chinese heritage.