Li Bai (701-762), a poet of the Tang Dynasty, had the courtesy name Taibai. When he was a boy, he lived in Shu. His family was wealthy, he was fond of literature, and he was familiar with hundreds of books. He also cares about national affairs and has political ambitions to make contributions. When he was in his twenties, he traveled east of Shu. Within ten years, he followed the Yangtze River to Dongting in the south, Xianghan in the north, Mount Lu in the east, down to Jinling and Yangzhou, and as far as the East China Sea, and later to many places in the Yellow River Basin. When he was in his forties, he was summoned to Chang'an by Emperor Xuanzong of the Tang Dynasty upon recommendation. As a literary attendant, he participated in drafting documents and other work. Li Bai was very excited, thinking that he could assist the emperor. When Xuanzong was indulging in singing, dancing, drinking and sex, his politics were dark and corrupt. "It makes me unhappy to be able to bend my eyebrows and bend my waist to serve the powerful." He realized his political ambitions and "went out laughing to the sky. How can we be Penghao people (people living in the grass and fields)"? However, this time After less than two years in Chang'an, he left angrily and continued to roam around various places, "traveling around the world and enjoying himself with poetry and wine." Li Bai's poetry creation became mature and he produced famous poems one after another. In the third year of Tianbao (744), he met Du Fu in Luoyang and became friends. The two of them worked together to explore the wonders of Henan and Shandong and wrote about wine, which became a good story in the history of Chinese literature. After the Anshi Rebellion broke out, Li Bai worked in the shogunate of King Yong (the sixteenth son of Xuanzong). Later, Tang Suzong killed King Yong on the pretext of rebellion, and Li Bai was implicated and sentenced to exile. Encountered pardon on the way. In the first year of Baoying (762), 62-year-old Li Bai died of illness in Dangtu, Anhui due to poverty and wandering. Li Bai has more than 900 poems. He loved the mountains and rivers of his motherland and claimed that "I would like to visit famous mountains and rivers all my life". He wrote a large number of magnificent poems praising famous mountains and rivers. Among them, "Early Departure from Baidi City", "The Difficult Road to Shu" and "Looking at Lushan Waterfall" are unparalleled swan songs. .
2. The relationship between Li Bai and landscape poetry
Li Bai is an alternative among Chinese landscape poets. He has the aura of an outsider and the vitality of great tension. He is very Elegance and freedom, this personality factor makes Li Bai's landscape poems seem to have no fixed form and rules in expression techniques, which makes it difficult to grasp the style and artistic conception of Li Bai's landscape poems. But just like when you look at Van Gogh's paintings, you immediately see them as Van Gogh's paintings, and Li Bai's landscapes at first glance are Li Bai's landscapes. In fact, Li Bai is the one who truly dominates the form and rules of landscape poetry. What Li Bai writes about is not the details of the landscape, but the momentum of the landscape. In his words, it is the momentum of "the water of the Yellow River comes up from the sky, rushes to the sea and never returns". This is also the momentum he writes about himself, it is his own Momentum drives his momentum in writing landscapes. Only his unruly and indulgent personality can promote the inherent momentum of landscapes from landscapes. To promote the momentum of landscapes is to promote Li Bai's own personality and vitality, that is, to expand his own personality and vitality. When he comes to the landscape, his vitality expands infinitely. It gives the impression that it is not the landscape that has infected him, but that he has been infected by the landscape of the Tang Dynasty.
3. The Wanderings of Li Bai’s Landscape Poems
Li Bai, a young man in the prosperous period of the Kaiyuan Dynasty of the Tang Dynasty, loved poetry, swordsmanship and drinking. Unjust upbringing, ideological wanderings and fantasies, developed a arrogant, unrestrained and unconventional knight spirit, which destined him not to take the right path of scientific examinations in his life, but to become a hermit and a knight. unique path. Li Bai does not belong to the secular world, he belongs to the fairy world of wine and mountains and rivers. Emperor Xuanzong of the Tang Dynasty admired Li Bai's talent and promoted him to an official position and gave him gold and silk. However, Li Bai refused. His "aspirations were in the green mountains" and he only wanted to linger on fine wine and landscapes, so much so that Emperor Xuanzong of the Tang Dynasty awarded him a gold medal: "Eat wine in every shop and meet in the treasury." "Pay out money" has been passed down through the ages. The poet Du Fu has a poem praising the wine fairy Li Bai: "Li Bai wrote hundreds of poems about drinking wine and went to sleep in a restaurant in Chang'an City. The emperor couldn't get on the boat, so he claimed that he was a wine fairy." "Traveling to Famous Mountains", he spent most of his life wandering in seclusion. Li Bai roamed the famous mountains and rivers, sending messages to the cool breeze and the bright moon, leaving behind many famous landscape poems that are subtle and profound in artistic conception. Li Bai traveled widely throughout his life. When he entered Shu, he left behind the eternal saying "The road to Shu is difficult, it is difficult to reach the blue sky"; when he left the Three Gorges, he left behind the saying "The apes on both sides of the bank can't stop crying, and the boat has passed the ten thousand mountains". There is no sound in the empty valley. Traveling south to Jiangsu and Zhejiang, I have left behind a picture of the long river with "green mountains on both sides of the bank facing each other, and a solitary sail approaching the sun". Going up to Lushan Mountain, I have left behind a majestic image of "flying down three thousand feet, suspected to be the Milky Way falling from the sky." Traveling east to Qilu, it left behind the desolate scenery of "the water of the Yellow River comes up from the sky, rushing to the sea and never returns"; traveling west to Huashan, leaving behind the majestic chapter of "the Yellow River touches the mountains for thousands of miles, and spins the vortex of the Qin mines" .
4. The unique style of Li Bai’s landscape poems
(1) Li Bai’s landscape poems are clear and fresh, with broad artistic conception
Li Bai’s life in the Tang Dynasty had a strong and victorious trend During the period of decline, he enthusiastically pursued bright ideals and freedom and liberation, despised feudal etiquette and court dignitaries, and refused to "break his eyebrows and bend his waist" to submit to the dark forces, so he was coldly treated and attacked by the court. The cruel social reality made him cynical, and he "traveled to famous mountains just because he wanted to do it."[3] He traveled all over the famous mountains and rivers in Sichuan, the Yellow River, the Jianghuai River, and the Zhejiang River Basin. , the passion of "loving the famous mountains into the mountains"[4], and the spirit of "seeking death in the grass without asking for a life under a golden cage"[5] exposed the darkness, criticized the evils of the times, and wrote colorful landscape poems , depicting the majestic and beautiful landscapes of the motherland in various ways, expressing his warm yearning for the beautiful scenery. A passionate yearning.
Among the poet's famous landscape poems that have been recited through the ages, "brightness, freshness, and broad artistic conception" are one of their distinctive features. For example, "Visiting Dai Tianshan Taoist Priests Unexpectedly":
Amidst the sound of barking dogs and water, peach blossoms are thick with dew.
You can see deer when the trees are deep, but you can’t hear the bell at noon by the stream.
The wild bamboos separate the mist, and the flying springs hang on the green peaks.
No one knows where to go, and I am worried about leaning on two or three pine trees.
This poem was written by Li Bai when he was a teenager. In the poet's words, Daitian Mountain in the middle of Sichuan has beautiful mountains and rivers, gurgling streams, dewy peach blossoms, elk in the forest, pavilions of wild bamboos, and the flying springs flowing from the green peaks. The colors are bright and the realm is deep. This fascinating landscape painting has the fresh and beautiful flavor of Xie Lingyun and Xie Tiao and the simple and quiet taste of Wang Wei and Meng Haoran. Another example is "Moon Song of Mount Emei":
The half-moon in Mount Emei is full of autumn, and its shadow is reflected in the water of Pingqiang River.
The clear stream flows towards the Three Gorges at night, and I miss you and go down to Yuzhou without seeing you.
The poet uses a unique writing method, starting from the moon of Mount Emei, and uses fresh pen and ink to dye the hazy landscape under the bright moon. The half-round autumn moon hanging in the sky and the reflection of the moon waving in the river are quiet and quiet, setting off the feeling of missing the old friend when leaving the country in a small boat. The spirit is flying and the charm is pure. The ancients once praised it as "the beautiful land of Taibai". ". Another example: "Crossing Jingmen to Farewell":
Crossing the distance outside Jingmen, I came to travel from the Kingdom of Chu.
The mountains end with the plains, and the river flows into the wilderness.
Under the moon, in the sky, clouds form sea towers.
I still feel sorry for the water in my hometown, and send my boat sailing thousands of miles away.
In the 14th year of Kaiyuan (726) of Emperor Xuanzong of the Tang Dynasty, the 26-year-old Li Bai left Sichuan, the Three Gorges, crossed Jingmen, and came to the Jianghan Plain with the ambition of generously serving the country and the fantasy of establishing achievements. The poet came from the mountains on both sides of the Taiwan Strait, faced the distant mountains that gradually became smaller and disappeared, and faced the river rushing across the vast land. With novel feelings and heroic mood, he wrote about the vastness and harmony of the plains. The expansion of the Yangtze River. The work not only presents the boundless vistas, but also reflects the author's youthful spirit and pride of the times at that time, showing the new characteristics of freshness, fluidity, and broad realm. In this regard: it is compared with the artistic realm of Wang Bo's "Send Off Du Shaofu to Shuchuan", "The city tower assists the Three Qing Dynasties, and the beacon smoke looks at Wujin", and Wang Wan's "Cibeigu Mountain", "The tide is flat and the two banks are wide, the wind is rising and the sail is hanging". , is even more magnificent.
The ancient Huanxi said: "Li Bai is good at talent, so he can make contributions through his articles." This comment brilliantly points out that Li Bai's creation is fundamentally different from the creations of the Jin and Song poets who were "relatively dull and pursued realistic imitation of scenery, focused on practicing calligraphy and prose, and lacked overall beauty." This fully proves that Li Bai's landscape poetry not only received artistic nourishment from his predecessors, but also developed the artistic tradition of poetry and formed his own unique artistic style. For example, "Ascend the Xie Tiao North Tower in Xuancheng in Autumn": "Two waters hold a bright mirror, and a rainbow falls on the two bridges. The crowds are cold and the oranges and pomeloes are in the air, and the autumn colors of the old sycamore trees" are the autumn scenery; "Entering the Clear Stream and Walking in the Mountains": "Rising and sitting fish and birds "The shadows of the mountains and rivers are shaking. The rocks are ringing together, and the stream is quiet." The clear water; "Parrot Island": "The orchid leaves are blooming and the wind is warm, and the peach blossoms are blooming on the shore"; "Looking at Tianmen Mountain" : "The green mountains on both sides of the strait face each other, and the sun is approaching like a solitary sail" of the Chu River; "Guanshan Moon": "The bright moon rises out of the Tianshan Mountains, between the vast sea of ??clouds", and "Jingmen Floating Boat Looking at the Shu River" which describes the scenery on the river and the pleasure of boating. "; "Accompanying Uncle Xingbu Shilang Ye and Zhongshu Jia Sheren to visit Dongting", which writes about the openness, clearness and beautiful artistic conception of Dongting Lake; "Mount Emei Moon Song" is used throughout the whole article, and there is a wonderful "Moon Song of Emei Mountain". "Yan the Monk of Shu Enters the Middle Kingdom" and so on, all use novel and meaningful brushwork to vividly depict the magnificent mountains and waters, giving people a special feeling of clarity, freshness and openness.
(2) Li Bai's landscape poems blend scenes with each other and have a long lasting charm.
In the creation of landscape poems, Li Bai is best at describing scenes with emotion and expressing emotions with scenes. In terms of artistic expression, poets often only choose certain aspects of natural scenery that are most characteristic and feel the deepest to highlight and depict them. In an atmosphere with strong subjective color, they contain infinite charm. Therefore, compared with the Jin and Song dynasties, The poet's three-stage style and sentiment of "emotion, scenery, and reason" is even better. His works have lofty intentions and more sincere feelings. In addition to the works mentioned in the previous part that have this characteristic, Li Bai also has more landscape poems that can be used as examples in this aspect. For example, "Early Departure from Baidi City":
The white emperor's farewell speech is among the colorful clouds, and the rivers and tombs of thousands of miles are returned in one day.
The apes on both sides of the strait can't stop crying, and the boat has passed the Ten Thousand Mountains.
This poem was written in the spring of the second year of Qianyuan (759) by Emperor Suzong of the Tang Dynasty. It is now recognized as the best chapter among ancient landscape poems. At that time, the author was exiled to Yelang due to the case of Yongwang Lin. He traveled to Sichuan to be demoted. He was pardoned on the way. He was so surprised that he immediately sailed eastward from Baidi City to Jiangling. The poet's joyful mood of being pardoned after going through all kinds of hardships, his eagerness to return home after a long absence from relatives and friends, and his elated demeanor after being liberated, are all heard in the empty valley and presented to the readers in the beautiful scenery of the mountain gorge. before. The whole poem is bold and bold, the scenes blend together, and it is extremely subtle. Yang Zeng of the Ming Dynasty praised it and said: "The ghosts and gods wept in the storm." In "A Journey to the Clear Stream", which has the style of a folk song, the author praises the bright beauty of nature and expresses his resentment against the darkness of society with fresh and smooth verses:
The clear stream clears my heart, The water color is different from other waters.
I would like to ask Xin'anjiang why this is so.
People walk in the mirror, and birds fly in the screen.
The orangutan crows to the evening, feeling sad for the wanderer far away.
The poet deliberately described the clear stream as clear as blue, crystal clear to the bottom. However, he placed his indignation against the filth and chaos of society, and outlined a state of tranquility with a desolate and sad mood. Another example is "Sleeping in the Mountain Temple at Night": Staying in the temple at the top of the mountain at night, raising your hands to touch the stars. Don't dare to speak loudly for fear of frightening the people in heaven.
Judging from the lines of the poem, the poet only wrote about a small temple in the mountains, but after careful consideration, the tranquility of the mountain temple, the tranquility of the environment, and the beautiful scenery transcending the hustle and bustle of the world all give people full imagination. room. The purpose behind the poem is the author's feelings of abandoning the secular world and yearning for freedom. Similarly, "Questions and Answers in the Mountains" is also a masterpiece that is implicit and full of interest:
Ask me why I live in the green mountains, and I will laugh without answering and my heart will be at ease.
The peach blossoms and flowing water disappear, and there is no other world than this world.
This poem expresses the poet's leisurely mood while living in seclusion in the mountains and forests in the form of questions and answers. The words are natural and natural, the elegant pictures, the colors are beautiful and the scenery is quiet, the true meaning is far-reaching, the beauty of the charm, the beauty of the artistic conception, make it... People are intoxicated. Another example is "Master Xun Yong Resides in Seclusion":
A group of steep green skyscrapers, carefree and carefree for many years.
You can see the ancient road through the clouds, and listen to the flowing spring while leaning against the tree.
The flowers are warm, the green cows lie down, and the white cranes sleep high in the pines.
The language comes to the river at dusk, and the cold smoke falls alone.
The mountain forest full of clouds and mist is so quiet, and walking in the clouds and mist is so leisurely. The poet successfully captured his unique feelings about the natural scenery, mountains and waters, and presented a plain face with refined brushwork. On the basis of inheriting the works of predecessors such as Xie Lingyun, Xie Tiao, He Xun, and Yin Keng, he added deeper layers. of development. "Suihantang Poetry Talk" says: "Poems before Tao Ruan in Jian'an were dedicated to expressing aspirations; poems after Pan Lu were dedicated to chanting objects. The one who did both is Li Du. Expressing aspirations is the original intention of the poet, and chanting objects is the special poet. ""
Although some of Li Bai's poems do not focus on describing scenes, they use one or two descriptions of scenes to show the blending of scenes and long lasting charm. For example, in "Yellow Crane Tower Farewell to Meng Haoran in Guangling", "The shadow of the lone sail in the distance is gone in the blue sky, and only the Yangtze River can be seen in the sky." This captures the moving scenery of the lone boat in the distance as it disappears into the water and sky, creating a lofty and infinite image, expressing Out of infinite yearning for old friends. It is like "Listening to Shu Monk Jun Playing the Qin", "The guest's heart is washed by the running water, the lingering sound of the frost bell, I don't realize the twilight of the blue mountains, and the darkening of the autumn clouds"; , There is no cloud in the blue sky, etc., the poet only uses one or two words to describe the scenery, that is, he describes the scenery exhaustively, truly showing the characteristics of the natural scenery, and expressing the poet's sincere feelings deeply and implicitly, " They all provide people with beautiful artistic enjoyment and contribute to the development of landscape poetry."
(3) Li Bai's landscape poems are majestic and majestic
Among Li Bai's best poems about landscapes, "Wang Lushan Waterfall", "Hengjiang Ci", "Hengjiang Ci" "The Road to Shu is Difficult", "Ming Gao Song to Send Cen Zhengjun", "Xiyue Yuntai Song to Dan Qiuzi", "Dream Wandering Tianmu Yin Farewell", "Lushan Ballad to Lu Shiyu Xuzhou" and other types of help that are related to the country. Works that express the magnificence of nature and express one's own thoughts and pride are the most distinctive. "Cai Baina's Poetry Commentary" says: "Li Taibai's poems are so elegant that they will shine for thousands of years." For example, in "Looking at the Lushan Waterfall", the poet describes the magical and heroic appearance of the Lushan Waterfall, "the sun shines on the incense burner and produces purple smoke, and you can see the waterfall hanging in front of the river in the distance", and the flying momentum of the Lushan Waterfall, "flying down three thousand feet, suspected to be the Milky Way falling from the sky". Exaggerated metaphors, wild imagination, and constantly sublimated realms vividly outline the magnificence of Lushan Waterfall and create an incomparably magnificent artistic image. The six poems of "Hengjiang Ci" try their best to exaggerate the danger of the Yangtze River waves in the Dangtu area. For example, in the fourth poem, "The sea god comes and the evil wind comes back, and the waves hit the stone wall of Tianmen. Why is it like this in August in Zhejiang? The waves are like snow spraying from the mountains." , the image is majestic and full of power. In "The Song of Yuntai in Xiyue Farewell to Danqiuzi", "How majestic is the Xiyue Mountain! The Yellow River comes from the sky like a silk thread", "The Yellow River touches the mountains for thousands of miles, and twists and turns around the Qin land mines", "The giant spirit roars and breaks the two mountains, and the torrential waves spurt out "Shooting into the East Sea" and other works describe the majesty of Huashan Mountain and the surging and extraordinary strength of the Yellow River. Through the unstoppable great image of the Yellow River that touches the heaven and the earth, running thousands of miles, it embodies the author's heroic character who yearns for an extraordinary life. Another example is "Sleepwalking in Tianmu's Song of Farewell". The poet uses his dreamwalking imagination and uses his unpredictable pen to depict various scenes of Tianmu Mountain, including the natural beauty of "seeing the sea and the sun on half of the wall, and smelling chickens in the sky". The terrifying sights of "bears roaring and dragons chanting in Yinyan Spring, chestnut trees in deep forests frightening the tops of the mountains", and "Ni as clothes, the wind as horses, the kings of clouds come and go, tigers and drums, and luan's return to the carriage, and the fairy's The magical fairyland of "people lined up like hemp" is ever-changing, unpredictable and full of extraordinary romantic imagination. Finally, the poet expresses the emotion of life that "the same is true for pleasure in the world, everything flows eastwards from ancient times", and points out the theme of the whole poem with the famous line "A person can destroy his eyebrows and bend his waist to serve the powerful, which makes people unhappy", and sings out It captures the voice of a man whose talent is not appreciated, and expresses his passion for pursuing bright ideals and freedom and liberation.
In the six poems "Traveling to Mount Tai" written by the poet in the summer of the first year of Tianbao (742), the imagination is equally strange. Not only did he write "the sea water falls in front of you, the sky is far away and the sky is blue", "the mountain flowers are strange" The beautiful scenery of "the human world is white in the snow in May", and conveys a special and otherworldly feeling when "the spirit is flying in all directions, as if you are out of the world" when you reach the top.
Li Yangbing once said: "Taibai did not read books that were not written by saints, and was ashamed of the works of Zheng and Wei. Therefore, his words were like the words of immortals. All his writings were mostly satirical. Since the three generations, the coquettish queens have driven Qu Yuan to flog him. Yang and Ma have been alone for thousands of years, and only the public is the only one.” This passage is an accurate evaluation of the majestic and majestic artistic achievements of Li Bai's landscape poems.
Another example is "The Difficult Road to Shu", which was highly praised by He Zhizhang, and is even more of a masterpiece in this aspect. The whole poem is divided into four paragraphs:
Oh, how dangerous it is! The road to Shu is as difficult as climbing to the sky. Silkworm bushes and fishtails, how confused is the founding of the country? Forty-eight thousand of you have come, and there is no human habitation with Qin Sai. There is a bird path in Taibai, Xidang, which can cross the top of Emei. The earth collapsed and the mountains destroyed the strong men to death, and then the ladders and stone stacks were connected to each other. At the beginning, the poet used continuous exclamations and layered metaphors to highlight the unusual precipitousness of the Shu Road. Then, through myths and legends, he exaggeratedly wrote that the Shu Road was an insurmountable and dangerous road in history, giving the precipitous story The stone coffin of the ladder to heaven is cast with a layer of mystery, paving the way for further description of the hardships and dangers of the Shu Road.
On the top there is the high mark of six dragons returning to the sun, and on the bottom there is the rushing wave and turning back to Sichuan. The yellow crane cannot fly past, and the ape clings to it to overcome its sorrow. Where is the green mud, there are nine folds of purple rock mountains with a hundred steps. Mon went to the Lijing Well and raised his head and breathed, and he sat with his hands on his back and sighed. In this paragraph, the poet writes about the high danger of the mountain. The sun's six-dragon chariot had to turn back at this point, the abrupt peaks, the rushing waves, and the twists and turns of the rushing Hechuan in the high mountains. In addition, the contrast of Huang Di's difficulty flying over and the apes worrying about climbing accentuated the scenery along the Shu Road. difficult. Then, the poet describes the winding road on the green mud ridge, with nine turns in a hundred steps, like withered vines entwining dangerous rocks, and the description of pedestrians at high places as if they can reach out and touch the stars. It makes people hold their breath nervously and can only caress. Sigh!
Through the description of the historical dangers, the high peaks and rugged mountain roads, it seems that the difficulties and dangers of the Shu Road have been exhausted, but the poet turned his pen and used a rhetorical question to elicit a question. New realm:
I asked you when you will return from your journey to the west. The long distance is inaccessible. But I saw mourning birds calling ancient trees, and male and female flying around the forest. I also heard Zigui crying about the moon at night and worrying about the empty mountains. The difficulty of the road to Shu is as difficult as climbing to the blue sky, which makes people wither their beauty. Even if the peaks are gone, the sky is not full, and withered pines hang upside down against the cliffs. The turbulent waterfalls are noisy, and the cliffs turn into rocks and thousands of valleys are thundered. The danger is just like this. Why do people who have traveled far away come here? The poet here focuses on exaggerating the desolate and sad atmosphere along the Shu Road. The mountains are steep, the forests are desolate, the wild birds are wailing, and the crows are singing, not to mention the peaks touching the sky, the withered pines hanging upside down, the deep rivers and waterfalls roaring, and the pedestrians hearing the sound are pale, which fully expresses the thrill of the Shu road and the sad emptiness. This produces an overwhelming and thrilling artistic effect.
In the last paragraph, the poet wrote about the dangerous situation of the Jiange, a fortress in central Sichuan, which triggered his worries about the current situation and his emotions about life:
The Jiange is majestic and Cui Wei, and one man is in charge. , Ten thousand people cannot open it. Those who were guarding or robbing relatives turned into wolves and jackals. Avoiding tigers in the morning and snakes at night, grinding teeth and sucking blood, killing people like numbness. Although Jincheng is happy, it is better to return home early. The road to Shu is as difficult as climbing to the sky. Turn sideways and look to the west, sighing! In the paragraph, the poet used the famous lines describing the majesty and danger of Jiange from Zhang Zai's "Jiange Inscription" and Zuo Si's "Ode to the Capital of Shu" in the Western Jin Dynasty, showing the danger of the terrain, and then advised people to learn historical lessons and be wary of the occurrence of war. Finally, it concludes by repeating the main theme of "The road to Shu is as difficult as climbing to the sky", which contains infinite emotion.
"The Difficult Road to Shu" has majestic images, passionate emotions, rich imagination and exaggerated language. The poet uses unpredictable writing techniques to vividly depict the hardships and dangers of the Shu Road through descriptions from ancient times to the present, from the general to the local, from mountain roads to pedestrians, as well as the desolation of the environmental atmosphere, the danger of the political situation, etc. Create a colorful landscape painting. The whole poem is full of eccentric colors, convoluted structure, distinct and varied rhythm, fully demonstrating the characteristics of positive romanticism. Therefore, Yin Pan of the Tang Dynasty called it "strange and strange". It is also said that "it is rare for a poet to return his poems in this style."
Li Bai's "The Difficult Road to Shu" dwarfs and eclipses the previous poems describing the difficult road to Shu. Although the poem strives to describe the difficulties and obstacles of the Shu Road, people do not feel depressed after reading it. Instead, they are excited by the exaggerated description and vigorous and unrestrained momentum in the poem, and feel a noble and majestic beauty.
The above type of landscape poems are the crystallization of the poet's creation when he "went to the country with his sword, said goodbye to relatives and traveled far away". They are majestic and majestic, embodying the poet's broad mind and heroic spirit, expressing the spirit of yearning for majestic and extraordinary things, and possessing a positive passion. As far as the development of Chinese landscape poetry is concerned, the Tang and Song dynasties were the periods when landscape poetry matured and achieved brilliant achievements. Before Li Bai, poets with a romantic temperament and whose creations showed the characteristics of "majestic, vigorous and powerful" include Wang Wei, Gao Shi, Cen Shen, and later Han Yu, Liu Yuxi, and Su Shi, but the landscape images and momentum expressed in their works are not as good as masterpieces such as "The Road to Shu is Difficult". Even the landscape poems of Yuan Haowen of Jin Dynasty, Gao Qi of Ming Dynasty and Yuan Mei of Qing Dynasty cannot compete with it. Ni Qixin wrote an article and pointed out: "Taoist natural thoughts made Li Bai have a simple materialistic view of life, believing that human life and death, honor and disgrace are like all things. 'Essences and rests are all natural'. This makes his landscape poetry images not only express his self-image, but also Melting into self-image, the landscape image has the outstanding characteristics of idealization, fantasy and personalization. "This is where Li Bai surpassed his predecessors in the creation of landscape poetry and inspired later generations.
To sum up, Li Bai loves nature. With his heroic mind and unrestrained passion, he described the magnificent and beautiful rivers and mountains of the motherland in his writing and integrated them into clear words. He writes about the moon, mountains, and water, which are clear and fresh, and his realm is broad; he incorporates his desire and pursuit for freedom and light into his landscape poems, with scenes blending together and lasting charm; The waterfalls, as well as the roaring Yellow River and the rugged and dangerous Shu Road, are given a wild and unrestrained depiction, reproducing the majestic image of nature, thus producing a majestic and shocking artistic effect. In short, Li Bai's landscape poetry achieves the unity of aesthetics and sociality with its unique artistic style and strong spirit of the times. He stands at the pinnacle of Romantic art and has had a profound influence on later generations, establishing his special status as "a remarkable peak and unique artistic conception" in the history of the development of Chinese landscape poetry and literature.