[3] First, the characteristics of poetry 1, eulogize ideals and express grief and indignation. Li Bai is proud that he is an inexperienced talent, proud of his achievements of "striving for novelty and fighting for beauty, with a large area and a clear sea and county", and has unswervingly pursued the ideal of helping the poor and saving the country all his life. He compared himself with Dapeng, Tianma and Xiong Jian: "The wind rises in Dapeng every day and shakes Wan Li. If the wind stops, it can still lift away the raging water. " ("Li Shangyong"). 2. Despise the strong and pursue freedom. He thinks that with his talent, he can "make friends with princes when he goes out, and overlook the nest when he runs away" ("Preface to Send Swallow Garden to Play the Hidden Fairy City Mountain"). He showed strong contempt for those dignitaries who enjoyed high positions and high salaries by virtue of their family background, and showed a proud and unyielding character. He despised the feudal hierarchy, was unwilling to flatter, and disdained to rise and fall with customs. The darkness of reality disillusioned his ideal, and he was suffocated by the shackles of feudal ethical hierarchy. He longed for the freedom and liberation of his personality, so he adopted a wild and uninhibited attitude towards life to get rid of the shackles and strive for freedom. The way of expression is drinking and singing, seeking immortality and learning Tao. However, wine can't solve the worry, and the fairy is more ethereal. Therefore, he "traveled to famous mountains all his life" ("Lushan Ballad"), praising the beautiful nature as the ideal sustenance and the embodiment of freedom. Mount Emei, Huashan, Lushan, Taishan, Huangshan, etc. It is majestic in his works, full of clouds and streams; The rushing Yellow River and the surging Yangtze River in his works swept away everything. It shows the poet's indomitable character and strong desire to break the fetters. 3. Exposing the reality and attacking the current politics are Li Bai's angry struggle against the society, which is also an important embodiment of his rebellious spirit. He opposed Xuanzong's exultation and belligerence, exposing that he was not a man, which led to the sacrifice of the people's soldiers in vain. Because of Xuanzong's arrogance, the eunuch's power was hot ... Through the analysis of the political platform and the observation in Youyan's field, Li Bai was sensitive to poets, and he and Du Fu were the first poets to reveal the disaster at that time. When the "An Shi Rebellion" broke out, his patriotic enthusiasm was sublimated and he got rid of the contradiction of using Tibetan resources. His rebellious character and spirit have profound patriotic connotation, social significance and characteristics of the times. 4. Emotional ups and downs, full of contradictions. He has both lofty and vulgar side. His ideal and freedom can only be found in the mountains, fairyland and drunkenness. Therefore, in his poems such as Into the Wine, Chanting on the River and Songs of Xiangyang, he reveals the negative and decadent thoughts of living like a dream, eating and drinking in time, being in harmony with everything and escaping from reality in feudal society, which is upright and lonely. Second, artistic achievements Li Bai's poems not only have typical romantic spirit, but also have typical romantic artistic characteristics in terms of image shaping, material intake, genre selection and the use of various artistic techniques. Li Bai successfully shaped himself in his poems, expressed himself strongly, and highlighted the unique personality of the lyric hero, so his poems have distinct romantic characteristics. He likes to express himself in a magnificent image, expressing his feelings in his poems without disguise or restraint. For power, he "holds a chrysanthemum and stirs two thousand stones" (one of the two songs "Send Cui Shiyu after Drunk"); Seeing the hard work of the working people, he was "heartbroken like rain". When the country was destroyed and the people perished, he vowed to cross the river to clear the Central Plains. Draw a sword and hit the front column, and the sad song is hard to recover "("South Ben Shu Huai "), so impassioned; When drinking heartily with friends, "two people fall in love, one cup after another." I'm drunk and want to sleep. The Ming Dynasty intends to hold the piano ("Mountain Lovers"), which is so naive and straightforward. In a word, his poems vividly show his unruly character and image. Bold and elegant is the main feature of the romantic style of Li Bai's poems. In addition to the factors of ideological character and talent, the artistic expression and genre structure used in Li Bai's poems are also important reasons for his bold and elegant style. Being good at relying on imagination and subjectively reproducing objectivity are the important characteristics of romantic artistic techniques in Li Bai's poems. His imagination is extremely rich, almost every article has imagination, and some even use a variety of imagination throughout. Realistic things, natural landscapes, myths and legends, historical allusions and dreamland have all become the media of his imagination. He often uses imagination to transcend time and space, interweaves reality with dreams and fairyland, interweaves nature with human society and reproduces objective reality. The images in his works are not the direct reflection of the objective reality, but the externalization of his inner subjective world and artistic truth. One of the artistic techniques of romanticism in Li Bai's poems is to skillfully combine personification with metaphor, empathize with things and compare things with people. Another romantic artistic technique in Li Bai's poems is to grasp a certain feature of things and boldly imagine and exaggerate on the basis of real life. His exaggeration is not only strange in imagination, but also always combined with concrete things, so natural and unobtrusive; So bold, true and credible, it has played a role in highlighting the image and strengthening feelings. Sometimes he combines bold exaggeration with sharp contrast to enhance the artistic effect by increasing artistic contrast. Li Bai's best genre is seven-character poems and quatrains. Seven-character songs are long in length, large in capacity and free in form, which are suitable for expressing the poet's contradictory and complicated thoughts and expressing the poet's unrestrained talent, while Li Bai's seven-character songs adopt a structure of wide opening and wide closing and jumping. The beginning of a poem is often abrupt, such as a sudden surge, while the middle image of the poem is abrupt, often omitting the transitional care, as if there is no trace to follow, and the end of the poem comes to an abrupt end at the emotional climax. Li Bai's quatrains of five or seven words can better represent the fresh and lively style of his poems. For example, the beauty of "Making an Early Journey to Baidicheng" and "Farewell to Meng Haoran on the Way to Yangzhou" lies in "only looking at the prospect and oral language, but there are overtones and foreign flavors, which make people stay away from it. "The language of Li Bai's poems is fresh as spoken language, bold and unconstrained, and close to prose, but they are all unified in the natural beauty of' clear water produces hibiscus, natural carving'. This is related to his conscious pursuit of natural beauty. He inherited Chen Ziang's literary thought and took it as his duty to restore the tradition of poetry and Sao. He once said, "Since Liang Chen, Yan Bo has been extremely thin, and Shen Xiuwen still pays attention to temperament and must go back to the ancients. Who am I?" (Bai Meng's "Gao Yi") He advocates "halal" and satirizes the ugly girl's "naivety in carving insects" and learns from Handan. The natural beauty of his poetic language is the result of his careful study of folk songs and his understanding of popular characteristics, which is clear as words, popular and vivid. Thirdly, some people commented on Du Fu's poem "Surprise the wind and rain, make the poem cry" ("Send Li Twelve White and Twenty Rhymes") and praised him for "invincible white poetry, floating in the clouds, thinking differently; Fresh and open, Junyibao joined the army. Han: "Du Li's articles are in full swing." ("Adjusting Zhang Ji"). Li Bai's poems and songs, Pei Min's sword dance and Zhang Xu's cursive script in the Tang Dynasty are called "Three Musts". Ceng Gong praised Li as "like a long river, vast and boundless, with no terminal in Wan Li".
He has never achieved fame in his life, but he has high expectations. He despised the rich and powerful in clothes, mocked the hierarchical order centered on political power, criticized the phenomenon of political corruption, and carried forward the heroism in the prosperous Tang culture with a bold gesture of resistance. Li Bai's anti-power thought is becoming more and more conscious and mature with the enrichment of his life practice. In the early days, it was mainly manifested in the equal requirements of "self-improvement, not being human" and "making friends with princes", as he said in his poem: "I was drunk in Chang 'an, and five kings and seven people shared a glass of wine. In the face of heroic spirit, the romantic spirit will fall behind others! " ("Liu Yelang gave the judge Xin") "Encourage the nine masters to make waves and be young and ignorant." ("Ode to the Jade Pot") He sometimes makes grandiose remarks that show contempt for powerful people, such as "Gold and white jade buy songs and laugh, and get drunk and tired, and despise princes" ("Remembering the past" sent the county yuan to join the army). But his main performance is inner pride. With the understanding of the actual situation of high-level power groups, he further exposed the opposition between Buyi and dignitaries: "Zhu Yu buys songs and laughs, wasting talents." (The fifteenth time of "Ancient Style") "Wu Tong nest finch, orange." ("Bo Gu" article 39. The ugly behavior of those who stole power because of flattering the emperor is even more ironic, such as: the cart flying dust, the pavilion is dark in the afternoon. China is more expensive than gold, and Lianyun has a room. He Huihe was dubbed cockfighting. When the rainbow is dried in one breath, pedestrians are afraid. There is no such thing as washing your ears, only Yao and your feet! In "Dream on Mount Tianmu", he made the loudest voice: Ah, how can I solemnly bow and scrape to those high officials whose sincere faces will never be seen! The significance of this artistic generalization in Li Bai's poems is as important as Du Fu's famous sentence "The wine and meat in Zhumen stink, and the bones on the road freeze to death" ("Ode to 500 words from Beijing to Fengxian"). In the deteriorating political situation at the end of Tianbao, Li Bai linked anti-dignitary with extensive social criticism. For example, Answering the King on Twelve Cold Nights not only fought bravely for the fallen sages, but also expressed disappointment and contempt for the imperial court: If there is no Beihai in Li See, where can there be heroic spirit? If you don't look at Pei Shangshu, there are three feet of wormwood thorns in the earth grave. Teenagers have long wanted to go to the Five Lakes. Seeing this, I will spare Zhong Ding. Li Bai even sharply reprimanded Xuanzong himself in the way of satirizing modern people in his poems, such as "Feeling the Book, My Friend", "Ancient Style" and "Ascending to the Far Sea". In a word, it can be said that he developed the anti-power theme in Tang poetry to the point of dripping and hearty. Ren Hua said that Li Bai "lived for decades and never lost his color for a day" ("Miscellaneous Words Send Li Bai"). This consciousness of never giving in to powerful people and bravely fighting for self-dignity is an important content of attaching importance to personal value since Wei and Jin Dynasties, and it is also a tradition of attaching importance to strength and character. It is under the new historical conditions that Li Bai inherited and carried forward this excellent tradition and became a star in poetry. Li Bai's poems and songs are full of passion for life. His poems are often full of childlike interest in the wild, such as: "two people love each other, one cup after another." "I'm so drunk that I want to sleep, and I'm going to hold the Ming dynasty piano." ("On the Mountain and Lovers") "Long sleeves, light desire, drunken dancing in Hanzhong. Put a robe on me and I'll get drunk and sleep in my lap. " Life is like strong liquor, which intoxicates the poet. Of course, this does not mean that there is no sorrow and pain in life, but the poet's optimism is enough for him to transcend and overcome his sense of hardship. The so-called "where is there nothing to worry about in life?" And "Drinking and Climbing the Stairs" (Song of Liangyuan) and "Drunk Jia Qianchi, Don't Look at the Tears Monument" (Xiangyang No.4) are the portrayal of his broad-minded mentality. He is never satisfied with loneliness and loneliness, such as I drink the bright moon alone: from a pot of wine to flowers, I drink alone. No one is with me. Raise my cup, I invite the bright moon, which brings me its shadow and makes us three people. The moon doesn't know how to drink, but the shadow in front of it is behind. I have to mingle with them and enjoy the happiness of spring. The song I sing is bright and wandering, and I dance the shadow before wandering. When you are awake, you are happy together, and when you are drunk, you go your separate ways. I am willing to stay with them forever and forget the harm of friendship, just like the Milky Way. Only a energetic poet can come up with such a fantastic idea. He has a "short song line", and the idea is: "If you want to win the Six Dragons, go back to the car and hang the Fusang. With the help of the Big Dipper, every dragon advised them to drink a glass of wine, so they all fell asleep and couldn't stay awake. Wealth is not what you want, you are in old age. "Here, there is no old man's sigh, but the naive imagination of" persuading wine "expresses infinite attachment to life. These poems, with their pure taste, appeal to the beautiful humanity submerged by vulgar life, thus gaining permanent charm. Li Bai has a strong feeling for nature, and he is good at integrating his personality into natural scenery, which makes his landscapes and valleys have idealized colors. He said in the poem "Sunrise": "I will include a big piece, and I will be noble and have the same topic." He also said: "Yangchun told me to smoke, and I took articles on big holidays." (Preface to the Spring Banquet in Peach Blossom Spring by My Brother) Li Bai is heroic and pursues a pure and noble state of mind. These different personality aspects also form two types of his artistic conception of mountains and rivers: one is to highlight the beauty of strength and movement in the majestic mountains and rivers, and express his lofty aspirations in the magnificent artistic conception; The other is interested in pursuing the beauty of Ming Che and expressing innocent feelings in a beautiful artistic conception. For example, the Yellow River and the Yangtze River in his works roared and roared: "How can the water of the Yellow River move out of the heavens and enter the ocean, and never return" ("Into the wine"); "The Yellow River touches the mountains in Wan Li, and the vortex hub turns to Qin Mine ... Genie growls and breaks two mountains, and Hongbo jet shoots the East China Sea" ("Xiyue Yuntai Song sends Dan Qiu Zi"); "I climbed to the top. I look at the whole world, and the vast rivers can't go. "Huang Yun is popular for a hundred miles, and the snow peaks are around nine streams" (the song of Lushan suggestion and Lu Xuzhou); "Poseidon has been to the evil wind, and the waves hit the stone wall of Tianmen. What happened to Zhejiang in August? Snow in Taosi Mountain (Hengjiang Ci). The peaks in his works are towering and steep: "The highest cliff is only one foot below the sky, and the withered pine trees hang their heads from the surface of the cliff" (Shu Dao Nan); "Straight into the sky, its peak into the sky, the top of the five holy peaks, casting a shadow through China; The ladder mountain range stretches for hundreds of miles, starting from here and extending to the southeast "(Tianmu Mountain rises in my dream). He endowed mountains and rivers with lofty aesthetic feeling with heroism in his chest. His praise for the great power of nature is also a tribute to the far-sighted and unremitting pursuit of life ideals. Extraordinary natural image and proud heroic character are integrated. At the same time, Li Bai also wrote many beautiful landscape poems. For example, "people travel around the moon and ships travel in the air" ("Send Weiwan, a man from Wuwangshan, back to the palace"); "When a man rides on the sea and the moon, the sail falls into the sky in the lake" ("Looking for Yang to send his brother to visit Sima Zuo in Poyang"); "The moon turns with the green hills, and the green hills follow the flowing water. It seems that I am above the Milky Way, but I feel that the clouds are secluded ("On the Moonlight, I will send a trip outside the Cuiyuan"); "Jinling night is quiet and cool, watching the five mountains in the west wing alone. The white clouds reflect the water and shake the empty city, and the white dew drops the beads and the autumn moon ("The Moon on the West Tower of Jinling City"). These poems are famous for their clarity and purity. Li Bai's landscape poems are not so much a realistic description of natural features as a reformed and idealized picture according to the poet's personality. He just wants to grasp the overall momentum or atmosphere, splash ink on the basis of sudden excitement, while ignoring the specific details, and even the visual transfer order of the scenery is often not concerned. Li Bai's landscape poems are pervasive and lyrical. He is good at blending mountains and rivers with specific emotions, and there is a subtle relationship between the situation of "scenery" and the characteristics of "emotion" For example, seeing a friend off: to the north of the Great Wall is a blue mountain range, and to the east is a white waterline. Here we say goodbye to each other, and you, like losing your father, are floating in the wind and traveling far away. Floating clouds are like wanderers, like wandering, and the sunset slowly goes down the mountain, which seems to be nostalgic. With a wave of his hand, he will be separated from now on, and his friend on horseback will carry him on a long journey, blowing a long wind, as if reluctant to leave. The "floating clouds" and "sunset" in the poem are not only the foreground of the eyes, but also the concrete images with specific emotional content in ancient poetry, which means that once a wanderer leaves, he will be like a floating cloud, so he will say goodbye to the sunset without leaving a scar. Another example is "the clouds return to the blue sea and the evening, and the geese have no blue sky." The first two sentences not only point out the season and time, but also use the images of "cloud" and "goose" to refer to departure and travel. In addition, for example, "sometimes white clouds rise and the sky unfolds." However, in my heart, I am grateful for every happiness ("Looking at Nanshan to send a song to a hermit"), "Oh, go and ask this river flowing eastward, whether it can go further than the love of friends!" ("Parting Nanjing Restaurant"), "Xi Hui drives by the water, blue waves are rippling" ("Swimming in Nanyang Qingling Spring") and so on. Li Bai's thoughts and sentiments of freedom and liberation and his personality with the tendency of popularization also enabled him to explore all kinds of human beauty in social life more deeply. There is a yearning for a quiet life here, such as the third part of Midnight Wu Ge: a new moon hangs over the capital, and ten thousand laundry hammers are beating. The autumn wind blew Yi Dao's voice, and every household remembered the people guarding the border. When will the border war be settled and when will my husband end his expedition? There are praises for working life, such as "Song of Autumn Pu" XIV: "Fire shines on the heavens and the earth, and red stars are everywhere. On a moonlit night, the song moves the cold Sichuan. "All these poems, without exception, use the ideal nimbus to make the theme of daily life glow with poetic elegance. Li Bai is indeed an outstanding poet in China. The great wanderer enriched the scenery of the Tang Dynasty with his feet and poetic pen. He swept away sturm und drang, and then, the smoke in Dongting, the wind and cloud in Chibi, the apes in Shudao and the mighty river suddenly flew. In poetry, the poet is smart and heroic, like a cloud in the sky; He wandered between the eight poles, galloping freely, like a fine horse galloping on the Yuan Ye. In the poem, the poet sweeps away the worldly dust and completely restores his immortal posture: above, he looks for the green void, below, the yellow spring. His romance, madness, love and hate, loneliness and pain, dreams and awakening, heroism and vagrancy all reached the extreme. His poetry creation has a strong subjective color, which is mainly manifested in his emphasis on expressing heroism and passionate feelings, and rarely describing objective things and specific time in detail. Free and easy temperament, independent personality, and strong emotions that are easy to touch and erupt form the distinctive features of Li Bai's lyric style. He often erupts, and once his feelings are aroused, he rushes out without restraint, just like a hurricane in the sky and an overflowing volcano. His imagination is very strange, often has unusual connections, and changes with the flow of emotions.