Artistic Features of Li Bai's Farewell Poems
The Tang Dynasty is one of the peaks in the development of China's classical poetry. Standing at the peak of this era, the greatest romantic poet who sings the face and destiny of the whole nation is undoubtedly Li Bai.
There are more than 900 poems written by Li Bai today, and there are 132 farewell poems, accounting for about one seventh.
His farewell poems are well-known, praised by poets of past dynasties, and have high ideological and artistic value. Looking at Li Bai's farewell poems, it is a model of combining positive romanticism with realism. In Li Bai's many excellent farewell poems, the author expressed his strong criticism of reality and put forward his ideal life according to his deep feelings about real life, so his farewell poems are realistic and romantic. On Du Like's poem "Memories of Li Bai in Spring": "White in poetry is invincible, not a group." How incisive the evaluation of Li Bai's farewell poems is! White poetry is invincible, that is, it has a unique personality. Let's say it without hesitation.
First, "good" has the characteristics of "sadness"
Li Bai's farewell poems saw the essence of "sadness" through the surface of "good" His farewell poet was Hao, and what he expressed was extremely deep sadness. Such as Farewell by Yellow Crane Tower, Farewell by Meng Haoran to Yangzhou, Farewell School by Xie Tiao Building in Xuanzhou, etc. They all use bold words to express their sadness, and the sadness is extreme. It is the overall feature of Li Bai's farewell poems to express it with bold words.
The "luxury" and "sadness" in Li Bai's works are actually a reflection of the poet's ideological contradictions. To put it simply, this contradiction lies in his pessimistic view of reality, but his ideal of life is positive, because he does not want to go along with the ruling class and be immune to it. Because he never gave in to either side, he was in the dilemma of "the fairy palace was at a loss" all his life, which was precisely the important reason why he became a poet.
It is the waves aroused by this inevitable contradiction that make his farewell poems present unique characteristics. "I feel extremely sad and say it in bold words." Or, as Gao Bu-ying said, "Bitterness comes with you", "sadness" and "sadness" depend on the poet's sober understanding of reality, and the reason why he can successfully express it with "bold words" and "smart words" depends on his positive attitude towards life because he is unwilling to give in to reality. In a word, the ideological style of Li Bai's farewell poems is complicated, and we must see two contradictory aspects at the same time, so that we can correctly understand Li Bai and deeply understand the profundity and artistic charm of Li Bai's farewell poems.
Second, imaginative and romantic.
Li Bai's farewell poems are written in a romantic way, which is also full of romantic imagination, and this artistic technique is completely based on realism and truth, so that he can express his true feelings. His farewell poems are also "full of strange thoughts", daring to break through all constraints, boldly writing what he wants to say and breaking the waves. In real life, Li Bai has a strong demand for achievement, but in the dark political situation, his wish can not be realized, so he has to turn to spiritual sustenance, so many romantic poems are produced under such circumstances. For example, the farewell poem "Uncle Lou Yun in Xie Tiao, Xuanzhou" illustrates this problem. In this poem, the author is imaginative and uses "but since the water is still flowing, although we cut it with a sword" to explain that we can't get rid of sadness. The author thinks of autumn geese, Jian 'an period, and the moon. Therefore, the mind is active and gallops in the vast space of time. What is the reason why the poet is full of sorrow and wants to solve it? This is obviously because the world can't satisfy our desire. It can be seen that the reason why he wants to be "I will loosen my hair tomorrow and take a fishing boat" is really a kind of self-termination when my career enthusiasm is frustrated and my inner contradictions are fierce.
To sum up, we can see that the romantic spirit of Li Bai's farewell poems is a tortuous reflection of his historical era. His strong enthusiasm for his career reflected the situation of a powerful country at that time. The romantic temperament shown in all aspects of his wild life reflects his strong critical attitude towards the dissatisfied reality and his efforts to get rid of the spiritual shackles and be liberated. It also reflected the corrupt imperial political situation that formed various social contradictions at that time, leading to major historical chaos. Therefore, the romantic spirit of Li Bai's farewell poems is determined by a specific historical era. This spirit reflects Li Bai's positive attitude towards reality and abundant enthusiasm. The artistic features of his farewell poems are closely related to his spirit.
Third, common songs. Write farewell poems in ten days.
Li Baishan doesn't want to be restricted by strict rules and regulations when writing Yuefu songs. In particular, his farewell poems absorbed the fresh, lively and natural characteristics of folk songs, which played a considerable role in his romantic creation method. Most of Li Bai's farewell poems are closely related to folk songs, such as Farewell, Climbing Mount Tianmu in a Dream, Uncle Yun, Yizhou Xie Jumping from a Building and Farewell to School. Du Fu once commented on Li Bai's "writing thunders, poetry makes the gods cry". Li Bai really lives up to his reputation. The reason why the songs in Li Bai's farewell poems shine brilliantly is that the successful application of "Bi Xing" makes the songs have unprecedented profound ideological content. Every capital contains fables about real life, and every capital "works for the times and the cause"
He also took unrestrained passion and fantasy from Chu ci, and also took wonderful and gorgeous words, which made the song line have unprecedented momentum and waves. Every capital shines with the light of whimsy, and every capital sprays the flame of life.
His farewell poems also absorbed the idea of freedom and liberation and various knowledge from the contention of a hundred schools of thought, broke all stereotypes and opened up a broad sky for singing. Such as farewell poems, myths and legends with magical colors, fables with philosophical meaning and insightful opinions, etc., he absorbed them and integrated them into farewell poems written in the form of songs, taking the essence and discarding the dross, so that the farewell poems of Yuefu songs in Han and Wei Dynasties added moving colors and musicality on the basis of maintaining vigor and freshness. So it is more expressive and attractive. At this time, the singing line is simply huge, and it can be lyrical, narrative, scenery writing and chanting. You can comment, often express and write, talk and discuss, and run freely. Although the source of Li Bai's farewell poems can be found in the Book of Songs, Songs of the South and Yuefu in the Han and Wei Dynasties, it is a brand-new re-creation of Li Bai's poetic style, creating a series of farewell poems that shocked the wind and made the ghosts cry, forming his unique romantic farewell poem style.
Li Bai is also a master of quatrains, and a poet unparalleled except Wang Wei. His farewell poems written in quatrains are profound and memorable. They are really words with endless meanings, such as "Yellow Crane Tower sends bowls to the majestic Guangling".
The farewell poems in Li Bai's quatrains reflect his love for life and his common character of being close to the lower classes of society. Treat them sincerely with simple feelings. The poet's friends treat each other sincerely, and the childlike innocence revealed in the farewell poems has a bold and unrestrained style that controls nature and surprises people.
Fourth, the language is subtle and elegant, fresh and powerful.
Li Bai's farewell poem, summed up in his poem, is "clear water gives birth to hibiscus, natural carving." The language of Li Bai's farewell poems can reach such an ideal, simple and natural state, which is inseparable from his careful study of Yuefu folk songs in the Han, Wei and Six Dynasties. His farewell poems are subtle, elegant, fresh and powerful. Because of the poet's strong feelings about real life, the artistic image reflecting his strong feelings is often exaggerated and imaginative to a great extent. His great success in using this language style in farewell poems is due to his deep understanding of real life and strong love and hate. A person who doesn't know his life, his love and hate can never be clear and powerful, particularly touching, particularly provocative, particularly poetic and win the love of readers.
Because of Li Bai's unique life experience and ideological character, his poems are bold and imaginative, and the farewell poems, especially the language, show a completely different style from other writers.
Looking at Li Bai's farewell poems, we can see that he inherited the achievements of the previous generation's romantic creation. With his thought and bold style of "Oh, how can I bow and scrape to high officials", he reflected the optimistic creative spirit and the potential power of dissatisfaction with feudal order in the prosperous Tang Dynasty, expanded the expressive field of romanticism, enriched the expressive methods of romanticism, and embodied the combination of romanticism and realism to a certain extent. These achievements make his farewell poems a new peak of romantic farewell poems after Qu Yuan.
Li Bai's farewell poems in Tang Dynasty inherited Chen Ziang's poetic innovation thought. In the poem "Antique", he reviewed the whole history of poetry development and pointed out that "beauty has been scarce since Jian 'an". And with the heroic spirit, he affirmed the correct way for Tang poetry to pull back the decadent wind and restore the elegant tradition. In the thirty-fifth poem "Antique", he criticized the remaining formalism that emphasized simulated carving and ignored ideological content. In creative practice, he is similar to Chen Ziang, writing more classical poems and less regular poems. However, his achievements in learning Yuefu folk songs and vigorously developing seven-character poems far exceeded those of Chen Ziang, and his efforts played a great role in completing the innovative task of farewell poems.
Li Bai's poems and songs not only had a great influence at that time, but also had a far-reaching influence on later generations' literature, so that they were praised as "poetic immortals" by later generations and became a model for learning. Li Bai's farewell poems are loved by people because of their unique creative characteristics. His poems show distinctive personality, bold spirit, simple form, romantic style, rich imagination, distinctive artistic features and profound implications, which are recited, imitated and praised by later readers and poets.
On the difference between the realm with me and the realm without me
Abstract: Wang Guowei put forward a set of relative concepts of "the realm with me" and "the realm without me" in "The Thorn on Earth". Later generations have a great controversy about this concept, but most people think that this idea originated from Schopenhauer's philosophy in the west. It is distinguished by whether people and foreign things have interests or not. This paper intends to distinguish between self and non-ego from Heidegger's hazy and clear view of things. There is a kind of my realm, that is, when planning things, let them become the undertaker and executor of feelings; The state of no self is to make things into things and present the original appearance of things, that is, the clear state without cover and cover.
Keywords: Wang Guowei; Have my site; A world without me; Shelter; No cover
Wang Guowei put forward the theoretical core of "realm" in "thorns on earth" In the third and fourth rules, we put forward a set of opposing concepts: the innovative concepts of "the realm with me" and "the realm without me" have caused countless disputes in later generations, and I want to discuss them here.
The third sentence in the manuscript says: there is a place for me, but there is no place for me. "Tears ask the flowers to be speechless, and the red flies over the swing." "It's like a lonely pavilion in spring and a cuckoo falling in the sunset." There is my place. There is no place for me to "pick chrysanthemums under the east fence and see Nanshan leisurely" and "cold wave starts and Bai Niao falls leisurely". Where I am, everything is my color. Without me, I don't know what is for me and what is for things. (This is the division between subjective poetry and objective poetry. The ancients wrote my realm, but my realm is impossible to write, and heroes can build it.
In the manuscript, there are subjective and objective points of "there is a realm of me" and "there is no realm of me", but in the compilation of "thorns on earth", Wang Guowei deleted this sentence. It seems that in Wang Guowei's mind, he later realized the connotations of "the realm with me" and "the realm without me", which are not simple subjective and objective. Xiao explained this in On Chinese: Wang's view of me seems to be subjective; No, I think things seem objective. However, in the manuscript, the author quoted the phrase "picking chrysanthemums under the hedge, leisurely seeing Nanshan", and the verbs "picking" and "seeing" can clearly see the existence of the author. Why is it classified as "land without me"? Wang Guowei put forward the distinction between subjective poets and objective poets in the seventeenth chapter of Legends on Earth: an objective poet can't read more about the world, and the deeper he reads the world, the richer and more diverse his materials will be. So are the authors of Water Margin and Dream of Red Mansions. Subjective poets don't have to read more about the world. The shallower they look at the world, the more real their temperament is, and so is Li Houzhu. The distinction between subjective and objective here seems to be the same as "having me"
"No self" can't be compared. What is the main difference between "land with me" and "land without me"?
Predecessors Ye Jiaying, Zhu Guangqian, Foyang and others have made their own explanations for this theory, but later generations have been arguing endlessly and have not reached a conclusion. Ye Jiaying not only questioned Zhu Guangqian's understanding and distinction between "the same realm" and "the transcendental realm", but also denied Oda's distinction between "subjective" and "objective". Starting from distinguishing "beauty" and "grandeur", she came to the two realms of "with me" and "without me" proposed by Mr. Jing 'an, which were really based on Kant and uncle. Foyang further expanded Ye Jiaying's point of view. He interpreted the "magnificence" in Schopenhauer's philosophical system as both opposition and attraction. This mutual attraction and repulsion formed the conflict between my will and external things.
Mr Luo Gang's point of view can best represent the doubts of future generations. He thinks that "there is me" and "there is no me" seem to be two sides of the same theory, but in fact they have different theoretical sources. They come from western realism and idealism aesthetics, and the latter comes from Schopenhauer aesthetics and Schiller aesthetics. They are not only opposite on the surface, but also represent two aesthetic traditions with profound contradictions in essence. But we can really see that no matter how they argue, most of them agree that this distinction between opposing concepts comes from western aesthetic thought and is inseparable from uncle's philosophy of will. That is to say, "the realm with me" is regarded as the relative realm of "me" and "foreign objects", and the external scenery has a certain interest in "me". "The realm without me" means that "me" and "foreign objects" have no relative interest, but are in a state of seamless integration with things, that is, Schopenhauer's so-called "no desire realm" in which people lose themselves in things. I am noncommittal about this distinction, but I have doubts. How to judge whether there is an interest relationship between "I" and "foreign things"? Recently, I studied Heidegger's related exposition on art and truth, which gave me some inspiration and tried to analyze the difference between them.
Although Wang Guowei's "realm with me" and "realm without me" are based on his uncle's philosophy, they may not be completely copied, just like when we read a book, some theories will be inspired and associated, and the conclusions will be innovative and improved. Wang Guowei made a distinction between realms, and no matter how accurate the concepts of "with me" and "without me" are, we can really see the existence of two different realms from the examples he cited. In the realm of "having me", things are not only simply to express the existence of things, but also to convey people's emotions and feelings, which is the representation of people's inner feelings. For example, in the two cited cases, it can be clearly seen that "everything is my color", that is, it has strong subjective feelings. In Tears Ask Flowers Silently, Flowers Fly Over the Swing, the flowers are brought to life, and words such as "asking flowers" and "flying over" are used to describe the helpless sadness of "I" who died in an independent dusk and cherishing spring in the face of "foreign objects" falling from the rain. Qin Guan's Walking on the Sand, "A lonely house is cold, and the cuckoo sounds like sunset", tells the story that the spring is chilly, the cuckoo cries blood, and the sun sets. "Foreign objects" stimulate the wandering "I" from the aspects of touch, hearing and vision, creating a lonely, lonely and infinitely sad environment. And "I" put all these feelings into "foreign things" and described them vividly, so that readers can feel the same. Mr. Zhu Guangqian's distinction between "having my own realm" can be explained by Lipps's "empathy", which I think can also help us understand. He interpreted this "empathy" as "the living of the dead" or "the sentimentality of the heartless". This seems reasonable in explaining "the realm with me", but it is doubtful in understanding "the realm without me". Mr. Zhu said: "The beautiful scenery recalled by the poet in peace has not been empathetic." The author thinks that being without me is not heartless, but that the author hides his feelings in the existence of "foreign things" and lets them be reflected as they are.
In the realm of "no self", "I" still exists, but things are presented in the form of the existence of things, that is, things, as existing things, reach a clear state without emotional cover. The author didn't express his feelings, but "Chrysanthemum", "Nanshan", "Cold Wave" and "Bai Niao" as described objects simply exist as described objects, that is, the existence of foreign objects. That is to say, in the realm without me, things exist by the existence of things, and "I" and "foreign things" have their own places and do not interfere with each other. What I see is the original form of things. The so-called "viewing things by things" does not deny the existence of the viewer. I understand it as understanding things according to their existence, that is, trying to restore the authenticity of the object existence, while diluting the subject existence in this object existence. In the reader's view of appreciating art, "it seems that there are only objects but people who are not aware of it, so people can no longer separate the intuitive person (person) from the intuitive person (self), but the two have been integrated, which means that the whole consciousness is completely filled and occupied by a single intuitive scene". At this time, we can also go back and understand what uncle called "the pure self without desire and demand". In his aesthetic education of Confucius, Wang Guowei once discussed his uncle's "pure self without desire": ... without desire, there is no emptiness. There is no hope, no terror, it looks at foreign things. It doesn't think it has a stake in me, but regards it as a pure foreign object. This realm only exists in good times. "
In this way, people inject their emotions into the planning or presentation of foreign things, or express themselves truthfully. That is to say, it has formed the two realms of "with me" and "without me" that we are arguing about now. As an existing thing, it has been planned subjectively, but it has not been grasped as it is by people here. Objects are presented in the open, such as the shoes in the farmer's shoes, which is to let existence exist and let existence appear. "Truth" is the uncovering of existence, through which truth is recognized by people. Heidegger also said: Beauty is a manifestation as an unexposed truth. Therefore, in Wang Guowei's definition of "the land without me", what we see is the true nature of things, and the existence as a descriptor disappears in our own planning. "... so it's called, on the other hand, don't look at things with me, look at things with things. Can you look at the problem from the perspective of things and put me in the middle? (Chapter 7 of the View of Things in Huang Shi) This is also called. For the poet, it is just like Tao Yuanming's poem "Picking chrysanthemums under the east fence, leisurely seeing Nanshan, the mountains are getting better and better, the birds are still in harmony, and there is a real meaning in it, forgetting what to say". Xie Lingyun's day: "The climate is changeable, the mountains and rivers are full of radiance, and the radiance can entertain people, and the wanderer forgets to return home", or it is like "Long Yun in White": "I am not living by myself. There is also the feeling of my high mountain area (I don't live in myself, I have become a part of the surrounding things, and for me, the towering mountains are also a feeling), and everyone is good at this. "It will be more convincing to demonstrate Wang Guowei with Wang Guowei's thoughts.
If Wang Guowei's distinction between "the realm with me" and "the realm without me" is simply explained by Schopenhauer's will theory from the source, it seems that it will go to different extremes. Mr. Ye Jiaying refuted the viewpoints of Zhu Guangqian, Buddha and others, but still did not give a convincing definition. Mr. Luo Gang thinks that "having me" and "not having me" are really rooted in different philosophical foundations, and they are bound to break. I think Wang Guowei deliberately distinguishes different situations here, and the two situations he said are really different. But there will inevitably be loopholes in the expression of language. Perhaps what we should do is not only to explore the ideological roots of this classification, but also to inherit and improve this theory!