Introduction to Bai Juyi
Bai Juyi (772--846), whose courtesy name was Letian and nicknamed Xiangshan Jushi, was originally from Taiyuan [now part of Shanxi]. When his great-grandfather arrived, he moved to Xiagui (sounding guī) (now north of Weinan, Shaanxi). Bai Juyi's grandfather Bai Huang once served as the county magistrate of Gong County [Gongyi, Henan] and was a good friend of the then magistrate of Xinzheng [part of Henan]. Seeing the beautiful mountains and rivers of Xinzheng and the simple folk customs, Bai Huang liked it very much, so he moved his family to Dongguozhai Village (today's Dongguo Temple) in the west of Xinzheng City. Bai Juyi was born on the 20th day of the first lunar month in the seventh year of the Dali calendar of Emperor Daizong of the Tang Dynasty (February 28, 772 AD) in Dongguo House. Wuzong died in Luoyang [belonging to Henan] in August of the sixth year of Huichang (846) at the age of 75. He is the author of seventy-one volumes of "Bai's Changqing Collection".
In his later years, when he became the Crown Prince Shaofu, he was given the posthumous title "Wen" and was known as Bai Fu and Bai Wengong in the world. In literature, he actively advocated the New Yuefu Movement, advocating that articles should be written according to the times and poems should be written according to the events. He wrote many poems that lamented the current times and reflected the people's sufferings, which had a great influence on later generations. He is a very important poet in the history of Chinese literature.
Bai Juyi's life
His life can be divided into two periods, beginning with his being demoted to Jiangzhou Sima at the age of 44. The early period was a period of benefiting the world, and the later period was a period of taking care of oneself. Bai Juyi was awarded Jinshi at the age of 29 in the 26th year of Zhenyuan (800). He successively served as secretary of the Provincial School, Shuzhiwei, and Hanlin bachelor. The first poem and fifty poems of "New Yuefu", these poems made the powerful gnash their teeth, sigh, and change their color. In the sixth year of Yuanhe, Bai Juyi's mother died of mental disorder in Chang'an. According to the rules at that time, Bai Juyi returned to his hometown to observe mourning for three years. After completing his mourning, he returned to Chang'an. The emperor arranged for him to become Dr. Zuo Zanshan. In June of the tenth year of Yuanhe, when Bai Juyi was 44 years old, Prime Minister Wu Yuanheng and Yushi Zhongcheng Pei Du were assassinated. Wu Yuanheng died on the spot and Pei Du was seriously injured. For such a major event, the eunuch group and the old bureaucracy group that were in power at the time actually remained calm and were not in a hurry to deal with it. Bai Juyi was very angry, so he went to Shu to advocate for the murderer to be severely punished and to enforce law and order. However, instead of praising him for his enthusiasm for state affairs, those in power said that he was an official of the Eastern Palace and it was an act of trespass to talk about government affairs before admonishing officials. They also said that his mother fell into a well and died while looking at flowers. He wrote "Appreciating Flowers" His poems and poems about wells are harmful to filial piety. Such people are not worthy of being Dr. Zuo Zanshan and accompanying the prince to study, and should be expelled from the capital. So he was demoted to Jiangzhou Sima. In fact, the reason for his offense was those satirical poems.
Being demoted to Jiangzhou was a heavy blow to Bai Juyi. He said that he "eliminates sorrow and joy on his face, and eliminates all thoughts of right and wrong in his chest." His Buddhist and Taoist thoughts grew in his early years. Three years later he was promoted to governor of Chungju. In the 15th year of Yuanhe, Tang Xianzong died violently in Chang'an, and Tang Mu Zong succeeded to the throne. Mu Zong loved his talents and recalled him to Chang'an, where he successively served as the secretary's member, Wai Lang, the host and guest, Zhong Zhi Gao, Zhong Shu Sheren, etc. However, the court was in chaos at that time, with ministers vying for power and fighting openly and secretly. Mu Zong was politically idle and did not listen to advice. So he strongly requested to be transferred to other places. In the second year of Emperor Changqing's reign, Mu Zong was appointed as the governor of Hangzhou. After his term in Hangzhou was completed, he was appointed the governor of Suzhou. In his later years, he was appointed as the guest of the prince to the Eastern Capital. He became an official at the age of seventy. Compared with the earlier period, he was much more negative, but after all, he was a poet who had made a difference and actively petitioned for the people. Some of his poems at this time still revealed his concern for the country and the people. He was still diligent in political affairs and did many good deeds, such as dredging the six wells dug by Li Mi to solve the people's drinking water problem; he built a long embankment on the West Lake to store water for irrigation, and wrote a popular article The easy-to-understand "Qiantang Lake Stone Records", carved on the stone, tells people how to store and release water. It is believed that as long as "the embankments are in accordance with the law and the water is stored and released in a timely manner," they will not suffer from drought. This is the famous "White Causeway".
Bai Juyi's grandfather Bai Huang, father Bai Jigeng and maternal grandfather are all poets. Under this family background, Bai Juyi studied very hard and eventually became a poet. But Bai Juyi, like Li Bai and Du Fu, was also addicted to alcohol. Zhang Wenqian said in "Tiaoxi Yuyincong Hua": Although Tao Yuanming likes to drink, due to his poor family, he cannot drink fine wine often. The people who drink with him are country people who collect firewood, catch fish, and farm fields, and the location is also in the woods. In the fields, Bai Juyi's family brewed fine wine. Every time he drank, there would be silk and bamboo accompaniment, and child prostitutes served him. Those who drank with him were all celebrities in society, such as Pei Du, Liu Yuxi, etc.
When he was 67 years old, he wrote "The Biography of Mr. Zuiyin". This Mr. Zuiyin is himself. In his "Biography", he said that there was a man named Mr. Zuiyin. He did not know his name, place of origin, or official position. He only knew that he had been an official for 30 years and retired to Luo City. His residence has a pond, bamboo poles, trees, terraces, bridges, etc. He likes drinking, reciting poetry, playing the piano, and having fun with drunkards, poets, and piano lovers. This is also true. Bai Juyi visited all the temples, hills, and springs inside and outside Luoyang City.
Whenever it was a beautiful day or a snowy morning or a moonlit night, he would invite guests to his home. He would first brush the wine jar, then open the poetry basket, and then hold silk and bamboo. So while drinking, he recited poems and played the piano. Next to me, there was a family boy playing "Neon Clothes and Feathered Clothes" and a little prostitute singing "Willow Branches". It was really a great pleasure. It didn't stop until everyone was drunk. Bai Juyi sometimes took pleasure in going out to play in the wild. He put a harp and a pillow in the car, and hung two wine bottles from bamboo poles on both sides of the car. He held the harp and drank some wine before returning home exhausted.
According to "Qiongyouji", Bai Juyi's family had a pond where boating could be done.
He hosted banquets for guests. Sometimes on the boat, he ordered people to hang more than a hundred empty bags beside the boat, filled with fine wine and delicacies, and go with the boat. When he wanted to eat and drink, he would pull them up. After eating and drinking, he would pull up one bag and another. Until you finish eating and drinking.
This is certainly different from Tao Yuanming’s plight.
The volume of Fang Shao's "Bo Zhai Bian" says: Among the 2,800 poems written by Bai Letian, there are 800 poems by drinkers. This number is not small.
When he drank, he sometimes drank alone. For example, when he was the governor of Suzhou, he was busy with official duties and drank wine to relieve himself of nine days of hard work. He said: Don't underestimate one day of drunkenness, it is to eliminate nine days of fatigue. How can the people of the state be cured without nine days of fatigue? How can you entertain your body and mind without a day of drunkenness? He used wine to combine work and rest.
It’s more about drinking with friends. In his poem "Drunk with Li Shiyi and Reminiscing about Yuanjiu", he said: When we are drunk together, we break the sorrow of spring, and when we are drunk, we break the flower branches to use as wine chips. In the poem "Gift to Yuan Zhen", it is said: A pommel horse ride under the flowers, a cup of wine in the snow. In the poem "Having a leisurely drink with Meng Degu and making an appointment for the later period", it is said that the emperor gave ten thousand dollars to a bucket and looked at each other for seventy years and three years. In the poem "Drunk with Li Shiyi and Reminiscing about Yuanjiu", it is said: green ants make new fermented wine, and a small red clay stove. It's snowing tonight, can I have a drink? And so on and so forth.
Yin Luzhen of Henan carved "The Biography of Mr. Zuiyin" on the stone and stood beside the tomb. It is said that Luoyang people and tourists from all over the world knew that Bai Juyi was addicted to alcohol in his life, so when they came to visit the tomb, they all used a glass of wine to pay homage. The land in front of the tomb was often wet and never dry.
Bai Juyi was A very noteworthy great poet in the Mid-Tang Dynasty, his poetic ideas and poetic creations, with their outstanding emphasis and full expression of popularity and realism, occupy an important position in the history of Chinese poetry. In "The Nine Books of Yuan Dynasty", he clearly said: "The servant's ambition is to be both helpful and good, and his behavior is to be unique. If you follow it from beginning to end, it is Tao, and if you talk about it and invent it, it is poetry. It is called an allegorical poem, and it is the ambition of concurrently helping others. It can be seen from this that among Bai Juyi's four categories of poems: allegorical, leisurely, sentimental, and miscellaneous, the first two categories embody his "consistent dedication." "The way of doing both and doing good alone is the most valued. His poetic ideas were mainly based on the creation of early allegorical poems.
As early as in "Celin" written in the early Yuan Dynasty, Bai Juyi showed the tendency of emphasizing reality, popularization, and allegory: "Today's articles of praise and criticism are not verified, and the way of punishment and encouragement is lacking. ; Poems that are beautiful and satirical are not political, so the meaning of supplementary inspection is abolished... Those who combine poetry with Jiongjie's satirical edicts should be praised despite their wild quality." (Sixty-eight "Yi Wen") Its function is to punish evil and encourage good, and to make up for the current affairs. The means of poetry are to praise and criticize with beauty, and to warn and slander. Therefore, he advocated: "Establish officials who collect poetry, develop the way of satire, observe the gains and losses of politics, and communicate with them from top to bottom." "Love." (Sixty-nine "Collecting Poems") He opposed the simple pursuit of "high palace rhythm" and "wonderful writing" without content, and was even more opposed to the gorgeous poetic style of "mocking the wind and moon and playing with flowers and plants" since Qi and Liang Dynasties. In the "Preface to New Yuefu", he clearly pointed out that the criteria for writing poetry are: "The words are clear and precise, and those who want to see them can easily tell them; their words are straightforward and clear, and those who want to hear them can be warned deeply; the things they say are clear and precise." "Solid," so that those who pick it can convey the message; its body is smooth and smooth, and can be broadcast in music and songs. "The words "quality and diameter", "straight and cut", "core and solid", and "smooth and smooth" here are respectively. It emphasizes that the language must be simple and popular, the discussion must be straightforward, the writing must be pure and false, and the form must be fluent and smooth, with the color of a ballad. In other words, poetry must be written in a way that is authentic and credible, easy to understand, and easy to sing to music, to be considered the ultimate.
The above-mentioned requirements made by Bai Juyi on poetry have only one purpose, which is to make up for the current affairs. So he went on to say: "In short, you should do it for the king, for the ministers, for the people, for things, for things, not for literature." ("Xin Yuefu Preface") In "Yu Yuan Jiu Shu", Looking back on his early creations, he said: "Since he came to the dynasty, he has grown older and read more and more things. Every time he talks to people, he inquires more about current affairs; every time he reads history, he seeks more theories and principles. Only then do he realize that the articles are written at the same time, and the songs are written at the same time. Poems are written for the sake of things. "When writing for the time and things, the first thing is to write for the king." He also said: "But it hurts the people's illnesses, and they don't know the taboos of the times" (Part 2 of "Two Poems on Injuring Tang Qu"), and created a large number of allegorical poems reflecting the people's sufferings, but the overall direction is "Only songs cause people's illnesses" , I hope the emperor will know it" ("Ji Tang Sheng"). Because only when the people's sentiments are heard by heaven and the emperor opens up the barriers and expresses human sentiments, will politics tend to be peaceful.
"Pipa Song" and "Song of Everlasting Sorrow" are Bai Juyi's most successful works. The outstanding feature of their artistic expression is the strengthening of lyrical factors. Compared with previous narrative poems, although these two works also use narration and description to express events, they simplify the events beyond simplicity. They only use one central event and two or three main characters to structure the whole poem, such as quite dramatic. The Mawei Incident in Mawei is described by the author in just a few strokes. However, in terms of the most lyrical psychological description of the characters and the rendering of the environment and atmosphere, he splashes ink like rain in order to enjoy it to the fullest. Works that focus more on encounter narratives also use emotions to closely connect sounds and events. Sounds arise with emotion, and emotions change with events, so that the process of the poem is always accompanied by moving emotional power. In addition, the lyricism of these two works is also reflected in the use of selected images to create the appropriate atmosphere and enhance the artistic conception of the poems.
For example, in "Song of Everlasting Sorrow", "I feel sad when I see the moon in the palace, and I hear the heartbreaking sound of bells in the night rain", "Maple leaves and flowers rustle in autumn" in "Pipa Song", "The vast river is soaked in the moon when we say goodbye" and other poems, or the cold moon is Color, pattering night rain, and heart-breaking bells combine to form an ecstatic scene, or rustling maple leaves, dill flowers, and the vast river moon form a sad and lonely picture, in which the desolate, sentimental, and wistful moods are revealed. The characters and events in the poem are all dyed, which makes readers feel shaken and unable to control themselves when faced with such artistic conception and atmosphere.
Leisure poems and allegorical poems are two types of poems that Bai Juyi particularly valued. Both have the characteristics of being practical, vulgar and fulfilling, but they are very different in content and mood. The allegorical poems aim at "general benefit", are closely related to social politics, and are often written with pride and enthusiasm; the leisure poems aim at "being alone", "contentment and peace, and playing with one's temperament" ("Jiu Shu" of Yuan Dynasty) , thus showing an indifferent, peaceful, leisurely and leisurely mood.
Bai Juyi's leisurely poetry has a great influence on future generations. His simple and plain language style and indifferent and leisurely mood have been repeatedly praised. However, in comparison, the expressions expressed in these poems His "leisurely" thoughts of retreating from politics, being content and maintaining peace, and his life attitude of following the Buddha and the Elders, and imitating Tao Yuanming, are more consistent with the psychology of later generations of literati, so their influence is even more profound. For example, Bai Juyi said: "Fighting two snail horns, you get an ox hair" ("Seven Poems on Drinking Wine", Part 7), "What is the matter of fighting over the horns of snails? This is reflected in the light of the stone fire" ("Five Poems on Drinking", Part 2) The poem, and "Later, I will make a detailed review of everything that happened in Wojiao" (Volume 8 of Wu Zeng's "Neng Gai Zhai Man Lu"). That is to say, based on the names given by people in the Song Dynasty, "the names of Drunken Old Man, Wandering Old Man, and Dongpo all come from Bai Letian's poems" (Gong Yizheng's "Jie Yin Notes"). Zhou Bida of the Song Dynasty pointed out: "In this dynasty, Su Wenzhonggong did not take permission lightly. He only respected and loved Lotte, and wrote many poems. All his articles were mainly about eloquence, loyalty and charity, uprightness, affection for people, and no attachment to things. They were roughly similar. . He was relegated to Huangzhou, and his first name was Dongpo, which must have originated from Lotte Zhongzhou." ("Erlaotang Poetry") All these show the influence of Bai Juyi and his poetry.
(Zi Wu Chang Ming Envoy) Guan Panpan was originally a famous prostitute in Xuzhou, and was later taken as a concubine by Zhang Min, the commander-in-chief of Xuzhou. When Bai Juyi traveled to Xuzhou, Zhang Min hosted a banquet in honor of him. During the banquet, his beloved concubine Guan Panpan sang and danced to entertain him. Bai Juyi greatly appreciated Guan Panpan's talent and wrote the poem "The drunken beauty cannot win, the wind carries the peonies." Two years later, Zhang Min died of illness, and his concubines dispersed. Only Guan Panpan could not forget his kindness and moved to Yanzilou, his old residence, determined to live a secluded life.
Ten years have passed in a blink of an eye. Bai Juyi heard about Guan Panpan's observance of chastity and thought that since she had persisted for so long, why not simply die to sacrifice her husband and leave a reputation as a chaste and martyr woman, which would be a good story for the ages. So he wrote a poem and asked someone to pass it on to Guan Panpan. He only saw the letter:
I don’t hesitate to buy the Emei with gold.
I picked four or five like flowers.
Singing and dancing Teach them to do their best, and once they leave, they will not be with you.
When Guan Panpan saw this poem, she burst into tears immediately. The reason why she didn't die was because she was afraid that others would misunderstand Zhang Min's selfishness and let her concubine die, which would ruin Zhang Min's reputation. Therefore, she had to live in vain for these years. However, Bai Juyi actually used poetry as a satire to force her to sacrifice her husband. Why not? Sad and angry? Guan Panpan, who had a chaste temperament, died on a hunger strike ten days later. A woman who comes from a profligate family cannot be expected to be loyal and chaste. Even if a woman from a good family honors her deceased husband, it is only a personal choice or depends on the relationship between the couple.
For someone as infatuated and righteous as Guan Panpan, it can only be said that it was Zhang Min's blessing to meet a woman who knew how to repay kindness and was sincere in his kindness. Note that Guan Panpan stayed for ten years instead of just posing for a year and a half to gain fame.
Isn’t it more difficult to live miserable and miserable for ten years than to die? However, Bai Juyi, who has always been very compassionate, not only did not sympathize with her situation, but also pushed her hard, thinking that she should commit suicide in love, and pointed out a dead end for her with crude male chauvinism, which translated into colloquial language is, why don't you die?
There is no need to argue over and over again how inhumane it is to die for burial, but to die for love depends entirely on one's personal wishes. If you die, I can't live alone, so let's go together. But as a bystander, what qualifications does Bai Juyi have to judge?
The cannibalistic ethics finally swallowed Guan Panpan alive. Before she died, she recited a sentence: Children do not know the objects in the sky, and they sweat all over the green mud - you, Bai Juyi, are as childish as a child. How do you know that I am pure and pure?
She paid tribute to the great poet Bai Juyi with her noble death. Bai Juyi also greatly regretted hearing the news of his death. A few years later, he retired to Xiangshan, Luoyang. Knowing that time was running out, he dismissed his concubines Fan Su and Xiao Man (actually this was Bai You's second mistake. The two concubines were already suffering, and They were already "broken flowers and willows" but were kicked out by Lao Bai. It seems that Lao Bai never thought that they were actually people like him) and did not want them to repeat the tragedy of Guan Panpan.
Bai Juyi was 75 years old when he passed away. Buried in Longmen Mountain. After his death, Emperor Xuanzong of the Tang Dynasty wrote a poem to commemorate him and said: "For sixty years, who taught me how to become a poetry immortal in the underworld? The floating clouds are not named Juyi, and the inaction of nature is named Lotte. The boy interpreted the song "Eternal Sorrow", Hu His son can sing "Pipa", and his article has become popular. He was born in a small and medium-sized bureaucratic family of "Shidun Confucianism". Born in Xinzheng, Zhengzhou (now Xinzheng County, Henan). Since the age of 11, he has been displaced for five or six years due to war. He studied hard when he was young.
In the 16th year of Zhenyuan (800), he became a Jinshi. In the 18th year, he and Yuan Zhen jointly held the Distinguished Examination of Distinguished Scholars. The two engaged. From then on, Yuan and Bai were equally famous in the poetry world. In the spring of the 19th year, he was awarded the title of Secretary Provincial Secretary. In the first year of Yuanhe (806), he dismissed the school as a scholar and wrote 75 articles in "Celin". He was listed as "talented and knowledgeable in physical and practical subjects" and was awarded the title of county captain. He wrote "Viewing the Cutting of Wheat" and "Song of Everlasting Sorrow". In the second year of Yuanhe, he returned to the imperial court and took office. In November, he was awarded the Hanlin Bachelor's degree, and in the following year he was appointed Zuo Shiyi. In four years, he initiated the New Yuefu Movement with Yuan Zhen, Li Shen and others. In the fifth year, he was transferred to Cao, a household in Jingzhao Prefecture, to join the army. At this time, he still served as a Hanlin scholar, drafted edicts, and participated in state affairs. He was able to speak out and write letters to discuss matters without fear of the powerful. In the sixth year of Yuanhe, because his mother died at home, he served his term and returned to Beijing to take up a post in response to the imperial edict. In ten years, he was demoted to the Sima of Jiangzhou (now Jiujiang, Jiangxi) for taking the lead in asking for the urgent arrest of Wu Yuanheng's assassin. The following year he wrote "Pipa Xing". He began to live in seclusion and built a thatched cottage in Lushan. His thoughts shifted from "contributing to the world" to "taking care of himself", and he began to write more and more leisurely and sentimental poems. In the 13th year of Yuanhe, he was changed to the governor of Zhongzhou. In the 15th year, he returned to Beijing and moved to Zhongshushe. Due to the strife between the cliques in the DPRK and China, he requested to be released to the outside world in the second year of Changqing (822). He successively served as the governor of Hangzhou and Suzhou, and was quite popular among the people. In the first year of Wenzong's Yamato era (827), he became the secretary-prisoner. The next year, he was transferred to the minister of the Ministry of punishment. Four years later, he settled in Luoyang. Later, he held the positions of Prince Guest, Henan Yin, Prince Shaofu and so on. In the second year of Huichang (842), he became official as Minister of the Ministry of Punishment. In Luoyang, he entertained himself with poetry, wine, Zen, harp and landscape. He often sang with Liu Yuxi and was called Liu Bai at that time. In the fourth year of Huichang, funds were invested in the construction of Longmen Bajie Stone Beach to benefit the boat people. He died of illness at the age of 75 and was buried at Pipa Peak in Longmen Xiangshan Mountain, Luoyang. Li Shangyin wrote his epitaph.
Poetry Theory
Bai Juyi’s thought combines Confucianism, Buddhism and Taoism. The guiding ideology of Confucianism is that "if you are successful, you can help the world; if you are poor, you can only benefit yourself" as the guiding ideology. Its ambition to "contribute to economic development" is based on Confucian benevolence, and also includes the theories of Huang and Lao, the art of managing Xiao, and the method of Shen Han; its "independent kindness" heart absorbs the concepts of contentment, equality of things, and freedom from Lao and Zhuang. Buddhist thought of "liberation". The two are roughly bounded by the fact that Bai was demoted to Sima Jiangzhou. Bai Juyi not only left nearly 3,000 poems, but also put forward a whole set of poetry theories. He compared poetry to a fruit tree and put forward the viewpoint of "root feelings, seedling words, beautiful sounds, and real meanings" ("Yu Yuan Jiu Shu"). He believed that "emotion" is the fundamental condition of poetry, and "nothing that touches people's hearts precedes emotion." ” (ibid.), and the generation of emotions is based on feelings and is related to current affairs. Therefore, poetry creation cannot be divorced from reality and must be based on various events in real life and reflect the social and political conditions of an era. He inherited the tradition of poetry and poetry since the Book of Songs, and attached great importance to the realistic content and social role of poetry. Emphasize the function of poetry in exposing and criticizing political shortcomings. He put forward a series of principles in the expression method of poetry:
"Words are clear and precise", the words are simple and the expression is straightforward;
"The words are straightforward and clear", the story is written directly , close to the truth;
"Things are verified and verified", the content is true, and there are records;
"The style is smooth and four-dimensional", the writing is smooth and easy to sing ("New Yuefu Preface" 》).
His poetry theory is of progressive significance in urging poets to face reality and care about the people's livelihood. It also has a critical effect on the poetic style that has gradually emphasized form since the Dali (766-779). However, over-emphasis on the subordination of poetry creation to the needs of real politics will inevitably constrain the artistic creation and style diversity of poetry.
Literary Creation
Bai Juyi once divided his poems into four categories: allegorical, leisurely, sentimental and miscellaneous. Generally speaking, the first three categories are archaic and the latter are modern. The first three categories are roughly distinguished by content, but they overlap. Among the four categories of poems, Bai himself paid more attention to the first two categories, believing that allegorical poems reflected the "ambition of benefiting others" and leisure poems showed the "meaning of being independent and good"; both were direct reflections of his life goals. Sentimental poems and miscellaneous rhymed poems "may be attracted by a moment or an object, and they may be inspired by a smile or a chant, and they can form a chapter spontaneously, which is not the norm in life" ("Jiu Shu" of Yuan Dynasty). Allegorical poetry is the essence of white poetry. His representative works include 50 pieces of "New Yuefu" and 10 pieces of "Qin Zhongyin". They extensively reflect the major issues in all aspects of social life in the Middle Tang Dynasty, focusing on the darkness of reality and the suffering of the people. These poems are fiercely worded and without scruples, breaking through the "gentle and honest" poetic tradition, and are very prominent among ancient poems criticizing current affairs. Allegorical poems are mostly direct in their form. The narrative is complete, the plot is vivid, and the characters are detailed and vivid. Another part of the allegorical poems use the technique of allegory to express political sentiments through natural objects. Both types of works have profound and broad generalizations, concentrated themes, vivid images, and clear and clear language. Part of "New Yuefu" also uses the "three, three, seven" sentence pattern, which has traces of popular folk literature and art. Leisure poems mostly express the longing for a quiet life in the countryside and the desire to be clean and self-sufficient. Many poems also promote the ideas of contentment and peace, happiness and peace of mind. But there are also some poems that express dissatisfaction with reality from the side, indicating that his pursuit of leisure is only a helpless relief. The most famous sentimental poems are the long narrative poems "Song of Everlasting Sorrow" and "Pipa Song". "Song of Everlasting Sorrow" sings about the marriage and love story of Emperor Xuanzong of the Tang Dynasty and Concubine Yang Guifei. It not only expresses the irony of "the emperor of the Han Dynasty was obsessed with sex and his country," but also has the sentiment and sympathy of "this hatred lasts forever." "Pipa Xing" has the feeling of "being reduced to a human being at the end of the world", and has outstanding language achievements. These two poems have a tortuous narrative, subtle emotions, good arrangement and contrast, smooth and harmonious tones, and have been widely circulated. Bai also wrote many poems about gifts to relatives and friends, which are sincere, simple and touching. However, in this type of poems, there are many sentiments about old age and illness, mourning for the past, and Buddhist thoughts about escaping from the hustle and bustle of the world.
Among the white poems, there are the most miscellaneous rhymed poems, and they are famous for some intriguing lyrical landscape poems, which are full of life with only a few strokes in white lines. There are also some long poems that lay out the true story and parallelize the rhythm, as well as short poems about wine and romance, which are also imitated by people of the time. White poetry was widely circulated at that time, from the court to the people, everywhere, and its reputation spread as far as Xinjiang, North Korea, and Japan. Bai poetry had a great influence on later literature. Pi Rixiu, Lu Guimeng, Nie Yizhong, Luo Yin, Du Xunhe in the late Tang Dynasty, Wang Yucheng, Mei Yaochen, Su Shi, Zhang Lei, Lu You in the Song Dynasty, Wu Weiye and Huang Zunxian in the Qing Dynasty were all influenced by Bai poetry. The inspiration of poetry.
Later generations of playwrights also recreated stories based on Bai's poems. For example, Bai Pu and Hong based on "Song of Everlasting Sorrow" to write "Wutong Rain" and "Eternal Life Palace" respectively; Ma Zhiyuan and Jiang Shiquan based on "Pipa Xing" They wrote "Tears on a Green Shirt" and "Four Strings of Autumn" respectively. Bai poetry words and phrases are also mostly used in the Song, Yuan and Ming dialects. Bai Juyi did not belong to the Han-Liu literary group, but he was also an advocate and creator of new-style classical prose. His "Celin" has 75 articles, with outstanding insights, vigorous arguments, and fluent and profound words. It is a political treatise that follows Jia Yi's "Public Security Policy"; Important documents. "The Thatched Cottage", "The Cold Spring Pavilion", "Three Tours to the Cave Preface", "The Lychee Picture Preface" and other articles are all concise in writing style and meaningful in purpose. It is an outstanding work of prose in the Tang Dynasty. Bai Juyi was also a powerful promoter of poetry creation. Xiaolings such as "Recalling Jiangnan", "Lang Taosha", "Hua Fei Hua" and "Sauvignon Blanc" opened up the way for the development of literati poetry.
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