Gao Yun, a poet in the Ming Dynasty, once quoted three sentences to evaluate Li Bai's Shu Dao Nan, that is, "Beauty lies in ups and downs", "talent is licentious" and "strange language". With these three sentences, we will interpret Shu Dao Nan from the following three aspects.
First of all, beauty lies in ups and downs
"Literature seems to look at mountains and dislike peace", so does poetry. In order to avoid the "dullness" of writing poetry, we need to pay attention to the ups and downs of poetry to arouse people's interest in reading. This kind of poetic ups and downs has also been fully demonstrated in Shu Dao Nan.
First of all, the poet tried his best to show the difficulty of Shu Dao. "Forty-eight thousand years have passed, and there is no connection with Qin Saitong", "Tietian Stone Stack", "High above, as on a high flag, six dragons drive the sun, while the river below is whipping its winding route", "Even the yellow crane and the ape want to climb this height" ... "And one person can keep it, and ten thousand people can't force it. This is the difficulty of rendering Shu Dao from a big perspective, and we can regard it as a "start".
Secondly, in the rendering of "Shu Dao is difficult to pass, it is difficult to go to the sky", it conveys the delicate feelings of retaining friends and preventing them from going west. From "people who are in danger and come from afar, why are you here?" "Although the Silk City is in Huang Cancan, I'd rather go home soon. The difficulty of Shu Dao is difficult to go to the sky, squint at the west for a long time, and see the subtle spiritual world of the great poet. We can think of it as "V".
In this ups and downs, the poet's uninhibited personality and rich and delicate thoughts and feelings have been fully displayed. The ancients said that it is "wonderful in ups and downs", which is not unreasonable.
Second, talents are unscrupulous.
The so-called "unrestrained thinking" means that when writing poetry, you should let go of your thoughts. For a romantic master like Li Bai, this is natural. In order to highlight the "difficulty" of Shu Dao, the poet first wrote the "height" and "danger" of Shu Dao from the overall impression that "the danger is high and the Shu Dao is difficult to reach the sky"; Secondly, write the "difficulty" of Shu Dao from the perspective of its history, that is, time; Thirdly, from the perspective of space, that is, the sinister terrain, write the "difficulty" of Shu Dao. In addition to describing the difficulty of Shu Dao directly, the poet did not forget to use "sad birds" and "Zigui crows" to set off the difficulty of Shu Dao. The "difficulty" of Shu Dao lies not only in the strange terrain, but also in man-made turmoil, such as "What if he is not a loyal minister, but a wolf treats his companions?" And "answer blows with blows, killing people like hemp." These man-made unstable factors also reflect the "hardship" of Shu Dao to some extent.
Sometimes from the overall impression, sometimes from the perspective of time, sometimes from the perspective of space; There are both direct descriptions and side comparisons; The natural environment and man-made turmoil are mixed together ... The poet's talent is as free as a horse. The ancients commented that "it's just an unbridled mind", which may be the reason!
Third, the language is unfamiliar.
The so-called "odd" refers to writing everywhere when people are not expected. The whole poem is to express the intention of retaining friends, but at the beginning of the poem, there is such a sentence: "Hey, hey, the danger is high!" It is difficult to go to the sky! "This is quite unexpected. For friends who are about to go west to Sichuan, this beginning undoubtedly has the warning function of "taking a warning". This is one of the "strange words".
Is it time to write the "difficulty" of Shu Dao next? However, the poet is in no hurry, and he has to insinuate the story of "Silkworm Leaving", "Fish Fu" and the legendary story of "Five Dingkai Mountain" to prove the long-term closure of Shu and the difficulty of opening the road to Shu. This way of writing is also quite unexpected. This is the second singularity of the second rise of singularity.
When creating an atmosphere for the fear of Taoism in Shu Dao, the poet invited "sad birds" and "ghosts" to help him, and tried his best to render the "hardship" of Shu Dao with their numbers, cries and worries. This way of writing is also quite unexpected. This is the third singularity of the second rise of language.