Li Bai's poems are full of passionate love in life. His poems are often full of childlike interest in the openness, such as: "Two people drink together, and the flowers are blooming, one cup after another. I am drunk and want to sleep. Please go away, and tomorrow will come with the piano." ("In the Mountains and the Silence") "People drinking together") "The sleeves are long and the pipe is used to stimulate sexual desire. The Hanzhong prefect is drunk and dancing. Holding a brocade robe and covering my body, I am drunk and sleep on his buttocks." ("Reminiscing about the past travels and sending Qiaojun Yuan to join the army") "The setting sun is about to disappear. In Xian, Shanxi, the children in Xiangyang clapped their hands and blocked the street to sing "White Copper". Strong wine makes the poet intoxicated, which of course does not mean that there is no sorrow and pain in life, but the poet's optimistic spirit is enough to enable him to transcend and overcome the sense of worry. The so-called "If you have reached your destiny, how can you worry about it? Let's drink fine wine and climb high buildings" ("Liang Yuan") "Yin"), "Let's get drunk at home and don't look at the monument of tears" (Part 4 of "Xiangyang Song"), which are the portrayal of his broad-minded mentality. One of his three poems "Traveling is Difficult":
Golden bottles of sake cost ten thousand coins, and jade plates of treasures cost ten thousand coins. Stopping the cup and throwing chopsticks, I can't eat. I draw my sword and look around at a loss. If you want to cross the Yellow River, which is blocked by ice, you will have to climb the snow-covered mountains of Taihang. When I was free to fish on the Bixi River, I suddenly took a boat and dreamed of the sun. The journey is difficult, the journey is difficult, and there are many divergent paths, but now I am safe! There will be times when the wind blows and the waves break, and the clouds and sails are hung directly to help the sea.
Even though he writes about the sorrow of losing his way, there are no harsh words about danger. The images of the Yellow River, Taihang, the sea, and the sun appear in the poem, as well as the majestic posture of looking around with swords drawn, sails raised, etc. The reverie of crossing the sea is full of magnificent emotions. He will never settle for loneliness and solitude, as in Part 1 of "Drinking Alone Under the Moon":
A pot of wine among the flowers, drinking alone without any blind date. Raise a glass to invite the bright moon, and make three people in the shadows. The moon doesn't know how to drink, and its shadow follows me. For now, the moon will be shadowed, and we must have fun until spring. My singing moon lingers, my dancing shadows are scattered. They make love together when they are awake, but they separate when they are drunk. We will travel together forever, and we will meet each other in Miao Yunhan.
Only a poet full of vitality can come up with such fantastic ideas. He has a poem "Dan Ge Xing", in which he conceives: "I want to attract six dragons, and I will hang a fusang on my carriage. Beidou will drink fine wine, and each of the dragons will have a cup. Wealth and honor are undesirable, and people live in ruins." There is no lamentation here. He laments his humiliation, but expresses his infinite attachment to life with the innocent imagination of "persuading him to drink". With their innocent taste, these poems inspire the beautiful humanity that is drowned by vulgar life, and thus gain permanent charm.
Li Bai had a strong sense of nature. He was good at integrating his personality into natural scenery, so that the mountains, rivers and valleys he wrote all had an idealized color. In his poem "Sunrise and Entrance", he said: "I will cover the big chunks, Haoran and Mingju are in the same family." He also said: "Yangchun calls me with smoke and scenery, and the big chunks fake me with articles."
< p> (Preface to "Spring Night Banquet from My Brother's Peach Garden") Li Bai has heroic demeanor and pursues a simple and noble state of mind. These different personality aspects have formed two major types of his landscape artistic conception: one is in the majestic and majestic style The majestic mountains and rivers highlight the beauty of force and movement, expressing heroic sentiments and thoughts in a magnificent artistic conception; the other type deliberately pursues the beauty of light and clarity, expressing innocent and innocent feelings in a beautiful artistic conception. For example, the Yellow River and the Yangtze River in his works are roaring and rushing for thousands of miles: "The water of the Yellow River comes up from the sky, and rushes to the sea and never returns" ("Jianjin Wine"); "The Yellow River touches the mountains for thousands of miles, and spins the vortex of the Qin mine... The giant spirit roars and smashes the two mountains, and the torrents of water shoot into the East China Sea" ("Song of Yuntai in Xiyue to Send Danqiuzi"); "Climbing high and spectacular between heaven and earth, the vast river will never return.The yellow clouds are thousands of miles away and the wind is moving. , White Waves and Nine Flowing Snow Mountains" ("The Ballad of Mount Lu Sent to Lu Shi Yuxu Zhou"); "The sea god comes and the evil wind returns, and the waves hit the sky gate and the stone wall opens. How is it like this in August in Zhejiang, the waves are like snow spraying from the mountains" ("Hengjiang"). word"). The peaks in his works are soaring and majestic: "The sky is not even full of feet from the peaks, and the withered pines hang upside down and lean on the cliffs" ("The Road to Shu is Difficult");
"The sky stretches to the sky, The five mountains are so powerful that they cover Chicheng; the rooftop is 48,000 feet long, and it is about to fall to the southeast." ("Sleepwalking Tianmu Yin Liu Farewell"). He used the heroic spirit in his heart to endow the landscape with sublime beauty. His praise of the power of nature is also a tribute to the ideal of life with far-sightedness and endless struggle. The extraordinary natural image is integrated with the proud heroic character. At the same time, Li Bai wrote many landscape poems with crystal clear and beautiful artistic conception. For example, "A man travels to the moon, and the boat sails in the air" ("Send Wei Wan, a native of Wangwu Mountain, back to the king's house"); "A man rides on the moon on the sea, and his sail falls into the sky in the middle of the lake" ("Xunyang sends his brother off to Chang'an, Poyang, Sima Zuo") "); "The moon turns with the green mountains, and the water merges with the green mountains and rivers. It is like a starry river, but I feel the clouds and forest are quiet" ("Moonlight Night River Journey to Cui Yuanwai Zongzhi"); "The night in Jinling is quiet and cool breeze blows, I go up to the west tower to look alone Wu Yue. The white clouds reflect the water and shake the empty city, and the white dew drops drop the autumn moon" ("Yin under the Moon on the West Tower of Jinling City") etc. These poems win with clarity and purity.
Li Bai's landscape poems are not so much realistic depictions of natural forms, but rather images that have been transformed and idealized according to the poet's personality. He only strives to grasp the overall momentum or atmosphere, relying on the sudden surge of emotion to express freely, while omitting specific details, and even the sequence of visual transitions in observing the scenery is often indifferent. Li Bai's landscape poems are always lyrical. He is good at permeating and blending landscape scenery with specific emotions. There is a subtle "isomorphic and mutual feeling" between the situation of "scenery" and the characteristics of "emotion". response relationship.
For example, when he first came out of Shu, he wrote "Farewell at the Jingmen Gate":
Going far beyond the Jingmen Gate to travel from the Kingdom of Chu. The mountains end with the plains, and the river flows into the wilderness. Under the moon, there is a flying mirror, and the clouds form a sea tower. Still feeling pity for the water in my hometown, I send my boat sailing thousands of miles away.
The poet writes from a suddenly enlightened place and writes about the promising feelings of a young man who is just starting his journey. In his later years, after he was pardoned and released, he wrote "Early Departure from Baidi City":
The White Emperor's farewell speech among the colorful clouds, thousands of miles of Jiangling are returned in one day. The apes on both sides of the bank can't stop crying, and the boat has passed the Ten Thousand Mountains.
Starting from the rapid speed of the river, it expresses the light and lively mood. Li Bai combined the typical images in poetry since the Han and Wei dynasties with the real sense of life, skillfully grasped the connotation of traditional cultural accumulation, and left a chewable and timeless charm in his skillful and accidental works. For example, "Farewell to a Friend":
Green mountains stretch across Beiguo, and white water surrounds Dongcheng. This place is a different place, and I can conquer thousands of miles alone. The wandering clouds convey the love of an old friend. I waved my hand and went away, and the horses roared.
The "floating clouds" and "setting sun" in the poem are not only the foreground of the eyes, but also symbolic images with specific emotional content in ancient poems. It means that when a wanderer leaves, it is like floating clouds floating endlessly, and when old friends say goodbye, it feels like they are leaving. The setting sun lingers, and the love sets the scene without leaving any scratches. Another example is "The clouds return to the blue sea in the evening, and the geese disappear in the sky. We are separated by thousands of miles, and we are confused and empty of thoughts." ("A Banquet at the Yao Temple Pavilion in Lu County in Autumn"), the first two sentences not only point out the seasons and Time, and the images of "clouds" and "wild geese" are used to refer to farewell and long journeys. In addition, "Sometimes white clouds rise, and the sky unwinds. I feel like it in my heart, and the support is not shallow." ("Wang Zhongnan Mountain Sends the Purple Pavilion Hermit"), "Please ask the east flowing water, do you think it is better or worse?" ("Farewell at the Jinling Wine Shop"), "Western brilliance flows in the flowing water, rippling the wanderer's love" ("Visiting Qingling Spring in Nanyang"), etc., all of which have reached the level of perfection in the unity of traditional imagery and the real sense of life.
Li Bai's free and emancipated thoughts and sentiments and his civilian-oriented personality also enabled him to explore more deeply the beauty of human emotions in social life. There is a yearning for a peaceful life here, such as the third part of "Midnight Wu Song":
The moon in Chang'an is filled with the sound of thousands of households pounding their clothes. The autumn wind never blows away, but there is always love between the two. When the Huru are defeated, the good men will stop the expedition.
There is a feeling of praise for working life, such as "Qiupu Song" 14:
The fire of the furnace shines on the sky and the earth, and the red stars are scattered with purple smoke. On a bright moonlit night in Nanlang, songs move Hanchuan.
There are love requirements for heart-to-heart and congeniality, such as "Sitting and Chanting at Night":
Winter nights are cold and the nights are long, and I sit in the north hall for a long time to meditate. The ice and the spring moon enter the boudoir, and the golden green light shines and weeps sadly. The golden dragon is gone, the cries are many, covering the concubine's tears, listening to the king's song. The song has sound, the concubine has feelings, the feelings and sounds are in harmony, there is no contradiction between the two. A word that doesn't make sense, Liang Chenfei will follow you thousands of times.
There are also innocent moods in the interactions between characters, such as the third part of "Yue Nu Ci":
A girl picking lotuses in Yexi River greets guests and sings back. Smiling into the lotus, pretending not to be ashamed.
His innocent friendship can often get rid of the pollution of class consciousness. Poems such as "Gift to Wang Lun" and "Crying about Xuancheng's Good Wine and Ji Sou" are all about ordinary people. Li Bai's "Living at the House of Xunni under the Five Pine Mountains" written in his later years more concentratedly expresses this point:
I stayed at the foot of the Five Pine Mountains, feeling lonely and joyless. The Tian family's autumn work is bitter, and the neighbor's daughter is cold at night. Kneel down and eat the carved rice, the moonlight shining on the plain plate. It makes people feel ashamed of their mother, and they cannot help but thank you three times.