Among the poets in the prosperous Tang Dynasty, Li Bai's artistic personality is the most distinctive, which is reflected in all aspects of poetry creation, and his artistic achievements are also multifaceted. Li Bai's poems often run through with bold and unrestrained momentum, pay attention to galloping freely and freely, and have the characteristics of winning people with qi. Such as "On Li Yong": "Dapeng rises with the wind one day and shakes Wan Li. If the wind stops, it can still lift away the raging water. " Taking Dapeng as a metaphor, it is no longer a carefree and comfortable Dapeng of Zhuangzi style, but a Dapeng that will cause shock and surprise in the sea of clouds and show its pride and personality strength with extraordinary momentum. For example, in his poem Song on the River, he said that "Xing Han put pen to paper to shake the five mountains, and poetry became a proud land to ling Cangzhou", which is the reason why Li Bai's poems shocked the ages.
Free and easy temperament, arrogant and independent personality, approachable, and strong feelings come out of generate, which forms the distinctive features of Li Bai's lyric style. It is often explosive, and once it is aroused, it rushes out without restraint, just like a hurricane in the sky and an overflowing volcano. Such as "it's hard to walk" one:
The cost of pure wine, gold cup, a hip flask of 10 thousand copper, jade plate worth 10 thousand dollars. I threw the food bar and cup aside. I couldn't eat or drink. I pulled out my dagger. I peeped in four directions in vain. I want to cross the Yellow River, but ice will block the ferry and Taihang Mountain will be covered with snow. I will sit on a fishing rod and lean lazily by the stream, but I suddenly dream of sailing a boat towards the sun. It's hard to walk, it's hard to walk, a lot of roads, and today's safety! One day, I will ride the wind and waves, raise the Yun Fan and cross the sea.
Express the grief and indignation of frustrated people, use cadence and rhythm changes to trace the ups and downs of emotional outbursts when emotional impulses occur, which makes people directly feel the shock of the soul. He said in "A Twelve Cold Nights for the King":
Life wandering for a hundred years is bound to last forever. You can't learn cockfighting from the golden distance and sit and hum a rainbow. You can't learn from Shu Ge. You went to Qinghai at night with a knife and took the purple robe of Xitu Shi Bao. In the north window, the poem is not straight for a glass of water. When the world hears this, it turns around like an east wind shooting at a horse. Fisheye also laughed at me and said they were like the bright moon. You can't eat fists, but donkeys can sing spring breeze. ..... Far-reaching is not expensive, and poverty is not sad. Han Xin was ashamed to be drunk, and Mi Heng was ashamed to pursue Tugu. If you don't go to Beihai, Li See, where is the 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.
From the beginning, he expressed strong feelings, magnificent and impassioned, and then there was an uncontrollable wave of feelings, filled with indignation and rolling in. Combined with explosive emotional expression, the imagination of Li Bai's poems is unpredictable, often unreasonable and strange, with a wild spirit of random growth. Such as: "How magnificent the Xiyue is! The yellow river is like a silky sky ... the genie roared and broke two mountains, and Hongbo jet shot at the East China Sea. " ("Song of Xi Yue Yuntai Sending Dan Qiu Zi") "The Yellow River falls into the East China Sea, and Wan Li writes it in his arms". ("Give Pei Fourteen") "White hair and three thousands of feet, sorrow seems long." ("Song of Autumn Pus" Part XV) "The wind blows my heart and hangs Xianyang trees in the west". ("Jin Xiang sends Wei Ba to Xijing") "I am worried about the bright moon and cool breeze until Yelangxi". ("I heard that Wang Changling moved to the Long-long standard kiln to send it here") "Yanshan snowflakes are as big as seats, and pieces of them blow off Xuanyuantai". (popular in the north) I really want to fall from the sky. It's incredible.
The imagination of genius in Li Bai's poems is often abnormally connected and often changes with the flow of emotion. Such as "Sauvignon Blanc":
Sauvignon Blanc, in Chang 'an. Autumn insects are singing by the golden well, and the frost is shining on my mat like a small mirror. High light flashing; My desire is getting deeper and deeper. I lift the curtain, sigh and stare at the moon. Lonely as a flower, rising from the clouds. Above, I see the blue and deep sky, below, I see the green and restless water. The sky is high and the land is wide; My sadness flies painfully between them. Can I dream of crossing the mountain gate? . Sauvignon Blanc destroys the heart and soul.
There is a great leap between one imagination and the next, and the combination of images is also large-span, bizarre and dreamy, changing vertically and horizontally, and as smart as possible.
Associated with verve and rich imagination, there are many magnificent images in Li Bai's poems, including mountains and rivers, the sun and the moon. He seems to be particularly attracted by huge and spectacular things. Dapeng, giant fish, long whales, rivers, seas and snow-capped mountains are all objects he likes to recite. Li Bai described them in an unusually broad spatial background, which constituted a magnificent poetic image. Such as "Lu Shan Ge Yi Yu Shi Lu Xuzhou": "I climbed to the top. I look around the world, and the vast rivers are gone forever. The yellow cloud was blown away by the wind for hundreds of miles, and a snow peak was surrounded by a vortex with nine times the current. " The magnificent combination of images gives people a sense of sublimity. Another example is seeing a friend off at Jingmen Ferry: "This is the end of the mountain, the beginning of the plain, and the river winds through the wilderness. The moon rises like a mirror and the sea clouds shine like a palace. " The images are also extremely vast and spectacular. However, there are many beautiful images in Li Bai's poems. Such as "in the pedestrian mirror, in the bird screen" ("Qingxi Tour"); "The green water is clear and the moon is flat, and the egrets fly to the moon" (the thirteenth part of "Qiupu Song"); "Bamboo-colored streams are green, and lotus flowers are fragrant in the mirror" ("Don't exist in China"); The jade steps are cold and dew, and the silk bottom is wet, which has been wandering for a long time. "。 Behind her closed window, why is she still waiting, looking at the glory of the autumn moon through the crystal glass? "("Jade Family "). These beautiful images of Qingxi, bright moon, egret, bamboo color and white dew have greatly enriched the artistic style of Li Bai's poems.
There are two kinds of images in Li Bai's poems: magnificent and beautiful. He said in the poem "Looking at Nanshan to send a purple pavilion to send a hermit": "Sometimes white clouds rise and the sky unfolds. In my heart, I am not shallow. " Li Bai has an instinctive love for white transparent body, and the closest thing is the moon. He drank the moon alone and said, "Until, holding up my cup, I asked the moon to bring me my shadow and let the three of us. 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. I sang. The moon encourages me and I dance. My shadow is rolling behind. " The image of the moon appears repeatedly in Li Bai's poems. He is cheerful by nature and prefers bright colors to dark ones. In Li Bai's poems, the most commonly used color word is "white", followed by gold, cyan, yellow, green and purple. The language style of Li Bai's poems is fresh and lively, and hearty and lively is the basic tone of his words, which embodies his noble personality of rejecting the secular.
Li Bai, the son of the times, shocked the poetry world as soon as he appeared. His poetic creation full of wind and thunder, as well as his genius, conquered many readers at that time. Du Fu said in "Memories of Li Bai in Spring": "White in poetry is invincible, and it is not a group. Fresh and open, Junyibao joined the army. " Sincerely praise the "floating thoughts" in Li Bai's poetry creation, and think that it has the style characteristics of "freshness" and "elegance", which is unparalleled in the world. He also said in "Send Li Twelve Whites and Twenty Rhymes": "Once upon a time there were fanatics named immortals. Put pen to paper shocks the wind and rain, and poetry becomes tears. Since then, fame has never spread. The literary talent is extraordinary and the communication will be unparalleled. " It is pointed out that Li Bai's poems have unparalleled magical artistic appeal, and their great fame will be passed down to future generations.
As for the principle he followed in his poetry creation, Du Fu's "Drama as Six quatrains" said: "Don't cut away the illusory body, but be elegant and turn to more teachers as your teachers." The so-called "taste for all tastes" actually means attaching importance to happiness, which is manifested in Du Fu's poems as a realistic tendency to write current events, opening up an unprecedented wealth of realistic themes reflecting people's livelihood sufferings. At the same time, he "learned from many teachers" in art, borrowed extensively from his predecessors, and consciously explored and summarized various artistic forms and expression styles of poetry, becoming a "poet saint" in the history of China's poetry.
Du Fu's poetic style is manifested in three aspects: first, he humbly learns from the experience of his predecessors and doesn't care that today's people love the ancients; Secondly, there are many styles of poetry; Third, his writing skills are profound and he can cast his own big words.
The narration and realism of Du Fu's poems are influenced by the elegance of The Book of Songs and the Han Yuefu, and his spirit of patriotism and justice is the inheritance of Qu Yuan's Lisao. In the creation of five-character ancient poems, he was influenced by poets such as RoyceWong, Cao Zhi and Tao Yuanming. He once "studied Yin and He (Xun) with great concentration" and praised "Yu Xin's writing style is old and fruitful" because they are all excellent poets who have surpassed the elegant poetic style of Qi and Liang to varying degrees. His ancient poems are full of rules and sentences, precisely because of the emphasis on antithetical sentences since studying Qi Liang. Among the writers who commented on six operas in past dynasties, Du Fu only put forward Yu Xin and "four outstanding figures in the early Tang Dynasty", which was actually a response to those who totally denied the literature of the Six Dynasties and opposed modern poetry at that time. He advocated advocating ancient tunes and adopting new sounds, emphasizing ancient styles on the one hand and modern styles on the other; On the one hand, it requires vigorous and simple style and language, on the other hand, it attaches importance to the beauty and elegance of rhetoric. It is under the guidance of this literary thought that Du Fu can fully realize that the works of writers in different historical periods have their own characteristics and achievements, and can learn from each other's strengths.
Du Fu is good at all kinds of poetry genres and can bring forth the old and bring forth the new. His creation of five-character ancient poems is very poor, which fully expands the capacity of poetic style, from ten rhymes to fifty rhymes (such as "from Beijing to Fengxian to chant 500 words"), and then to the giant system of seventy rhymes (such as "Northern Expedition"). As for the arrangement of five characters, it is more than rhyme, big or a thousand words, hundreds of times, unprecedented. His seven-character ancient poems are divided into long poems and short poems, and his singing is often mixed with prose syntax, sometimes rhyming to the end, with endless turning points; Some change their rhymes, and the finer they are, the older they get. As for his best near-body method, in addition to the works that conform to the principle of flat-to-flat-to-flat, there are all kinds of awkward bodies that have lost their adhesion. The style of Du Fu's poems has developed from beautiful and fresh to gloomy and mature. In addition to the dominant style of melancholy and frustration, there are many changes in Xiaosan's nature, simplicity, implication and euphemism. Just like writing a night scene, the artistic conception and style of Tired Night are completely different from Pavilion Night, which is "Stark sings the drums and blows the horn at five o'clock, and the milky way passes through three mountains". Du Fu said in "Ten Rhymes of Zheng Jian": "Thinking about things outside the clouds is shocking to ghosts and gods in the law. There is no regret at all, the waves are old. " His own poetry creation has also reached this mature state.
Du Fu can cast his own big words on the basis of extensively studying and drawing lessons from the artistic experience of his predecessors. He said in "On the value of water on the river as a sea potential": "For the sake of human nature, it is not surprising that there are endless words. Old poems are sloppy, and flowers and birds are not deeply worried in spring. " His skill in refining words and sentences is very profound. In order to create a comprehensive impression of TINT, he often put color words at the beginning of sentences, such as "green hanging wind breaks bamboo shoots, red blooming rain makes fat plums" (Part 5 of He Shanlin with Ten Generals); "Red horny flowers, beautiful corner grass" (Rain over Sudan). He also makes good use of verbs and adverbs, such as "before the river moves me, it is small and wide" ("Water will cross"); Another example is "green grass, birds and flowers" (book fragrance). Because he pays attention to the tempering of poetic language, there are many beautiful epigrams in his works, such as: "Fish comes out in the drizzle, and Yan leans in the breeze" ("Water Threshold sends the heart"); "The flag of the rising sun falls, and the A?vagho?a wind is rustling" (the second part of the Last Five Embankments); "Frost and skin rain for forty weeks, and its tip is green fish-blue in the sky and two thousands of feet" (Cooper's Travels); "She began to be like a thunderbolt, venting its anger and ending the shining calm like rivers and oceans" ("Watching Gong Sundaniang's disciples dance swords"); "The flag warms the dragon and snake, and the breeze in the palace is high" ("The wind and the Jiazhi Scheeren go to Daming Palace early"); In the green spring, I sang loudly, drank heavily and began to go home "(both sides of the Yellow River were recovered by the imperial army), and it is difficult to ask God's will, and human feelings are easy to be sad ("Jiangling sent Ma Daqing to chase after Quexia in late spring "); Sitting on the sky in a spring boat, the old flowers are like fog "("Little Cold Food on the Boat "). The vagaries of Du Fu's poetic techniques and the accuracy of refining words have indeed reached an amazing level.
Du Fu had a great influence on the development of China's classical poetry. In the Tang Dynasty, some poets learned the realistic spirit of Du Fu's poems and paid attention to poetry creation, such as Bai Juyi, Zhang Ji and Wang Jian in the middle Tang Dynasty and Cao Ye, Pi Rixiu and Du Xunhe in the late Tang Dynasty. Some poets, such as Han Yu, Li He, Li Shangyin, etc., focus on learning the language expression skills of Du Fu's poems in order to seek novelty and change, and all draw artistic nutrition from Du Fu's poems to varying degrees. In the Song Dynasty, Du Fu was generally recognized in the long-term acceptance process, and became the highest model of imitating poetry in the Song Dynasty-"Poet Saint". Wang Anshi, Su Shi, Huang Tingjian and other Song Dynasty representatives all appreciated Du Fu's poems very much. Huang Tingjian strongly advocated Du Fu's works after Kuizhou, and specifically and slightly summarized the artistic techniques of Du Fu's poems as the only way for Jiangxi Poetry School to write poems. Learning from Du Fu is the gateway and benchmark of Song poetry creation. Du Fu is not only regarded as the embodiment of Confucian ideal personality, but also his poetry has become a comprehensive artistic paradigm.