Li Bai successfully shaped himself in his poems, expressed himself strongly, and highlighted the unique personality of the lyric hero, so his poems have distinct romantic characteristics. He likes to express himself with magnificent images, expressing his feelings and emotions in his poems without disguise or restraint. For prestige, he "holds a chrysanthemum and stirs two thousand stones" (one of the two songs "Send Cui after Drunk"); Seeing the hard work of the working people, he burst into tears. When the country broke and the people perished, he "vowed to cross the river, aiming at clearing the Central Plains. He drew his sword and hit the front pillar, and the sad song was hard to recover ("South Ben Shu Huai"), so impassioned; When drinking with friends, "two people drink mountain flowers, one cup after another." I'm drunk and want to sleep. The Ming Dynasty intended to hold the piano ("Friends Drinking in the Mountains"), which was so naive and straightforward. In a word, his poems vividly show his unruly character and eccentric image.
Boldness is the main feature of Li Bai's poems. In addition to the factors of ideological character and talent, the artistic expression and genre structure adopted in Li Bai's poems are also important reasons for his bold and elegant style. Being good at relying on imagination and being subjective and objective is an important feature of Li Bai's romantic artistic technique. His imagination is extremely rich, almost every article has imagination. Some people even use all kinds of imagination from beginning to end. Realistic things, natural landscapes, myths and legends, historical allusions and dreamland have all become the media of his imagination. He often uses imagination to transcend time and space, interweaves reality with dreams and fairyland, and reproduces objective reality with nature and human society. The images in his works are not the direct reflection of objective reality, but the externalization of his inner subjective world, which is the truth of art.
One of the artistic techniques of romanticism in Li Bai's poems is to skillfully combine personification with metaphor, empathize with things and compare things with people.
Another romantic artistic technique in Li Bai's poems is to grasp a certain feature of things and boldly imagine and exaggerate on the basis of real life. His exaggeration is not only strange in imagination, but also always combined with concrete things, so natural without showing traces. So bold, true and credible, it has played a role in highlighting the image and strengthening feelings. Sometimes he combines bold exaggeration with sharp contrast to enhance the artistic effect by increasing artistic contrast.
Li Bai's best genre is seven-character poems and quatrains. Seven-character rhythmic poems are long in length, large in capacity and free in form. They are suitable for expressing the poet's contradictory and complicated thoughts and expressing the poet's unrestrained talent. Li Bai's seven-character poems also adopt the structure of opening and closing, jumping and swinging. The beginning of a poem is often abrupt, while the middle image of the poem is abrupt, often omitting the transitional care, seemingly without trace, and there are many endings in the poem.
Li Bai's May 7th quatrains mostly represent the fresh and lively style of his poems, such as Coming to Baidicheng for the First time and Farewell to Meng Haoran on the way to Yangzhou. The beauty lies in "only looking at the prospect and oral language, but there are overtones and foreign flavors, which make people stay away from it" (on Talking about Poetry).
The language of Li Bai's poetry, some fresh as spoken language, some bold, informal and close to prose, is unified in the natural beauty of "clear water produces hibiscus, natural carving" This is related to his conscious pursuit of natural beauty. He inherited Chen Ziang's literary ideas and took it as his duty to restore the tradition of poetry and Sao. He once said, "Since Liang Chen, Yan Bo has been using temperament for four seasons, and Shen Xiuwen must go back to the ancients." (Bai Meng's "Gao Yi") He advocated "halal" and satirized the ugly girl who "lost her innocence" walking in Handan. The natural beauty of his poetic language is the result of his careful study of folk songs and his understanding of popular features, which is as simple as words, popular and vivid.