As a romantic poet, Li Bai is great and the most typical. He said that his poem was "Xing Han put pen to paper to shake the five mountains, and the poem became a small Aoling Cangzhou". Du Fu praised his poems and said, "Putting pen to paper scares the wind and rain, and a poem makes you cry." This magical artistic charm is indeed the most distinctive feature of his poems. His poems not only have the strongest romantic spirit, but also creatively use all romantic methods to make the content and form highly unified.
Li Bai is not an infallible poet. On the contrary, he seems to care about everything. He has experienced and shown a lot of life. Although he can't satisfy his life forever, his passionate feelings and strong personality have left an indelible mark on poems expressing various lives, leaving a strong subjective color of self-expression everywhere. When he wanted to be an official in Beijing, he declared, "Laugh to the sky. Are we Artemisia people? " When politics is frustrated, they will shout, "The road is like the blue sky, but there is no way out before my eyes!" " He wanted to accuse himself of injustice, so he said, "I want to climb the dragon to see the Lord, and Lei Gong plays the drums." He misses Chang 'an, that is, "the wind blows my heart and hangs Xianyang trees in the west." When he climbed Taibai Peak, let Taibai talk to me and open the sky for me. When he asks for immortality, there must be "the immortal caresses me and I become immortal." He wants to drink, including Dongzaoqiu in Luoyang, "Building a restaurant for the south of Tianjin Bridge". He lamented Xuancheng's good wine making and asked, "Without Li Bai at the night stage, who is the wine sold to?" This strong subjective color of self-expression, in terms of artistic effect, adds overwhelming momentum to poetry in some places and takes the lead; Some places make people feel warm and kind when reading. Of course, this subjective color is not limited to poems and poems with the word "I". For example, in many poems, the names of Lu Zhonglian, Yan Ziling, Zhuge Liang, Xie An and others are often regarded as first-person pronouns by Li Bai, which makes the ancients fully incarnate him.
In line with the above characteristics, he did not suppress and converge in the expression of feelings, but gushed and poured thousands of miles. When ordinary language is not enough to express his passion, he exaggerates boldly; When things in real life are not enough to describe, compare and symbolize his thoughts and wishes, he relies on unrealistic myths and all kinds of wonderful and amazing fantasies. From some lyric poems quoted in the last section, we can already feel this feature. Using "but since the water is still flowing, although we cut it with the sword" as a metaphor to "raise a glass to relieve sorrow" is extremely exaggerated, but it makes people feel the highest truth. Another example is "White hair and three thousands of feet, sorrow is like a long beard" in Song of Autumn Pu. With tangible hair, it highlights invisible worries, and exaggeration is extremely bold. Others, such as "Chivalrous Man", said, "Three cups spit infinite, and five mountains are light." Take the five mountains as light and exaggerate the importance of chivalrous promises. "Elegant Ballad": "Speak out of turn, trust a friend, and welcome Jiu Feng's suspicion." Mountain peaks are also used to exaggerate the estrangement and suspicion between friends. In "Popular North", "Yanshan snowflakes are as big as seats, and pieces blow down Xuanyuantai". Everyone is familiar with it, but there are two sentences at the end of the poem: "The Yellow River can hold soil, and the north wind hates rain and snow." It is also thrilling. Without this amazing metaphor that the Yellow River can be blocked, we would not understand the deep despair and sorrow of the wives of fallen soldiers. Bold exaggeration can never be separated from amazing imagination. Here, we also want to focus on his most romantic landscape poems, especially "Difficult Road to Shu", which made Li Bai gain great reputation:
Hey, shh, it's dangerous! Such a trip was more difficult than climbing the blue sky, until the two rulers of this area squeezed in in the foggy age. Second, he is eight thousand years old and has nothing to do with Qin Sai. And Dabaishan, to the west, still has only one bird path, all the way to the peak of Emei. Once it was broken by an earthquake, some brave people lost it, and then the ladder stone pile was hooked. On the high flag, six dragons drive the sun, and far below, the river lashes its twisted channel. Such a height is difficult for a yellow crane, poor monkey, they only have claws to use. The Green Mud Mountain is made up of many circles. For every hundred steps, we have to turn nine times in the middle of its mound. Panting, we passed Orion, passed Jingxing, and then fell to the ground with our arms folded and groaned. We want to know whether this path to the west will never end. The road is too steep to climb, and nothing can be heard except the cries of birds surrounded by ancient forests. The male bird rotates smoothly and follows the female bird. Jathyapple, what comes to us is the melancholy voice of Du Fu, a sad empty mountain. This kind of trip is more difficult than climbing the blue sky, and even hearing it will make people pale! ……
This poem, with a magic pen, rises out of thin air. From Can Cong Yufu to Wuding Mountain, all myths and legends are used to set off a strange atmosphere. Putting high standards in the sky can make "Six Dragons Return to Japan" and also rely on myths to gallop fantasy. The following is an exaggerated embellishment with yellow cranes, apes, sad birds and rules, and then the narrative of threatening, caressing and fading Zhu Yan is inserted as the backbone of the whole poem. The poem "it is hard to go ascended to the sky" appeared three times in the text, which set the tone for these five complicated movements. Li Bai has never been to Jiange in his life. This poem is entirely based on legend. Because of this, his mind and personality have been fully displayed here. Fan Yin's "He Yue Ling Photo Collection" said that this poem is "both strange and strange, and it is rare for a poet to return it." It just reflects the surprise and admiration of contemporaries for this poem. Today, when the Shu Road is unblocked, it is still an immortal masterpiece with historical and aesthetic value. His two poems "Looking at Lushan Waterfall" and "Lushan Ballad" are also well-known works. In the latter poem, he wrote about the view of the great river from the top of Lushan Mountain: "I climbed to the top of the mountain. I look around the world, and the great river is 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. " He completely got rid of the shackles of the sense of real space and exaggerated it with bold imagination, highlighting the magnificence of mountains and rivers and showing the poet's magnificent mind. Bai Juyi's poem "Climbing to the top of incense burner": "The river is as thin as a rope, and the city is smaller than the palm." Completely realistic. Comparing the two poems, the artistic value is self-evident.
Li Bai's romanticism is based on his rich life. His poems are often full of emotion and changeable characteristics. We have seen this from the first poem of Difficult to Go, Uncle Yun's farewell school book in Xiezhao Building in Xuanzhou, and Tianmu sleepwalking. His masterpiece "Into the Wine" is also a very prominent example in this regard. In the poem, he encourages people to drink to their heart's content: "Oh, let a man with spirit take risks where he likes, and don't point his golden cup at the moon! He seems to be content with a decadent and enjoyable life, but his feelings are as unpredictable as the Yellow River. He suddenly said, "Since God has given talent, let him get a job! , spin one thousand silver, all back! ! Strong confidence suddenly replaced negative sighs. There is a similar situation in his Liang Yuan Shi Hua. In the first paragraph of the poem, he described the carnival and even lamented the impermanence of fame and fortune with tears in his eyes, but in the end, he suddenly said, "Songs and ballads have far-reaching influence. It is not too late to make a comeback and help the poor. " The poet's feelings were changed in an instant. Only a few poets in the history of poetry have reached this level by handling contradictory and complicated thoughts and feelings so freely and flexibly and achieving a high degree of artistic perfection. From this change, he continued to develop, so in some poems, he used both romanticism and realism. Some poems are both realistic and imaginative, such as those popular in North China and Guan Shanyue. Sometimes ideal wishes and realistic sufferings are combined in a poem, such as Article 19 of Antique:
The fairy shines like a star on the lotus peak in Huashan Mountain. Holding a white hibiscus flower in both hands, curled up into a ball. Dressed in colorful clothes, elegant clouds floated high into the sky. I boarded the rainbow platform and bowed to Wei Shuqing. Anxiously follow them and take Hongyan to Zixuan. Inadvertently, the Luoyang Plain was full of soldiers in the Anshi Rebellion. The bones are bloody, and the traitors turn their backs on the court.
In the beautiful fantasy of ascension, I suddenly saw Luoyang being ravaged and destroyed by An Lushan. We can't help but think of the ending of Li Sao: "I became an emperor and was suddenly shocked by my hometown." The plummeting of feelings and the disillusionment of romantic fantasies profoundly show the poet's extremely painful patriotism.
"Clear water produces hibiscus, and carving is natural." These two poems by Li Bai are the most vivid descriptions and generalizations of his poetic language. Li Bai's poetic language can reach such an ideal simple and natural state, which is inseparable from his careful study of Yuefu folk songs in the Han, Wei and Six Dynasties. According to Quan Deyu's Preface to Wei Qumou's Poems, Li Bai once taught eleven-year-old Wei Qumou the Ancient Yuefu. There are many imitations of ancient Yuefu in his Yuefu poems, which are well known and need not be exemplified. But his most effective place in Yuefu folk songs is language first. The language of his Long March and Midnight Wu Ge is very similar to Peacock Flying Southeast, Midnight Song and Xizhou Song. "I don't know the month for hours, and it's called Bai Yupan. I also suspect that Yao Taijing has flown to Qingyun. " "The breeze and bright moon don't need a dollar to buy, and Yushan is not pushed by people." "Such a trip is more difficult than climbing the blue sky." How vivid and natural it is, it is unforgettable to read. "Don't you see how the water of the Yellow River flows down from the sky into the ocean and never comes back?" Learn Han Yuefu's "Long Songs": "When will the hundred rivers return to the east and the sea to the west?" How it shines on you. At first glance, these places seem to be the most common, but none of the poets who imitated Li Bai in later generations reached such a highly perfect situation. It seems difficult to learn an accent, but it is easy to learn a language.
Li Bai used a variety of poetic styles, but the seven ancient poems and the seven unique poems contributed the most. These two poetic styles were also the newest and freest at that time, especially adapted to his free and bold personality. His achievements in this respect are also very effective in learning Yuefu folk songs. Seven ancient don't have to talk about, here are just a few of his famous four-line:
In the autumn of the first half of Mount Emei, the Pingqiang River reflected. In the evening, Qingxi went to the Three Gorges, but the four gentlemen did not see Yuzhou.
-"Emei Mountain Moon Song"
Early in the morning, I bid farewell to Jiangling city, which is high into the sky, thousands of miles away, and the boat is only one day away. The cries of apes on both sides of the strait are still unconsciously crowing in their ears, and the canoe has passed the heavy green hills.
-"Early Baidu City"
Old friends frequently waved to me, bid farewell to the Yellow Crane Tower, and traveled to Yangzhou in this beautiful spring filled with catkins and flowers. Sailing alone in the blue sky, I can see the Yangtze River flowing in the sky.
-"Yellow Crane Tower Farewell to Meng Haoran on the way to Yangzhou"
Li Bai was just about to leave when he heard a farewell song from the shore. Even if the Peach Blossom Pond is deep, it is not as deep as Wang Lun's sending away my love.
-"To Wang Lun"
Shen Deqian's Three Hundred Tang Poems said: "Seven-character quatrains are close to feelings, and hidden words are more important. Just look at the prospects, talk, and have overtones, which makes people stay away from it, too white and embarrassed. " These characteristics he said are actually the naive natural charm of folk songs. That is to say, as far as the poem "Send Baidicheng Early" is concerned, the meaning of the whole poem comes entirely from the "martial arts" in the Notes on Shui Jing, but the natural language and joyful artistic conception are quite different from the original style. His four outstanding achievements have always been as famous as Wang Changling's, each with its own characteristics. But as far as folk songs are concerned, he surpassed Wang Changling. His Five Laws convey the simplicity and grandeur of ancient poetry in temperament style, which is often eclectic and unique. Such as "Niu Zhu's Night Sleeping Thoughts" and "Farewell to Friends" have always been cited by critics.
Li Bai inherited the rich heritage of the previous generation of poetry in his creation. The traditions he inherited were firstly Chu Ci and Yuefu folk songs in the Han, Wei and Six Dynasties. He was influenced by Qu Yuan in many ways. He carried forward Qu Yuan's patriotism and indomitable spirit of struggle, and also inherited Qu Yuan's romantic creative methods, such as casting myths and legends, boldly exaggerating fantasies, and attaching importance to the inheritance of folk songs. He is exactly the same as Qu Yuan. As far as specific works are concerned, such as Farewell, Fu Liangyin, Tianmu Sleepwalking and even Shu Daonan are similar to Qu Yuan's works in mental outlook, theme, conception and syntax. He also carefully studied the works of literati in the Han, Wei and Six Dynasties. Duan's Youyang Miscellaneous Notes said: "Li Bai's three manuscripts are selected, and if they are unhappy, they will burn." This legend must have some basis. He praised Jian 'an's poems, Ruan Ji, Tao Yuanming, Xie Lingyun, Xie Zhao and Bao Zhao. There are countless examples of his imitating and using the poems and songs of these poets. The poems Du Fu gave him also pointed out that his works were similar to those of Bao Zhao, Yu Xin and Yin Keng. He could not have become a great romantic poet without carefully studying his legacy.
Artistic achievements of Li Bai's poems
In the history of literature, from the Six Dynasties to the Sui and Tang Dynasties, great changes have taken place in aesthetic concepts. Although Cao Pi once put forward that "literature is based on qi" (a classic essay) and Zhong Rong also advocated "natural English meaning" (a poem), due to specific historical conditions, the artistic interest of the Six Dynasties was more inclined to elegant literature. In the most prosperous Tang dynasty, poetry turned to the genius expression and natural expression of the main interest, and these aesthetic ideals of predecessors were truly and fully reflected. And Li Bai is the concentrated representative in this respect. In the Ming Dynasty, Wang Shizhen summed up the overall features of Li Bai's poems in Yi Yan Yuan with two sentences: "Qi is the main thing, nature is the teaching". These two sentences are reflected in the artistic image, lyrical way and poetic language of Li Bai's poems, thus forming his distinctive artistic personality.
Li Bai's ability to capture images is very strong, but when the poet's surging poetry can't be accommodated by ordinary images, the poet launches his imagination and fantasy, and realizes the artistic transformation with words. This deformation is based on the poet's strong feelings, which makes the image break through the convention and obtain fantastic colors.
For example, poets often change the proportional relationship between the size, quantity and weight of things in real life, and achieve strong artistic effects through the deformation of physical scales. He suddenly turned heavy into light, such as "feeling your majesty's kindness is more important than life, and throwing a feather lightly when crossing a mountain" ("Knotting socks"), and "Poetry is a glass of water in the north window" ("Answering the Twelve Cold Nights of the King"), and suddenly turned light into heavy, such as "Xing Han put pen to paper and shook the Five Mountains, and poetry became a smile to lead Cangzhou" ("Answering the Twelve Cold Nights of the King"). Li Bai's landscape poems often break the limitation of spatial orientation, arrange heaven and earth in all directions at will, and show the poet's broad mind through spatial deformation. For example, his six poems about Hengjiang initially focused on the location of Hengjiang (in today's Anhui County), but the poet's perspective was not limited to this place. It suddenly jumped to the crock pavilion outside Jiangning, even to Sanshan, which is located in the north of Jiangning County and farther than the crock pavilion, and then to Tianmen, 30 miles southwest of Dangtu, and suddenly wrote the tide of Qiantang River. Another example is "I was drunk when I accompanied Uncle Assistant Minister to visit Dongting". Third:
The cutting of Junshan Mountain can make the water level of Dongting Lake spread outwards, which looks endless. Baling didn't drink enough wine and got drunk together in the autumn of Dongting Lake.
When the poet was drunk, he wanted to cut off Junshan Mountain and let Hunan water flow freely to show his uninhibited pride. In addition, for example, writing about Lushan Waterfall, "The river begins to fall, and it is half a day ... The sea breeze keeps blowing, but the bright moon is still empty" (one of the waterfalls looking at Lushan Mountain), and "Going straight down to the thousands of feet, it is suspected that the Milky Way has fallen for nine days" (the second topic of the same topic) are all changing space in imagination to expand the momentum. In Li Bai's poems, the speed of time can also be changed according to the emotional requirements, and the so-called "subjective time" has appeared. For example, "You don't see the mirror on the shelf, the morning color is like silk, and the night is like snow" in "Into the Wine" describes that a person's life is as short as day and night; "Send Wei Nanling Ice" "The moonlight is drunk and the mountains are beautiful. The spring breeze kills people crazily, playing for three years a day and enlarging the day into three years. " Sauvignon Blanc "more wonderfully solidified for an instant, and the poem said:
I miss you in a distant place, outside the blue sky. It used to be an eye, but now it is a fountain of tears; If you don't believe in sword cutting, please come back and look in the mirror in front of me!
The heroine in the poem should seal up the moment of crying in front of the mirror as proof in the future. This is the same as the folk song "Mochou Le" in the Six Dynasties. "Huan Wen went down to Yangzhou and sent him to Shantou, Chu. Reaching out and hugging the waist, the river will not flow ",which has the same effect, and all use the deformation of time to set off the infatuation of women. In more poems, Li Bai is good at supplementing or organizing pictures with wandering immortals, dreams or dreamland, and expressing his ideals and feelings and Wang Yang more wantonly in virtual descriptions. For example, in "Dream on Mount Tianmu", the description made by the poet at the beginning contains a lot of fictional elements, such as "Yangyang is halfway through the road, the holy chicken crows in space" and "bears, dragons, mountains and rivers are storming the waves, shocking the forest and shaking the heights". These are all the mountains and valleys in the poet's mind and cannot be regarded as real mountains and rivers.
From the beginning of "clouds bring rain, water brings light smoke", poetry entered a mythical world, and wandering immortals inspired the poet's enthusiasm for freedom, and finally produced the rebellious voice of "Alas, how can I solemnly bow and scrape to the high official?" The poet expresses his refusal to the powerful through the realm of fantasy. Another example is Yin:
I want to climb the dragon to meet the Lord, and the thunder Lord beats the drum and slams the pot to hit the emperor. At three o'clock, I smiled and turned on the lightning, and suddenly it began to rain. If you can't pass nine doors, you will be angry if you close the door with your forehead. ……
The 19th antique:
Go to Lianhua Mountain in the west and watch the stars all the way. Holding a white hibiscus flower in both hands, curled up into a ball. Dressed in colorful clothes, elegant clouds floated high into the sky. I boarded the rainbow platform and bowed to Wei Shuqing. Anxiously follow them and take Hongyan to Zixuan. Inadvertently, the Luoyang Plain was full of soldiers in the Anshi Rebellion. The bones are bloody, and the traitors turn their backs on the court.
They all fully show the opposition between reality and ideal in the dreamland, or they can't forget the heart of suffering reality. It is the inheritance and development of Qu Yuan's poetic spirit to pin rich real life feelings on dreams and show sober struggle consciousness and enthusiasm in dream images.
Li Bai's "heavy spirit" is also manifested in his lyric form of surging waves.
In the process of creation, the poet's feelings are often like a torrent, overwhelming, and there is a powerful force in it. Therefore, in the choice of poetic style, he rarely uses relatively limited metrical poems, but prefers ancient poems, especially seven-character metrical poems, which are easy to gallop freely and express freely. Moreover, Li Bai's poetic style is more free than before. For example, Shu Dao Nan uses a lot of miscellaneous words of different lengths, and uses a unique sentence pattern: "Hey, hey, danger, such a trip is more difficult than climbing the blue sky!" Then there are five words, seven words, sometimes as short as three or four words, sometimes as long as a dozen words, such as: "This is at stake, why did you come all the way?" Although the pass of the watchtower is strong and steep, one person guards it and ten thousand people can't beat it. What if he is not loyal, but a wolf to his companions? . "Push the poet's passion to a climax step by step in the flexion and extension of sentence patterns. Li Bai's poems are also jumping, often revealing fickle emotional activities in the uneven opening and closing turmoil that rises again and again. What runs through these leaps is not the logic of life, but the traces of emotion. For example, "Farewell Minister Shu Yun in Xuanzhou Xie Tiao Villa" cloud:
Since yesterday, I have to leave Bolt and me behind. It hurts my heart even more today. Autumn geese are escorted by Changfeng, and I treat them in this villa and drink my wine. Great writers are all your brushes in their bones. In the school in heaven, I grew up beside you. We all hold high the idea of going far away and want to go to heaven to embrace the bright moon. But since the water is still flowing, although we cut it off with our swords, let's raise our glasses to ease our worries. Since the world can't satisfy our desire, I will let go of my hair and get on a fishing boat tomorrow.
There are only twelve sentences in the whole poem, but the poet's emotional activities have experienced several ups and downs.
The first two sentences began with sadness, but from the third sentence, the realm suddenly changed. The poet is full of energy and high spirits, and wants to go to heaven to embrace the bright moon. The word "draw out a sword" fell from the sky and fell back to the world, and sadness was like a resurgence. But the poet didn't want to be swallowed up by this depressed emotion, and finally broke free again and flew to the free space. In this ups and downs, the poet reveals his inner pain and shows his philosophical character.
The language style of Li Bai's poems, in his own verse, is "clear water gives hibiscus and natural carving" ("After the chaos, Tian En Liu Yelang recalled old books and gave them to Jiang Taishou for good slaughter"). He wrote a large number of Yuefu poems, accounting for almost a quarter of all poems, and was the poet who wrote the most Yuefu poems in the Tang Dynasty. His best quatrains come from Yuefu. Li Bai also freely used the quatrains used as Yuefu in the Tang Dynasty. All this shows that Li Bai's poems are close to ballads, and in fact, they enrich and enrich the poetic language from the vivid language of life, and refine it. Yuefu poetry has not developed much since the early Tang Dynasty, but Li Bai combined the simple and elegant Yuefu in Han and Wei Dynasties with the fresh and clear Yuefu in the Six Dynasties, creating a fresh poetic language.
Many of his poems are directly derived from Yuefu folk songs. For example, Silent Night Thinking is derived from the article Autumn Wind Entering the Window in Midnight Qiu Ge; However, his poems, such as The Wind Blows My Heart to Hang a Fairy Tree in the West (The Golden Elephant Sent to Xijing), My Heart and the Moon Rise with the Wind until Yelangxi (I heard that Wang Changling moved to Longbiaoyao to the left) and My Heart and I Dream of Flying to the Mirror Lake and the Moon in Wuyue Night (I Dream of Climbing Mount Tianmu), are obviously influenced by the Western Zhou Dynasty music of Yuefu in the Southern Dynasties. His poem "Go to the Three Gorges" is based on the ancient folk song "Three Gorges Ballad". The original words of the ballad are: "The cow is in the morning and the cow is in the evening. In the Three Dynasties, so did the cows. " In Li Bai's poem, he said, "Three Dynasties went to the ox late. It doesn't feel like silk. " There are still many poems, although not directly transformed from folk songs, but in terms of language style, they have maintained a frank, natural and clear style and won the charm of folk songs. For example:
Shu has heard of Zigui bird and Xuancheng has seen azaleas. One is called, one is ileum, one is broken, and March is three memories. (Look at the Rhododendron in Xuancheng) Chushan and Qinshan are all white clouds, and the director of the white clouds is with you. The dragon followed you, you entered the Chu mountain area, and the white clouds followed you through the Hunan water. In Hunan, there is a fairy in a rose. Baiyun can lie down and you want to come back early. ("Baiyun Song sends Liu uphill")
However, it does not mean that Li Bai's poetic language is limited to Yuefu folk songs. In fact, he also widely absorbed the essence of the previous generation of literati poetry, forming a popular and refined, beautiful and subtle, fresh and lively style. His "nature" is not only simple and clear, but also rich in meaning. In a word, Li Bai is good at learning from the achievements of predecessors and is a master of language.