all one's life
In the first year of Jiayou (1056), Su Shi left Sichuan for Beijing for the first time, and the following year he was a scholar with his younger brother, which won the appreciation of Ouyang Xiu, the examiner. In six years, Jiayou was promoted to the third place in the middle school system and awarded the judge of Fengxiang House in Dali. After his father Su Xun died in Bianjing, he helped the funeral home. In the second year of Xining (1069), he went to serve in the DPRK. Because there are many differences with Wang Anshi's idea of political reform, he asked for a transfer. From the fourth year of Xining to the early stage of Yuanfeng, he was sent to Hangzhou, Mizhou, Xuzhou and Huzhou as local officials. Get rid of the old and innovate, and make great achievements because of the convenience of the law. In the second year of Yuanfeng (1079), he was imprisoned for libeling the imperial court with poetry. After being released by luck, he was demoted to Huangzhou. In the first year of Yuan You (1086), the old party came to power. Su Shi was transferred back to Kyoto, Ren Zhongshu, where he served as a Sheren, a bachelor of Hanlin and a patent in Zhi Zhi. However, there are differences with the old party on the issue of abolishing the immunity law. Yuan You stayed in Hangzhou for four years. After six years' recall, Jia Yi and others falsely accused Su Shi of going abroad, and he was sent to Yingzhou, Yangzhou and Dingzhou successively. During this period, he continued to carry out some reforms within his power. During Shao Shengyuan's reign, the New Party seized power and demoted the old minister of Yuan You. Su Shi was demoted again and again, from Yingzhou (now Yingde, Guangdong) and Huizhou to Danzhou (now Danxian, Hainan). It was not until Fu Yuan's third year (1 100) that Song Huizong was pardoned and returned to the north. Jane Zhongjing Guoyuan (1 10 1) died in Changzhou in July. Su Shi influenced Buddhism and Taoism on the basis of Confucian system. He combined Confucianism, Buddhism and Taoism with the philosophy of the third generation, and almost all his thoughts attracted him. In his early years, he had the political ideal that Confucianism assisted the monarch to govern the country and help the people, and he was interested in reforming the lazy habits of the Northern Song Dynasty. On the one hand, Buddha's old ideas help him to observe problems more easily, and he still insists on the pursuit of life and beautiful things behind a broad-minded attitude beyond things; On the other hand, the nihilism of equality between life and death and right and wrong has a serious negative effect of escaping from reality. This kind of life thought and attitude is obviously reflected in his creation. Su Shi's political path was bumpy. Because he advocated reform but disapproved of Wang Anshi's political reform, he not only contradicted the reformists, but also became better than the conservatives who maintained the status quo. Su Shi's distinctive personality and attention to ethics made him neither satisfied with Yuanfeng nor yearned for Yuan You, which was even more destroyed by Shao Sheng. However, this is just conducive to his deepening experience, broadening his horizons and making him a great success in literature.
Literary achievements
Su Shi devoted his life to literary and artistic creation. He attaches importance to the social function of literature, opposes "Zhong Hua despises reality" and emphasizes that the author should have a complete life experience. In his opinion, the style of writing should be "like flowing water, with no definite quality at the beginning", "natural in arts and sciences, full in posture" (Teacher Xie's Book), bold in innovation and originality, and "innovative in statutes, bold and unconstrained, leaving wonderful ideas outside" (After Wu Daozi's Painting). Su Shi attaches great importance to the discussion of literary and artistic creation skills. He explained "expressing words" by "seeking the beauty of things is like catching shadows from the wind", and then "knowing things in the mouth and hands" (Thank the teacher's book), which touched the special law of literary and artistic creation. Su Shi's creative practice embodies his literary view. He is a versatile master with unique achievements in poetry, ci and prose.
There are more than 2,700 poems by Su Shi, with a wide range of subjects and rich contents. Sympathy for the people and concern for production are the prominent contents of Su Shi's poems. But more places criticized the shortcomings of the new law. Some poems concerned with production, such as "Two Rhymes and Chapters Pass Happy Rain", "Answer to Reclaim the Land in Lu", "Carboniferous Period", "Sheep and Horse Song" and "You Polo Temple", show people's sufferings, criticize the shortcomings of the times, express sincere feelings, are unpretentious, and open up many social themes rarely involved by predecessors, with extensive materials and far-reaching significance. Su Shi's landscape poems and rational poems have the highest artistic value and are the most popular. Poems such as Visiting Jinshan Temple, Night View of Wanghailou, Drunk Book of Wanghulou, and Drinking Rain from the Lake after the Qing Dynasty depict the night of the Yangtze River, the sunny rain in the south of the Yangtze River and the beautiful scenery of the West Lake. Poems such as Climbing to the Guangli Pavilion on the Peak of Changshan Mountain, Hundred Steps of Flood and Climbing to Haicheng Zhangzhou vividly depict the local scenery and places of interest in Jiangbei. Su Shi is not only good at observing and capturing the different characteristics of local scenery, but also describes the freshness and simplicity of rural environment with joy and love. The pastoral poems written in Lingnan reflect the harmonious relationship between the author and Huizhou people and Li people. Su Shi is good at understanding new ideas and wonderful ideas from daily life and ordinary natural scenery, and writing thought-provoking and interesting poems. For example, some articles, such as Xilin Wall Title, Qin Poetry, and Sinha Pagoda in Sizhou, are all lyrical on the spot, with a definite meaning and endless aftertaste. Some poems are often full of bright and optimistic interest, which embodies the spirit of defying adversity and despising hardships. In addition, Su Shi also wrote many poems to appreciate calligraphy, such as Reading Meng Jiao's Poems, Zang He Zhan, Shi Zui Mo Tang and so on. Su Shi's poems are bold and agile, full of ease, full of talent and thoughts, touching the scene and full of spring, unique in art and becoming a grand view of a generation. Su Shi is observant and concise in poetry. No matter how he describes the scenery, state of things and human feelings, he can write it vividly and quite lyrical. Su Shi's poems are imaginative, interesting, novel, appropriate and fascinating. Su Shi's poems are sometimes straightforward and full of momentum. The argumentative nature of Su Shi's poetry certainly contributes to the freedom of expression and the fluency of style, but it has an influence on the imagery and rhythmic beauty of poetry. Moreover, due to social intercourse, some rhyming poems are close to word games. Too many useful works or too many rough and lengthy works have affected his creative achievements. Su Shi can master everything in ancient and modern styles freely, but he is good at ancient styles and seven words. His seven ancient paintings are magnificent and unpredictable, which can best reflect his unconstrained talent, wonderful pen galloping and fantastic agility. The five ancient books are unpretentious, clear pronunciation and mellow voice, and naturally wonderful. Su Shi's Seven Rhymes are also excellent, with natural charm and beautiful and round style, which is slightly similar to Bai Juyi and Liu Yuxi's poetic style, but more surprising. Su Shi didn't put much effort into the five-character poem method. There were never many five-character poems, but the seven-character poems were beautiful and vivid, and the famous works were widely read.
During the Northern Song Dynasty, Su Shi broke through the barrier that ci must be fragrant and soft, and created a number of new ci chapters, which opened the way for the rapid development of ci style. Judging from the existing 3450 Dongpo ci poems, Su Shi's innovation in ci style is various. Su Shi expanded the function of Ci to reflect social life. He not only wrote traditional themes such as love, parting and wandering, but also expressed his ambition to serve the country, rural life and exile life with words, which expanded the realm of words. He created heroes with healthy brushstrokes to express his great ambition to contribute to the country, such as (Jiang)' s "Old Man Chatting with Teenagers" and so on. Su Shi devoted himself more to expressing his personality in his ci. (Man Jianghong) "Jianghan Came to the West" is a nostalgia for the past, using Mi Heng's experience to cover up resentful feelings; (Set the storm) "Don't listen to the sound of leaves beating in the forest" embodies a leisurely attitude towards life that is not afraid of ups and downs. The five poems written in Xuzhou (Huanxisha) vividly describe the small scenes of rural production and life in fresh and beautiful language, and describe various rural figures such as Huang Tong, Bai Zuo, Cai Sanggu, Silk Reeling Niang and melon seller. It can be said that Su Shi can use words to express all the life contents that poetry can write. Su Ci is innovative in brushwork and system. He writes poems with heroic momentum and vigorous brushwork, and his style is mostly vigorous, frustrated and passionate. Such as (Klang Ganzhou), "Love comes from Wan Li", and the brushwork is like a snowy mountain.
Beginning with Su Shi, Yuan You poets began to write poems in poetic style. Su Shi rewrote Tao Yuanming's Poem of Returning to the Native to Whistle, and Han Yu's Poem of Listening to the Piano to Tune the Song Head, which also made some innovations in the style of ci. In the past, poets rarely set topics outside the topic. Many of Su Shi's ci works not only begin with the title, but also use a small preface, reaching hundreds of words, which is brilliant in literary talent and quite attractive. Su Shi took poetry as his ci, which expanded the expressive force of ci style. Su Ci has a distinct ideal color. Some works are imaginative and unconstrained. For example, "When will there be a bright moon?" (Nian Nujiao) "Overlooking the distance from a height?" (Man Fang Ting) "Go back and come to Xi?" Such chapters are the spiritual inheritance of Qu Yuan and Li Bai, and open some of Xin Qiji's broad-minded and fantastic works. In language and temperament, it also embodies Su Shi's innovative spirit. The language of Su Ci mostly absorbs the words of poetry and fu, adopts both historical biography and spoken language, and is famous for its clearness and boldness, which has changed the previous fashion of poets choosing the wrong words with gold. He attaches great importance to melody, but he is not rigid. Su Shi's ci style presents diversified characteristics. In addition to the magnificent words such as "The River Never Returning", other works, whether beautiful or fresh, or charming and lingering, all have their own charm. For example, (Jiang) mourns his dead wife and is deeply attached to her; (Shui Longyin) Singing Huayang, lingering; (Butterfly Hua Lian) The beauty's laughter stirs the spring worries of the laity on the wall, which is full of amorous feelings and charming.
Su Shi made great efforts in prose. With solid skill and unrestrained talent, he developed Ouyang Xiumin's soothing style of writing and opened up a new world for prose creation. The papers on history and politics, including recitation, strategy and historical criticism, are mostly works closely related to Su Shi's political life. There are many excellent chapters with pertinence and insight, but some of them are unreasonable in length and strong in discipline. Such as Jin Ce, Si Zhilun and Hou Lun. His views are novel, not rigid, eloquent and flexible, which embodies the influence of essays such as Mencius and Warring States Policy. Narrative travel prose has the highest artistic value in Su Wen, and there are many famous masterpieces. Write down the inscriptions of characters, such as "Chaozhou Hanwen Gongci Monument", and write down the essays of pavilions, such as "Xi Yu Ting Ji". His landscape travel notes, such as The Red Wall before and after Fu, are good at capturing the characteristics of scenery and expressing reason, so as to achieve the harmonious unity of poetry and reason. Su Shi's narrative prose often combines discussion, description and lyricism, and is unconventional and innovative in style. Stylistically, Wang Yang is proud of his physical form; It can better reflect the influence of Zhuangzi and Zen writing. Prose such as letters, inscriptions, recitation and postscript also occupy an important position in Dongpo's book collection. Most of his letters, such as A Book about Mei Zhi and A Book with Li Gongze, are written in essays and carvings, which make people deeply understand their hearts and best show the author's frank, cheerful and funny personality. Su Shi wrote many inscriptions, prefaces and postscripts, essays, comments on poems and paintings, talks about calligraphy and summarizes creative experience. Such as Before Going South, After Painting by Wu Daozi, etc. In addition, Su Shi also has some essays describing his academic experience, such as Japanese Metaphor and Jia Shuo. It can be written in a simple way and has many original ideas in content. Su Shi also wrote a widely circulated note "Dongpo Zhi Lin", which was mentioned before his death, but was not completed. Has been passed down to later editors. Zhi Lin, included in Renhai, is very rich in content, with many essays and trivial notes, concise and quite tolerant. For example, "Night Tour in Chengtian Temple" and "Night Tour in Songfeng Pavilion" are handy, artistic and temperament. This writing is really a school of essays in the late Ming Dynasty. Another Qiu Chi Notes was also compiled by later generations. Su Shi's works have a wide influence. He is keen on awarding prizes and training many talents. His works were widely circulated in the Song Dynasty and played an important role in the development of literature in the Song Dynasty. Su Shi was highly praised by Jin Dynasty poets, Ming Dynasty writers and Song Dynasty poets. Su Wen has been engaged in academic research for a long time, and his prose is the first in Ming and Qing Dynasties. Until the Qing Dynasty, Su Ci was still dominated by poets such as Chen Weisong. A large number of Su Shi's works are his precious legacy to future generations.
Su Shi is brilliant, elegant in poetry and prose, and good in calligraphy and painting. He visited all the philosophers in Jin and Tang Dynasties in calligraphy, and became a school of his own. He is good at running script and regular script, and his brushwork is strong and natural. He, Cai Xiang, Huang Tingjian and Mi Fei are also called "Song Sijia". Books handed down from ancient times include Huangzhou Cold Food Poetry Post, Red Wall Fu, Thank you for your essay post, Dongting Spring Scenery, Zhongshan Song Laoer Fu Volume and so on. Su Shi's concept of painting is remarkable, advocating "likeness of spirit" and "vividness", and putting forward "painting in poetry" and "painting in poetry", which is very influential in the history of painting. He is good at painting bamboo and stone, learning and writing, and has his own style. Su Shi's paintings are genuine, and today there are only "ancient trees and strange stones". Su Shi's academic works include Yi Zhuan and Shu Zhuan.
The block-printed edition of Su Shi's poetry and prose collection includes Seven Chapters of Dongpo, which became a Sect in Ming Dynasty. The chronology is attached with appendix, volume *** 1 12. There are clear end school-based and four libraries of lead-printed copies. Since the Song Dynasty, annotations of Su Shi's works have appeared constantly. The famous ones are: Cha's Notes on Dongpo Chronology Poems, Feng's Notes on Su Wenzhong's Poems, Wang Wengong's Compilation and Annotation Integration of Su Wenzhong's Poems, Su Shi's Poems published by Zhonghua Book Company 1982 and revised by Kong. There are notes such as the Summary of Jin Jing Dongpo's Collected Works compiled and annotated in the Southern Song Dynasty, the Complete Works of Mr. Dongpo compiled and annotated in the late Ming Dynasty, and the Collected Works of Su Shi published by Zhonghua Book Company 1986. There are biographies of Dongpo Yuefu written by Zhu Zumou, a close friend, and Dongpo Yuefu written by Long Yusheng, a modern man.
Five pronouns of Li Yu. Southern Tang dynasty monarch. The word is heavy, and the first name is from Jia. Xuzhou (now Jiangsu) people are called Huzhou (now Zhejiang) people. In the second year of Stegosaurus (96 1), he succeeded to the throne and was known as the queen in history. At the age of 38, Mr. Song flew across the river and besieged Jinling. The next year, the city was captured by Song, and he was captured to Bianjing, where he was appointed as a general and disobeyed orders. After being poisoned by Song Taizong Zhao Guangyi.
In the late Middle Dynasty, the Southern Tang Dynasty became a vassal of the Song Dynasty. When Li Yu was in office, he always kowtowed to the Song Dynasty. When he 18 years old, he made a contribution and his government was exhausted. But he still didn't want to cheer up, flashy and extravagant, superstitious about Buddhism, and was finally destroyed by the Song Dynasty. He is an incompetent emperor in politics, but he has many artistic talents, such as calligraphy, painting, mastering temperament and poetry, and his achievements in ci are particularly high.
Li Yu ink mark
Li Yu's ci poetry can be divided into two periods, one before and the other after the eighth year of Song Taizu Kaibao (975). His early ci poems have shown his extraordinary talents and superb skills, but the themes are narrow, mainly reflecting the palace life and the love between men and women, such as Jade House Spring, Late Makeup and Early Snow, Xi, Xiao Yue Falling, Su, Mutual Assistance, Morning Makeup and Bodhisattva Man. There are also works about parting lovesickness, such as Qing Ping Le and Don't Come to Spring Half. They are all lyrical, integrated, healthier and more readable. In the later period, Li Yu became a prisoner from an emperor. "When is the humiliating life, the deep pain of national subjugation, and the remembrance of the past?" Sand Waves, Rain Outside the Curtain, Night Cry, Flowers Fade in Spring and Lonely West Building are his later representative works, which mainly describe his vision and dreams of returning home and express his feelings for "the old country" and "the past"
Li Yu's Ci has inherited the tradition of Hua Jian Ci poets such as Wen and Wei Zhuang since the late Tang Dynasty, and has been influenced by it, which has promoted the creation of Ci. The main results are as follows:
(1) expands the expression field of words. Li Yu's previous writings were mainly erotic and shallow in content. Even if it contains a little hug, it mostly adopts figurative techniques, which are hidden but not revealed. However, most of Li Yu's works are straightforward, pouring out his life and feelings of the country and expressing his true feelings. Therefore, Wang Guowei said: "When the word arrived in Li Houzhu, its vision began to widen and its feelings deepened, so it became a musician's word and a scholar-bureaucrat's word." ("Words on Earth")
② It has high universality. Li Yu's ci often reflects a certain realm of universal significance in real life through concrete and sensible personality images. "The small building was easterly last night, so the old country could not bear to look back at the bright moon ([Yu Meiren])," The flowing water has come out in spring, and on earth ([Langtaosha]), "People naturally grow up and hate water ([Wu Yeti])," Hate is like spring grass, but live farther ([Qingpingle]) and other famous sentences have profound meanings.
③ Language is natural, refined and expressive. His writing is not gorgeous, but touching; Not vague, but meaningful; Form a fresh and beautiful artistic feature.
(4) originality in style. Hua and Southern Tang poets are generally good at euphemism, while Li Yu is good at euphemism. For example, Lou Yuchun's Mighty, Night Scare, The Big Strange Bitterness in Langtaosha (see Tan Xian's Tang Fu Thorn), Yu Meiren's chic, If a pony is born, it will be out of control (Zhou Ji's preface, as Na Lanxingde said, "Flower words are like ancient jade, which are valuable but not applicable, while Song poems are applicable and qualitative." (Miscellaneous Notes of Green Water Pavilion)
Li Yu is rich in poems, essays, words, books and paintings. His veteran said that he had 30 volumes of anthology and 100 essays. Li Yuji 10 is included in Reading in the County Zhai, and Nan Tang 10 is included in History, Art and Literature of Song Dynasty, both of which have been lost. The two main scripts in Southern Tang Dynasty were 1 volume, which solved the problems in Records of Zhi Zhai. At present, there are 34 Li Yu's poems in Mohuazhai Edition in the forty-eighth year of Wanli in the Ming Dynasty (1620), among which "Looking at Jiangnan" can be divided into two poems. Shao Changguang recorded another 65,438+0 poems in the post-Qing period, and Wang Guowei supplemented nine poems of the Southern Tang Dynasty in modern times, but there seem to be many problems. According to the opinions of most modern scholars, only 32 poems can be identified as Li Yu's. In Qing Dynasty, Liu Ji wrote Two Essentials of Southern Tang Dynasty, Tang Guizhang wrote Two Essentials of Southern Tang Dynasty, and Wang Zhongwen wrote Two Essentials of Southern Tang Dynasty. For his deeds, see History of the New Five Dynasties, History of the Song Dynasty, Book of Southern Tang Dynasty written by Ma Ling and Lu You, and Chronicle of Two Masters of Southern Tang Dynasty written by Xia.
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Li Qingzhao was a poetess in Song Dynasty. Self-styled Yi 'an lay man. A native of Zhangqiu, Jinan (now Shandong). Father Ge Fei, the official to the Ministry of Justice Yuan Wailang, JD.COM Tao mentioned some prisons. From Han Qi School, he was once known to Su Shi for his articles. He is knowledgeable, especially in the study of Confucian classics, and enjoys a high reputation in Qilu area. After being removed from office. He wrote a lot in his life, and now only one volume is Luoyang Famous Garden. Mother Wang, the granddaughter of the champion Wang (Biography), is the granddaughter of Duke Huan of Han (Zhuang Chuo's Chicken Rib), and she is also a good writer.
Li Qingzhao's life experience can be divided into two periods: before and after the Song Dynasty moved south.
In the early stage, Li Qingzhao lived with her father in Bianjing and Luoyang and received a good cultural education. She is proficient in writing, writing and temperament. "She has had a poetic name since she was a teenager, so she can support herself and get close to her predecessors" (Wang Zhuo's Biji Manzhi). Fu Yuan wrote Wuxi Zhongxing and Zhang Wenqian for three years (1 100), which were well received by people at that time. When Jian Zhong Jing Guoyuan11kloc-0/years old, he married Zhao Mingcheng, the youngest son of Tingzhi Zhao, assistant minister of the official department. Ming Cheng was 2 1 year old. He is a student of Imperial College and likes to collect the stone carvings of the previous generation. Shortly after the marriage, the new party Cai Jing came to power, and Tingzhi Zhao was promoted to Shangshu Youcheng. They tried their best to crack down on the old party. Li was removed from his post because he was party member, in order to talk about the prison. At that time, Li Qingzhao gave Tingzhi Zhao a poem in an attempt to save his father. The poem says that "the heart is hot and the heart is cold", which shows that the Li family suffered political misfortune after marriage and was dissatisfied with what they had done.
About the second year of Chongning (1 103), Zhao Mingcheng began to be an official and once worked as a young lady. Their husband and wife are like-minded. "They have food, vegetables, clothes and training, are poor and far away, and have the ambition of spreading ancient words all over the world" (Preface to Jinshi). After their search, the collection of dead poems, famous paintings of ancient and modern celebrities and cultural relics gradually increased. In the first year of Daguan (1 107), he died in the capital and the Zhao family suffered a political disaster. At that time, Cai Jing shot for the left servant and framed the Zhao family because of jealousy. However, due to lack of evidence, only Tingzhi Zhao's office was closed down. Brother Zhao Mingcheng may lose his job because of this. Li Qingzhao and Zhao Mingcheng returned to Zhao's hometown in Qingzhou (now Yidu, Shandong Province).
Zhao Mingcheng lived in the village for 10 years. They "retreat from difficulties" and make greater efforts to visit historical sites and cultural relics. In the third year of Xuanhe (1 12 1), Zhao Mingcheng was reinstated. One is to stay in Laizhou (now Ye County, Shandong Province). After the term of office, Zizhou (now Zibo) was changed to a secret pavilion. During this period, they began to compile the records of inscriptions, and constantly collected antiques and inscriptions, appreciated and revised them together, and made great achievements in academics. In the first year of Jingkang, Jin people besieged Bianjing. The following year, Zhao Mingcheng's mother died in Jinling, and Mingcheng went south with the book 15. Subsequently, the Northern Song Dynasty perished. After Emperor Gaozong ascended the throne, Ming Chengzu began to know Jiankang House. At this time, there was chaos in the north, and everything in Zhao Jiaqing's tenth palace was burned. Li Qingzhao started her miserable life in the south with only a few cultural relics.
Two years later (1 128), Li Qingzhao fled south to Jiankang with the pain of national ruin and death. She was very concerned about the fate of the country and the political situation at that time, and wrote poems such as "Wujiang cold in the south and Xiao cold in the north" and "Wang Dao in rags in the south and news from Liu Kun in the north", expressing great dissatisfaction with the Southern Song Dynasty court. The following year, Zhao Mingcheng moved to Huzhou (now Zhejiang). Stay in Chiyang (now Guichi, Anhui) and go to Jiankang alone. Unfortunately, he was ill. When Qingzhao arrived in Jiankang by boat from Chiyang, Mingcheng was critically ill and died soon. She buried her husband with great sorrow. At this time, the nomads from the army invaded south on a large scale, and the health situation was urgent. The imperial court has begun to evacuate and flee. Li Qingzhao sent people to send books and stone carvings to Hongzhou (now Nanchang, Jiangxi) first, and prepared to go there to go to Zhao Mingcheng's sister-in-law to avoid chaos. However, Hongzhou fell again and the road was blocked. Most of the cultural relics were lost in the war. When Zhao Mingcheng was seriously ill, his friend Zhang Feiqing came to visit him with a jade pot. It is rumored that the couple are using jade pots to praise gold. I heard that someone reported it to the court. Such a political frame-up frightened Li Qingzhao, and she decided to present all the bronzes and other items in her home to the court in order to get rid of it. So, she fled along the route of Emperor Gaozong, from Yuezhou to Mingzhou, passing through Fenghua and Taizhou, and then returning to Yuezhou via Wenzhou. Finally, I stayed in Shaoxing for two years and moved from Yuezhou to Hangzhou. During this period, she was not only under political pressure, but also a lot of calligraphy and painting ink was stolen, and she was wandering around alone, in an extremely miserable situation. According to the Records of Jian Yan Years and other materials, Li Qingzhao remarried, but later scholars are quite controversial about it.
This winter, Jin Rennan committed a crime. She went from Lin 'an to Jinhua to avoid chaos and returned to Lin 'an the next year. There is a lack of information about Li Qingzhao's life in her later years, but she once wrote poems to Han Xiaoyao and Hu Songnian as an ambassador, wrote "Flattery" and "Preface", and visited Mi Youren with the ink of her predecessors to ask for an inscription. This shows that she has always been concerned about state affairs and has been engaged in literary creation and academic activities.
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Li Bai (70 1-762)
"The son of the article, Li Jieren. When the earth opens, clouds evaporate and rain falls. Sowing everything is great. Ingenious nature, manpower and application? Another example is the long river, which is boundless. Ten thousand diarrhea, especially at the end. As for words, as for this. In high spirits, carry forward the lofty "Song" generation Li interpersonal ".
Almost no one in China does not know about Li Bai, because Li Bai was a great poet in the prosperous Tang Dynasty and had an important position and far-reaching influence in the history of China's poetry development. He was the first poet in China.
The word "Li Bai" is "Taibai" and is called "Qinglian layman". He was born in Ji Cheng, Longxi (northwest of Qin 'an, Gansu). His ancestors fled to Broken Leaves in the war at the end of Sui Dynasty (near today's Kyrgyzstan and tokmak), where Li Bai was born. As a teenager, Li Bai was gifted and had a wide range of interests, such as "reading strange books", "wandering immortals" and "being good at fencing". In the first year of Tang Zhongzong Shenlong (705), the family moved to Mianzhou, Sichuan, and was once enshrined by the Hanlin. Because it is called "Li Hanlin". He is known as "the immortal in the sky", and later generations also call him "Li Chenxian". However, Emperor Xuanzong of the Tang Dynasty only asked Li Bai and others to send a letter to Hanlin, the minister of the Chapter Department, and Li Bai's ambition could not be realized. Li Bai's personality is arrogant, and he can't stand the life of "making eyes at the eyebrows and bending his back to serve the dignitaries". Three years later, Li Bai was ruined by slander, so he invited himself back to the mountain and left Chang 'an. He can only visit the mountains and immortals and drink crazy songs to relieve his grief and indignation. But he never gave up his dream of making contributions and becoming an extraordinary person. After the An Shi Rebellion broke out, Li Bai was invited to Lilin, the shogunate of Wang Yong, and thought he had a chance to make contributions. Recite the heroic poem "but use Dongshan Xie Anshi to laugh at Jinghu Sand for you". After Wang Yong's army was destroyed by Tang Suzong, Li Bai was also implicated in prison, and was later pardoned on his way to exile Yelang. Until the age of sixty-one, Li Bai also asked to join the army, hoping to have a "one-knife use", but he turned back due to illness and failed to do so. At the age of sixty-two, he was ordered by his uncle to stay in the Li family (dangtu county, Maanshan, Anhui).
Now there are more than 990 poems and songs by Li Bai. There are a large number of political lyric poems, which fully show the poet's extraordinary ambition, unrestrained passion and chivalrous spirit, and also represent the typical tone of poetry in the prosperous Tang Dynasty. Li Bai has a strong sense of self and compares himself with Dapeng many times. "One day, Dapeng rises with the wind and goes straight to Wan Li" and "Li Yong". However, Li Bai's frustration in Chang 'an for three years turned his full political enthusiasm into a wild song of grief and indignation when he was hit by reality again, and it gushed out from his chest: "The road is like a blue sky, and there is no way out in front of me. I am ashamed to follow those who have no courage, fighting chickens and dogs to bet on pears, and I want to return home with no fish to eat. Zhou Busi succumbed to the gentry. Li Bai also used a hearty drinking poem to dispel the sadness of his talent. "Into the wine": "Oh, let a man with spirit take risks where he likes, and never point his golden cup at the moon! Since God has given talents, let them be used! , spin one thousand silver, all back! Cook a sheep, kill a cow, sharpen your appetite, and let me, 300 bowls, take a long drink! " It is in line with this unrestrained emotional momentum. The remarkable characteristics of Li Bai's poems in artistic techniques are: magical imagination, endless changes, vertical and horizontal structure and patchwork sentence patterns, which form a magnificent and elegant style. Climbing Tianmu Mountain in the Dream:
"In a straight line to heaven, its peak enters heaven, with five holy peaks on top, and casts a shadow in China. The Paradise Terrace Mountains are 100 miles long, and it is here that they begin to extend to the southeast. My heart and my dream are in Wu Heyue. They cross Jinghu Lake on a moonlit night. The moon lit up my shadow and I came to Yanhe. Xie 'an is still there, with a loud voice and rippling blue waves. Xie, climbed Yun Lan's ladder. Halfway through the sunny ocean, the sacred rooster crows in space. Countless peaks and more valleys, there is no road, flowers tempt me, and rocks relax me. The day suddenly ended. Bears, dragons and storms on mountains and rivers disturb forests and shake mountains. Clouds are darkened by rain, and streams are pale by fog. The god of thunder and lightning shattered the whole mountain range, and the stone gate was divided and vented in the sinkhole. An impenetrable shadow, but now the sun and the moon illuminate a golden and silver terrace. Dressed in colorful clothes and riding the wind, all the queens of the clouds came down one by one, with tigers playing pipa and phoenixes dancing. Row after row, like a hemp field, lined with fairy figures. When the big dream first woke up, the dreamland disappeared, which led to the understanding of the world of life: "People's happiness is always like this, and thousands of waters flow eastward in Qian Shan", "Alas, how can I bow and scrape to those high-ranking officials who will never be shown with honesty?". This feature of Li Bai's Dream Falling from the Sky has greatly developed Zhuangzi's fable, Qu Yuan's first romantic spirit and expression techniques, and also incorporated the Taoist immortal image, which has amazing artistic charm and won the praise of a generation of "poetic immortals".
Li Bai's poems and songs have diverse themes. His seven-character ancient poems (Shu Dao Nan, Tian Mu Shan Meng Deng, Jiang, Yin, etc. ); Five-character ancient poems (59 ancient styles); There are some poems in Yuefu folk songs in the Han, Wei and Six Dynasties, such as Long March and Midnight Wu Ge. And seven-character quatrains (looking at Lushan Waterfall, looking at Tianmen Mountain, making Baidi City as early as possible, etc. ) became masterpieces in the prosperous Tang Dynasty. Li Bai was already famous in the Tang Dynasty. His poem "There is no set volume, but every family has it". He is the first poet in China's poetry.
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