Li Bai's realistic literary thought comes from the spirit of Historical Records, which is manifested in the pursuit of authenticity, realistic style and skills, and its embodiment in his works varies from style to style. Prose examples prove that painting praises return to reality and poetry is like reality. It is a supplement to Li Bai's romantic literary thought.
Keywords Li Bai/Record
In the study of Tang literature, people have noticed the relationship between historical tradition and Tang literati, but there are also some problems that need to be discussed in depth, such as the relationship between Li Bai and historical tradition. Many related papers actually involve this issue, such as historical figures and their personality paradigms in Li Bai's poems, Li Bai and poets of the Six Dynasties and their cultural inheritance. Starting from the significance of Li Bai's use of the word "Ji", this paper discusses Li Bai's realistic literary thought and its application in creation.
An important aspect of historical tradition is the spirit of "record". The biography of Sima Qian in Han Dynasty says: "Its writing is straight, its core is not empty and beautiful, and it does not hide evil, so it is called a record." This is the most authoritative explanation of "Record", and it has also become the principle of compiling history followed by outstanding historians in later generations. The word "Shi Lu" often appears in historical works, and it has been used in several historical books compiled by people in the early Tang Dynasty. For example, The Book of Jin, Volume 94, Biography of the Hermit, says Biography of Mr. Wu Liu: "In this way, people call it a record." Volume 27 Biography of General Manager Jiang: "In short, when telling a story, people call it a record." "History of the South" Volume 48 "Lu Chuan": "Lu Jiang often said:' Smile is as beautiful as a mirror, touching things is always gorgeous' What does it mean? Wang Siyuan is always like ice, with frost in summer. "At that time, I thought it was a record. However, the word "memoir" rarely appears in the poetry and prose works of early Tang writers, and occasionally appears in biographies. For example, Lu Zang said in Chen Ziang Biezhuan: "Your old friend Yang Fanlu Zang used his legacy as a preface, and people who know it call it a record. "However, Li Bai used this word in the Preface of Sending Power to the Eleven Women in Jinling, which naturally caught our attention. Li said to the cloud, "I hope the wind is surging." Known as Bao Ji, he is a minister other than the 36 emperors. That is, Siming Yi Laohe called Yu 'an a fairy, and he recorded it. " [1] (Volume XXVII, P 1263- 1264) The word "record" here by Li Bai has two meanings: First, it means that Zhang Zhi called him "fallen fairy" as a true record, not a fabrication by Li Bai, and Li Bai's "Preface to Celebrating Wine" also means it. [1] (Volume 23, P 1085) Secondly, it is also true that He Zhangzhi called him "the fallen immortal", because Li Bai "is always blessed with treasures".
Liu Zhiji's Shi Tong mentioned "Lu" many times, and Cai Chuan said: "The five outstanding men in Jiangdong began in Huiji, and the Eight Dragons in Yingchuan came from Xun's family, but all the people who compiled the history of Jin and Han dynasties claimed to be false names, so they were named Lu. If you don't do textual research, why do you know its right and wrong? " [2] (Volume V, P 1 17) Yi Li says, "It's not hard to remember!" [2] (Volume V, P 1 14) The "Floating Words" cloud says: "The meaning of writing is harmful since ancient times, but its source is still there. If what Yu and Zhou did is a true record, will more than one person praise him and take his direction, not just four sentences? " [2] (Volume 6, P 160) Narrative, branch secretary, sword finger and Xu Chuan all use the word "record", which is roughly a true record of historical deeds and characters.
Li Bai's "Record" comes from the concept of historiography. Translation into literary thought can be understood as the pursuit of authenticity and realistic style and skills. Li Bai's prose creation shows a conscious pursuit of truth and the application of skills, which is rare among contemporary writers. In order to pursue the real effect, Li Bai consciously used the method of proof.
One way is to quote people and sit down. When he praises others, he often quotes people at that time to prove a fact. For example, the History of Shang 'an Pei Chang praised Pei Chang for his high righteousness and commitment, saying, "What does an old friend sing about guests and friends? Pei Hongmen works day and night. I hope to get a word from Pei Gong, and I don't need to open Ma Liehua's announcement. "In order to illustrate the reputation of Han Jingzhou among scholars, the book with Han Jingzhou said:" People talk about the gathering of scholars in the world, saying,' I don't need Wan Huhou to live, but I want to know Han Jingzhou. "
The second method is confirmed by public opinion. "Rencheng County Hall Wall Record" praised the county magistrate He Gong, "There is no stagnation in the play. Dysprosium is broken from poplar leaves, and mulberry trees are closed with a drum knife. Reconciliation of just and gentle chords with compassion. Teach them at the age of one, treat them well at the age of two and enjoy them at the age of three. Then, the young man went to training and his hair turned yellow. When you were in the army, the farmer had no husband; The spindle rings and the machine is the daughter of a moth. I don't know how things have changed. Tao Ran came from spring. Quan Hao hoes the heart of violence, and the official belongs to harmony. It is important for walkers to make way for roads, and those who are allowed to take care of them. Help the old and bring the young, respect and kiss, for thousands of years, and then return to the road. If the gods are far away, how can they contract here! " [1] (Volume 28, P 1298) There must be some exaggeration in this passage, but Li Bai made the necessary explanation in order to make the word He Gong have a good reputation. "White sandalwood is enlightened, listens to public opinion, writes it on the wall, and hangs in the future. Give the sword to the later sage, and you will know why the public will destroy it. " [1] (Volume 28, P 1300) Li Bai's talent can be seen here. The above praise for He Gong is inevitably exaggerated, but the sentence of "listening to public opinion" seems ordinary, but in fact it is meaningful. Comfort He Gong, relieved his fear of being flattered. Because of this "public opinion", the ancients attached great importance to public opinion. Second, An Zhimin, Li Bai's praise of He Gong is ridiculous, but Li Bai pointed out that this is from public opinion, not Li Bai's fabrication.
The third method is based on the details, "Preface to send my nephew to Lushan Mountain in autumn": "At the beginning of Jiaxing, her father traveled west to Changsha, and when drinking the forest before swimming, the children swam around. Today, I am successful, depressed and delicate. " [1] (Volume 27, P 1267) The details of "playing around" are vivid and very real. There is a general summary and detailed record in Yucheng County Order Gong Li's Monument and Preface. "At first there were crowds in the city, but there were only two Geng families, hundreds of them. Gong Xun is a pure person, which is easier said than done. Li Qiugu, a ghost in the north, or a drunken father who took his son's blade, went to work on business, which was a disaster. The water in the old well of the official residence is clear and bitter. I got off the bus and tasted it. I smiled and said,' Bitter and clear, enough to show my will.' So, if you use it without changing it, it will become a sweet spring. There are three willows in the east of beginning of autumn Pavilion. You can rest for business, drink water and not cut roads. Compared with Gan Tang, six books were written by fellow villagers because of trees. [1] (Volume 29, P 1387- 1388) summarizes four details and shows four virtues of Gong Li: one is to praise Gong Li's pedantry; On the second floor, praise Li Zhen ghost; The third floor is to praise Li Gongde for changing spring water; The fourth layer is Li's praise of victory.
Especially when writing his own behavior and morality, Li Bai is even more so. He is very particular about this skill. He understands that once the literary creation that mainly describes self-words and deeds enters circulation, authenticity becomes an important value judgment of literary creation. Here is Pei Chang's history book in Shangzhou as an example.
In the article "History of Shang 'an Peichang", the author states the facts and illustrates them with examples: First, he proves his generosity by giving people money: "I gave more than 300,000 yuan in less than one year, all for help. This is white and easy to give. " [1] (Volume 26, P 1245) Second, I proved my righteousness by being kind to my friends: "I was in Shu with my friend Wu, who guided me to Chu and died in Dongting. If I lose my family, I will die in the hot moon, and then I will cry with blood. Everyone who heard about it on the road was very sad. The tiger stood firmly in front of him. Therefore, the son of heaven was buried by the lake, then Jinling. For several years, the muscles are still there. Snow White sobbed and held the blade, bent down to wash and cut it, walked with her bones wrapped, followed suit, and slept with her, never stopping. Then the beggar loan camp was buried in the east of Sun Yicheng. The hometown is far away, and the soul has no owner. The ceremony is to move away and show the affection of friends. This is a white deposit and a heavy righteousness. " [1] (Volume 26, P 1245- 1246)
Similarly, what others have heard and witnessed proves that his character and talent are extraordinary: First, Guanghan County witnessed his move of raising a foot higher and forgetting his machine-"Once upon a time, Dongyanzi, a hermit, lived in the white nest for several years, with no trace of the city, and raised thousands of rare birds and animals, all of which were eaten for free, so I couldn't guess anything unusual. Guanghan Taishou sounds different, and he saw it with his own eyes. " [1] (Volume XXVI, P 1248) Second, Su Zan's writing style, "The four seas have knowledge and know this talk"-"Su Gong, a former minister of rites, was a long history of Yizhou, and was stabbed in the Tao in vain, waiting for a cloth, because he said,' This son is a genius and heroic. The four seas have a clear understanding and knowledge to talk about this. [1] (Volume XXVI, P 1247) Thirdly, Ma Gong praised his article, "This is an old friend of Yuan Dan"-"Ma Gong, the former magistrate of this county, is a wizard at first glance, because he said that Li Jingzhi, who has a long history, said,' There are no mountains in Judah. Li Bai's prose is clear and bold, and is famous for its handsome words, hearty words and touching sentences. "This is an old friend of Yuan Dan. [1] (Volume 26, P 1247- 1248)
Li Bai's article attaches importance to quoting other people's words to prove the authenticity, but here it prompts us to further think about Li Bai's personality and way of life. If we analyze the human language quoted by Li Bai, we will vaguely feel that Li Bai is living in a crisis of losing the trust of others. Generally speaking, in communication with people, as long as the facts are stated, every time Li Bai states a fact, he always has a lingering fear that others will not believe him, so he states it to the other party. Everyone knows this and has heard this sentence. For example, in the History Book of Pei Chang, the Shang 'an prefect, it is like this: "Guanghan prefect heard different things and saw them with his own eyes", "the four seas have knowledge and knowledge to tell this story" and "Yuan Dan is a relative". The cause of this embarrassing situation is, of course, the slander of the villain. In the History of Shang 'an Taishou Peichang, it is said: "Slander is born suddenly, and many people are destroyed." Because of his indiscretion in words and deeds, he sometimes exaggerates his actions and remarks, regardless of the consequences and influence, so that people who have come into contact with him leave a boastful impression on Li Bai. In his poem "Upper Li Yong", he said: "When people see my tune, they all laugh at my big words." This sentence is worth appreciating.
In different styles and different description objects, Li Bai's realistic thought adopts different methods. For example, there are many rhymes between literature and poetry in Li Bai's painting praise. By analyzing these literary variants, it is more helpful for us to analyze Li Bai's realistic view. Paintings and sculptures in the Tang Dynasty are mainly based on reality. Judging from the spread of literati paintings, Han Gan painted horses and Wu Daozi painted figures, which were generally realistic in the previous session. The Tang people called the figure sculpture "photo"; Dunhuang murals belong to folk art, because of the lack of basic painting skills, realism can not be realistic, freehand brushwork like flying images, coupled with the influence of foreign culture, showing the bold and lively folk art.
Since in "Painting Praise", Li Bai is faced with something close to the truth in the painting, so in his "praise" language, he can't talk about things in kind, but try his best to show his charm. Li Bai's praise of paintings shows a process of returning to reality;
"Praise of the mural goshawk": "A tree that suddenly dies has no branches beside it. There are eagles in the world who are independent, if they are worried about their eyebrows. The murderous look of the golden sky and the majestic appearance of the white wall. Sword halberd shattered, claw with a knife cone. The guests lost their seats in shame and didn't realize what Dan Qing had done. I am afraid that I will fly away from my family, so why stay here all the year round! " Personification, exaggeration and foil are used here. "I'm afraid to leave my family and fly away" just shows that painting has achieved the effect of "realism" "The painter of Zhang Shaofu Hall in Fangcheng praised fiercely": "Zhang Gongtang, the Han wall shines with snow. The teacher is fierce in the picture and works hard. Lin's eyes are all eyebrows and his bones are spilled. See the teeth with ointment, and the claws hold the moon. " "Painting a Crane Praise in Xue Shaofu Hall in Jinxiang": "The high hall is quiet, although it does not disturb the hearing. The strange birds in Topeng Mountain miss the ethereal sea. Purple top smoke, bright eyes. If you are in the womb, you will be shocked. The shape stays in the corner, and the potential emerges from the sky. It is said that it lasted forever in the storm and finally fell silent in the morning. Better play the ancient, the more you look down, the better you look. Dancing is suspicious of the market. It sounds like a string. I feel so delicate, I can be a shadow and smoke. " It is based on the realistic image in painting and focuses on its spirit.
On the one hand, Li Bai praised the "truth" and "nature" of painting: "powder is natural and pen is naive." ("Jinling Famous Monk @ ⑤ Gongfen Tuci Praise") "love figure Yiren is really a wonderful slaughter." ("Praise of Han Painting in Cui Shaofu, Anji") "Painting is really like a saint, write it and send it." ("Xuancheng Lu Wu's Poetry Talk Praise") "The combination of pen and drum forms nature." On the other hand, I also hope that the painting can reflect the spirit and ethereal: "The moon in the water is not desirable." There is no heart in the void, no owner. "(Painting Praise to the Public)" The body is empty, and the moon is in the water. " ("Lu County Order Ye Gong Zan") "People's hearts are like mirrors. I am arrogant and unable to move. "("Li Jushi Zan ") should be able to" dispel doubts from the poor gods "("Painting Zan of Dangtu Lee Jae-yong "). Incidentally, "the shadow of the moon in the mirror" is a metaphor for an illusory scene or an artistic realm, which has been included in Li Bai's painting Zan. "Moon shadow in the mirror" is also called "Moon image in the mirror" and "Moon flower in the mirror". Yan Yu's "Canglangshi Petrochemical Discrimination" says: "Therefore, its beauty is thorough and exquisite, and you can't have both. Li Bai's metaphors such as "the moon in the water" and "the moon in the mirror" are essentially scenes that can't be placed in front of us, reaching the charm of "endless words and endless meanings". The pursuit of "ethereal", "image outside the image" and "scenery outside the scene" in literary creation is generally mentioned by literary critics when discussing Si Kongtu's literary criticism. Si Kongtu said in Ji Pu: "Dai Rongzhou said:' A poet's scenery, such as the warmth of Lantian, can't be placed before it is imminent. "It's not easy to talk about the image outside the image and the scene outside the scene! The view that there are clouds in the sky may be inspired by Liu Yuxi's "Wu Ling Ji of Eastern History" that "the environment is born outside the image, so it is refined but not harmonious". [3](P676) As far as the similarity of literary thoughts is concerned, Li Bai should be added before Dai Shulun, Liu Yuxi and Si Kongtu.
Apart from poetry, Li Bai's poems are romantic, but they can still reflect his realistic literary thoughts. For example, there is a group of image group about birds in Li Bai's poems [4] (P148-161). These birds, in addition to the myths and legends of Phoenix, Dapeng, Jingwei and Tianji in traditional literature, mostly come from orioles, geese, peacocks and Zigui in reality. For example, Li Bai's sub-rule "Difficult Road to Shu" says: "In the middle, cuckoos wail again, worrying about empty mountains." "I heard that Wang Changling left and moved to Longbiao Kiln to send this news": "Huayang is full, Wendaolong crosses the five streams." "Five Roads to Death": "I want to rest my horse beside the spring grass and travel far. Who can stand that bird and cry to me? " Another example is the partridge, "The Word of the Mountain Partridge": "The autumn moon shines on the ridge head of bitter bamboo, and partridges fly to the south branch of bitter bamboo." "Two Songs to Send My Brother to Guiyang with Wang Changling": "See the green grass in Qin Dynasty, and the songs of Chu are fragrant. What do you think of wine? Partridges are singing in the South Garden. " "On the snowy night in Qingxi, Qiupu, there are partridges for drinkers": "There are Guiyang guests who can sing partridges. The breeze moves the window bamboo, and the birds are singing. " Visiting Yue Gu: "Gou Jian, the king of Yue, broke Wu Gui, and the righteous returned home." Maid-in-waiting is like a palace full of spring, but today only partridges can fly. "Drunk King Hanyang Hall": "I am like a partridge, moving south and flying north. I'm looking for Hanyang Order, and I'm drunk on the moon. "Although these birds may play different roles in poetry, they are all vivid images in real life.
There are many masterpieces of realism in Li Bai's poems, but some poems are suspected of being unrealistic because they exaggerate the description objects. Li Bai's literary talent lies in his ability to describe strange scenes that others can't. For example, Difficulties in Shu Dao shows Li Bai's talent. During the Southern Dynasties, Yin Keng wrote a poem "Difficult Road to Shu": "Wang Zun is fearless as an official in Han Dynasty. There is snow in Gaomin, and the yin stack burns repeatedly. The wheel destroyed nine heavy roads and blocked the seven-star bridge. It's hard like this. You can become famous. "Compared with Li Bai's poems, Yin Keng's writing of Shu Dao is relatively thin. Although Li Bai's poems show the dangers of Shu Dao, they are all true records. Mr. Zhan Ai's theory on the skills of Li Bai's Shu Dao Nan is very insightful in analyzing the theme of Shu Dao Nan. Among them, Huitong's Ode to Jiange, Sending Friends to Shu and Difficult Road to Shu are also true records of his hardships. Moire theory. The risk of writing Jiange in Fu is very similar to this poem. For example,' Looking at Xianyang, five thousand miles south, Yunfeng Cui Wei. There is a Jiange in front, leaning against the sky and opening in the middle. "-poem:' and Dabai Mountain, to the west, is still only a bird path, which can cross Emei Mountain. "Although the steeple is firm and stern", and: "The highest cliff is only one foot below heaven." On the top, the wind is rustling "-poem:" Dead pine hangs upside down from the cliff. "Eight apes mourn each other"-poem: "Apes want to climb higher and higher." Say it again: "Nothing can be heard except the chirping of birds surrounded by ancient forests. The male birds circled smoothly and followed the female birds." Next to it, it flies very fast, walking in the canyon, throwing stones and spraying pavilions, surging and thundering "-poem:' One after another with a thousand plunging waterfalls, the cliff turns into stone and thunders. Send a beautiful woman, when will she come back?' -poem: "We wonder if this road to the west will never end?" I hope my husband is very peaceful. I thought about it and sighed. -poem:' squint at the west, ask for a long time. [5](P34) Comparing the similarities or the same meanings of Jiange Fu and Shu Dao Nan just shows the authenticity of their descriptions. Another famous poem, Mount Tianmu in a Dream, begins like this: "A sailing tourist will talk about Japan, and it is difficult to find a letter in the smoke. But the more people talk about the mother mountain, the clouds are light or visible. On a straight line leading to heaven, its peak enters heaven, topped with five sacred peaks, and casts a shadow across China. "The beginning can't be ignored. Although Li Bai's poems are very imaginative, Li Bai fully considers the' authenticity' of the poems. Yingzhou is a mythical fairy mountain. Li Bai denied it with "faith is hard to find", while Tianmu Mountain is a realistic mountain. In Xinchang, Zhejiang today. Although the mountain is shrouded in clouds, it is visible, which further describes the towering mountains. Poetry is about dreams, and the fugue in dreams is not true, so the author clearly explains the process of entering and leaving dreams, from "My heart and my dream are in Wu Heyue" to "My pillow and my bedding and I am in a lost cloud. "
Li Bai's poetic name is extremely high, which hides his literary name. It should be said that Li Bai's essays are distinctive in the early Tang prose. When we pay attention to Li Bai's argumentation method in the article, we find that Li Bai's clear thinking ability and the logical power of poetry are not rigidly pedantic, so we can choose living examples to illustrate the problem. This writing feature is also reflected in poetry, otherwise you will misread Li Bai's poems and songs. For example, Tianmu Mountain, which climbs in a dream, has a beginning and an end in the poem, with distinct levels. "Tang Poetry" says: "Although the poetic realm is strange, the pulse is extremely thin." "Poetry of Tang and Song Dynasties" says: "This article is bizarre and can't be square. But it dreams because of words, realizes because of dreams, varies because of realization, and is not chaotic at all; If the dream in the middle is vague, but the meaning of the word is strange. Hu Yinglin thought that' no head, no tail, really can't be said to be a dream. "The criticism of Hu Yinglin here is correct.
Li Bai's understanding and application of the concepts of truth and beauty are dialectical, and imagination and exaggeration in poetry are mostly based on reality. The fifth part of "Qiupu Song": "Qiupu is full of white apes and flies like snow. Draw a bar and drink the moon in the water. " If "the moon falls from the sky", it is definitely not true. Apes can't reach that height. "Making the Moon in Water" is very real. But the moon is only the shadow of the real moon, which shows that the imagination is real and the poet's keen observation of natural phenomena.
Some of Li Bai's poems are well-documented, such as "sending Wu Wangshan and Wei Wan back to the palace". The origin of writing can be seen in the preface. The preface said, "Wei Wan's people have never met each other since Song and Song Dynasties. On the spur of the moment, he went to Taiwan Province and Viet Nam, passed by Yongjia and saw Xie Gong's legacy. See you in Guangling. The beauty of love is so ancient that it is a poem because of its deeds. " The poem is long, five words and sixty sentences, counting 600 words. As mentioned in the preface, the poem vividly describes the process and traces of Wei Wan's mutual visit, and becomes a unique narrative poem with the poet's talent, high generalization of regional landscapes and exaggerated description of natural scenery characteristics. This poem is very realistic, as analyzed in Wang Qi's Notes. Firstly, it describes Wei Wan's love for ancient literature and his seclusion in the palace. Secondly, it describes his visit to Wu since the Song Dynasty. The following describes his trip to Taiwan Province and his trip to Jinyun Jinhua from Taizhou to Yongjia. Finally, I told him to meet him from Gusu to Guangling and say goodbye to him when he returned to the mountain. For example, it tells the story of Wei Wan's tour of Taiwan Province and Viet Nam: "If you listen from a distance, you will find beauty, and you will get a stream. Thousands of valleys and rocks stand in the mirror lake. The beauty is indescribable, and the light is all over the river. People swim on the moon, but ships are empty. This has been delayed for a long time. I'll find Wang Xu. Laugh at Cao e's tablet and think of yellow silk. The rooftop is brighter, and you go to the countryside during the day. Five peaks turn to moonlight, and a hundred Marie Laure Gigon. Lingxi ran freely along the river, and Huading was extremely surprised. Liang Shi is in the sky, and his side foot is half a month. " [1] (Volume 16, P748) faithfully describes the scenery of Taiwan Province and Viet Nam. The narrative and sequence of the whole poem correspond to the order of Wei Wan's going and doing, and the structure of the whole poem is based on facts, which provides evidence for understanding the realistic side of Li Bai's poems.
A writer's literary thoughts are not single, but complex, not only because of the coexistence of mainstream and non-mainstream thoughts, but also because of the changes in time and space. We have analyzed Li Bai's realistic aesthetic thought and the realistic tendency in his works, but we still think that romanticism is the mainstream in Li Bai's poems, and this writing is only an analysis of Li Bai's thought and creation on the other hand, and it is only a supplement to Li Bai's mainstream literary thought and creation, hoping to enrich the study of ancient writers' creation and literary thought.
refer to
[1] Li Bai. Complete works of Li Taibai [M]. Wang Qi's notes. Beijing: Zhonghua Book Company, 1977.
[2] Liu Zhiji. History [M]. Pu Qi Longshi. Shanghai: Shanghai Ancient Books Publishing House, 1978.
[3] Wang Yunxi, Yang Ming. History of literary criticism in Sui, Tang and Five Dynasties [M]. Shanghai: Shanghai Ancient Books Publishing House, 1994.
[4] Li Hao. On the occasion of the history of poetry [M]. Beijing: Commercial Press, 2000.
[5] Zhan Yi. Li Bai's poem [M]. Beijing: People's Literature Publishing House, 1984.