This man is an ancient fairy. Where is the feather?
The floating and fast-flowing electricity suddenly became dazzling.
The world has not changed, but the appearance has changed.
If you refuse to drink, who will lust after you?
This is a Yuefu poem by Li Bai. Poetry seems plain, but it is actually a masterpiece of Taibai's poetry collection, which combines wandering immortals, worrying about life, drinking and indulging.
In the first four sentences of the poem, remember that the gods ask questions. At the beginning of the poem, the poet starts with the ancient immortals and fairyland, and first creates a vague artistic conception. Pine nuts are red pine nuts. "Taiping Magnolia" Volume 66 1: True Patent: "Red pine nuts are also rain masters in the Yellow Emperor, and they are called Taiji real people". Jinhua is Jin Huashan, and Korean pine nuts are inspired. History: Li Shui Jing Zhu said that the red pine son swam and set himself on fire, so there is a red pine altar in the mountain. "Peace is Ann's life," Historical Records and Biography of Xiao Wu "; (Li) It says: "...' An Qi's immortal is connected with Penglai. If you meet people, if you don't agree, you will hide'". The two immortals mentioned here are typical representatives of the legendary ancient immortals. In people's legends, they stand out, ascend to heaven and become immortals, surpass the world and make the world worship. Li Bai is undoubtedly a very devout admirer. Li Bai has been obsessed with the quagmire of Taoism since he visited immortals for fifteen years. Three years after Tianbao "gave gold to the mountain", "please ask Beihai Gaotianshi to give Tao Zuo to Zizhou Amethyst Palace (Laozi Temple); Huidong returned to Penglai, still feathered, driving Dan "(Li's" Introduction to Caotang Collection "). It can be seen that he has become a real Taoist since then, as he said to himself: "What is repression? Being in Fang Shige (The Return of Grass). He once sincerely believed that he could stand out from the crowd and soar to the sky after taking the fairy medicine, just as he wrote in his poem: "An alchemist needs flint, and collecting medicine is poor" ("Leaving Guangling Gong"); "An elixir of life, flying high to Peng Ying" ("Tour Mount Tai" No.4). He also visited famous mountains and rivers devoutly. In his poem, he wrote: "The five mountains are sacred mountains, and there is no distance, according to my unchanging habit all my life" ("Lushan Ballad"); "I have learned a lot, but I often visit Xianshan in my dreams" ("Going to Shimen's Former Residence"). This series of poems is his exploration and practice on the road of life. Now that Li Bai's "twilight years are approaching", recalling his trip to seek immortality, he thinks that "what he said before is unreasonable, because the so-called immortal who thinks about the past is like a red pine, and those who are prepared for danger in times of peace will never see the world" (small words), so he begins to reflect and awaken, and then puts forward the question "Where is this man's ancient immortal". It can be seen that the first four poems reflect the tortuous course and complex mentality of the poet in his life. In the first two sentences, immortals correspond to fairyland, mountains and seas are opposite, and the verbs "habitat" and "entry" are embedded, creating a wonderful and elegant artistic conception. Between the lines, it contains the poet's admiration and nostalgia. The last two sentences turned to doubt, which is the result of reflection after a series of hard explorations. This doubt reveals the poet's complex mentality of confusion and melancholy.
In the middle four sentences, I sigh that time flies and life is easy to get old. As mentioned above, the poet, through reflection on his life's experience of seeking immortality, saw the fact that "seeking immortality in food is often caused by medicine mistakes" (Nineteen Ancient Poems opens the east gate) and has begun to awaken to his immersion in Taoism. So he gave up the pursuit and expectation of fairyland, turned his attention to the real society and explored life. What about real life? In Li Bai's aesthetic consciousness, the floating light passes away like lightning and changes rapidly; In the passage of time, only heaven and earth remain unchanged, while the face of primates is constantly changing, aging and dying. Here, in order to emphasize the ever-changing life, the poet tries his best to use exaggerated artistic skills: in the two sentences of "floating life", the image of "flowing electricity" interacts with words such as "floating", "speed" and "sudden", which vividly and inexplicably highlights his short-lived life consciousness. Taking the eternal world as a contrast, the sentence in Heaven and Earth strengthens his awareness of the scarcity of human life, reveals the contradiction between the infinity of time, the eternity of the universe and the finiteness of life, as well as the ever-changing appearance, pours out the poet's inner contradictions and anguish that he wants to do something but can't, but also wants to be detached and can't, and reveals his complex mentality of confusion, melancholy and helplessness. This is the exploration of Second Life, and it is his feeling after the practice of Second Life. Li Bai once had the grand ideal of "mastering everything" and pursued it persistently. However, Tianbao's fiasco in three years of political activities and his pursuit of "paying back the money to the mountain" ended his ideal. So he turned to the immortal to visit Taoism, trying to get rid of this troubled world with a broad-minded and detached attitude and happily complete the journey of life. Nowadays, immortals are no longer available, and life "flows fast", which is impossible to grasp and stay for a long time. Everything is like a passing cloud, which makes him miserable and bothers him. This kind of worry about life is more profound and touching than the doubt of the gods.
At the end of the two sentences, stick to the theme of the poem and reveal the main idea. In the situation of dreamland, disillusionment and despair, the poet suddenly opened up a fairyland, produced various associations in the face of a glass of wine, and expressed a higher spiritual pursuit in the spiritual struggle of wanting to drink but not drinking. In pain, Li Bai's first thought was to drown his sorrows by drinking. He filled his glass, meditated on the wine, and wanted to travel freely in his hometown. We know that in Li Bai's life, wine is the bosom friend of his transcendental soul, the medicine of his painful soul, the form of relieving his mental pain and the nourishment of his poems. "One hundred years, 36,000 days, you must pour 300 cups a day" ("Xiangyang Song"), "Let me be drunk forever and never be rational!" (Into the Wine) shows his extraordinary fascination with wine. When the pursuit of immortality and the exploration of life are disillusioned, he wants to "binge drink" to get rid of drunkenness, hoping to forget the melancholy of life and abandon "eternal hatred" and "eternal hatred" in his drunken hometown, so as to experience the real and sensible fun like a fairy. "The immortal is in a trance, but he is really drunk" (the third antique song) is one of his associations at this time. But the poem that the poet put pen to paper is "I refuse to drink". Why don't I drink this glass of wine? Because he "has lust for anyone." This reveals his complex mentality that he wants to be detached but not detached, and euphemistically and implicitly expresses his lofty spiritual pursuit of "integrating his own spirit with the world" It can be seen that it is in the poet's ambivalence of "drinking without drinking" that the complex dynamic process of his fierce spiritual struggle is displayed, thus pushing the revelation of the poet's inner world to a new height and shaping the poet's self-image more satisfactorily.
Li Bai is a poet deeply influenced by the culture of the western regions. All his life exploration and pursuit have the tendency of anti-traditional culture. In this poem, the denial of immortals, anxiety about life and emotional pursuit of wine ("Who should be treated by lust?" ) reveals that his life exploration has entered a deeper level. He has gone beyond the level of drinking to drown his sorrows, but questioned wine and expressed a higher level of emotional pursuit. This is the special value of Li Bai's poems.
This poem is composed of the changes of the poet's inner feelings. What I wrote was the emotional tone of yearning for ancient immortals, and then turned into disappointment that immortals would not reappear, and confusion and disappointment about pursuing immortals. Then, from top to bottom, he turned to worry about the fleeting time in the world, expressing a sense of helplessness, frustration and disillusionment about changing his appearance. At this point, the poet's emotional tide has retreated to the lowest point, and he has reached the position that "there is no way for mountains and rivers to be suspicious, and there is another village." At this time, the poet suddenly pushed away with detached strokes, found a new way to face the association and doubt of the wine glass, expressed the lofty spiritual pursuit of "love", and thus created the artistic conception of "another bright future village". In this way, the poet's emotion is gradually pushed into * * * in the ups and downs, and sublimated into an aesthetic emotion with artistic charm. With the ups and downs of the poet's mood, an inward force is formed, which affects the transformation of the poet's perspective from fairyland to the world. With the change of the poet's emotional flow, the image changes in the poet's works are driven, and the combination of aesthetic images is determined, so that the contents of wandering immortals, worrying about life, drinking and indulging are integrated into one furnace, which makes the poem have a high degree of cohesion and wide coverage. It can be said that a short poem is almost the epitome of his various pursuits in his life. This forms the artistic structure of the whole poem, which seems to be casual and unconstrained, but in fact it is completely orderly and natural, fully demonstrating the "elegant" style of Li Bai's poems. In addition, it is precisely because the poet constructs the whole poem with the flow of inner feelings, so the whole poem seems to flow naturally from his chest, plain and natural, without carving, handy and meticulous. This reflects Li Bai's great achievements in learning Yuefu folk songs, and also vividly reflects the language style of his poem "Clear water gives birth to hibiscus, natural carving".