-Li Bai and Du Fu's acceptance of Xie Tiao's poetic style.
In the history of Xie Tiao's poetic style acceptance, the aesthetic acceptance of Li Bai and Du Fu is of decisive significance. Li Bai praised the purity of Xie Shi's poems, but seemed to disagree with its beauty. However, his poems actually accepted the beauty of beauty reasonably, which opened the door for a more comprehensive and in-depth acceptance of Xie Shi's poems. Du Fu not only promoted the purity of poetry, but also fully accepted the beauty of Xie's poetry. He examined Xie's poems from a more objective and comprehensive artistic value perspective. His poems fully accepted Xie Tiao's poetic style and provided a "pure" and "beautiful" poetic paradigm for future generations.
[Keywords:] Li Bai; Du fu; Xie Tiao's poetic style; Fresh; Beautiful; Poetic paradigm
The history of literary development tells us that those poets who have made outstanding achievements in the history of literature will always have a far-reaching impact on future generations; And those who lead a generation of coquettish poets will inevitably consciously accept the poetic style of the previous generation of poets. Different from ordinary readers' reading of pure aesthetic consumption, those poet readers are endowed with the mission of aesthetic creation because of their rich experience in aesthetic creation, and will have a deeper and more enlightening aesthetic feeling. In other words, the readers of these poets may not have their own monographs, but because of their rich experience in creative practice, they often walk in front of the trend in poetry creation, accept the previous generation of poets, and then surpass the current poetry theory and public opinion to a certain extent, and even become the first voice of a new poetry paradigm. Now let's discuss Li Bai and Du Fu's acceptance of Xie Tiao's poetic style, and on this basis, make a general observation of their aesthetic feelings when reading Xie Tiao's poems and their acceptance of Xie Tiao's poetic style in their poetry creation. In addition, judging from the history of Xie Tiao's poetic style acceptance, the aesthetic acceptance of Li Bai and Du Fu is of decisive significance because of their unique position and influence in the history of literature. We choose poetic style as an important aspect to compare Li Bai's and Du Fu's acceptance of Xie Tiao's poetic style, hoping to highlight the development of Xie Shi's acceptance history more clearly, which should be very meaningful.
As a representative poet of Yongming Style, Xie Tiao was not only the most outstanding among the Eight Friends of Jingling, but also the most outstanding poet in Qi and Liang Dynasties, and made outstanding contributions to the development of landscape poetry. He inherited the meticulous and fresh features of Xie Lingyun's landscape poems, but it was different from Xie Lingyun's objective description of landscapes. But through the description of the landscape to express their feelings and interests, to achieve the point of blending scenes. This avoids the disadvantages of obscure, plain and scene-divided poems, and at the same time gets rid of metaphysical elements, forming a fresh and beautiful style. For example, his masterpiece "Going to Three Mountains in the Night and Looking Back to Beijing":
Now I can overlook Chang 'an City from Baling Mountain, and look back at the capital like looking back at Luoyang, climbing three mountains in Heyang. The sun sets on the towering roof, and the houses in Beijing are not so high and low. The evening sun is scattered into a beautiful scene, and Chengjiang is as quiet as practice. Noisy birds cover Chunzhou, and miscellaneous English is full of Fangdian. I will stay in the country far from the capital, and I miss the happy party that has stopped. When it's time for Danggui, I'm disappointed and tears fall like snow beads. Knowing your hometown, who can remain the same?
Poets use natural and fluent language to weave the endless and beautiful natural landscape into a bright, harmonious and perfect picture, so that readers can feel the colors, sounds and breath of spring. This beautiful scenery is naturally integrated with the poet's homesickness, which is profound and implicit and has a strong artistic appeal. Another example is his poem "Xinlinpu to Banqiao in Xuancheng County", which is also well written. In the poem, returning to the current, returning to the boat and thinking about traveling alone are born against each other, which highlights the poet's idea of being tired of traveling and staying away from harm. Its fresh language, implicit conception and artistic conception are impressive. Another example is the "playground":
We share joys and sorrows and enjoy happiness hand in hand. Looking for the cloud-tired pavilion, looking at the mushroom pavilion with the mountain. In the distance, the trees are warm and the buildings are deserted. Fish play with new lotus, birds scatter flowers and fall. If you don't smell spring wine, you still look forward to Qingshan Guo.
Not only is it picturesque and fascinating, but it is also unique in tone and language use: the language is fresh and smooth, thoughtful, and the phonology is sonorous and changeable, especially the use of overlapping words such as "Qi Qi", "Qian Qian" and "Mo Mo" enhances the image and the beauty of phonology. The combination of the beauty of flowing clouds and the dynamic landscape in the poem makes the picture more delicate, beautiful, beautiful and natural, giving people an immersive feeling. In a word, if the word "beauty" is used to summarize Xie Tiao's poetic style, it should be said that it is more accurate.
Facing the great historical existence of Xie Tiao, how did Li Bai and Du Fu treat it? As we know, generally speaking, people have two attitudes towards poetry reading, namely, the attitude of readers and the attitude of scholars. Ordinary readers read poetry, which is more of a simple aesthetic consumption. They will get an aesthetic pleasure from reading, and then cultivate their sentiments and purify their hearts. Generally speaking, their attitude is utilitarian. On the other hand, scholars read poems in different ways. In addition to enjoying aesthetic pleasure like ordinary readers, they always consciously treat poetry with a comprehensive, objective and even critical attitude in order to get a fair evaluation. The attitude of Li Bai and Du Fu in reading Xie Shi is naturally much more complicated, because they are both poets and great poets. When they read Xie Shi, aesthetic consumption and aesthetic creation often blend together potentially. Of course, there are still some differences between the two. "Violet overstepping the past, only saying three or four clothes (Xie Tiao), its words are brave in form" [1], Li Bai is more inclined to the reader's attitude:
Besides me, who will think of the North Tower and welcome the autumn wind, Miss Xie? (Qiu Deng Xuancheng Xie Tiao North Building).
Virtue is hard to get, so he is full of alcohol. ("Autumn Banqiao Pu Panyue thanked Huai")
Ming hair new Lin Pu, empty chanting Xie Tiao's poems. ("Xinlinpu sends friends away from the wind")
Three mountains are pregnant with Xie Tiao, and the water looks at Chang 'an. ("Three Mountains Looking at Jinling to Send to Yin Shu")
It is Xie Xuanhui's long-standing memory to understand the truth and be as quiet as practicing. ("Singing under the Moon in the West Tower of Jinling City")
I sing Xie Tiao's poems, and the north wind blows the wind and rain. ("Appreciating Yin Mingzuo and Wang Yun" Qiu Ge ")
As can be seen from the poems quoted above, Li Bai has been immersed in the aesthetic emotional experience of Xie Tiao and Xie Tiao's poems from beginning to end. He loves his poems and others. As a talented romantic poet, Li Bai always seems to be in a strong emotional impulse when reading Xie Shi.
Du Fu is different. As a realistic poet who has suffered from war and spent most of his life in misery, he is more of a calm temperament and rational color, so Xie Tiao himself can be separated for the time being, and only his poems can be understood in aesthetic reading. We can further observe this aesthetic concretization and take this aesthetic reading activity as the cognitive object for reflective reading, that is, post-aesthetic reading:
Recently, there is a long saying in the sea that you and Shandong Li Bai are good. He Liu Li didn't work, and Bao Zhao was very sad. ("Su Duan Fu Xue's Brief Remarks on Xue Hua Drunk Song")
I am familiar with the abilities of the two generals Xie, and I know Yin quite well. ("twelve songs to relieve boredom")
Xie Tiao's satirical poems are always boasted by Feng Tang. ("The History of Sending Cen")
Obviously, Du Fu's reading of thank-you poems has a certain nature of discussion and research. To some extent, he should restrain his emotional reaction and impulse to Xie Shi, so as not to affect his objective understanding and comment on the aesthetic value of Xie Shi. On the other hand, Li is almost purely emotional and has no time or even disdain to think about it.
It is precisely because of Li Bai and Du Fu's different attitudes and ways of understanding Xie Shi that they have different recognition and acceptance of Xie Shi's literary value. As mentioned above, Xie Tiao's poems not only absorbed the advantages of careful observation and realistic description of Xie Lingyun's poems, but also avoided its obscurity. There are many vivid descriptions and novel artistic conception in his works. For example, the poem "Going to Three Mountains and Returning to Wangjing Town Late" quoted above, "Yu Xia is scattered into Qi, and Chengjiang is as quiet as practice" is a famous sentence throughout the ages. As "all the five mountains are sacred, and there is no way to think far, according to my unchanging habit all my life", Li Bai traveled all over China and wrote countless poems describing the magnificent scenery of the motherland. It is natural that he loves Xie Tiao's poems and appreciates Xie Tiao's poems. Therefore, we can say that Li Bai judged Xie Shi's literary value mainly according to the pleasure of reading and appreciating. He is not so much talking about the artistic value of his works as talking about his pleasure, or transferring it to Xie Tiao's poems:
The bones of great writers are all your brushes. In Tianyuan, I grew up beside you, Xiao Xie. (Farewell to Secretary of State Shu Yun at Xie Tiao Villa in Xuanzhou)
It is said that Chu people are important, and poems spread in Xie Tiao. ("Send Father to Wuchang")
Since Jian 'an came, beauty is not precious. Sundae restore ancient times, and clothes are expensive and halal. ("antiques")
Li Bai praised Xie Shi's "Qing", but he didn't seem to agree with its "beauty", so he chose a word "truth" to clarify the meaning of "Qing". In Li Bai's poems, there are countless references to "halal", "naive" and "all truth". Li Bai, who has the ideological tendency of combining Confucianism and Taoism, closely linked "truth" with "nature" of Taoism. The so-called "truth" is what Taoism calls the natural and simple nature of human beings. Therefore, Muslim people are called fresh and natural, which means "clear water produces hibiscus, natural carving" However, on the one hand, Li Bai said that "since Jian 'an, beauty is not precious" (this refers to the tendency of literary language and poetry becoming more and more beautiful in the literary creation of the Northern and Southern Dynasties, which was created by literati at that time, or tried to be quaint, so it was awkward), on the other hand, Li Bai once denounced it as "being naive". The deep contradiction between Li Bai's praise and criticism is reflected in his own poetry creation. In fact, there are many beautiful lines in his poems: