China was a poet in the Tang Dynasty. The word is too white, and the number is violet. Mianzhou Changlong (now Jiangyou, Sichuan) people.
Li Bai
Li Bai studied extensively in his boyhood. In addition to Confucian classics and ancient literary and historical masterpieces, he also browsed hundred schools of thought's books and became a good swordsman. Believe in Taoism and have the idea of transcending worldly customs; At the same time, he has political ambitions to make contributions. The poems he wrote in Shu as a teenager have been preserved very little, but they have shown outstanding talent. Li Bai traveled in eastern Sichuan when he was about twenty-five or six years old. In the next 1 years, he roamed many places in the middle and lower reaches of the Yangtze River and the Yellow River. In the eighteenth year of Kaiyuan (around 73), he once arrived in Chang 'an to strive for a political outlet, but he returned frustrated. In the first year of Tianbao (742), he was called into Chang 'an by Xuanzong to worship Hanlin, and as a minister of literary attendants, he participated in drafting documents and other work. Less than two years later, he was forced to resign and leave Beijing. During this period, Li Bai's poetry and song creation tends to be mature. In the next 11 years, he continued to roam in the middle and lower reaches of the Yellow River and the Yangtze River, "wandering around the world, adapting himself to poetry and wine." He still cares about state affairs and hopes to regain the appointment of the court. In the three years of Tianbao, Li Bai met Du Fu in Luoyang and became good friends. They didn't meet again after breaking up the following year. In the fourteenth year of Tianbao, the Anshi Rebellion broke out, and Li Bai was living in seclusion in Xuancheng (now Anhui) and Lushan. In December of the following year, he was invited to the shogunate of Yong Wang Li Lin with the wish of eliminating rebellion and restoring national unity. After Yongwang angered Su Zong and was killed, Li Bai was also convicted, imprisoned in Xunyang (now Jiujiang, Jiangxi) and soon exiled Yelang (now Tongzi, Guizhou). On the way, I was forgiven and returned. I was 59 years old. Living in Jiangnan area in his later years. At the age of 61, I heard that Qiu Li Guangbi led an army out of the town to attack Anshi rebels, and went north to join the army to kill the enemy. He turned back halfway due to illness. The following year, he died in the apartment of Li Yangbing, a county magistrate from his uncle Dangtu (now Anhui).
Li Bai's poems are lost in literary creation, and there are more than 9 poems with rich and colorful contents.
Li Bai cared about state affairs all his life, hoping to make contributions to the country, but dissatisfied with the dark reality. His 59 pieces of Antique are representative works in this field. The dark corruption in the late Tang Xuanzong's politics was widely exposed and criticized, which reflected the grief and indignation of talented people who had no way out. Many words are sarcastic, and the spirit is high. Li Bai is eager to make contributions and serve the country, but he doesn't envy wealth, but thinks of what are bell and drum, rare dishes and treasure?. After making great achievements, he will follow the example of Gao Shi Lu Zhonglian in the Warring States period, and he will not be honored and retire. His thoughts were obviously influenced by Taoism, especially Zhuangzi. Many of Li Bai's poems show concern and sympathy for people's lives. This content is often combined with criticism of the rulers. Some of his Yuefu poems reflect women's lives and their sufferings, in which they focus on thinking about women and remembering people, and also write about the grievances of businessmen, abandoned women and maids. His "Lodging at the Home of Xun Shu under the Five Songshan Mountains", "Songs for the Protection of Ding Du" and "Songs for Autumn Pu" depict the lives of farmers, boatmen and miners respectively, showing concern for the working people. Li Bai wrote many poems describing natural scenery in his life. His poems, such as "It's difficult to get to the sky through the Shu Road" ("Difficult to get to the Shu Road"), "You can't see how the Yellow River's waters move out of heaven and entering the ocean, never to return" ("Going into the wine") and "Flying down three thousands of feet, it's suspected that the Milky Way has fallen for nine days" ("Looking at Lushan Waterfall"), are all famous sentences that have been passed down through the ages. This kind of poems, just like some of his works singing about Dapeng birds, show his lofty aspirations and broad mind, and reflect his desire to pursue extraordinary things from the side. Other poems, such as Qiu Deng's Xieqi North Building in Xuancheng, Sitting alone in Jingting Mountain and Qingxi Journey, are good at depicting quiet scenery, fresh and meaningful, and their styles are close to those of Wang Wei and Meng Haoran. Li Bai also has many poems about love and friendship. His Yuefu poems often express euphemistic and profound love from the perspective of women's bearing people. There are also some poems that send gifts and miss wives, and their feelings are quite deep. Li Bai donated a large number of works to his friends, including many excellent ones. Some of these poems show a clear political attitude, and more often show the feeling of daily farewell and lovesickness, such as a farewell to meng haoran on his way to yangzhou in the Yellow Crane Tower, Du Fu at the Dune Gate, Hearing that Wang Changling moved to Longbiaoyao for this purpose, Reminiscing the past and visiting Yuan Jun to join the army, and Giving Wang Lun, etc., with deep feelings, vivid images and strong artistic influence. The content of Li Bai's poems also contains some feudal dross, among which more are the negative nihilistic thoughts of promoting life as a dream, eating, drinking and reveling, and the religious superstitions of seeking immortals to visit the Tao and taking pills for alchemy. Some of his poems about women and love are vulgar. In Li Bai's poems, exaggeration and vivid metaphors are widely used. His poems, "but since water still flows, though we cut it with our swords, raise a glass to drown your sorrows" ("Uncle Yun in Xuanzhou Xiezilou's farewell school book") and "White hair is 3, feet long, and sorrow seems like a long one" ("Song of Autumn Pu", part 15), depict his profound worries after the failure of political activities in Chang 'an, and are widely circulated famous sentences. His poem "Poetry in the north window is not worth a glass of water" ("Answering Wang's Twelve Cold Nights"), writing his own talent; "I would cross the Yellow River, but ice chokes the ferry, the Taihang Mountain will be covered with snow" ("it is hard to go"), and it is difficult to write a career; "Peach Blossom Pond is deeper than thousands of feet, not as good as Wang Lun's" ("Gift to Wang Lun"), and writing about the profound friendship between friends, all impress readers with distinctive and prominent images. The imagination of Li Bai's poems is very rich and amazing. His "The wind blows my heart and hangs the Xianyang tree in the west" ("Jin Xiang sends Wei Ba to the West") and "I miss my heart and the bright moon, and the wind blows to the west of Yelang" ("I heard that Wang Changling moved to Longbiaoyao to leave") all show his nostalgia for Chang 'an and his poetry friends with strange imagination. Liang Fu Yin, Ancient Style and Lotus Mountain in the West respectively express their destruction in Chang 'an and the ravages of Anshi rebels on the Central Plains through fantasy. Farewell shows the hidden worries about the political situation in the later period of Xuanzong in Tang Dynasty through confusing legends. They all have vivid images and profound meanings. "Difficult Road to Shu" and "tianmu Mountain Ascended in a Dream" construct colorful and thrilling realms with the help of myths and legends.
Ink in The Upper Terrace by Li Bai
The rich imagination of Li Bai's poems is particularly prominent in the long seven-character lines, which is obviously influenced by Qu Yuan. In terms of genre, Li Bai is good at ancient poems and quatrains with relatively free form, and doesn't like to write metrical poems. 59 pieces of "Ancient Style" are his representative works of the Five Ancient Dynasties. The five ancient poems in his Yuefu inherited the fine tradition of Yuefu folk songs in the Han, Wei and Six Dynasties, and his writing was simple and vivid, and he was filled with the enthusiasm of the poet. His seven-character ancient poems (including Yuefu seven-character songs and general seven-character poems) are more creative. Scenery is magnificent, magnificent and colorful, while lyrical feelings are unrestrained, fluctuating and changeable. From the literary origin, this kind of poetry is most influenced by Qu Yuan's works and Bao Zhao's Imitation of it is hard to go. Li Bai is good at quatrains. On the basis of Yuefu folk songs in the Southern and Northern Dynasties, his quatrains were improved and more alert. The five wonders, such as "Thinking on a Quiet Night" and "Yu Jiefen", are implicit and meaningful. There are more excellent works, clear and concise language, harmonious and beautiful tone, lyrical scenery and simple explanation. For example, a farewell to meng haoran on his way to yangzhou of the Yellow Crane Tower, Looking at Lushan Waterfall, Looking at Tianmen Mountain, Early Making Baidicheng, Gift to Wang Lun, etc. are all well-known masterpieces. It has always been commented on the seven-character quatrains in the Tang Dynasty, and it is considered that Li Bai and Wang Changling are the most adept at the scene; Li Bai concentrated on the seven laws at least, only more than ten, and few excellent works. There are more than 7 five laws, some of which are well written, which shows that he can write metrical poems, but he doesn't like to write more. Although Li Bai's Yuefu poems use the old Yuefu theme, they can create new ideas. Those who wrote poems with the old Yuefu theme in the Tang Dynasty are the most outstanding achievements. Some of his lines and quatrains are full of Yuefu poems, although they don't use Yuefu topics. The greatest feature of his poetic language can be said to be "clear water gives birth to hibiscus, and natural carving". Specifically, the language is straightforward and natural, the syllables are harmonious and smooth, and they are natural, not fake, and exude the flavor of folk songs. This is mainly due to the study of Yuefu folk songs in the Han, Wei and Six Dynasties. But he didn't just learn and imitate the language of folk songs, but improved it on the basis of learning, making it more concise, beautiful and meaningful. His seven-character ancient poems are not only clear and natural, but also strong and unrestrained in language. Du Fu's poem "Remembering Li Bai in Spring" praised Li Bai's poems as "fresh" and "elegant", which revealed the remarkable characteristics of its language style. Li Bai's poems have a far-reaching influence on future generations. Famous poets such as Han Yu and Li He in the Tang Dynasty, Ouyang Xiu, Su Shi and Lu You in the Song Dynasty, Gao Qi in the Ming Dynasty, Qu Dajun, Huang Jingren and Gong Zizhen in the Qing Dynasty all benefited from and were influenced by Li Bai's poems to varying degrees.
Li Bai also wrote several poems. There are 12 records in "Zunqian Collection" and 7 records in "Hua 'an Wonderful Ci Selection". Among them, there are three songs in Qingpingdiao, "Clouds want clothes, flowers and capacity", and the genre is actually seven-character quatrains, which were sung with music at that time. Other long and short sentences handed down to Li Bai are not very credible. There are more than 6 essays by Li Bai today. Many antithetical sentences did not get rid of the popular parallel prose fashion at that time. But the language is natural and fluent, which is similar to its poetic style. Among them, The Book of Jingzhou with Han Dynasty and Preface to the Garden of Peach Blossom (Li) at the Spring Banquet were selected by later generations and widely read.
This episode and the proofreading version of Li Baiji compiled by Tang people have not been handed down. In the Northern Song Dynasty, there were 3 volumes of Collected Works of Li Taibai, which were engraved in Suzhou and known as Su Ben. Later, there was a Shu edition copied according to Su edition, which is the earliest existing Li Baiji. During the reign of Kangxi, Miao Yue copied it, and it was called Miao edition. The earliest annotator for Li Baiji was Yang Qixian's "Li Hanlin Ji" in the Southern Song Dynasty, with 25 volumes, with rich annotations. Li Baiji's Annotation by Qu Tuiyuan and Zhu Jincheng is the most detailed book in Li Baiji's annotation. On the research of Li Bai's works: after the May 4th Movement and before the founding of the People's Republic of China, Li Changzhi wrote Li Bai, a Taoist poet, and Qi Weihan wrote Li Bai's research. After the founding of the People's Republic of China, there were Zhan? He is the author of Li Bai's Poems and Essays, Li Bai's Poems and Essays, and Wang Yunxi is waiting for Li Bai's Study. In addition, there are many single papers, some of which were selected by Zhonghua Book Company as representative ones, which were compiled into "Collected Papers on Li Bai's Studies" and published in 196s.
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