China was a poet in Tang Dynasty. The word is too white,no. Qinglian lay. Mian Governor Long (now Jiangyou, Sichuan) was born.
Li Bai read widely in his youth. In addition to Confucian classics and ancient literary and historical masterpieces, he also browsed hundreds of books and became a "good swordsman". Believing in Taoism, having the idea of transcending the secular; At the same time, he has the political ambition to make contributions. The poems he wrote in Shu as a teenager are rarely preserved, but they show outstanding talent. Li Bai traveled in eastern Sichuan when he was about twenty-five or six years old. In the following 10 years, he roamed many places in the middle and lower reaches of the Yangtze River and Yellow River. In the 18th year of Kaiyuan (730), he once arrived in Chang 'an to strive for a political way out, but failed. In the first year of Tianbao (742), he was called by Xuanzong to worship Hanlin in Chang 'an as a minister of civil affairs and participated in drafting documents. 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. 1 1 years later, continue to wander in the middle and lower reaches of the Yellow River and the Yangtze River. "Wandering around the world, it is suitable for poetry and wine." He still cares about state affairs and hopes to be re-appointed by the court. In the third year of Tianbao, Li Bai met Du Fu in Luoyang and became good friends. They didn't meet again after breaking up the next year. In the fourteenth year of Tianbao, the Anshi Rebellion broke out, and Li Bai lived in seclusion in Xuancheng (now Anhui) and Lushan Mountain. In the following year1February, he was invited to Lilin, the shogunate of Wang Yong, hoping to eliminate the rebellion and restore national unity. After Wang Yong angered Su Zong and was killed, Li Bai was also found guilty, imprisoned in Xunyang (now Jiujiang, Jiangxi) and soon exiled to Yelang (now Tongzi, Guizhou). On the way, I was forgiven and came back. I was 59 years old. Living in Jiangnan area in his later years. At the age of 6 1, I heard that Qiu Li Guangbi led an army out of the city to attack the 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 his uncle Dangtu (now Anhui) county magistrate Li.
Literary creation Li Bai's poems have been lost a lot, and there are still more than 900 poems with rich and colorful contents.
Li Bai cared about national affairs all his life, hoping to make contributions to the country, but he was not satisfied with the dark reality. His 59 antiques are representative works in this field. The dark corruption in Tang Xuanzong's later politics was widely exposed and criticized, which reflected the grief and indignation of talents who had nowhere to go. A lot of words are ironic, and the spirit is very high. Li Bai is eager to make contributions and serve the country, but he does not envy wealth. What do you think of are bells and drums, treasures and treasures? . After making contributions, he will follow the example of Lu Zhonglian, a senior scholar in the Warring States period, and quit without respect. 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 rulers. Some of his Yuefu poems reflect women's lives and their sufferings, which focus on thinking about women and remembering people, and also write about the grievances of businessmen, abandoned wives and maids. His "Lodging in Wusongshan Mountain, Uncle Xun", "Song of Protection" and "Song of Autumn Pu" describe 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 "It's difficult to ascend to heaven through the Shu Road", "The water of the Yellow River can't be moved out of the sky and into the ocean, and it will never return" ("Into the wine"), "Flying down three thousands of feet, it is suspected that the Milky Way has fallen for nine days" ("Looking at Lushan Waterfall") and so on are all famous sentences that have been passed down through the ages. This kind of poetry, just like some of his works praising Dapeng birds, shows his lofty aspirations and broad mind, and reflects his desire to pursue extraordinary things from the side. Other poems, such as Qiu Deng's North Building of Xuancheng Qi Xie, Sitting Alone in Jingting Mountain and Journey to Qingxi, are good at depicting beautiful 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 female inheritors. There are also some poems about giving gifts and missing your wife, and their feelings are quite deep. Li Bai donated a large number of works to his friends, including many excellent works. Some of these poems show a distinct political attitude, and more often they show their daily farewell and lovesickness, such as the Yellow Crane Tower's farewell to Meng Haoran and Du Fu at Dunmenmen, hearing that Wang Changling moved to Longbiao Kiln for this purpose, reminiscing about the past, visiting the army, and giving Wang Lun a present. Deep feelings, vivid images and strong artistic appeal. The content of Li Bai's poems also contains some feudal dross, among which more is the negative nihilism of promoting life as a dream, eating and drinking, and the religious superstition of seeking immortals to visit the Tao and alchemy. Some of his poems about women and love are vulgar. In Li Bai's poems, exaggerated and vivid metaphors are widely used. His poems "But since the water is still flowing, although it is a knife cut, raise a glass to ease the sorrow" (Uncle Yun, a farewell school book at Xiezilou in Xuanzhou) and "Three thousands of feet with white hair, Sorrow is like a beard" (Song of Autumn Pu, Part XV) depict his deep anxiety after the failure of political activities in Chang 'an, which are widely circulated famous sentences. His poem "Poetry from the North Window is not as good as a glass of water" ("Answering the Twelve Cold Nights of the King") wrote his own talent; "I would like to cross the Yellow River, but the ice will choke on the ferry, and Taihang Mountain will be covered with snow" ("Difficult to Travel"), which is difficult to write a career; "Peach Blossom Pond is deeper than thousands of feet, not as good as Wang Lun" ("To Wang Lun"), and writing about the deep friendship between friends all impress readers with distinctive and prominent images. The imagination of Li Bai's poems is very rich and amazing. His "Strong winds blow my heart, and fairy trees hang in the west" ("Jin Xiang sends Wei Ba to the West") and "My heart is full of worries about the bright moon, and I stay in the West with the wind" ("I heard that Wang Changling moved to Longbiaoyao to leave") all show his nostalgia for Chang 'an and his poetry friends with strange imagination. Fu Liangyin, Antique and Lotus Mountain in the West respectively express the destruction of Chang 'an City and the ravages of Anshi Rebellion on the Central Plains through fantasy. Farewell shows the hidden worries about the political situation in the later period of Tang Xuanzong through confusing legends. They are vivid and meaningful. With the help of myths and legends, Shu Dao Nan and Meng Deng Tian Mu Shan have built a colorful and thrilling realm.
The rich imagination of Li Bai's poems is particularly prominent in the long seven-character poems, which are obviously influenced by Qu Yuan. In terms of genre, Li Bai is good at classical poems and quatrains with relatively free form, and doesn't like to write metrical poems. 59 pieces of Antique are his representative works of five dynasties. The five ancient poems in his Yuefu have inherited the fine tradition of Yuefu folk songs in the Han, Wei and Six Dynasties, and their writing style is simple and vivid, full of the poet's enthusiasm. His seven-character ancient poems (including Yuefu seven-character songs and general seven-character poems) are more creative. The scenery is magnificent, colorful, lyrical and changeable. From the literary origin, this kind of poetry is most influenced by Qu Yuan's works, and it is difficult for Bao Zhao to imitate it. Li Bai is good at quatrains. His quatrains were improved on the basis of Yuefu folk songs in the Southern and Northern Dynasties, which made him more alert. "Thinking on a Quiet Night" and "Yu Jiefen" and other five wonders are implicit and meaningful. There are also excellent works, clear and concise language, harmonious and beautiful timbre, lyrical scenery and simple explanations. For example, See you Meng Haoran on the way to Yangzhou from the Yellow Crane Tower, Looking at Lushan Waterfall, Looking at Tianmen Mountain, Making a White Emperor City as early as possible, and Presenting Wang Lun. Are well-known masterpieces. The evaluation of the seven-character quatrains in the Tang Dynasty has always been that Li Bai and Wang Changling are best at blending scenes; Li Bai concentrated on the study of the Seven Laws, with only a dozen books and few excellent works. There are more than 70 poems about 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 be innovative. Those who wrote poems with the theme of old Yuefu in the Tang Dynasty made the most outstanding achievements. Some of his poems and quatrains are full of Yuefu poems, although they don't use Yuefu themes. The greatest feature of his poetic language can be said to be "clear water produces hibiscus, which is naturally carved". Specifically, the language is straightforward and natural, the syllables are harmonious and smooth, natural and unpretentious, and it exudes the flavor of folk songs. This is mainly due to the study of Yuefu folk songs in 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 to make it more concise, beautiful and meaningful. His seven-character ancient poems are not only pure and natural, but also bold and unconstrained in language. Du Fu's poem "Memories of Li Bai in Spring" praised Li Bai's poems as "fresh" and "elegant", which revealed the remarkable characteristics of his language style. Li Bai's poems have a far-reaching influence on later generations. 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 poems in Zunqian Collection and 7 poems in Hua 'an Miao Ci Selection. Among them, "Qingpingdiao" has three songs "Clouds Want Clothes, Flowers Want Capacity", and the genre is actually a quatrain of seven words, which was sung with music at that time. Other long and short sentences handed down by Li Bai are not very credible. There are more than 60 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, Hanshu Jingzhou and Preface to Peach Blossom Garden (Li) were selected by later generations and widely read.
Neither this episode nor the proofreading version of Li Baiji compiled by the Tang Dynasty has been handed down. Thirty volumes of Li Taibai's Collected Works in the Northern Song Dynasty were engraved in Suzhou and called Su Ben. Later, there was a Shu edition copied according to Su Ben, which was the earliest extant Li Baiji. During the reign of Kangxi, Miao Yue copied it and called it Miao Edition. The earliest annotation for Li Baiji was Yang Qixian's Li Hanlin Collection in the Southern Song Dynasty, with 25 volumes and rich annotations. Qu Tuiyuan and Zhu Jincheng's Li Bai Ji Zhu is the most detailed one in Li Bai Ji Zhu. Research on Li Bai's works: After the May 4th Movement, before the founding of the People's Republic of China, there was Li Bai, a Taoist poet, and there was a study of Li Bai. After the founding of the people's Republic of China, there was Zhan? He is the author of Li Bai's Poems and Essays, and Wang Yunxi is waiting for Li Bai's research. In addition, there are many individual papers, some of which were selected as representative papers by Zhonghua Book Company, and compiled into Collected Papers on Li Bai's Studies, which were published in the 1960s.
■ Su Shi (1037 ~110/)
China was a writer, painter and calligrapher in Song Dynasty. The word Zi Zhan, the word He Zhong, the number Dongpo lay man. Meizhou Meishan (now Sichuan) people.
Life and Thought Su Shi was educated in childhood and was deeply influenced by his father Su Xun. He is long, "a thousand words from those who study classics and history." 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 died in Bianjing, he helped the funeral home. In the second year of Xining (1069), he went to serve in the DPRK. Because of many differences with Wang Anshi's political reform proposition, he asked for a transfer, and was sent to Hangzhou, Mizhou, Xuzhou and Huzhou as local officials from the fourth year of Xining to the early stage of Yuanfeng. 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 (1094), the new party took power and denounced Yuan You's old minister. Su Shi was demoted again and again, from Yingzhou (now Yingde, Guangdong) and Huizhou to Danzhou (now Hainan). It was not until Fu Yuan's third year (1 100) that Song Huizong was pardoned and returned to the north. Zhong Jian Guo Jing (11kloc-0/) 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 clashed with reformists and at the same time disagreed with conservatives who maintained the status quo. Besides, Su Shi is transparent in appearance and pays attention to moral integrity, which makes him neither satisfied with Yuanfeng nor yearning for Yuan You, and even more depressed about having fewer children. 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 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. He believes that writing should be "like flowing water, with no definite quality at the beginning", "natural in arts and sciences, full in posture" (thanks to the teacher's book), and be brave in innovation and originality. 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 existing poems by Su Shi, with a wide range of themes and rich contents. Sympathy for the people and concern for production are the prominent contents of Su Shi's poems. This kind of poetry expresses people's sufferings, criticizes the disadvantages of the times, is sincere and simple, develops many social themes rarely involved by predecessors, and has a wide range of materials and novel meanings. 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, Hiding the River Map in a Collection, and Drunk in a Ink Hall.
In the field of Ci in 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. 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. Su Shi not only wrote traditional themes such as love, parting and traveling with ci, but also expressed his ambition to serve the country, rural life and exile life with ci, which expanded the realm of ci. He portrayed heroes with a healthy pen and expressed his lofty aspirations of making contributions to the country, such as "Jiang Laoren talks about juvenile madness". In ci, he devoted himself more and showed his personality. [Man Jianghong] "Jianghan Came to the West" is a nostalgia for the past, using Mi Fei's experience to cover up his resentment; "Don't listen to the sound of beating leaves in the forest" embodies a fearless and leisurely attitude towards life through small things in daily life. He wrote five "Huanxisha" in Xuzhou, vividly describing the small scenes of rural production and life in fresh and beautiful language, and describing 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] and "Love Comes from Wan Li", the brushwork is like a snowy mountain. Starting from Su Shi, Yuan You poets began to write poems in poetic style. Su Shi rewrote Tao Yuanming's farewell words into whistles, and Han Yu listened to the poems of English and Qin Dynasties. Attached as [Shuidiao Song Tou], it can also be called creation in terms of ci style. In the past, poets rarely set topics outside the topic. Many of Su Shi's ci works not only begin with a title, but also use a small preface, reaching hundreds of words, which is brilliant and 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, Ascending the Mountain and Looking Far, and Coming Back to Xi are spiritual inheritors of Qu Yuan and Li Bai, and are Xin Qiji's next 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, except for the magnificent ci style such as "one river does not return"; Other works, whether beautiful and spacious, fresh and beautiful, or charming and lingering, have their own charm. Such as [Jiang] mourning for his dead wife, the crowd is passionate; [Shui Longyin] sings Huayang, lingering bitterness; [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.
Wen Sushi made great efforts in prose. With his solid skill and unrestrained talent, he 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 sketches of pavilions, such as "Western Pavilion". 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. For example, The Journey to the South, After the Painting of Wu Daozi, The Story of Wen and Gu Yanzhu, etc. In addition, Su Shi also has some essays describing his academic experience, such as Japanese Metaphor and A Shuo, which can be written in simple terms and have many original opinions 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 collected in "Renhai" contains a lot of essays, miscellaneous feelings and trivial notes, which are concise and quite tolerant, indicating artistic conception and temperament.
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, Su Wen, Su Ci and many other works are his precious legacy to future generations.
Calligraphy and painting and academic works Su Shi is also good at 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 version of this work and the annotated version of Su Shi's poetry collection include the 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's Chronological Poems, Feng's Notes on Su Wenzhong's Poems, Vinchy Wang's Notes on 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 edited and annotated in the Southern Song Dynasty, the Complete Works of Mr. Dongpo edited and annotated in the late Ming Dynasty, and the Collected Works of Su Shi edited and annotated by Kong in 1986 by Zhonghua Book Company. There are biographies of Dongpo Yuefu written by Zhu Zumou, a close friend, and Dongpo Yuefu written by Long Yusheng, a modern man.