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Li Bai and Du Fu are two great poets in the history of China's poetry, and they are also the two major academic topics that scholars in later generations are most concerned about. After 1200 years of exploration and chanting, Sydney and Du Xue have formed two major disciplines and a huge research group. Li Bai and Du Fu are often studied and discussed together by later generations, which is the so-called "Du Lixue".
Li has three characteristics: 1) has a long history. Since the death of Er Gong, they have been criticized and praised differently. In the middle Tang Dynasty, the research and discussion about Du Li was very active, which lasted for 2200 years. Their poems also spread very early. Before Du Li's death, their works had been widely collected. Throughout the dynasties, their works were copied, edited, published and engraved by later generations. 2) Famous artists come forth in large numbers. The study of Du Li not only has a long history, but also has a deep depth. Everyone commented on Du Li's works in different periods or compiled them into a collection. It can be said that since the Tang Dynasty, almost all great literary critics have a certain interest in Du Li, such as Bai Yuan, Du Xiaoli, Liu Han, King Su Huang of Europa, Lu You, Yan Yu, Zhu, Yuan Haowen, Yang Weizhen, Qianhouqizi, Sanyuan and Li Zhi. In short, although Li has been talked about for a long time, he has always been a celebrity and has been talked about. 3) The angle is extremely wide. The study of Du Lixue is not limited to literature in a narrow sense, but often involves many fields such as history, philosophy and aesthetics. The study of Du Li includes not only the appreciation of their poems, but also the textual research of their life stories, the analysis of their thoughts and even the whole national culture, and the appreciation of their poems is very much. Scholars have cut into the study of Du Li's poems from many angles and achieved fruitful results.
Du Li's comparative theory. Du Li's innovative theory.
Du Li's Literary Thought
Although Du Li has a tacit understanding, their poetic concepts are not exactly the same.
The word that best represents the aesthetic proposition of Li Bai's poetic theory should be "halal" (the first ancient style). This "halal" should be a kind of natural, simple and perfect beauty. Wang Anshi commented: "The poet has his own income, and Li Bai has also got it." I mentioned the beauty of Wang Changling's poems last class, which also belongs to this perfect beauty of halal. In contrast, Li Bai opposes imitating carved words, thinking that it will lose the "naive spirit" of poetry: "An ugly woman will set an example and surprise her neighbors at home. Shouling lost step, laughing and killing Handan people. A brilliant song, carving a worm, mourning innocence. It takes three years to make monkeys with thorns. " ("antiques. Thirty-four ")
So most of Li Bai's poems are based on sincere feelings. Reading Li Bai's works, the biggest feeling is that Li Bai's ancient poems are endless, and there is no leakage. Li Bai's modern poems are fresh and simple, with no impurities. These are the embodiment of his "halal" aesthetic pursuit. "Alas xu play! The stakes are high, and such a trip is more difficult than climbing the blue sky. Until the two rulers of this area forced their way through in the foggy age. Forty-eight thousand years have passed and there is no contact with Qin Sai. " Have you seen how the water of the Yellow River moves out of heaven and flows into the ocean, never to return? You can't see the lovely hair in the bright mirror of the high room. Although it is silky black in the morning, it has turned into snow at night. " ("I will drink") "I am worried about the bright moon, and I will go with the wind until Yelangxi." ("I heard that Wang Changling left this letter to Long Biao Wei Yao") There are many such examples, too numerous to mention.
The fresh beauty of Li Bai's poems is not carefully carved. His poems are often written in one stroke. However, this kind of kung fu is not something that ordinary people can learn. Wang Anshi commented: "It seems to be the easiest and strangest rise, but it is actually a piece of cake." Li Bai's poetry and ode creation has a wealth of knowledge accumulation, and then it was conceived by a talented poet in an instant. This state is really like what Lu Ji said in "Wen Fu": "Pour out the juice of the crowd and wash away the fragrance of the six arts. Floating in the sky and the depths of spring. Therefore, swimming with a fishhook will lead to deep water; Floating algae, if John bird tassels, falls on Zeng Yun's rigor. "
Like Li Bai, Du Fu also talked about accumulation. "Reading is like a million volumes, and writing is like a god." (Twenty-two Rhymes for Wei Zuocheng) Du Fu's poetic aesthetics can be summarized as "vivid". This "God" has been highly praised by many literary critics and thinkers. Zhuangzi talked about "harmony with God", Liu Xie talked about "harmony with thinking", and Du Fu explicitly applied the concept of "god" to poetry creation. The "spirit" mentioned by Du Fu should refer to the profound spiritual charm contained in his poems: "The general is good at painting to cover the gods" ("A gift from Dan Qing to General Cao") and "The book is expensive and thin, and the gods can understand it" ("Biography of Li Chao's Eight Points"). Luo Zongqiang also defined this "god" in the History of Literary Thoughts in Sui, Tang and Five Dynasties: "Being shocked but not stiff shows charm in shock".
Du Fu also emphasized vividness and realism, and he most admired the realm of "both form and spirit". In order to realize this vivid beauty, on the one hand, Du Fu emphasized tempering, refining words, refining sentences, thinking hard and studying hard. "For the sake of humanity, words are not surprisingly endless." ("The water on the river is worth as much as the sea. A short talk") "Who knows that thanks can do things, so why bother to learn Yin?" Huang Tingjian praised Du Fu's poem: "The May 1 words are nowhere to be found". On the other hand, the author can only write vivid works by extracting real and natural materials from nature and life.
In addition, Du Fu emphasizes vividness and realism; Talk about hard work and skills, and don't object to the talent of one step; It not only favors the natural expression of feelings, but also advocates metaphor and irony. It not only praises the fresh beauty of nature, but also pursues the beauty of tragedy (Luo Zongqiang). It can be seen that Du Fu's poetics not only reflects the tendency of the prosperous Tang people to pursue grandeur and character, but also shows the requirements of the middle Tang people to care about the disadvantages of the times and advocate beauty. Luo Zongqiang's History of Literary Thought thinks that Du Fu summed up the prosperous Tang Dynasty and started the middle Tang Dynasty, while Li Zehou thinks that Du Fu's prosperous Tang Dynasty is different from Li Bai's. The prosperous Tang Dynasty of Li Bai and Zhang Xu broke the old paradigm and formed an artistic paradigm of "content overflow", while the prosperous Tang Dynasty of Du Fu and Yan Zhenqing stipulated and established a new aesthetic paradigm. Quoting Su Dongpo, Li Zehou thinks Du Fu is a master.
Some scholars compared Du Li's poetics from a higher angle, and summarized Li Bai and others as "the system of character" and Du Fu as "the system of Bi Xing" (Du Li in Jiang Changdong's "The System of Bi Xing"), pointing out that Li Bai and others' thoughts meant the awakening of the poet's individual consciousness, Du Fu and others' thoughts meant the awakening of the poet's "group personality consciousness", which seemed a bit excessive. Many scholars have analyzed Du Li's artistic thoughts in detail, and the listed items are very detailed and complicated, such as Kang Yi's theory of "revitalizing the divine law" in Du Fu's poetics, and so on, so I won't quote them one by one in this paper.
Generally speaking, Du Li and his two literary concepts have similarities and differences, which makes their poems both charming and elegant.
Du Li's two works are combined, and his ancient modern poetry has created brilliant achievements. Limited by space, this paper compares Du Li's seven-character ancient poems with modern poems and analyzes the similarities and differences of their expressions:
Comparison of Du Li s Seven-character Ancient Poems;
The word "ancient poetry" only appeared in the Tang Dynasty to distinguish it from "modern poetry". Classical poetry probably came from Yuefu in the Han and Wei Dynasties. Poetry is relatively free, and its length is not limited. There are four fonts, five fonts, six fonts, seven fonts and miscellaneous fonts. Generally, there are more five-character and seven-character styles. Generally speaking, ancient poems with miscellaneous words are mainly composed of seven words, so they can also be counted as ancient poems with seven words.
Li Bai and Du Fu's seven-character ancient poems (including seven-character poems and miscellaneous poems) are the highest achievements in the creation of seven ancient poems in the Tang Dynasty. Hu Yinglin, an Amin, once made a general comment on the Seven-character Song of the Tang Dynasty: "The Seven-character Song of the Tang Dynasty, with four sons hanging their heads, was extremely gorgeous, but it did not escape Liang Chen's hand. Zhang, Li, Shen and Song got rid of glitz and gradually became dull. tang style flourished, but it was not smooth. Gao, Cen, Wang and Li have distinct syllables, frustrated feelings, shortened crude fibers and smooth fit, but not big. Taibai, Shaoling, big and big, can be finished. Money, Liu, I can't see far, and I'm weak. Yuanxiang, Baifu, get up and shake it. It's more than enough, but not enough. Changli came down and the door was wide open; Lu Tong's simplicity, Ma Yi's mediocrity, Li's strangeness and Liu Cha's madness, although shallow and deep, are all made of different materials, which should be detours and have no appeal. Zhang Jihe Wang Jian is a little real and modest. The flow of Ting Yun is more vivid, gradually entering the poetic realm, and the ancient meaning is exhausted. " This passage is short and tends to simplify the generalization of individual poets, but it still objectively highlights Du Li's position in the seven ancient dynasties of the Tang Dynasty.
In terms of quantity, among more than 900 existing poems of Li Bai, Gucci has more than 130, Du Fu has more than 1400 and Gucci has more than 140. Among the poets in the prosperous Tang Dynasty, he also wrote the most seven-character Yuefu poems. The seven classics also occupy an important position in their creation, so the comparison is very representative.
On the creation of seven-character ancient poems, Yi Zeng concluded that seven-character ancient poems should be narrated, opened and closed, graceful, delivered, dangerous, majestic, sonorous, taboo and soft, and must be opened and closed in waves, such as the waves of rivers and seas. Another example is the army, which thinks it is right and strange, thinks it is strange, and suddenly it is right and strange, and the change is extremely irregular. For this method, only Du Li. Brilliant opening and closing, loud rhyme, solemn statutes, profound knowledge and detached discussion. The ancients said that poetry is often subjective, but most of them are insightful. This passage by Fan Kun points out a common feature of the seven ancient Du Li: the composition is changeable and easy to scroll.
Many poetic theorists have talked about the changeable composition of Du Li's seven ancient books. Shen Deqian once commented in the Collection of Tang Poems: "It's too white to say ancient words. If you want to fall from the sky, the situation will change itself. The river is calm and choppy. White clouds fall from the sky and disappear with the wind. This is almost a gift that human beings can't reach. " Another cloud said, "There are seven old sayings in Shaoling, which are like building a palace with chapters, with thousands of households; For example, in the battle of stag, the princes watched on the wall, knees forward, afraid to look up. Such as the water in the sea, the wind and waves, the monsters dancing in the sand, and the stupid elves, which are different from those in the Tang Dynasty, are called bulk. Taibai is better than Gao, and Shaoling is better than Da. Hold Jin Wu, resist Yan Xing, and future generations can stand on their feet! "
Let's take Li Bai's Shu Dao Nan as an example.
Hey, play! The stakes are high, and such a trip is more difficult than climbing the blue sky. Until the two rulers of this area forced their way through in the foggy age. Forty-eight thousand years have passed. Don't talk to Qin Sai. In Dabaishan, to the west, there is still only one bird path that can cross Emei. Once it was broken by an earthquake, some brave people lost it, and then the ladder stone pile was hooked. On the high flag, six dragons drive the sun, and far below, the river lashes its twisted channel. Such a height is difficult for a yellow crane, poor monkey, they only have claws to use. The Green Mud Mountain is made up of many circles. For every hundred steps, we have to turn nine times in the middle of its mound. Panting, we passed Orion, passed Jingxing, and then fell to the ground with our arms folded and groaned. We wonder if this road to the west will never end, and the terrible road ahead is getting darker and darker, even darker. Nothing can be heard except the cries of birds surrounded by ancient forests. The male bird rotates smoothly and follows the female bird. Jathyapple, what comes to us is the melancholy voice of Du Fu, a sad empty mountain. This kind of trip is more difficult than climbing the blue sky, and even hearing it will make people pale. The highest cliff is less than a foot from heaven, and the withered pine trees hang low on the cliff surface. One thousand waterfalls rushed forward one after another, sending out the thunder of rotating stones in ten thousand valleys. You have come a long way in the face of many dangers. Although the pass of the watchtower is strong and steep, one person guards it and ten thousand people can't beat it. What if he is not loyal, but a wolf to his companions? . There are scary hungry tigers during the day and poisonous reptiles at night. With their teeth and fangs, they kill like hemp. Although the Silk City is beautiful, I'd rather go home soon. Such a trip is more difficult than climbing into the blue sky and looking sideways at the west for a long time.
This poem is full of style, bold and unrestrained, full of concern and changeable. No wonder later generations regard this poem as a fairy. Dictionary of Appreciation of Tang Poetry: Difficult Shu Dao before Tang Dynasty is very thin and short. However, Li Bai not only used various forms of three words, five words and seven words in sentence patterns, but also entered the poem with scattered sentences. The whole poem is scattered, uneven and extremely unrestrained. Moreover, the rhyme of poetry is unrestricted and can be changed at any time. This unpredictable brushwork and composition of vertical and horizontal movements can be seen everywhere in Li Bai's seven ancient books. Reading his Yuefu, we can often feel that the turning point of the chapter is changeable and smooth. This is the creation of genius, very human.
Du Fu, on the other hand, is good at changing rules without losing statutes. His "Song of Eight Immortals Drinking" won the praise of scholars for its unique structure and unique composition. Wang Si Yu, a scholar of A Qing Dynasty, said: "This school is a pioneer and has no past principles, so future generations cannot learn. Describing the eight princes, each of them is extremely drunk and interesting, but they are all full of fairy tales. Or two sentences, or three or four sentences, such as a cloud in a clear sky, rolling freely, and there are immortals in the poem. " (Quoted from "Du Fu's Poems")
Zhang Zhi rode a horse like a boat, dazzled, and fell asleep at the bottom of the well. Ruyang rises from the sky three times, and the road drools at the door of the car, wishing it could not be sealed to Jiuquan. Drinking like a whale costs thousands of dollars, and a cup of music is called a saint. Zong Zhi, a handsome boy, looked up at the sky with white eyes, as bright as Yushu before the wind. Before Su Jin Dynasty embroidered Buddha in Changzhai, he often liked to escape Zen when he was drunk. Li Bai wrote a hundred poems in a bucket and went to sleep in a restaurant in Chang 'an. The son of heaven didn't get on the boat, calling himself Brewmaster. Zhang Xu handed down three cups of grass, and before he took off his hat and showed his head to the maharaja, he threw the paper like a cloud. Jiao sui's five fights are outstanding, and it is about four banquets.
In addition, their seven ancient treasures, Yuefu in Han and Wei Dynasties and Han Fu in Chu Ci all provided them with rich nutrition. "Dressed in a rainbow, I came with the wind, and the queens of clouds descended one by one" ("Climbing Mount Tianmu in a Dream"), "The dust in the cave was a tiger's mouth, and I suddenly lost my two sticks, so I must follow" ("Preface to Peach and Bamboo Branches") is full of the spirit of Li Sao, while poems such as "Fighting South of the City", "Difficult Walking" and "Military Vehicle Shop" originated from the Han, Wei and Six Dynasties In the early Tang Dynasty, Yuefu had the most direct influence on the two poets, such as Poems on Whitehead, Visiting Yuan Army in Huaigu County, Washing Horse and so on. Can this creative thinking, which draws nutrition from many aspects, explain the reasons for the freedom of sentence length and space in their compositions? As Hu said: "Every poem has lines of ink, but the journey of songs comes from Lisao and Yuefu, so it is extremely scattered." ("Poetry")
There are two things to add: their poems are very learned, and we can clearly see the ancient allusions from them. Huang Tingjian said that Du Fu's poems are full of words, but isn't Li Bai's poems full of words? This feeling is most obvious when reading Wang Qi and others' comments on Shi Li. But both of them may not stick to the original meaning of allusions and appellations, and often change and use new things. This seems to be helpful to the above theory.
Xue Tianwei pointed out in his paper that both Li Bai's ancient Yuefu and Du Fu's new Yuefu have a tendency to "sing", and both poets have strengthened the lyric function of Yuefu and transformed Yuefu into a lyric poem with strong feelings.
The difference between the seven ancient Du Li is also obvious. Reading Li Bai's ancient poems, a very distinct feeling is that Li Bai uses his broad meaning, such as the frequent appearance of "Wan Li" and "Changfeng". There are many words such as "Wan Li" in Du Fu's poems, but most of them are in the sentences such as "Wan Li shows the cold palace, opens the ice and clears the jade pot", "being a good guest is suitable for Wan Li, and thinking about delay", and there is no heroic spirit of "autumn geese are accompanied by Changfeng" and "leaving Wan Li for sorrow, so this title is taken again". This feature is often heartfelt and heroic. On the other hand, Du Fu's seven-character songs are mostly won by careful layout and writing. His ancient poems are clear-cut, well-tailored, deeply emotional and vigorous. For example, Du Fu's Wash Terracotta Warriors (A Detailed Interpretation of Du Fu's Poems is called Wash Terracotta Warriors), "A poem with four rhymes and twelve rhymes has its own system, but the brushwork is vigorous, the words are old, and the image of joy floats between pen and ink." (Du Yi, Wang Siyuan)
As a matter of fact, Du Li's two Yuefu songs are both pinned. Xiao Xiaoyun thinks that Li Bai's Yuefu refers to real things, which is a bit excessive, but there is no doubt that there are many allegories in Li Bai's ancient poems, especially Du Fu. However, in their performances, both of them are "Qi-oriented" and "Meaning-oriented", as Hu Zhenheng said: "The five-character ancient style is selected, and the seven-character singing line is too white, and the gas is the most important, which is natural, elegant and prosperous; The beauty of the child is based on the meaning, and the creation of the family is the Sect, and the strangeness is expensive. " Ge Jingchun believes that this spirit is "the impulse of inspiration", and the source of this inspiration is rich knowledge and unparalleled talent. Du Fu, on the other hand, acted in accordance with the law and kept his word, that is, "focusing on meaning".
Correspondingly, Li Bai's seven ancient paintings are freehand brushwork in the big picture, and the images are mostly obtained from overlooking and looking far away. They are slightly charming and magnificent. "The Yellow River falls into the East China Sea, and Wan Li writes it in his heart." ("Gift to Pei XIV") "The Yellow River Wan Li touches the mountain, and the vortex hub turns to Qin Mine." ("Xiyue Yuntai Song Send Dan") "I climbed up. I look around the world, and the rivers are vast and never return. The yellow cloud was blown away by the wind for hundreds of miles, and a snow peak was surrounded by a vortex with nine times the current. " ("Lushan Ballad") Du Fu started from the details and saw the big picture from the small. "The running water in Tianjin is full of red blood, and the bone head is a mess." "When Hu and his party came back, they washed their arrows with blood and still sang" Don't drink the city ". Du Fu focuses on the description of the scene in front of him and expresses it with deep and dignified emotions. Compared with Li Bai, Du Fu has a unique temperament.
In terms of song creation, many of Li Bai's seven-character Yuefu poems are old Yuefu poems, and he even drew up all the old Yuefu poems (in Ge Jingchun's language). Hu Zhenheng said: "Taibai is the deepest Yuefu and has no ancient title." Or use its original meaning, or reverse it to create a new meaning. If you leave, you will leave, and the song will be wonderful. "(Tang Yin is expensive) But Li Bai wrote new content with the inscription of the old Yuefu, quoting ancient things to satirize the present. Moreover, many of Li Bai's Yuefu poems are vague, and it is difficult for future generations to find them. Many Yuefu poems in Li Bai Ji Zhu are accompanied by a long note by Zhan Yi, which can be seen from the interpretation of poems such as Shu Dao Nan, Liang and Meng Deng Tian Mu Shan. Du Fu wrote a new topic Yuefu, which is "a famous article, nothing to rely on", closely linked to reality and set up a new one at will. Du Li's "Bixing Theory" holds that both Bai Yuan's feelings in the Middle Tang Dynasty and Han Meng's freehand brushwork originated from Du Fu, which is the embodiment of his "Bixing Theory".
In addition, two people in the seven ancient capitals pay attention to rules and regulations, but Li Bai is not as introverted as Du Fu. Compared with Du Fu's strictness, Li Bai's ancient poems are more free. For example, Du Fu's Wash Terracotta Warriors and Horses is considered by later generations to have a lot to do with the arrangement of rhythm, and its 24 rhymes actually have 17 pairs of metrical sentences. This poem is strict in antithesis, harmonious in syllables, vigorous and old, which shows that Du Fu has the style of legalizing the past. However, there are many prose sentences in Li Bai's ancient poems, such as "Those who abandoned me yesterday can't stay, but those who disturb my heart today are more worried" ("Seeing Uncle Yun off at Xieyuezhao Building in Xuanzhou") "Those who know the soldiers are tools, saints have to use them" ("Southern Expedition") "And one person can keep them, and ten thousand people can't force them. Guard or not, but the wolf to his companion? . There are scary hungry tigers during the day and poisonous reptiles at night. Answer blows with blows, killing people like hemp "("Shu Dao Difficult ") and so on. There are also loose sentences in Du Fu's ancient poems, but they are far less typical and wonderful than Li's. Some scholars think that Li Bai is "learning from the past" and there is some truth. Xiao Difei's book A Study of Du Fu also analyzes the rhymes of Du Fu's ancient poems, and points out the characteristics of "three tones" and "flat and even rhymes" in Du Fu's ancient poems, which can be used for reference.
Du Li's comparative theory. Du Li's general theory
Comparison of Du Li's styles;
Style is the reflection of the writer's thoughts, feelings, personality, aesthetic ideals and interests, artistic accomplishment and so on in his works. Regarding Du Li's style, Yuan Xingpei quoted Yan Yu's words in "A Study of China's Poetry Art": "The beauty of a son is not Kaya's too white, and the beauty of a son cannot be depressed." This seems to be a conclusion. Li Bai is elegant and Du Fu is depressed.
In fact, both Li Bai and Du Fu have summed up their own styles. Li Bai said in the History Book of Pei Chang in Shang 'an County: "Ma Gong, the former magistrate of the county, and Yan Hao, the ruling and opposition party, were all wizards at first sight. Because it is said that Beijing's long history of cars says,' There is no haze in the mountains and no vegetation in spring. Li Bai's writing style is clear and bold, and he is famous for his handsome words, bright and beautiful, and touching sentences. And Du Fu said in "Entering the Carving Fu Table": "Although the narrative of ministers is not enough to spread the Six Classics, the number of children should be read first. As for depression and frustration, they are always agile, and people like Yang Xiong and Gao Mei are incomparable. "It can be seen that" Qing Xiong Unlimited "(elegant and unrestrained) and" Depressed and Frustrated "can indeed represent their styles. However, for the explanation of these two concepts, the academic circles have always expressed their opinions, and have not fully formed a * * * knowledge.
After comprehensively comparing the viewpoints of various schools, I made the following analysis on their artistic styles. Let's talk about Li Bai's "elegance":
The first is emotional growth. Li Bai is an uninhibited and confident person, which is related to his sentimental psychological tendency in the prosperous Tang Dynasty and his uninhibited personality. You know, in the history of China, only the early Han Dynasty and the early Tang Dynasty can give people such a high degree of self-confidence and heroic mentality. It goes without saying that during the Wei, Jin, Southern and Northern Dynasties, scholars in the Song, Yuan, Ming and Qing Dynasties were more rational, and the theoretical constraints were more obvious. It is difficult to have the majestic momentum of Tang poetry and Han Fu after the Tang Dynasty. "One day, I will ride the wind and waves and send it directly to Yun Fan and the sea" is an expression of ambition; "I am a madman in Chu, and he sang a crazy song arguing with Confucius. Holding a green jade staff in his hand, I passed it, starting from the morning of the Yellow Crane Tower "is his own portrayal. When he vented his depressed emotions, he was still able to make his feelings gush out. The scenery in his works had an atmospheric appearance, and he never felt small. "I want to cross the Yellow River, but ice will block the ferry and Taihang Mountain will be covered with snow." "Oh, how can I bow and scrape to those who are in high positions? They will never tolerate others showing them a sincere face! " However, Li Bai's farewell or leisure feelings are fresh and handsome, and they are not lingering, which is actually a manifestation of high confidence.
Secondly, emotional expression is unrestrained and endless. Li Bai's feelings are grand and cheerful, not limited to square inches. When his feelings galloped, as Ceng Gong described it: "Like a long river, it is vast, and Wan Li is venting." Li Bai's emotion is grand and nothing can stop it. Once it breaks out, it will have the power to move on and never look back. "Have you seen how the water of the Yellow River flows from the sky to the sea and never returns? Have you seen the lovely hair in the bright mirror in the high room, although it is still silky black in the morning, it turns into snow at night? ..... ""Climb the sky instead of riding a tiger. The noble and the humble are determined to make friends, only Yan Ling and Guangwu. Duke of Zhou is called the Great Sage, and Cai Ning is compatible. A bucket of millet in China folk songs is different from that in Huainan. ..... "("Elegant Ballad ")
Thirdly, the vertical and horizontal changes of imagination. Li Bai's imagination is strange and changeable. In his poems, heaven goes into the earth, the former sages are prominent, the wind rises in Wan Li, and the smoke is boundless. "Talking about Poetry and Spitting Words" commented: "It's too white to fall, the situation changes, the river is calm, the waves are rough, the white clouds are rolling up, and blowing in the wind." Moreover, Li Bai's imagination is extremely jumping, which is irrelevant and spans a lot. Accompanied by rich imagination, it is a heroic exaggeration: "White hair and three thousands of feet, sorrow is like a long beard." ("Song of Autumn Pus") "Flying down three thousands of feet, it is suspected that the Milky Way has fallen for nine days." (Look at Lushan Waterfall)
The third is a highly personalized image. Yuan Xingpei has a special chapter on the relationship between personalized images and Du Li's style. My personal feeling is that when choosing images, Li Bai always has a personal color, and his images can reflect each other with his style, such as "Changfeng", "Lang Yue", "Yellow River" and "Yangtze River" ... In addition, Li Bai also adopted personalized language. This image is endowed with grand, relaxed and broad artistic life.
Moreover, that is Li Bai's hearty language. Li Bai's language is true and natural, blurted out without carving. As he himself said, "Clear water produces hibiscus, and it is naturally carved." This is a natural mixed language, a chic language, and this beauty is also an important aspect of Li Bai's "elegant" style.
Whether it is unrestrained, bold or elegant, its connotation is probably like this.
Let's talk about Du Fu's Depression and Frustration;
"Depressed" originally refers to the profound, dignified and sad style characteristics in the works. Chen Tingzhuo said in his "White Jade Zhai Thorn": "The so-called depressed people deliberately write first, writing beyond the divine words, complaining about their husbands and wives, and feeling lonely. All the indifference of friendship and the wandering of life experience can be found in every grass and tree. And it will be looming, want to show it, repeatedly lingering, and finally not telling the truth. The tall physique of bandits also shows their rough temperament. "It requires" that if you are invisible and you want to show it, you are repeatedly lingering and are not allowed to hit the nail on the head. "The bandits' high physique also shows their rough temperament. "
This kind of repression is actually the profundity and richness of feelings. This profound and rich feeling comes from Du Fu's broad mind and conservative mentality. Pei Fei said: "The mind is broad, so broad that a poem can cover a lifetime and the whole era." This profound and rich emotion comes from the troubled times in which Du Fu lived, from the changes in the mentality of the intellectuals in the prosperous Tang Dynasty, and also from his own ideological understanding formed in an embarrassing life and a dramatically changed society.
Personally, I think "frustration" is mainly reflected in some expressive techniques of Du Fu's poems. The application of frustration to the analysis of Du Fu's poetry style first appeared in Du Fu's Poetry Analysis. Frustration has tragic meaning, which is reflected in painful and repeated recitation, the choice of bleak images and steep and stagnant syllables. This "frustration" has become more and more complete with Du Fu's "growing strength, full of interest, aging and deepening ideological experience" (Pei Fei's Du Fu's later years).