The main feature of Li Bai's poetry art is that he is good at expressing his warm thoughts and feelings by using rich imagination, bold exaggeration, vivid metaphor, free and liberated genre and simple and beautiful language. His poems have a strong subjective color, which is mainly manifested in his emphasis on expressing heroism and passionate feelings, and rarely describing objective images and specific events in detail.
The most striking feature of Li Bai's lyric style is that it often breaks out. Once his feelings were aroused, they rushed out without restraint, just like hurricanes and erupting volcanoes in the sky. Combined with the expression of explosive emotions, his poetic imagination is unpredictable, and his imagination is often unfounded and strange. Most of the images in his poems are magnificent, such as Dapeng, giant fish, long whales, rivers and snow-capped mountains.
The language style of Li Bai's poems is fresh and lively, and hearty and lively is the basic tone of his words. His poems, blurted out without modification, often show transparency, purity and dazzling brilliance, reflecting his noble personality of rejecting secular identity.
Generally speaking, Li Bai's poems have the following four characteristics:
1, the imagination of Li Bai's poems is amazing.
Tell the world, think of ghosts and gods, be fascinated by them, measure them with four hearts, and be aboveboard. Li Taibai is really an inexperienced person. ([Tang] Pi Rixiu's "Inscription of Liu Zaoqiang") For example, "The wind blows my heart and hangs Xianyang trees in the west" ("Jinxiang sends Xijing"), "I am worried about the moon. It has built a colorful and thrilling realm. For chapters such as Difficult Road to Shu and Farewell, predecessors rated them as "strange and strange" (He Ling Ji) and "Change and shrink, steal and faint" (Hu Yinglin's poems), which just exposed his rich imagination and absurd sentences.
2. In Li Bai's poems, exaggerated and vivid metaphors and personification are widely used.
His poems "Although the water is still flowing, though it is cut with a knife, raise a glass to ease the sorrow" (Secretary Xuanzhouzhuang's Farewell) and "White hair is three thousands of feet, and sorrow is like a long beard" (Song of Autumn Pu, the fifteenth episode) describe his deep anxiety after the failure of political activities in Chang 'an, which is a well-known sentence. For example, "Poetry is a gift from the north window, and a word is not worth a glass of water" ("Twelve Cold Nights in Answer to the King"), "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 Walk"), which makes it difficult to write a career; "The Peach Blossom Pond is deeper than thousands of feet, not as deep as Wang Lunshen" ("To Wang Lun"), writing about the deep friendship between friends, etc. , all left a deep impression on readers with distinctive and prominent images. For example, it is suspected that the Milky Way has set for nine days, and for example, the snowflakes in Yanshan Mountain are as big as seats, blowing off Xuanyuantai (Xuanyuantai Xuanyuan Huangdi Mausoleum is located on Yu Zi Mountain, 7 kilometers northeast of Pinggu County, commonly known as Xuanyuantai).
3, free and lively, unrestrained.
Stylistically speaking, Li Bai is good at free-form ancient poems and quatrains, but he doesn't like to write poems with strict meter. 59 pieces of "Antique" are the representative works of his five ancient poems. 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 seven-character songs of Yuefu and seven ancient poems of generals) are more creative. They write scenes. Lyrics are full of emotions, ups and downs, and varied. Li Bai is good at quatrains. His quatrains are based on Yuefu folk songs in the Southern and Northern Dynasties, which are improved and refined. The five quatrains "Silent Night Thinking" and "Jade Family" are implicit and meaningful. There are many excellent works, clear and concise language, harmonious and beautiful tone, lyrical scenery and simple explanation. Li Bai concentrated on 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.
4, fresh, bright, natural and not carved.
The greatest linguistic feature of Li Bai's poems is freshness, liveliness, naturalness without carving, as he said in his own poems, "Clear water produces hibiscus and natural carving". The concrete manifestation is that the language is straightforward and natural, the syllables are harmonious and smooth, and they are natural, not fake carvings, and exude 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. For example, 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 showed its distinctive language style.
Li Bai's poems have the artistic charm of "the pen is shaken by the wind and rain, and the poem makes the gods cry", which is also the most distinctive artistic feature of his poems. As a romantic poet, Li Bai mobilized all romantic skills, so that his poems reached a perfect unity in content and form. Li Bai's poems are full of self-expression and subjective lyricism, and the expression of feelings is overwhelming. For example, when he entered Beijing as an official, ". When I miss Chang 'an, some poems such as "The wind blows my heart and the Xianyang tree hangs in the west" are very infectious.
Extreme exaggeration, apt metaphor and amazing fantasy make people feel highly real. Reading these poems, such as "But since the water is still flowing, even if it is cut with a sword, it is even more worrying to raise a glass to eliminate the sorrow" and "White hair is three thousands of feet, and the sorrow is as long as long", readers can't help being infected by the poet's long sorrow and endless worries. Li Bai's artistic expression is particularly prominent in his poems, such as Climbing Mount Tianmu in a Dream and Difficult Road to Shu.
Imagination, exaggeration, metaphor and personification in Li Bai's poems. The comprehensive application often produces a fantastic, magnificent and moving artistic conception, which is why Li Bai's romantic poems give people a heroic, unrestrained and elegant charm. His language, as his two poems say, is clear, lively and meaningful.
First, Li Bai's poems have strong subjective feelings.
Secondly, the images in Li Bai's poems often transcend reality.
Thirdly, the vivid and bold exaggeration of Li Bai's poems.
Fourthly, Li Bai's poems are rich in strange imagination.
Five, fresh and bold language art
Li Bai was a great poet in China in the Tang Dynasty. His poetry creation fu represents the highest level of Tang poetry and even China classical poetry. His poetry creation is not only ideological, but also artistic.
When we read Li Bai's poems and songs, we will feel that his poems have a strong artistic appeal. Du Fu praised him for "beating the wind and rain, writing poems and weeping" precisely because Li Bai's poems have a strong romantic spirit. We can discuss the art of Li Bai's poems from the following points:
First, Li Bai's poems have strong subjective feelings and shaped the poet's own image.
Li Bai's poems are full of strong subjective feelings. In many works, we can feel that the poet's self-image is active in it. For example, Xun Aijia of Su;
I stayed in Wusong Mountain, lonely and unhappy. The Tian family is hard in autumn, and the girl next door is cold at night. Kneeling into the carved rice, the moon is bright and plain. It's a pity to drift mom, but Sanxie can't eat it. The poet spent the night in an old house in a mountain village, and the hostess was hospitable despite her poverty. This moved the poet very much. "It's a pity to drift my mother, but the three associations can't."
Even poems describing or writing landscapes can make people feel that there is a poet living in them. For example, "Emei Mountain Moon Song":
Mount Emei should flow like the Pingqiang River in the half moon and autumn. At night, Qingxi flows to the Three Gorges, missing Yuzhou.
Under the half moon, we saw the figure of the poet struggling alone.
His poems are sometimes like a whirling wind, a spewing volcano, an angry roar, and constantly changing. Even in this kind of poems, we can see the poet's feelings and images. For example, his famous work "Difficult Road in Shu" first describes the history of Shu Road through myths and legends, and then describes the scenery along the way, showing a picture of danger. Shu Dao Nan is Li Bai's masterpiece.
Ouch! High risk! This kind of travel is more difficult than climbing the blue sky, until the two rulers of this area squeezed in in the foggy years. Forty-eight thousand years later, there was no connection with Qin Saitong, while the Dabai Mountain to the west still had only one bird path leading to the peak of Emei Mountain, which was once broken by an earthquake and lost by brave people, and then there was the ladder stone stack. As high as a banner, six dragons drive the sun; Far below, the river churns, and the yellow crane can't fly; Apes are eager to try. Blue mud twists and turns, mountains twists and turns. Ask when you will go back to the west. The road ahead is getting darker and darker. In addition to the cries of birds surrounded by ancient forests, the male birds are spinning smoothly, and following the female birds, we hear the melancholy voice of Du Fu jathyapple, who is sad about the empty mountain. Such a trip is more difficult than climbing the blue sky. Even hearing it makes his cheeks pale. The highest cliff is less than a foot from heaven. The withered pine trees are hanging upside down on the cliff, rapids and waterfalls, fighting noisily, and the cliff becomes. If so, people from afar will come for nothing! Although the bunker is strong and severe, and one person guards it, ten thousand people can't break it, but what if he is disloyal and a wolf treats his companions? There are hungry tigers during the day and poisonous reptiles at night. Their teeth and fangs are ready to kill people like hemp. Although Chengdu is happy, it is better to return early. It's difficult to travel through the Shu Road, to go to the sky, and to go to the sky.
This poem describes the adventures of Shu Dao. The phrase "it is more difficult to walk than to ascend to heaven" appears three times in the poem, which is full of the poet's strong feelings and has a strong artistic effect. However, this poem is full of momentum and passion, which makes people feel excited after reading it and want to meet and conquer the danger of nature. Readers are fascinated by it. I have four styles of feeling. This is precisely because Li Bai's bold and unconstrained character has been integrated in his poems. This means that the images in Li Bai's works are often personalized and have strong subjective feelings. Even in the poem "Difficult Shu Road", the dangers of Shu Road are described, but Li Bai's bold and unconstrained character is also integrated.
Secondly, the images in Li Bai's poems often transcend reality.
Images in Li Bai's poems often transcend reality. He seldom gives a detailed and true description of his life process, but gallops through his imagination in a vast space, interspersed with history, mythology, dreamland and natural scenery, capturing many seemingly logically unrelated images, and forming a thrilling picture with unique ingenuity, showing ups and downs. Such as "Dream on Mount Tianmu" and "Liang".
Since yesterday, I have to leave Bolt and me behind. Today, it hurts my heart even more. Autumn geese and Changfeng escort them. When I am in this villa, I drink my wine. The bones of great writers are your brushes. In the school in heaven, I grew up beside you. We all hold high our thoughts and want to go to the blue sky to embrace the bright moon. But since the water is still flowing, although we cut it with swords and raise our glasses to ease our sorrow, since the world can't satisfy our desire, the Ming Dynasty sent people to row boats.
In the short 12 poem, the feelings jump several times, and if they are intermittent, they are achieved in one go, vividly expressing the worries and resentment in the chest. "Since I had to leave Bolt and me yesterday, it hurts my heart even more today." The two images of "yesterday" and "today" here can be said that they have never been used before, and only Li Bai can think of and use them. These two sentences are lamenting the passage of time and the boredom in my chest. Tao Yuanming's poem says, "Both the sun and the moon vote." This is what Li Bai meant in two sentences. However, Tao Yuanming's poems have deep feelings and gentle tone, while Li Bai's two sentences have strong feelings and urgent tone, and they are carefully chosen, even ignoring the rules. This poem was originally seven words, but it broke the form of seven words at the beginning. "Since I had to leave Bolt and me yesterday, it hurts my heart even more today." In short, it is two prose sentences. This is because Li Bai has a strong feeling, so the poem blurts out, so he can't think of any tricks. These two sentences mean that I can't live without yesterday. What disturbs my heart is today's day and how many worries I have today. This is a farewell poem, and it is rare to see a portrait at the beginning. So we take this opportunity to get it off our chest. Think carefully, the images of "yesterday" and "today" are actually "yesterday's me" and "today's me". Although there are two images, the person referred to is one. We may think that Li Bai will continue to write along this line, but otherwise, Li Bai changed his angle in the third and fourth sentences: "Autumn geese and Changfeng are companions, just as I face them from this villa and drink my wine." You can have a cup of "Gaolou" on the Drum Tower. On the one hand, it's a farewell to his uncle Liu Yun, on the other hand, it's also to ease your worries. The fifth and sixth sentences are another leap: "The bones of great writers are your brushes. In Tianyuan, I was Xiao Xie who grew up beside you." Penglai Pian refers to the articles of Han Dynasty, Jian 'an Bone refers to Jian 'an Style, and Xiao Xie is a poet who guides the dynasties. Maybe, but the foothold of these two poems is still in themselves. Please note: Li Bai uses the word "zhong" here, which means that he will go on. These are the following two sentences: "We are all noble to distant ideas, who wants to go to the sky to embrace the bright moon". "Everything" is everything, "Everything breeds ease and prosperity". So who should be included? It should include the essayist of Han Dynasty and the poet of Jian 'an, and the following should include Li Bai himself. Only in this way can there be a "middle" Xiao Xie. Li Bai wrote that he, like them, wanted to fly high and embraced the bright moon in the sky with extraordinary interest. These two sentences show Li Lingyun's ambition and feelings of hard struggle, and also summarize his own poetic style. With such ambition and talent, Li Bai has no way out in society. How could he? Therefore, the poem returns to the word "sorrow": "But since the water is still flowing, although we cut it with swords, we raise our glasses to eliminate our sorrow. Since the world can't satisfy our desire, let's build a boat. "But since the water is still flowing, although we cut it with the sword" is a metaphor for his sadness. How strange and appropriate this metaphor is; How smooth the timbre is, how vivid the rhythm is. This tone and rhythm are reminiscent of endless running water, which is as endless as running water. Because Li Bai's sorrow for the world can't be eliminated, he has to live in seclusion and wander around: "Since the world can't satisfy our desires, I will let go of my hair tomorrow and take a fishing boat. As can be seen from the poem Farewell Minister of Xie Tiao Village in Xuanzhou, Li Bai's poems often capture some seemingly illogical images. However, he can organize these seemingly unrelated images into a complete poem. The jump between images just shows the ups and downs of his feelings. Like this poem, in just twelve sentences, the feelings jumped several times, one saying this and the other saying that; Say yesterday for a while, say today for a while, if it is intermittent, it will be done at one go. This is a very prominent artistic feature of Li Bai's poems.
As I said just now, the images of Li Bai's poems and songs are often beyond reality, and there is little detailed and true description of the life process. In this respect, Nineteen Ancient Styles can explain this problem well.
This poem is written like this: Go up to Lianhua Mountain in the west and look at the stars in the distance. Holding hibiscus in hand, the imaginary step is too clear. The skirt floated into the sky with a wide belt. Invite me to board Yuntai, pay high tribute to Wei Shuqing, and walk with it, driving Hongling Ziming. Overlooking Luoyang River, I walked among the soldiers. I bleed and draw weeds, and jackals wear tassels. At first glance, this poem seems to be about wandering immortals, but from the last few sentences, we can see that the poet wrote about current events, the rebellion of An Shi, and the fact that he proclaimed himself emperor in Luoyang. However, Li Bai's writing is not a true and detailed description of this political event. He put it in the theme of wandering immortals, overlooking the world from high altitude, and revealing the changes of the current situation through wandering immortals. The first few words are all immortals. He climbed Lotus Hill. Looking down from the sky, I saw a large number of "Hu Bing" in Luoyang, that is, An Lushan's army. There were heavy casualties in the war. "The blood is stained with weeds, and the jackals are out." Those jackals have all become officials. Li Bai did not write this realistic political event on the ground, but from the perspective of heaven and immortals. Therefore, I say that the imagery in Li Bai's poems is surreal, and describing real life in this way is completely different from Du Fu's description of An Shi Rebellion. Du Fu wrote about human life and real politics on the ground. Li Bai's poems are observed from the sky, and they are very different. Li Bai is romantic and Du Fu is realistic.
Thirdly, Li Bai's poems are vivid and bold exaggeration.
Exaggeration can be seen everywhere in Li Bai's poems, especially in his landscape poems, such as:
White waves are like mountains that can be crossed, and strong winds worry about steep sails to kill people.
Baling infinite wine, autumn drunk kill Dongting. ("Traveling to Dongting with Uncle Yu")
Why not quit drinking and killing people with red makeup? ("Give Duan Qi Niang")
These exaggerations are bold, but vivid. Who has seen "Baling Unlimited Wine" can "make people drunk, but kill Dongting Autumn"? Readers only feel vivid and vivid, but they don't feel abrupt and incredible.
We say that the exaggeration of Li Bai's poems is the boldest, but his exaggeration is the most acceptable. For example, his fifteenth poem "Ode to Autumn" Pu:
White hair three thousands of feet, sorrow like a beard. I wonder where the autumn frost comes from in the mirror.
In the poem, he wrote about his white hair, saying that "white hair is three thousands of feet", which is extremely exaggerated. Who has such long white hair? Who has ever seen such long white hair? But when we read this poem, we don't think that Li Bai's description is unacceptable and unreliable. Instead, it feels natural. "White hair and three thousands of feet, like a long beard." Why is it so long? Because I'm too worried. "I don't know where to get autumn frost in the mirror." At this time, Li Bai was looking in the mirror. When he looked in the mirror, he saw a piece of white hair like autumn frost. He asked: where did you get so much autumn frost in the mirror? "White hair and three thousands of feet", this is the first time I look in the mirror and sigh: my hair is really as white as "three thousands of feet"! Only Li Bai dares to write so exaggeratedly and can be accepted by readers. There are many similar examples, such as "Popular in the North", in which Li Bai said that "Yanshan snowflakes are as big as seats". Of course, Yanshan Mountain is very cold, it snows and snows, but it won't be as big as a mat. But Li Bai dared to write: "Yanshan snowflakes are as big as seats." After reading it, we felt that it was not abrupt, and it felt very good. Regarding this poem, Mr. Lu Xun once said: "Yanshan snowflakes are as big as seats" is exaggerated, but it is not divorced from the truth. The Yanshan Mountains are really cold and snowy. If it is said that "the snowflakes in Guangzhou are as big as seats", it is not true. Lu Xun means that exaggeration cannot be divorced from reality, like Li Bai. But it's still true. Similar examples are "A gust of wind blows down the mountain in three days" in Hengjiang Ci, and "it is hard to go goes up to the sky" in Shu Dao Nan. These examples are obviously exaggerated, but they are not dangerous or true.
Fourthly, Li Bai's poems are rich in strange imagination.
Li Bai's poems and songs have a rich and peculiar imagination, and some of them really make us feel whimsical when we read them. For example, he has a farewell poem entitled "Farewell to Wei Ba in Jinxiang". He said: "The wind blows my heart and hangs Xianyang trees in the west." My friend went to Xianyang and Chang 'an, and my heart followed. How did he get there? My heart was blown away by a strong wind and hung on the Xianyang tree in the west. Li Bai can imagine that his heart was blown away by the strong wind, blowing so far and blowing to Xianyang. Not only was his heart blown to Xianyang by the strong wind, but his heart could also be hung on the treetops of Xianyang, like a kite with a broken line. This farewell poem is really amazing after reading it. There is also a poem called "Climbing Yueyang Tower in Twelve Summers". When Li Bai and Shi Xiaer climbed Yueyang Tower, they saw a flock of geese descending from the sky. He said: Goose also took away my sadness. Seeing such a vast scene, my sadness was drawn away by the wild geese and disappeared. Therefore, they said, "the geese lead me to worry, and the mountains hold the moon." At night,
Friend Wang Changling was demoted to the dragon label. When the poet heard the news, of course, he felt sorry for his friend's demotion, so he wrote this poem and gave it to Wang Changling, saying:
Huayang flowers bloom and fall, and the dragon crosses five streams. I'm worried that the bright moon will follow you to Yelangxi.
In a late spring season, the flowers have fallen and the birds are crying. At this time, I heard that you were going to be demoted to Longbiao, and you had to go through Wuxi Pass to Longbiao. I can't take you there. I can only entrust my sadness to the moon to take away and accompany you all the way to Yelangxi. Because the dragon sign is in a remote area of southwest China, and the moon rises in the east and sets in the west, Li Bai can imagine that he can put his sorrow. Let the bright moon accompany my sadness until you get to the place where you are demoted. Li Bai imagined that his heart could fly away from his body, or with strong winds, geese or the bright moon. In such a naive imagination, he showed deep feelings.
Li Bai's rich imagination is also manifested in his personification and personalization of nature. He has a poem called "A Kind Pillow and a Kind Bowl from the Lower Zhongnan Mountain to Hu Si" (Hues is the surname of a friend of his, but it is a compound surname). In this poem, there are two sentences: "Walking down the blue mountain in the evening, moonlight is my way home." In the evening, he stepped down from the green hill, and Shanyue came back with me.
When we read these two poems, we always feel that the poet is still like a child. When we were young, we often felt that the moon was following people. We often thought: Why does the moon always follow me? Li Bai's imagination of this poem is naive. He kept the child's childlike innocence, and at the same time personified Shanyue, as if he were his companion, and came down from Zhong Nanshan with him. He also has a poem called "Drinking the Moon Alone", which has two lines: "Until I raise my glass, I ask the Moon and bring my shadow to me, so that the three of us can drink the Moon alone" and "Drinking the Moon Alone". A man who drinks a dull drink always wants someone to accompany him, so who will accompany him? "Until I raise my cup, I ask Mingyue", please invite Mingyue to accompany me. Not only do you have the bright moon as your companion, but you also invite your own figure as your companion (the bright moon shines on yourself and leaves a figure on the ground). In this way, "until, I raised my cup and asked the bright moon" became the shadow of three people. "Three people" refers to themselves, the bright moon and their own figure. This is also the embodiment of the bright moon and characters. There is also a poem called "Of course not". But the open mountain flowers are just like people's smiling faces, and they are also personalized. In Li Bai's works, nature is often vivid. Let's look at one of his famous five-character quatrains, entitled "Sitting alone in Jingting Mountain":
Birds fly high, and lonely clouds go to leisure alone. I never get tired of seeing it, only Jingting Mountain. Li Bai sat on Jingting Mountain and saw birds and clouds, but after a long time, the "birds" gradually flew out and the clouds went somewhere to relax themselves. "Birds fly high, and lonely clouds go to leisure alone". The only thing left is Jingting Mountain. And this Jingting Mountain will not fly away. People love mountains, and mountains love people. This is a daydream of the poet sitting alone for a long time. We studied the landscape poems of Xie Lingyun, a famous poet in the Southern Dynasties. If we compare the poems of Li Bai and Xie Lingyun, we can see that their poetic styles are very different. Xie Lingyun only objectively described the landscape appearance and posture, but rarely saw the poet's own spirit and temperament. Li Bai always personifies and individualizes nature, and nature is his friend.
Fresh and bold language art 。
The main feature of Li Bai's language is freshness and boldness. He doesn't stick to the rules, he doesn't carve words, and everything is unified with nature. He has two poems that say: "Clear water produces hibiscus, and natural carving." These two poems of Li Bai can be used to illustrate his own language characteristics. For example, his famous poem Midnight Wu Ge:
The moon is hanging over the capital, 10,000 washing hammers are beating, and the autumn wind is blowing my heart, forever and ever. Oh, when will the Tatar army be conquered and my husband return from the long battle! ?
Autumn is coming, and women are beating their clothes. What are they doing? Is to make clothes; Why are you making clothes? Because it is autumn, the weather is cold, but her husband is far away from the border. After finishing the clothes, she will keep her husband away from the cold at the border. "A bright moon is hanging high in the capital, and ten thousand hammers are scouring." At night, in the moonlight, women can be heard everywhere in Chang 'an. This kind of smashing clothes, "and the autumn wind blows my heart", and the autumn wind is blowing my heart, implies that there are many women smashing clothes and guarding the border. Just miss Yutong. Yumenguan is Yumenguan. In the Tang Dynasty, Yumenguan had troops guarding the border. The wife's husband is stationed in Yumenguan and wants to send her warm clothes there, so the feelings of missing Yumenguan are always revealed in this Tatar clothes, so the last two sentences say, "Oh, when will the Tatar army be conquered and when will my husband come back from the long battle!" ? "When can we win the war? Can your husband go home? A language like this is really fresh and natural, without any carving or embellishment. Another example is his famous seven-character quatrain "The First Generation of Baidicheng":
Thousands of miles of Jiangling, thousands of miles of white emperor colorful clouds. Apes on both sides of the Taiwan Strait are crying endlessly, and canoes have crossed the Chung Shan Man.
These poems all express profound feelings in very simple, pure, natural, heroic and powerful language. The first two sentences are exaggerated, but pure white; The last two sentences describe the speed of canoeing, which is also very clear. The poem "Early Sending Baidicheng" is based on "Shui Jing Zhu"? Zhu zai's allusions, but when we read it, we don't think Li Bai is using allusions, and he can naturally achieve this. In addition, Li Bai will never use meter to bind his feelings. When feelings reach their climax, he often breaks through the restrictions of metrical patterns and appears some prose poems. For example, "the breeze and bright moon are out of the question, and others push Yushan" ("Xiangyang Song") and "the breeze and bright moon don't need to be bought" broke the format of seven words. Another example is "If it is dangerous, why do people who live at a safe distance come here?"? "(Shu Dao Nan), this is simply a prose sentence. Another example is the poem "Jiangxia presents Wei Nanling with ice", in which he said, "I smashed the Yellow Crane Tower for you, and you smashed Nautilus Island for me." I'll smash the Yellow Crane Tower for you. There will also be some prose poems, as if he had forgotten that he was writing poems. Li Bai also paid great attention to learning the language of folk songs and absorbing the spoken language at that time. For example, "Peacock Flying Southeast" and the Yuefu folk song "Xizhou Song" in the Southern Dynasties were obviously influenced. The Southern Dynasties folk song "A Journey to Jiangxia" has the emotional appeal of "Western Music". His "Hengjiang Ci": "I mean' agriculture'. In modern Wu dialect, "Nong" is the second person's name "You", but in Southern Dynasties folk songs and Li Bai's poem, "Nong" is the first person's name "I". Another example is: "Rain can't fall in the sky, and water can't be collected. Your feelings and concubines' wishes flow separately. Another example is: "It is rich in folk songs. The unpredictable imagination, magnificent images, fresh and lively language and bold and elegant style of Li Bai's poems had a wide influence at that time, which was not only praised by poets of the same era as He and Du Fu, but also that "new poems spread to the palace population and beautiful sentences could not be separated from an open mind" (Ren Hua's Li Bai Zayan). During Zhenyuan period, his collection of poems "Every Family Has" enjoyed a high reputation in all walks of life. Li Bai's poems have a far-reaching influence on later generations. Han Yu, Meng Jiao, Li He and Du Mu in the middle and late Tang Dynasty were deeply influenced by them and admired them. For example, Han Yu said, "Du Li's article is there, and the flame is there." Su Shunqin, Wang Ling, Su Shi, Lu You and Xin Qiji in the Song, Ming and Qing Dynasties.
Hope to adopt ~ ~ ~ ~ ~ ~