It is said that Tao Yuanming is the originator of some drinking poems. How much did Li Bai learn from him in this respect?

Comparison between Tao Yuanming's and Li Bai's works 1. Tao Yuanming and Li Bai are two outstanding poets in the field of China's poetry creation. Both of them are strongly dissatisfied with the reality, and they are pregnant with their own free and easy poetic feelings in their yearning for the ideal society and ideal people. Although Tao and Li's works are permeated with free and easy self-redemption of repressed social reality, which endows the two poets with rational consciousness and deep power from metaphysical and metaphysical aspects, thus making their poems inlaid with eternal aura, Tao Gong's depression and dissatisfaction come from the opposition between man and society, from the opposition between man's natural attributes and social value orientation. Tao Yuanming's way is to guide a rational extension from the realistic realm to the ideal realm through reflection. Therefore, Tao Yuanming's meditation led to the weaving of beautiful fairy tales. Li Bai's frustration and dissatisfaction come from the opposition between personality, freedom and political rule and ethical norms, which shows that his loyalty and talent are unknown to the king, thus leading to the poet's endless sighs and endless grievances and resentment. Li Bai's way is to lead a directional and logical liberation from the real field to the yearning field through the prayer and singing of "blaming the Lord", which is also a profound emotional force. Looking at Tao Yuanming's works after returning to the field, the great beauty of man, nature and life has always been the value core and creative motivation that occupies a central position in him. Many of his famous works, such as Gui Yuan, Drinking, Gui Xi Ci, Self-sacrifice, etc. , often loaded with a heavy sense of anxiety and resentment aroused by the conflict between man and society, man and fate, but he often involuntarily shows a yearning for liberation, and its essence is still a yearning for an ideal realm. It is precisely because of the strong yearning for this "fairyland" that Tao Yuanming persistently abandons and avoids suffering from reality. History has chosen the tragedy of these ancient intellectuals in China, and guided them to a road of redemption. In this regard, Tao Yuanming has a clear sense of self. Life seems illusory, and eventually it will be empty. ""I hope so, but I can't lament the hard work. "Wine has a strong flavor because of the lingering fans." "Mooring Hengmen, the ocean is bleeding, harps and harps are reading books, and finding pottery. Drinking river water is enough. From the outside, it is a rest. Wine is pregnant for a thousand years, and Tuoqi travels alone. " "Picking chrysanthemums under the hedge, leisurely see Nanshan. The mountains are getting better and better, and the birds are back. There is a real meaning in this, and I have forgotten what I want to say. " In Tao Yuanming's poems, there is always a spirit that transcends time, space and flesh, reality and suffering, which shows the * * * of a large number of outstanding intellectuals in ancient China, and the main idea blends with the natural spirit. When life is the most painful, when fate is the most bumpy, and when thoughts are the least understood, Tao Yuanming can also put the most difficult life experiences and the strongest painful emotions in a simple and diluted peace. In the poem "Stay at a respectful distance from my brother in mid-December", Tao Yuanming described that he and his brother stayed at a respectful distance from each other. In the bleak and snowy winter of the north wind, they worked together and lived a poor life without food and clothing. But they learn from the ancient sages, stick to poverty and integrity, and fight against the snow like pines and cypresses. Tao Yuanming, in his famous "Return to Xi Ci", described that when he came back, "the boat was rocking gently, the wind was blowing and his clothes were fluttering" and "he was looking forward to being constant and running with joy". Although he entered the official position because "farming is not enough to support himself", he is still excited about the free and leisurely life after returning to the fields. However, if we think that Tao Yuanming is just a carefree man and god, it is still only a superficial view. Tao Yuanming, as a poor scholar who can't get in enough to find a job and can't get out enough to make a living, is full of ridicule and empty ambitions, but he doesn't want to sink, suffer and be depressed because of frustration. Therefore, in many of Tao Yuanming's poems and Fu's works, the frustration of being an official and the comfort of returning to the field are intertwined, and the disillusionment of ideals and the optimism of returning to nature are superimposed. In "Returning to the Garden", Tao Yuanming wrote for the first time that his career in 13 years was ups and downs and was deeply bound. He accidentally fell into the dust net and stayed in the cage for a long time. Later, he returned to the garden, returned to nature, and planted beans in Shannan, showing the poet's love for rural labor life. Although "the grass is abundant and the bean seedlings are scarce", he "manages the waste and brings the lotus home in the morning". With such an extremely serious and diligent attitude, he goes out early and returns late, just because returning to farming is in line with his wish. However, "Walking in Hazelnut Field" brought him infinite disappointment, and the phrase "Life is illusory, but it is always empty" exhausted Tao Yuanming's sadness. The theme structure of this double paradox can be seen in many works of Tao Yuanming. It is through the interdependence, mutual penetration and mutual transformation of tragedy and comedy that he shows his self-injury, self-pity, self-esteem and self-improvement. Mr. Lu Xun said: "The greatness of Tao Qian lies in that he is not completely silent." This is the qualitative and prescriptive content feature of Tao Yuanming's poetry creation. This constitutes that the poet has the aesthetic character of China's ancient lyric works, and has unique emotional endurance and charm. Zhang Heli, a related theme, is the "Peach Blossom Garden" where Tao Yuanming naturally went to fantasy. This hopeless yearning truly highlights Tao Yuanming's overly sensitive illusion of suffering. In Tao's poems, there is an awe-inspiring spirit of "getting out of the mud without dyeing, lingering without demon", which reveals the power of "being clear and thin in vain and being wild in autumn". This richness endows Tao Yuanming's creation with a broad-minded and calm sadness in the overall style. His free and easy is melancholy, and his despair is silence. This is the key to Tao Yuanming. Baudelaire said: "The essence of poetry is nothing more than human yearning for the highest beauty. This essence is manifested in enthusiasm and the occupation of the soul. This enthusiasm is completely independent of truth and is a rational substance. " It is in the ecstasy of the soul occupied by missing that the poet experienced a kind of beauty, which evolved into a temptation. In the affirmation and exploration of this temptation and belief, the poet was sublimated and reborn in the irresistible ecstasy of the soul. If Tao Yuanming's free and easy is melancholy, it is a kind of tranquility after despair, while Li Bai's free and easy is a kind of resentment after broadmindedness. His poems present a philosophical and enthusiastic tone. As a drinking poem, Tao Yuanming always hopes that all his troubles and pains will turn into a wisp of smoke and melt into infinite natural things, but the sinister memories of reality emerge again and again, impacting his bitter heart, and a deep and eternal sense of despair is always low in his poems. However, Li Bai's whole poem "Into the Wine" is full of deep anxiety and self-confidence. Many of his poems are magnificent. Although in some famous works, such as Into the Wine, Drinking for the Moon, and Farewell Secretary of Xie Tiao Village in Xuanzhou, there are also sighs that "Worry and you will never sell", "Tomorrow I will let my hair hang freely and take a fishing boat" and "I only wish to sing and drink wine", "We are both far-sighted ideas. Is also born. Li Bai's poems are angry but not hurt, sad and strong, and the suffering of life is too white to linger. He has an overconfident heart. Although history and times decided that he couldn't find a better way out in the reality that the jackal was in power, his sentimentality was still enormous. Li Bai's spirit is constantly under the pressure of repression, but he does not give up the impact on the yearning field and the affirmation of self-worth. Always filled with heroic and generous feelings, he played a high-pitched and optimistic tone, and his poems triumphed in this tragic and violent spirit, reaching nirvana and achieving perfection. This is Taibai's way of affirming life. It is false to think that Li Bai lives in a pure land with green notes everywhere and forgets his troubles. He has never forgotten the world and his own sufferings and tribulations, and he has never been able to achieve "forgetting me". After forgetting his troubles, he affirmed his own value and adhered to the life philosophy of "I am me and I am me". However, the persistent pursuit of yearning has never been fruitful, and the pursuit of fate and life has never been answered. Therefore, the passion of melancholy and resentment, strong sad indignation, has been stirring in his heart. This is the theme structure of a double paradox. On the one hand, he thought that he could "help the sea by hanging Yun Fan", but on the other hand, he was "unable to pay all kinds of gold", so he decided to design a Noah's Ark carrying spirit and reality and devote himself to the endless and attractive exile of poetry. If Tao Yuanming's poems and fu are from earth to heaven and converted to heaven, then Li Bai's poems are wandering in the world, shouting out his passion, hard work, pain and resentment with the lightning on earth. History determines that there is no end to chasing, but Li Bai never thinks so. He never despairs. He always looks at the ending of Sometimes I Meet with naive feelings, produces a sweet optimism, and revels in this enthusiasm. Tao Yuanming went from worry to wine to nature and enjoyed it in wine and nature, so he forgot his worries. The warm fragrance in the Peach Blossom Garden softened the poet's bitter heart. Tao Yuanming's free and easy is an escape from reality, and his spirit and body are coated with a layer of non-earthly and pan-divine light, turning into an ethereal lightness. The quiet moment of "forgetting words" in drinking and the carefree feeling of "carefree and endless fun" in Taohuayuan's poems all focus on the author's whole-hearted tranquility and joy, which always makes people feel that it is not the earthly breath, but the charm from heaven. On the other hand, Li Bai's Ode to Fu Liangsong admitted the children of Nanling. Since God has given talent, let it be hired! , spin one thousand silver, all back! Although different from ordinary people, he is still a human being, a refinement of emotion and personality. Therefore, the tension of Li Bai's poems is more easily felt than that of Tao Yuanming's poems. In this way, Tao Yuanming is too detached, and the span between his reality and aesthetics is opened by the sublimation of flying over. If Li Bai is a poet, Tao Yuanming is a fairy. Li Bai is a man and Tao Yuanming is a mountain man. Their feelings exist because of all kinds of sufferings, and they all exist for immortality. Tao Yuanming's carefree, Li Taibai's impassioned, washed away their tears. In the face of suffering, Tao Yuanming smiled knowingly, and Li Bai laughed loudly, so that it is difficult for ordinary people to see the threads in the laughter. Facing their free and easy smiles, we appreciate two different ways of perceiving life. Tao Yuanming is a kind of cavitation for the pain and suffering of life, and a kind of transcendental nirvana that is realized in the heart and naturalized. He created a road of redemption in our ancient nation, forgetting suffering and transcending reality. This sense of self-satisfaction does not come from a shallow way to save the world, it is a wonderful way to comfort the soul. Li Bai, on the other hand, strengthened the will to life again and again and further affirmed the value and strength of life. It seems that his life sufferings are not as clear as Tao Yuanming's, but his eternal belief created by the deep affection of "the mountain fire never dies, the spring breeze blows high" in our national characteristics is an upward road, a forward road and a road of strength. It is the candle of life and personality. Their spirit and betrayal show the deep personality and temperament of China in ancient times, and they are steady and responsible. When the soul was shattered by reality, Tao Yuanming "threw it into the colorless air", which made the soul soar, while Li Bai "swallowed his stomach and let out light", which revived the fragments. Therefore, reality is just an opportunity for Tao Yuanming to get inspiration. When he was absorbed in the works of Joy and Quiet, he almost cut off his contact with the secular world. Even in the poems expressing children's feelings, such as Yan Zi and Deng Shu, and those poems urging farmers to express their most common feelings, they are all condensed with naive purity. Different from Tao Yuanming's indifferent and quiet way, Li Bai prefers oath-like prayer. Even in the most desperate "the road is long and Xiu Yuan is difficult" and "the road is difficult", enthusiasm and passion are integrated with each other, occupying all his soul and immersed in the yearning for ideals. If we want to find a meeting point for Tao Yuanming and Li Bai, it is that they both have an ideal pure land and a soul destination. This pure land and destination lead them into a calm, free and easy life realm, away from personal troubles. They are all free and easy. Although Tao Yuanming has compiled many beautiful fairy tales that deceive himself and others, Li Bai, because of his self-confidence, reflects the glory of bitterness and joy to each other. Today, when we stand on the rational shore and interweave their dreams, their backgrounds and their songs, we can see an attractive and charming landscape in ancient China culture. Second, the contrast of artistic conception and texture If we carefully taste the works of Tao Yuanming and Li Bai, we can really feel the charm of swimming and cohesion. Li Bai's poems always try to pursue the momentum of sudden interest and show a strong sense of self-worth in life. In contrast, Tao Yuanming's skill is ethereal, implicit and indifferent. In Tao Yuanming's view, the liberation of worldly affairs, worries and sufferings of life lies in the detachment of natural fate or subjective spirit. What is shown in his poems and poems is the seamless flow of interests between things and me, and the seamless blending of the relationship between things and me. In this way, although Tao Yuanming and Li Bai are full of charm in their respective works, they show great differences in specific combination, splicing and image selection. 1. From the structural style, Tao Yuanming's poems are all four or five short sentences, even in Fu. This very regular short and slow rhyme makes his narrative tone calm and slow, as if speaking slowly. Although the scenery depicted in Tao's poems has never been merciless, the color he chose is extremely diluted, as if it were a portrayal of inner indifference and tranquility. "The road is narrow and the grass is long, and the evening dew is stained with clothes", "Picking chrysanthemums under the east fence and seeing Nanshan leisurely" and "Harvesting silkworms in spring and paying taxes in autumn" are not stained, but the tone is so soothing. Tao Yuanming's indifferent choice in writing is that the poet skillfully "melts" the traces of artistic carving with strong feelings and hides all his worries with deep feelings. This kind of image group's optical connection seems too dull at first glance, but if we look at it from its inner meaning, we can appreciate its unspeakable beauty. Art has reached this point, even if "Wen" and "Tao" have been integrated into the ultimate realm. In contrast, Li Bai seems to be trying to deny this. Among his articles, such as Entering Wine, Farewell Minister of Xuanzhou Villa, Difficult Road to Shu, Difficult Road to Shu, etc. He opened and closed his brushwork from the beginning, and the article changed a lot, as if he couldn't recite poetry without breathing out a storm and standing on the wall. Li Bai's works are full of fast and sonorous phonology and surging emotional torrent. Contrary to Tao Yuanming's deliberate indifference to distant scenery, Li Bai deliberately rendered "lead me to wind bamboo, green radish floating in the clouds", "the sun shines on the furnace, the waterfall hangs in front of the river", "the fire moves the world, the red star is in purple smoke" and "the clouds are dark and the rain is dark, and the stream is light and foggy". Li Bai's scenery is not only colorful, but also colorful and full of lofty sentiments, as if Li Bai had written poems dedicated to Taoyuan. This is another peak of poetic art, which pursues the image tension that flashes out in an instant by coupling induction. It not only needs to master the art of language and poetry freely and skillfully, but also must devote all the poet's emotions and greater personality strength. This kind of intense emotional flame on paper makes Li Bai's poetry and song art have strong cohesion, integration and attraction. Li Bai's poems are very expressive. Li Bai takes what he wrote as the object of spiritual communication and takes it as his appeal. Seeing the famous beginning of "Into the Wine", readers all feel the poet's sigh over the fleeting life and the sadness of Li Bai's life. "The big flying eagle shakes eight generations, and the sky is weak and indestructible." The poet feels like a Dapeng whose wing suddenly breaks in mid-air and cannot fly. Among them, Long song's "Crying" by Li Bai sang a tragic dying song for himself. It is the poet's infinite desolation and passion. In many of Li Bai's "ancient styles", whether chanting history or narrating, they all express and tell the poet's inner feelings and irony. As for Shu Dao (difficult to Shu Dao), journey (difficult to travel), dream (climbing Tianmu Mountain in a dream) and climbing the platform (climbing Taibai Peak and On Climbing Nanjing to Phoenix Terrace), the poet's subjective will and mood are reflected through similes, metaphors or metaphors, which are transformed into the presentation of subjective feelings. In contrast, Tao Yuanming's poems and fu are vivid. The industriousness of going out early and returning late in Returning to the Garden, the true meaning in Drinking, and the author's expectation for the funeral of his relatives and friends after his death in Elegy are all extensions of the poet's mood, which is a mixture of the poet's mood and various situations, while the images expressed in Peach Blossom Garden Poetry, Biography of Mr. Wu Liu and Painting Fan Zan are completely Tao Yuanming. The difference between these two techniques is that in Tao Yuanming's technique, the subject consciousness and the object of expression are completely integrated, and the poet gets rid of deliberate seeking and management in the moment of aesthetics and in the conception and arrangement of images. In the mutual penetration of reason, interest and emotion, subject and object merge into the same sensory complex, thus objectifying themselves, making the object self-oriented, reaching the advanced state of mutual blending of things and me, and the interests of things and me flow equally. On the contrary, in Li Bai's technique, "self" is always the master of "things", and the symbolic meaning of the object is only a metaphor of the subject's feeling and situation. In this process, the object is only responsible for presenting the block of the subject's feeling and thinking, without its own independence and freedom, and the object is completely immersed in the content and form of the subject's consciousness. Because of this, the construction of images in Li Bai's poems must rely on objects such as nature, history and images. This has formed an inherent poetic nature, and it is impossible to further deepen his situation with the help of natural images. The steep mountains and rivers are used to describe the ups and downs of official career in South Shu Dao, and there is also the "comparison" method mentioned above. The success of Li Bai's poetry lies in the fact that these objects are the meaning units and aesthetic matrix that constitute poetry, that is, the inherent poetic nature of objects is highlighted and emphasized by Li Bai. Generally speaking, the subject image of this kind of poetry has strong cohesion and explosive force, because it is based on the inherent mindset, so readers need to do a detailed anatomical work when understanding. The highest realm of Tao poetry aims to capture an emotion that can only be expressed in words and grasp the deep meaning of human emotions. The artistic conception of Tao poetry does not need to be based on the corresponding isomorphism between the surface meaning and the deep meaning of the object, and its poetic realm or poetic nature only depends on a special feeling, thus relying on this feeling to obtain the mysterious appeal of aesthetics. So Tao Yuanming's why do you say my feelings? Turbid wine comes from pottery "and so on. , appear satisfied, lip service, faint but indispensable, just in the open, free, calm hidden the poet's anxiety and despair. Tao Yuanming's poems are also obviously different from Li Bai's in the relationship between "things" and "I", that is, the relationship between subject consciousness and object. In Tao Yuanming's poems, the poet gradually realized his own situation by observing the returning birds, paying attention to Nanshan and the sunset, and fitting in with the life rhythm of natural images. Therefore, the poet's personality and thoughts are completely integrated into the physical image. In a flash, things and I are in the same world, looking at each other back and forth on the same level, and melting into a ball. "I don't know that Zhou's dream is a butterfly, and the butterfly's dream is also a week." It is in this way that Tao Yuanming's consciousness finally moves towards the blending with all things in the universe, the seamless integration with infinite nature, and the illusory "Peach Blossom Garden", which makes Tao Gong broad-minded and carefree after despair. On the contrary, in Li Bai's poems, the poet's self-emotion occupies a dominant position at any time, and the presentation of objects in poems must obey the needs of the subject's self-expression. When the subject expresses his inner feelings through external situations, it shows a rigorous, corresponding and intensive feature. In fact, the difficulties of the Yellow River and the Shu Road did not affect and infect Li Bai's resentment and sorrow, but only served as a situation, an opportunity, and an opportunity to trigger Li Bai's resentment and pain. Therefore, when Li Bai faces this rigid relationship between things and me, and when Li Bai's poems and songs accept the idea of insisting on inner independence from the outside world, it determines that he must have the most resolute personality, the most tenacious belief, and a heart that never despairs. Otherwise, when he can't find a way out in his official career, pretending to be arrogant and out of tune with the world, he will only indulge and sink, decadent and desperate, but he can't get up and be free and easy. Ba Jin thinks that the ultimate of art is that there is no skill, or that skill is forgotten, diluted and cavitated in the skillful use of skill. From this point of view, when Tao Yuanming constructs poetry, those seemingly indispensable, handy and interesting images can really make readers often forget the existence of structure and the coherence of images, as if they were in real life, and life is like flowing water. In this vivid, illusory and spiritual lyrical atmosphere, readers are often confused and don't know whether life has become poetry or poetry has become life. And Li Bai's poems have reached the acme from another way, and with the help of the passion that keeps pouring out of the poems, the skills are covered up without a trace. However, readers are caught in another strange circle where passion and life are intertwined.