The origin of the "guest residence consciousness" proposed by Matsuura Tomohisa is based on Li Bai's birthplace and family lineage. Regarding Li Bai’s place of origin, Mr. Hu Huaichen, a recent scholar, has a very general description of it. He listed eight theories: (1) Jinzhou - Wei Hao's "Preface to the Collection of Li Hanlin" (2) Guanghan - Liu Quanbai's "New Tomb of Li Jun, a Hanlin Scholar from the Tang Dynasty" "Jie"
(3) Brazil - "New Tang Book·Wenyuan Biography"
(4) Shandong - "Old Tang Book·Wenyuan Biography"
(5) Chronicles of Longxi’s Creation—Li Yangbing’s “Preface to the Thatched Cottage Collection” Fan Chuanzheng (the author thinks it is Pei Jing)’s “Li Gong Tombstone”
(6) His ancestors were relegated to Tiaozhi—Li Yangbing’s “Preface to the Thatched Cottage Collection” 》
(7) His ancestor’s house was broken into broken leaves——Fan Chuanzheng’s “Li Gong’s New Tombstone”
(8) His ancestors moved to the Western Regions for sin——"New Book of Tang· "Literary Biography" 1
After continuous research, there are three main theories about Li Bai's birthplace: (1) Shuzhong theory; (2) Shandong theory; (3) Western Region theory. Matsuura based on the existing relevant Based on the objective study of historical data, the conclusion that Li Bai moved to Shu from somewhere in the Western Regions around the age of 5 is roughly the only convincing theory.
There are three different views on Li Bai's family lineage: (1) Recognizing the records of basic historical data, it is believed that Li Bai is a descendant of Li Bai, King Wuzhao of Xiliang, one of the Sixteen Kingdoms of the Five Hus in the Eastern Jin Dynasty; (2) Criticizing the basic historical data, it is believed that Li Bai was born from an ethnic minority in the Western Regions; (3) it is believed that Li Bai was born in Han nationality rather than descendants of Li. Matsuura's view is the theory of foreign ethnic groups in the Western Regions. He believes that Li Bai was born in the Western Regions and his family is of a foreign ethnic group. This determines that in his later growth process, Li Bai "has no relationship with the traditional scholar society." In relationships, it is particularly easy to produce unique feelings and moods compounded by the so-called 'desire to participate' and 'sense of alienation'" 2.
Matsuura believes that Li Bai's period of life in Shu was the period of his formation The critical period for his guest accommodation consciousness. The more than 20 years that Li Bai spent here from the age of five to his mid-twenties was an important period in the formation of his ideological consciousness. What deepened Li Bai's guest accommodation consciousness was his father's immigration from other ethnic groups. The reporter’s experience is that his father never had an official Han name throughout his life and was always called “Ke”. In his life experience in Shu, being the son of a minority and a merchant and being rejected from the imperial examination undoubtedly deepened his experience. Li Bai has a distinguished family background but grew up in a wealthy businessman's family. The contradiction between nobility and lowliness is erroneously unified in him. His father, a businessman whose name cannot be disclosed, and The secretive family background brought insurmountable obstacles for Li Bai to enter the scholarly world.
Matsuura believes that the most vivid expression of Li Bai's consciousness of guest residence and the poetic thinking of guest residence formed based on it is. The Chang'an experience of Tianbao's early years in Chang'an life, especially Li Bai's poetic style with the title of "Exiled Immortal" as its core, and the consciousness of expressing this literary and social experience in words and deeds. "Exiled Immortal" means "an immortal who was expelled from the Taoist heaven to the earth for offending". The image of "Exalted Immortal" has three attributes: first, "the genius and transcendence of talent" 2. ; The second is “the non-constant and guest-oriented nature of social relations” 2; the third is “the indulgent and non-binding nature of speech and behavior” 2 . This title is consistent with Li Bai's inner character and is accepted and proud of Li Bai. This can be seen from the extensive use of the title "Exiled Immortal" in Li Bai's poems. The title "Exiled Immortal" strengthened Li Bai's sense of living as a guest, and at the same time became the image of Li Bai in Li Bai's poems and other people's literary works.
The title "Exiled Immortal" played a great role in giving Li Bai a qualitative transformation of the repressive guest consciousness. "The guest consciousness continues to function as a basic element of depression and depression." , because it is connected with the honorable 'concrete' conceptual image of 'banishing the immortal', it is transformed into elements with more freedom, indulgence and indulgence." 2. This is also the essence of why Li Bai loves this title so much. Coupled with Li Bai's outstanding talent, aloof character, and deep influence of Taoism, this indulgence reached the extreme. This indulgence is not only reflected in the many "Songs of Exalted Immortals" composed by Li Bai, but also in Li Bai's more complete indulgence in words and deeds in the court. For example, "The emperor couldn't get on the boat when called, so he claimed that he was an immortal in wine" (Du Fu's "Song of the Eight Immortals in Drinking"), "Trying to be intoxicated in the palace, causing Gao Lishi to take off his boots", "Old Tang Book·Wenyuan Biography", "Shi The Duke had been drunk in the Imperial Academy, so he ordered General Gao to help him board the boat." (Fan Chuanzheng's "Preface to the Tombstone of Li Gongxin, a Scholar in the Imperial Academy" from the Tang Dynasty Collection).
However, this extreme indulgence gave Li Bai a sense of psychological satisfaction, but it could not eliminate Li Bai's loneliness as a great talent. Li Bai spent his whole life trying to use various methods to win the appreciation, recommendation and promotion of people in power. However, he encountered obstacles in his official career. In addition, his natural talent and romantic heroic personality gave him a sense of pretentiousness and superiority. This kind of aloofness that "always desires to make a splash and soar into the sky" (Fan Chuanzheng's "Preface to the Tombstone of Li Gongxin, a Hanlin Scholar in the Collection of Tang Dynasty") made him separate himself from the rest of the living beings from the perspective of self-awareness. He walked alone, acted unconstrainedly, and was outstandingly independent. But at the same time, it also made him deeply feel the loneliness of spring and snow, and the loneliness of having no similar people in the world.
Ke Yu was marginalized and became the "other" in his consciousness. His political ambitions were shattered one after another, and his self-importance and arrogance made him struggle in loneliness, seeking salvation from his "self" and seeking relief in the "land of me".
In Li Bai's poems, the narrative perspective is always in the first person, and words such as "I", "I" and "I" often appear with alarming frequency: "I am aiming to delete the narrative, and hang it down." "The radiance of thousands of springs" ("Ancient Style, Part 2") "Invite me to the cloud platform and bow to my uncle Shuqing" ("Ancient Style, Part 19") "I want to climb the dragon to see the Lord of the Ming Dynasty, but the Thunder God bangs the drum that shakes the sky" ("Ancient Style, Part 19") "Liang Fuyin") "I am born with talents that will be useful, and I will come back after all the money I have spent" ("Jinjinjiu") "I want to dream of Wu and Yue, and fly to the mirror lake and the moon in one night" ("Dreamwalking Tianmu Yin Leaves") "An Being able to crush my eyebrows and bend my waist and serve the powerful will make me unhappy." ("Sleepwalking Tianmu Yin Liu Farewell") "Those who abandon me will not be able to stay in yesterday's day; those who mess up my heart will have many worries today" ("Xuanzhou Xie") "Farewell to the Secretary Shu Yun at the Tower")...
There is no doubt that Li Bai's strong self-awareness is inseparable from his deep influence of Taoist thought. Shu is the birthplace of Taoism, the only religion in China. Heming Mountain in Dayi, Sichuan is the birthplace of Chinese Taoism. Qingcheng Mountain is the birthplace of Tianshi Taoism and has become the backbone of Chinese Taoism. Li Bai was deeply influenced by Taoism in his early years, and he studied Taoism tirelessly throughout his life. Refining elixirs and receiving potions. Even "I have a dream of learning Taoism, and I often travel to fairy mountains in my dreams."
“As a religious culture, Taoism cuts off the blood ties between individuals and others, freeing individuals from dependence on others and social groups, thus giving them the possibility to move toward themselves.” 3 Li Bai as For a Taoist, his unique birthplace and family lineage, wandering experience, and outstanding talents make it easier for him to come into his own. Moreover, "Taoism has broken through the limitations of Taoism. It is not only no longer blindly obedient to the laws of nature, but Give full play to subjective initiative and strive to transcend self-perceived laws such as birth, aging, illness and death” 3 . In the pursuit of life, the Taoists at that time not only got rid of the individual's surrender to the group advocated by Confucianism, but also deviated from the obedience of individual life to the laws of nature advocated by Taoism.
As a poet with the strongest self-awareness and the most outstanding personality, Li Bai promoted individual self-awareness. Living in a "self-consciousness", he could never transcend himself and live in harmony with others and the outside world. . His extreme indulgence, arrogance and arrogance in the guest house's consciousness also caused him to suffer political setbacks, and he was ostracized and squeezed by the powerful. This frustration in turn intensified his loneliness, making loneliness a nightmare that Li Bai could not get rid of throughout his life.
References:
[1] "Selected Collection of Research Papers on Li Bai in the 20th Century" Taibai Literature and Art Publishing House, page 15
[2] (Japan) "The Poetic Thoughts of "Guest Residence": A Benchmark for Understanding Li Bai" translated by Shang Yongliang and translated by Tomohisa Matsuura "Poems of the Tang Dynasty" Kunlun Publishing House 2003 Edition Pages 66-67