Discussion: The artistic features of Li Bai's poems.

Like many great writers, all Li Bai's works also contain romanticism and realism, but as far as his dominant tendency is concerned, he is a master of positive romanticism. As a romantic, although he also accepted the influence of realism in The Book of Songs, it was Qu Yuan's works in The Songs of the South that influenced him more deeply. Li Bai and Qu Yuan have similar political ideals and misfortunes, the same rebellious spirit of dissatisfaction with reality, and equal noble quality and artistic genius. On the basis of these characteristics, he is bound to embark on the road of positive romanticism initiated by Qu Yuan, and enrich and develop it according to his own life practice and artistic practice. Li Bai inherited and developed Qu Yuan's tradition. He combined his political ideal of "securing the country" and "helping the poor" with the Taoist cynicism and the spirit of resisting violence, saving the weak and helping the poor in the ranger thought, and expressed his love for the motherland. Express sincere sympathy for the oppressed and damaged people; He expressed deep hatred and anger at the dark phenomenon hatched by feudal system; He expressed strong resistance and contempt for the dignitaries in the ruling class-his positive romantic spirit is indeed broader than Qu Yuan's. In terms of expression, he also inherited and developed Qu Yuan's romantic expression, especially the exaggeration in folk poems, and improved it in creative application to make it more perfect. On the object of description, he contacted more subjects than Qu Yuan, so he used romanticism more widely. He not only used this technique to express himself, seek immortality, sleepwalk and other romantic themes, but also often used this technique to reflect the war and describe daily life and natural scenery in order to gallop his imagination of "wanting to fall from the sky".

Li Bai's use of exaggeration is also very creative: for example, "white hair is three thousands of feet, and sorrow is like a long beard", boasting the depth of sorrow by boasting white hair; For example, "if fame and fortune exist, Hanshui River will also flow to the northwest", boasting that fame and fortune cannot exist because Hanshui River cannot flow to the northwest; For example, "Cangwu Mountain collapses, tears on bamboo can be extinguished", boasting that Cangwu Mountain does not collapse, Hunan water does not die, and the tears of Queen E and Nvying do not die. Because Li Bai is a great positive romantic, he has a clear attitude towards the beauty and ugliness of things, and it is difficult to express his huge and strong thoughts and feelings without exaggeration. It is precisely because he has great and strong thoughts and feelings for the object being described that his exaggerated performance has reached the state of "impeccable", which makes people feel necessary.

But what he can't achieve is that he can often combine these romantic expressions of myth, fantasy and exaggeration beautifully. In Shu Dao Nan, Meng Li Deng Tian Mu Shan, Ci Popular in the North and Farewell, he combined these expressions to varying degrees. These works, because he adopted this expression technique, opened up an infinitely broad fantasy realm and a magnificent and colorful image field for us, and more fully expressed the poet's positive romantic spirit and theme. For example, in Shu Dao Nan, because he adopted this technique of expression, he can fully express the poet's bold and enthusiastic character and the lofty and dangerous reality of Shu Dao. In the same way, the rebellious spirit of the poet breaking up with dignitaries can be fully demonstrated in Tianmu Mountain in a Dream. Only in Fu Liangyin can the poet's grief and indignation after being hit politically be fully expressed; In "Popular North" and "Farewell", where will you go and your deep hatred for missing women can be fully expressed. In these works, he can use bold, enthusiastic and exaggerated language, rely on myths and bold fantasies, create a huge artistic image, express the beautiful ideals and desires inspired by reality and strong love and hate, and make it a masterpiece combining realism and romanticism.

Li Bai not only critically inherited the fine tradition of ancient poetry since the Han and Wei Dynasties, but also was another great poet who was able to learn from folk poetry seriously and in many ways and absorb its essence after Qu Yuan. In art, his remarkable achievement in this inheritance and learning is his outstanding achievement in poetic language, thus forming his vivid, clear, gorgeous and natural language style, especially in natural language, which is beyond the reach of later poets. The formation of his language style first depends on his tireless research on folk poetry. Among his more than 900 poems, Yuefu poems account for 140. He used almost all the ancient poems of Yuefu and often made innovations, especially Xiqu and Midnight Song, which were widely circulated among Yuefu people in the Six Dynasties. Under the influence of folk poems, his works such as Midnight Wu Ge and Long March not only have the vivid and natural features of folk songs, but also reach the realm of "expressing one's feelings".

Li Bai is another great positive romantic poet after Qu Yuan, and his achievements have reached the peak of romantic art in the history of China's classical poetry development. His positive romantic poems, both in spirit and in expression, had a great influence on the Tang Dynasty and later generations. Han Yu in the Tang Dynasty has given a high evaluation: "Du Li's article is there, and the flame is long." Many writers after the Tang Dynasty, such as Su Shi and Lu You in the Song Dynasty, Gao Qi in the Ming Dynasty and Gong Zizhen in the Qing Dynasty, all accepted his influence to varying degrees and made different achievements. Today, when China advocates the combination of revolutionary realism and revolutionary romanticism as a socialist art method, it is obviously necessary for us to critically inherit the legacy of Li Bai's poems and songs in order to facilitate the development of socialist literature and art in China.