Li Bai (70 1 ~ 762) was a poet in the Tang Dynasty. The word is too white, and the number is violet. Mian Governor Long (now Jiangyou, Sichuan) was born.
In his youth, Li Bai studied in a wide range. In addition to Confucian classics and ancient literary and historical masterpieces, he also browsed hundreds of books and became a "good swordsman". Believing in Taoism, having the idea of transcending the secular; At the same time, he has the political ambition to make contributions. The poems he wrote in Shu as a teenager are rarely preserved, but they show outstanding talent. Li Bai traveled in eastern Sichuan when he was about twenty-five or six years old. In the next ten years, he roamed many places in the middle and lower reaches of the Yangtze River and the Yellow River. In the 18th year of Kaiyuan (730), he once arrived in Chang 'an to strive for a political way out, but failed. In the first year of Tianbao (742), he was called by Xuanzong to worship Hanlin in Chang 'an as a minister of civil affairs and participated in drafting documents. Less than two years later, he was forced to resign and leave Beijing. During this period, Li Bai's poetry and song creation tends to be mature. 1 1 years later, continue to wander in the middle and lower reaches of the Yellow River and the Yangtze River. "Wandering around the world, it is suitable for poetry and wine." He still cares about state affairs and hopes to be re-appointed by the court. In the third year of Tianbao, Li Bai met Du Fu in Luoyang and became good friends. They didn't meet again after breaking up the next year. In the fourteenth year of Tianbao, the Anshi Rebellion broke out, and Li Bai lived in seclusion in Xuancheng (now Anhui) and Lushan Mountain. In the second year1February, he was invited to the Lee Shogunate in Wang Yong, hoping to eliminate the rebellion and restore national unity. After Wang Yong angered Su Zong and was killed, Li Bai was also found guilty, imprisoned in Xunyang (now Jiujiang, Jiangxi) and soon exiled to Yelang (now Tongzi, Guizhou). On the way, I was forgiven and came back. I was 59 years old. Living in Jiangnan area in his later years. At the age of 6 1, I heard that Qiu Li Guangbi led an army out of the city to attack the Anshi rebels and went north to join the army to kill the enemy. He turned back halfway due to illness. The following year, he died in the apartment of his uncle Dangtu (now Anhui) county magistrate Li.
Li Bai's poems have been lost a lot, and there are still more than 900 poems with rich contents. Li Bai cared about national affairs all his life, hoping to make contributions to the country, but he was not satisfied with the dark reality. His 59 antiques are representative works in this field. The dark corruption in Tang Xuanzong's later politics was widely exposed and criticized, which reflected the grief and indignation of talents who had nowhere to go. A lot of words are ironic, and the spirit is very high. Li Bai is eager to make contributions and serve the country, but he does not envy wealth. What do you think of are bells and drums, treasures and treasures? . After making contributions, he will follow the example of Lu Zhonglian, a senior scholar in the Warring States period, and quit without respect. His thoughts were obviously influenced by Taoism, especially Zhuangzi. Many of Li Bai's poems show concern and sympathy for people's lives. This content is often combined with criticism of rulers. Some of his Yuefu poems reflect women's lives and sufferings, which focus on thinking about women and remembering people, as well as the grievances of businessmen, abandoned wives and maids. His "Lodging in Wusongshan Mountain, Uncle Xun", "Song of Protection" and "Song of Autumn Pu" describe the lives of farmers, boatmen and miners respectively, showing concern for the working people. Li Bai wrote many poems describing natural scenery in his life. His poems "It's difficult to ascend to heaven through the Shu Road", "The water of the Yellow River can't be moved out of the sky and into the ocean, and it will never return" ("Into the wine"), "Flying down three thousands of feet, it is suspected that the Milky Way has fallen for nine days" ("Looking at Lushan Waterfall") and so on are all famous sentences that have been passed down through the ages. This kind of poetry, just like some of his works praising Dapeng birds, shows his lofty aspirations and broad mind, and reflects his desire to pursue extraordinary things from the side. Other poems, such as Qiudeng Xuancheng Xie Tiao North Building, Sitting alone in Jingting Mountain and Journey to Qingxi, are good at depicting quiet scenery, fresh and meaningful, and their styles are close to those of Wang Wei and Meng Haoran. Li Bai also has many poems about love and friendship. His Yuefu poems often express euphemistic and profound love from the perspective of female inheritors. There are also some poems about giving gifts and missing your wife, and their feelings are quite deep. Li Bai donated a large number of works to his friends, including many excellent works. Some of these poems show a distinct political attitude, and more often they show their daily farewell and lovesickness, such as the Yellow Crane Tower's farewell to Meng Haoran and Du Fu at Dunmenmen, hearing that Wang Changling moved to Longbiao Kiln for this purpose, reminiscing about the past, visiting the army and giving Wang Lun a present. Deep feelings, vivid images and strong artistic appeal. The content of Li Bai's poems also contains some feudal dross, among which more is the negative nihilism of promoting life as a dream, eating and drinking, and the religious superstition of seeking immortals to visit the Tao and alchemy. Some of his poems about women and love are vulgar. In Li Bai's poems, exaggerated and vivid metaphors are widely used. His poems, such as "But since the water is still flowing, even though we cut with swords and raise our glasses to drown our sorrows" and "White hair is three thousands of feet, and sorrow is like a beard" (Song of Autumn Pu, article 15), depict his deep worries after the failure of political activities in Chang 'an, which are widely circulated. For example, he wrote "Poetry is a gift from the north window, and a thousand words are not as good as a glass of water" ("Answering the Twelve Cold Nights of the King") and wrote his own talents; "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 Travel"), which is difficult to write a career; "Peach Blossom Pond is deeper than thousands of feet, not as good as Wang Lun" ("To Wang Lun"), and writing about the deep friendship between friends all impress readers with distinctive and prominent images. The imagination of Li Bai's poems is very rich and amazing. His "Strong winds blow my heart, and fairy trees hang in the west" ("Jin Xiang sends Wei Ba to the West") and "My heart is full of worries about the bright moon, and I stay in the West with the wind" ("I heard that Wang Changling moved to Longbiaoyao to leave") all show his nostalgia for Chang 'an and his poetry friends with strange imagination. Fu Liangyin, Antique and Lotus Mountain in the West respectively express the destruction of Chang 'an City and the ravages of Anshi Rebellion on the Central Plains through fantasy. Farewell from afar shows the hidden worries about the political situation in the later period of Tang Xuanzong through the wandering fantasy legend. They are vivid and meaningful. With the help of myths and legends, Shu Dao Nan and Meng Deng Tian Mu Shan have built a colorful and thrilling realm. The rich imagination of Li Bai's poems is particularly prominent in the long seven-character poems, which are obviously influenced by Qu Yuan. In terms of genre, Li Bai is good at classical poems and quatrains with relatively free form, and doesn't like to write metrical poems. 59 pieces of Antique are his representative works of five dynasties. 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 Yuefu seven-character songs and general seven-character poems) are more creative. The scenery is magnificent, colorful, lyrical and changeable. From the literary origin, this kind of poetry is most influenced by Qu Yuan's works, and it is difficult for Bao Zhao to imitate it. Li Bai is good at quatrains. His quatrains were improved on the basis of Yuefu folk songs in the Southern and Northern Dynasties, which made him more alert. "Thinking on a Quiet Night" and "Yu Jiefen" and other five wonders are implicit and meaningful. There are also excellent works, clear and concise language, harmonious and beautiful timbre, lyrical scenery and simple explanations. For example, See you Meng Haoran on the way to Yangzhou from the Yellow Crane Tower, Looking at Lushan Waterfall, Looking at Tianmen Mountain, Making a White Emperor City as early as possible, and Presenting Wang Lun. Are well-known masterpieces. The evaluation of the seven-character quatrains in the Tang Dynasty has always been that Li Bai and Wang Changling are the best at scenes; Li Bai concentrated on the study of 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. Although Li Bai's Yuefu poems use the old Yuefu theme, they can be innovative. Those who wrote poems with the theme of old Yuefu in the Tang Dynasty made the most outstanding achievements. Some of his poems and quatrains are full of Yuefu poems, although they don't use Yuefu themes. The greatest feature of his poetic language can be said to be "clear water produces hibiscus, which is naturally carved". Specifically, the language is straightforward and natural, the syllables are harmonious and smooth, natural and unpretentious, and it exudes 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 to make it more concise, beautiful and meaningful. 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 revealed the remarkable characteristics of his language style. Li Bai's poems have a far-reaching influence on later generations. Han Yu and Li He in the Tang Dynasty, Ouyang Xiu, Su Shi and Lu You in the Song Dynasty, Gao Qi in the Ming Dynasty, Qu Dajun, Huang Jingren and Gong Zizhen in the Qing Dynasty all benefited from and were influenced by Li Bai's poems to varying degrees. Li Bai also wrote several poems. There are 12 poems in Zunqian Collection and 7 poems in Hua 'an Miao Ci Selection. Among them, "Qingpingdiao" has three songs "Clouds Want Clothes, Flowers Want Capacity", and the genre is actually a quatrain of seven words, which was sung with music at that time. Other long and short sentences handed down by Li Bai are not very credible. Among them, Bodhisattva Man, Smoke in the Desert of Pinglin, Hubei and Yan are the most famous, but whether these two sentences are Li Bai's works is quite doubtful by later generations. There are more than 60 essays by Li Bai today. Many antithetical sentences did not get rid of the popular parallel prose fashion at that time. But the language is natural and fluent, which is similar to its poetic style. Among them, Hanshu Jingzhou and Preface to Peach Blossom Garden (Li) were selected by later generations and widely read.
Li Bai's anthology compiled by the Tang people has not been handed down now. Thirty volumes of Li Taibai's Collected Works in the Northern Song Dynasty were engraved in Suzhou and called Su Ben. Later, there was a Shu edition copied according to Su Ben, which was the earliest extant Li Baiji. During the reign of Kangxi, Miao Yue copied it and called it Miao Edition. The earliest annotation for Li Baiji was Yang Qixian's Li Hanlin Collection in the Southern Song Dynasty, with 25 volumes and rich annotations. Qu Tuiyuan and Zhu Jincheng's "Li Bai Ji Zhu" is by far the most detailed one in Li Bai Ji Zhu. Research on Li Bai's works: After the May 4th Movement, before the founding of the People's Republic of China, there was Li Bai, a Taoist poet, and there was a study of Li Bai. Since the founding of New China, there have been Chronicles of Zhan Li Bai, Poems of Li Bai, and Studies of Li Bai in Wang Yunxi. In addition, there are many individual papers, some of which were selected as representative papers by Zhonghua Book Company, and compiled into Collected Papers on Li Bai's Studies, which were published in the 1960s.
Li Bai's research
Li Bai is a genius and wizard in the history of China's poetry. He not only caused a great sensation at that time, but also has lasting vitality and eternal artistic charm, so that he can still be widely known today. At the same time, poetry critics of past dynasties have also made constant comments and studies on Li Bai's life and creation, and by the end of 19, considerable achievements have been accumulated. But in the history of Li Bai's research, the achievements and progress in the twentieth century are undoubtedly the greatest. In the past century, on the basis of traditional impressional and trivial poetry evaluation, academic circles began to study Li Bai and his poetry art with more modern, scientific and systematic poetry theory, and made great achievements. In the collation of Li Bai's poems, it can be described as fruitful and excellent works one after another. It is particularly worth mentioning that since the mid-1980s, scholars engaged in the study of Li Bai have spontaneously set up the Li Bai Research Association, held national or international academic seminars on Li Bai's studies on a regular basis, and successively published a variety of publications devoted to Li Bai's research papers, which greatly promoted the further popularization and research of Li Bai's poems. In order to comprehensively and accurately reflect the great progress and achievements made by Li Bai Research Institute in this century, this paper intends to introduce it in stages and topics.
The first section is an overview of Li Bai's research in the 20th century.
Strictly speaking, in the first half of this century, the study of Li Bai with modern academic significance began in the 1920s. Wu's Criticism of Li Bai, a Poetic Revolutionist, is an article criticizing Li Bai with modern poetic theory at the beginning of this century. This article is different from the traditional comments and discussions in terms of writing style and discussion angle, but highly evaluates Li Bai's contribution to poetry innovation at that time from two aspects: personality characteristics and artistic form. Later, there appeared quite a number of articles that made a detailed study of Li Bai from the perspectives of thought, personality, emotion and artistic characteristics, such as the romantic poet Li Bai of Cui Xianjia, the lover Li Bai of Lu Yuan, the decadent literati Li Bai of Xu Jiarui, the Inheritance of Li Bai's Personality and Childhood Life by Lu Qiyu, Li Changzhi's Literary Accomplishment and Xie Tiao, Hao Cheng and so on. At the same time, there are many monographs that study Li Bai with similar theories and methods, such as Li Shouzhang's Study of Li Bai, Wang Bingkun's Biography of Li Taibai, The Poet Li Bai and His Pain, and Qi's Study of Li Bai in Han Wei. Among them, Li Changzhi's works are especially novel in perspective and unique in analysis, which has great influence in academic circles.
As far as specific issues are concerned, the discussion about Li Bai's clan and native place is undoubtedly the most striking landscape in the field of Li Bai's research in the first half of this century. This discussion began with Li Yichen's "The Birthplace and Birthplace of Li Bai", in which he proposed that Li Bai should be born in the Western Regions. Later, Chen Yinque made a detailed textual research in Li Taibai Family Problems, and came to the conclusion that Li Bai was "born in the western regions, not in China". The contradictory article is Wang Lizhong's exposition on the nationality of Li Taibai.
From 1950s to 1960s, the academic circles began to analyze and evaluate Li Bai's thoughts and poems by using Marxist historical materialism, and the academic circles also discussed Li Bai's popularity and progressive significance. This discussion began with Lin Geng's article Li Bai. Lin Geng pointed out in this article that Li Bai is not divorced from reality as some people imagined in the past. On the contrary, he is very concerned about politics, the motherland and the people. His works reflected some social conditions at that time and also showed a high degree of patriotism. Many scholars agreed with these views at that time. However, they expressed different views on Lin Geng's view that Li Bai's praise of "Peace and Prosperity" reflected the people's wishes, and that Li Bai's clothing consciousness and peasant uprising were "one and two, two and one".
The study of Li Bai's life in 1950s and 1960s not only continued to discuss Li Bai's family background and native place, but also raised a new question, namely Li Bai's economic source. This problem was caused by Mai Chaoshu's The Economic Source of Li Bai ―― Reading Li Man's Pencil. He thinks that Li Bai and his father are both merchants of copper and iron, while Li Bai is "engaged in mining and metallurgy". After the publication of this article, it immediately attracted the attention of the academic circles, and successively appeared "Does Li Bai make a living by doing business?" by Geng Yuanrui and "The Economic Source of Li Bai" by Mu Ronghua "Does Li Bai do business?" Li Tingxian's "Defending Li Bai ―― Reading Mai Chaoshu's" Li Bai's Economic Source "and other articles.
The new trend of Li Bai's poetic art research in this period is that the academic circles began to analyze his poems with romanticism theory. Lin Geng said in "Li Bai": "What Li Bai got from the germination of the civil class is mainly the lonely free life, the requirement of personality liberation, free will and romantic spirit". Later, there were more articles devoted to the romanticism of Li Bai's poems, such as Hu's Romantic Spirit and Artistic Features of Li Bai's Poems, Sun Shuqing's Positive Romanticism of Li Bai's Poems and Xie Shanji's Romantic Spirit of Li Bai's Poems.
During the Cultural Revolution, from 1967 to 1976, Li Bai was not left out in the cold, the most notable of which was Guo Moruo's statement in Li Bai and Du Fu that Li Bai was born in Broken Leaves in Central Asia, in which he believed that Li Bai was born in Broken Leaves City in Central Asia, located in tokmak, Kazakhstan. As soon as this statement came out, it received numerous responses from the academic circles, such as Yu Shucheng's Another Confirmation that Li Bai was born in Central Asia and Yin Menglun's On the Geographical Location of Broken Leaf City in Tang Dynasty. Even after the 1980 s, some people responded to this statement.
In the late period of the Cultural Revolution, the most striking phenomenon in Li Bai's research was that some people used the viewpoint of "criticizing Confucianism by criticizing the law" to analyze and evaluate Li Bai. It is generally believed that Li Bai is a legalist, saying that Li Bai has a strong ideological tendency of respecting the law and opposing Confucianism and fighting spirit. They also compare him with Du Fu, praising Li and restraining Du Fu.
The last twenty years of this century after the 1980s can be said to be the recovery period and climax period of Li Bai's research. Since the late 1970s, the academic circles have re-viewed Li Bai and his literary creation from the perspectives of academic criticism and scientific research. In addition, although a considerable number of scholars were deprived of the right to write Li Bai's research papers during the Cultural Revolution, they never stopped thinking about Li Bai's research. Therefore, from the end of the Cultural Revolution to the mid-1980s, nearly 20 monographs on Li Bai were published, and the number of papers was countless.
Of course, the prosperity of Li Bai's research in 1980s and 1990s was not only reflected in the number of published achievements, but also in the unprecedented depth and breadth. At this time, people found and discussed more problems than ever before.
As far as the study of Li Bai's life is concerned, people have not only discussed Li Bai's birthplace, family background, financial resources and other issues continuously, but also discussed the time and time when Li Bai lived in Beijing, his stay in East Road and his long-term career.
With regard to the study of Li Bai's thought, the academic circles have broadened their thinking, and studied the relationship between Li Bai's thought and China's traditional culture and even the culture of the prosperous Tang Dynasty from multiple angles and levels, and the relationship between Li Bai and religion has become more in-depth and comprehensive.
In the study of the authenticity of Li Bai's poems, people have a deeper discussion on whether Li Bai's poems reflect the "prosperous Tang Dynasty" than in the 1950s and 1960s.
In the artistic research of Li Bai's poems, people gradually changed their thinking mode of following the theoretical model of realism or romanticism, and began to conduct more novel and detailed discussions from the perspectives of image, structure, language, temperament, poetic style, aesthetics, creative psychology and cultural value. At the same time, people also compare Li Bai with many poets at home and abroad, trying to find the artistic origin, charm and law of Li Bai's poems. In the study of specific works, the study of the significance and theme of Shu Dao Nan and the discussion of the authenticity of Li Bai's ci are more enthusiastic and lasting than those in the 1950s and 1960s.
In the 1980s and 1990s, great achievements were made in the examination and revision of works. In the past 20 years, in addition to more than a dozen Selected Poems of Li Bai and Selected Literary Works of Li Bai, three new editions of Li Bai's Complete Works, such as Collating Li Bai's Collection, Annotation of Li Bai's Complete Works and Annotation of Li Bai's Complete Works, have been published successively, which fully and comprehensively displayed the achievements of the collation and research of Li Bai's works since this century and also studied for Li Bai.
In the history of Li Bai's research, the eighties and nineties of this century also have epoch-making significance, mainly manifested in the establishment of Li Bai's research society, the publication of Li Bai's research publications and the initial establishment of Li Bai. 1985 In May, the Sino-Japanese Symposium on Li Bai's Poetry was held in Maanshan City, Anhui Province. At this meeting, it was proposed to set up a "Sino-Japanese symposium on Li Bai's poetry". With the joint efforts of relevant parties and national experts on Li Bai studies, the China Li Bai Society was established in June 1987 1 1, and it was decided to publish Li Bai Magazine (later renamed Li Bai Studies in China). The secretariat and editorial department of the Society are located in "Li Bai Memorial Hall" in Maanshan City. By the end of 1998, Li Bai Research Association * * * held the sixth annual meeting and international symposium on Li Bai Studies, and successively published conference proceedings 1 department, 9 periodicals and related collections 1 department. Besides establishing Li Bai Memorial Hall and Li Bai Research Institute in Maanshan, Anhui Province, Li Bai Memorial Hall and Li Bai Research Institute have also been established in jiangyou city, Sichuan Province, Anlu City, Hubei Province and Jinan City, Shandong Province. Among them, jiangyou city Li Bai Memorial Hall held several academic conferences on Li Bai studies and published two series of Li Bai studies. Hubei Anlu edited and published works such as Anlu Li Bai; Li Bai Memorial Hall in Jining, Shandong Province also published works such as Li Bai's Shandong Essays.
It can be said that in the last two decades of this century, Li Bai's commemorative activities and academic discussions blossomed everywhere, which made Li Bai's research show unprecedented prosperity.
Li Bai's position in the development of romantic poetry
Realism and Romanticism are two great traditions in the history of China literature, both of which have reached new heights in Tang poetry. Li Bai's poems and songs have a lofty position in the development of romantic poetry.
The myths and legends created orally by ancient people are the seeds of romanticism in the history of China literature. During the Warring States Period, Qu Yuan absorbed the achievements of the previous generation of literature and culture, and created a series of brilliant poems in the real struggle, which created the first peak of "after the poet, before the lyricist" for the romantic tradition with rich content and strange form. At the same time, Zhuangzi created many absurd fables in his philosophical prose, which also made important contributions to the romantic tradition. From the Han Dynasty to the early Tang Dynasty, the romantic tradition developed continuously in the creation of folk and progressive literati. Shang Mo Sang and Mulan Ci in Yuefu folk songs of Han, Wei and Six Dynasties, some poems by Cao Zhi, Ruan Ji, Zuo Si, Tao Yuanming and Bao Zhao, and excellent legends in novels of the Six Dynasties all enriched the romantic tradition. In the prosperous Tang Dynasty, there appeared the climax of romantic poetry represented by Li Bai.
Li Bai's poems and songs inherited the achievements of the previous generation's romantic creation. With their rebellious thoughts and bold styles, they reflected the optimistic creative spirit and potential power of dissatisfaction with feudal order in the prosperous Tang Dynasty, expanded the expressive field of romanticism, enriched the expressive methods of romanticism, and to some extent reflected the combination of romanticism and realism. These achievements make his poetry a new peak of romantic poetry after Qu Yuan.
Li Bai also made outstanding contributions to the innovation of Tang poetry. He inherited Chen Ziang's poetic innovation thought, and achieved the final success in theory and practice. In his first poem "Antique", he reviewed the whole history of poetry development and pointed out that "beauty is not precious since Jian 'an". And with the heroic spirit, he affirmed the correct way for Tang poetry to pull back the decadent wind and restore the elegant tradition. In the thirty-fifth "Antique", he criticized the remaining formalistic poetic style that emphasized simulated carving and neglected ideological content: "A brilliant song is childish. "In creative practice, he also has similarities with Chen Ziang, writing more ancient styles and less regular poems, but his achievements in learning Yuefu folk songs and vigorously developing seven-character poems far exceed those of Chen Ziang. His efforts have played a great role in completing the task of poetry innovation. After Li's death, he said in the preface to his collection of poems "Caotang Collection": "Lu Huangmen said:' The legacy of Chen Collection has changed suddenly. Today, the poetic style of the dynasty has been dominated by Liang Chengong, which has changed greatly and swept the floor to the extreme. This is a correct evaluation of his achievements in innovating poetry.
The influence of Li Bai's poems on later generations is also extremely far-reaching. His poems were widely circulated in the contemporary era, and by Zhenyuan period, his unconfirmed poems had been "found in every family". In the middle Tang Dynasty, Han Yu and Meng Jiao praised his poems, and learned from him, forming their own different poetic styles. Li He's romantic poetic style is obviously more inspired by him. Su Shunqin, Wang Ling, Su Shi and Lu You in the Song Dynasty, and Gao Qi, Yang Shen, Huang Jingren and Gong Zizhen in the Ming and Qing Dynasties all drew nutrition from his poems. In addition, the words of the uninhibited school represented by Su Shi and Xin Qiji in the Song Dynasty were also influenced by him. His story and legend of "being friends in the play" were written into traditional Chinese opera novels and circulated among the people, showing the love of people who love freedom.
Li Bai's research
First, the ideological content and artistic achievements of Li Bai's poems
(A), poetry is rich and colorful.
The content of Li Bai's poems is extremely rich, which reflects all aspects of social life in the Tang Dynasty from prosperity to decline. Like frontier poets, he wrote many frontier poems, but he strongly condemned and criticized some unjust wars launched by the Tang Dynasty, such as The Battle of the South of the City and Thirty-four Ancient Styles (such as Meteors). At the same time, he also enthusiastically praised the just war to defend the border security and the heroic and tenacious fighting of the soldiers in the Tang Dynasty. For example, I hope to end the war as soon as possible through fighting: "What should I do to break the Yue family and then lift my pillow" and "Courage to run and fight the devil atmosphere" (the second and sixth parts of the next part)
He also described the natural scenery of the mountains and rivers of the motherland like an idyllic poet.
Poets of Frontier Poetry School and Landscape Pastoral Poetry School all wrote farewell, sang friendship, sang boudoir feelings, sang palace grievances, sang love songs and sang love. Li Bai also expressed and described them extensively and truly, and they all had masterpieces, such as The Yellow Crane Tower bid farewell to Meng Haoran on his way to Yangzhou, I heard that Wang Changling moved to the left, The Dragon Watch Should Have This Letter, and Sending Du Fu under the Water Dune. For example, Midnight Wu Ge, Guan Shanyue, Popular in the North, Spring Thoughts, Long March, Jade Family, The Misfortune of Concubine, etc. Such as Yang Rebellion and Sitting at Night. It should be said that Li Bai is both Wang Meng and Gao Cen, and "can be regarded as a comprehensive poet" (History of China Poetry).
(2) Original content
1, expressing personal ideals and cynical spirit. The so-called personal ideal refers to his ambition to save the world and his passionate pursuit of personal freedom and liberation. Cynicism refers to its contempt for fame and fortune, for princes and nobles, and for feudal hierarchy and etiquette system. Li Bai's greatness lies not only in his ideal and spirit, but also in his insistence on this ideal more than other poets, and his spirit is stronger than other poets, which few people have. His ideal of saving the world was established when he was young, that is, "strive for his wisdom, be willing to help him, make the atlas area big and the sea county clear", and then retire after success. The poet has been fighting for this ideal all his life. Even when Chang 'an was extremely negative and sad after his failure in politics, he was confident that "since God has given talents, let them be used!" (Into the Wine) and "Dongshan Lie High and Don't Get Up Late" (Song of Liangyuan) will finally be able to "arouse their wisdom", ride the wind and waves, "set my sail straight and bridge the deep sea" ("Difficult to Walk") and reach the ideal other side.
The most striking personality characteristic of Li Bai, which is different from other poets, is his arrogance and disobedience to the rulers and his high contempt for fame and power, which is also a remarkable feature in his poetry. He pursues the early realization of his political ideal, but he doesn't want to bow to the ruler for this ideal:
Ann can destroy the house and bend her back, and no one will suffer from being seen through.
When he was in Chang 'an, he was "proud and excited", and he was "playing with thousands of people and treating them like dirt" (Su Shi's Li Taibai Monument Yin Ji).
At the beginning of the phoenix, purple mud appeared, and the emperor called it a royal banquet. Praise the Lord for nine days, stir up red waves and green sages. ("Yu Hu Yin")
In the past, we were intoxicated in Chang 'an and drank with princes and nobles. I am far away from Ling Hao, and I am willing to fall behind others. ("Liu Yelang presented Judge Xin")
His friend Ren Hua also said that he was "called into the world several times by courtesy and returned half drunk" ("Miscellaneous Words Send Li Bai"). He failed in politics in Chang 'an, and he is still proud. He doesn't flatter the ruler, nor does he cry sadly, but sings loudly:
If you are proud of your life, if you are not harmonious, you will be better at thinking about the media. Yanling respects the emperor of the Han Dynasty. Why does he need a long sword to stand on the jade steps? Zhiyuan is not expensive, and poverty is not sad. Han Xin was ashamed to compare with Jiang, and Mi Fei was ashamed to drive away Tu Gu 'er. Don't you Li See Beihai, where did you get your heroism? If you don't look at Pei Shangshu, there are three feet of wormwood thorns in the earth grave. Teenagers have long wanted to go to the Five Lakes. Seeing this, I will spare Zhong Ding. ("Twelve Cold Nights to the King")
In Li Bai's view, the relationship between the emperor and himself, the monarch and the minister is not a master-slave relationship, but a master-guest relationship, which is equal, that is, between Yanling and Emperor Guangwu of Han Dynasty, and between Shangshan Sihao and Emperor Gaozu. This ideological realm is high enough. He can't oppose imperial power like Huang Chao, nor can he "take turns to do it, and come to my house next year" like the Monkey King. Ye Xie's "Original Poem: Outside the Chapter": "Before watching glistening, it is no different from sleeping in Chang 'an, so why get angry! ..... You see celebrities through the ages, you can't get angry except white! "
His article "It's Hard to Go", the farewell to the school book cloud and Xuanzhou in Xie Tiao Building, and the upcoming wine also reflect this spirit. The poet's life was hit many times, but he was not overwhelmed and conquered by the dark and cruel reality, but stubbornly broke through this reality and crossed it. Although he finally ended his life tragically under the cruel feudal system, his indomitable spirit of struggle did not weaken until his death. His last poem, Song of the Road (End), said:
Dapeng spreads its wings and flies in all directions. This kind of transit and destruction is not powerful. The afterwind excited me. I swam with the help of mulberry trees. Who shed tears when Zhong Ni died?
It's still exciting to read!
Closely related to the spirit of cynicism is the poet's strong pursuit of personal freedom and liberation. However, his so-called freedom is nothing more than seeking immortality through wine and wandering the rivers and lakes. It's "Tiger's son will drink wine with you and sell eternal sorrow" ("Into the wine"), "Gold and white walls buy songs and laughter, and drunkenness is lighter than princes" ("Recalling the past, sending Jiao Junyuan to join the army"), "Since the world can never send a boat in response to our desire" ("Ming History").
It is also pointed out that there are contradictions and negative decadent things in Li Bai's thoughts and poems. On the one hand, he despises fame and fortune, saying that "if there is fame and fortune, the Hanshui River should also flow to the northwest" ("Song on the River"), "What are bells and drums, delicacies and treasures? Let me be intoxicated forever, never come to reason! " ("into the wine"); But on the other hand, he also pursues fame, and once he has fame, he can't help but be complacent. When he was proud in Chang 'an, he boasted:
Fortunately, I accompanied Luan to drive out of Hongdu and ride on the Pegasus. Princes borrow color, and the whole chapter is purple. At that time, there were many friends, and the only way to get along with each other was Jun ("Give Yangshan people after driving to the hot spring palace")
In the Song Dynasty, Lu You once sneered at this: "It is He Zudao to get a sacrifice to Hanlin in cloth! As the saying goes,' people who laughed at me at that time invited me to have sex', so it is also appropriate for them to spend their lives in the altar. " After Li Bai returned from sending gold to Chang 'an, he also humbly asked for a quotation from Xu Dugu. His poem "Giving a Pen to Xu Dugu" is a confession:
Long-term courtesy of the national scholar, strong heart cuts out bosom friends. Don't waste time in the city, it's unattainable to make it to the top.
Guo Moruo said that Li Bai and Xu Dugu were not "friends".