Li Bai (70 1 February 8 -762), whose name is Taibai, is a violet layman. China, a poet in Tang Dynasty, is known as "Poet Fairy" and "Poet Chivalrous Man". Li Taibai Ji has been handed down from generation to generation, and most of his poems were written when he was drunk. His representative works include Looking at Lushan Waterfall, it is hard to go, Difficult Road, Entering Wine, Liang, Zao Zuo Bai Di Cheng, etc. Then there is the prototype of "Li Xia" in the movie "Never Disappearing Radio Wave", Li Bai; Li Bihua, whose original name is Li Bai, is the author of such novels as Rouge Kou. [Edit this paragraph] Li Bai's poem [3]

First, the characteristics of poetry

1, eulogize ideals and express grief and indignation.

Li Bai prides himself on being a talented person who is ignorant of the world. He prides himself on the achievement of "striving for wisdom, making the Atlas area big and the sea county clear", and has always pursued the ideal of saving the country, saving the people and stabilizing the country throughout his life. He compared himself with Dapeng, Tianma and Xiong Jian: "The wind rises in Dapeng every day and shakes Wan Li. If the wind stops, it can still lift away the raging water. " ("Li Shangyong").

2. Despise the strong and pursue freedom.

He felt that relying on his own talents, he could "go out and be friends with the princes, escape from the bird's nest and overlook" (Preface to Sending Swallow Garden to Play the Hidden Fairy City Mountain). He cast a strong contempt for those powerful people who enjoy high positions and high salaries by virtue of family relations, showing a proud and unyielding character. He despised the feudal hierarchy, was unwilling to flatter, and disdained to rise and fall with customs. The darkness of reality disillusioned his ideal, and he was suffocated by the shackles of feudal ethical hierarchy. He longed for the freedom and liberation of his personality, so he adopted a wild and uninhibited attitude towards life to get rid of the shackles and strive for freedom. The way of expression is drinking and singing, seeking immortality and learning Tao. However, wine can't solve the worry, and the fairy is more ethereal. Therefore, he "traveled to famous mountains all his life" ("Lushan Ballad"), praising the beautiful nature as the ideal sustenance and the embodiment of freedom. Mount Emei, Huashan, Lushan, Taishan, Huangshan, etc. It is majestic in his works, full of clouds and streams; The rushing Yellow River and the surging Yangtze River in his works swept away everything. It shows the poet's indomitable character and strong desire to break the fetters.

3. Expose the reality and attack the current politics.

This is Li Bai's angry struggle against society and an important embodiment of his rebellious spirit. He opposed Xuanzong's exultation and belligerence, exposing that he was not a man, which led to the sacrifice of the people's soldiers in vain. Because of Xuanzong's arrogance, the eunuch's power was hot ... Through the analysis of the political platform and the observation in Youyan's field, Li Bai was sensitive to poets, and he and Du Fu were the first poets to reveal the disaster at that time. When the "An Shi Rebellion" broke out, his patriotic enthusiasm was sublimated and he got rid of the contradiction of using Tibetan resources. His rebellious character and spirit have profound patriotic connotation, social significance and characteristics of the times.

4, emotional ups and downs, full of contradictions

He has both lofty and vulgar side. His ideal and freedom can only be found in the mountains, in the fairyland and in his hometown where he is drunk and dreaming. Therefore, in his poems such as Into the Wine, Songs on the River, Songs of Xiangyang, etc., he reveals such negative and decadent thoughts as dreaming, eating, drinking, and escaping from reality, which are also representative among upright and upright literati in feudal society.

Second, artistic achievements.

Li Bai's poems and songs not only have typical romantic spirit, but also have typical romantic artistic characteristics from the aspects of image shaping, material intake, genre selection and the application of various artistic techniques.

Li Bai successfully shaped himself in his poems, expressed himself strongly, and highlighted the unique personality of the lyric hero, so his poems have distinct romantic characteristics. He likes to express himself in a magnificent image, expressing his feelings in his poems without disguise or restraint. For power, he "holds a chrysanthemum and stirs two thousand stones" (one of the two songs "Send Cui Shiyu after Drunk"); Seeing the hard work of the working people, he was "heartbroken like rain". When the country was destroyed and the people perished, he vowed to cross the river to clear the Central Plains. Draw a sword and hit the front column, and the sad song is hard to recover "("South Ben Shu Huai "), so impassioned; When drinking heartily with friends, "two people fall in love, one cup after another." I'm drunk and want to sleep. The Ming Dynasty intends to hold the piano ("Mountain Lovers"), which is so naive and straightforward. In a word, his poems vividly show his unruly character and image.

Bold and elegant is the main feature of the romantic style of Li Bai's poems. In addition to the factors of ideological character and talent, the artistic expression and genre structure used in Li Bai's poems are also important reasons for his bold and elegant style. Being good at relying on imagination and subjectively reproducing objectivity are the important characteristics of romantic artistic techniques in Li Bai's poems. His imagination is extremely rich, almost every article has imagination, and some even use a variety of imagination throughout. Realistic things, natural landscapes, myths and legends, historical allusions and dreamland have all become the media of his imagination. He often uses imagination to transcend time and space, interweaves reality with dreams and fairyland, interweaves nature with human society and reproduces objective reality. The images in his works are not the direct reflection of objective reality, but the externalization of his inner subjective world, which is the truth of art.

One of the artistic techniques of romanticism in Li Bai's poems is to skillfully combine personification with metaphor, empathize with things and compare things with people.

Another romantic artistic technique in Li Bai's poems is to grasp a certain feature of things and boldly imagine and exaggerate on the basis of real life. His exaggeration is not only strange in imagination, but also always combined with concrete things, so natural and unobtrusive; So bold, true and credible, it has played a role in highlighting the image and strengthening feelings. Sometimes he combines bold exaggeration with sharp contrast to enhance the artistic effect by increasing artistic contrast.

Li Bai's best genre is seven-character poems and quatrains. Seven-character songs are long in length, large in capacity and free in form, which are suitable for expressing the poet's contradictory and complicated thoughts and expressing the poet's unrestrained talent, while Li Bai's seven-character songs adopt a structure of wide opening and wide closing and jumping. The beginning of a poem is often abrupt, such as a sudden surge, while the middle image of the poem is abrupt, often omitting the transitional care, as if there is no trace to follow, and the end of the poem comes to an abrupt end at the emotional climax.

Li Bai's quatrains of five or seven words can better represent the fresh and lively style of his poems. For example, the beauty of "Early Making a White Emperor City" and "Farewell to Meng Haoran on the way to Yangzhou" lies in "only looking at the prospect and oral language, but there are overtones and foreign flavors, which make people stay away from it." (On)

The language of Li Bai's poetry, some fresh as spoken language, some bold, informal and close to prose, is unified in the natural beauty of "clear water produces hibiscus, natural carving" This is related to his conscious pursuit of natural beauty. He inherited Chen Ziang's literary thought and took it as his duty to restore the tradition of poetry and Sao. He once said, "Since Liang Chen, Yan Bo has been extremely thin, and Shen Xiuwen still pays attention to temperament and must go back to the ancients, not me but who?" (Bai Meng's "Gao Yi") He advocates "halal" and satirizes the ugly girl who is "naive in carving insects" and learns from Handan. The natural beauty of his poetic language is the result of his careful study of folk songs and his understanding of popular characteristics, which is clear as words, popular and vivid.

Third, the evaluation of others.

Du Fu commented on his poems, saying that "the pen falls in the wind and rain, and the poems become weeping ghosts and gods" ("Send Li Twelve White and Twenty Rhymes"), praising him for "invincible poems, floating in the air, thinking of different groups; Fresh and open, Junyibao joined the army. " Han: "Du Li's articles are in full swing." ("Adjust Zhang Ji"). Li Bai's poems and songs, Pei Min's sword dance and Zhang Xu's cursive script in the Tang Dynasty are called "Three Musts". Ceng Gong praised Li as "like a long river, vast and boundless, with no terminal in Wan Li".