There used to be a phoenix on the phoenix platform, and the phoenix went to Taiwan, only Jiangdong returned.

Martial arts flowers were laid on deserted paths, and the number of relatives and friends in the Jin Dynasty has become a famine.

Three mountains and a half fall outside the blue sky, and Egret Island is wet.

There is always a traitor in power, like covering the sky, and Chang' an is depressed when he can't see it.

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Cui Hao's "Yellow Crane Tower" begins: "A long time ago, a yellow crane carried a saint to heaven, but now there is nothing left but the Yellow Crane Tower. The yellow crane has never revisited the world, and the white clouds will never fly without him. Even the three "yellow cranes" have no intention of avoiding it at all. It is quite natural to be evaluated by Ying Kuilv as "bold and unconstrained, magnificent". When Li Bai wrote "From Nanjing to Phoenix Terrace", there were two "phoenixes" in the first sentence and three "phoenixes" and two "platforms" in the first couplet, which were more radical and compact than Cui Hao.

No wonder when you read Li Bai's poems, your first impression is that Li Bai wants to compete with Cui Hao. No matter what influence Cui Hao's poem has had on Li Bai's creative psychology, the arrangement of later generations seems convincing: "There is no way ahead, and Cui Hao wrote the poem on it." This allusion was first seen in Xin's Biography of Tang Talents in Yuan Dynasty, so it is not reliable to see the time. After textual research on Yang Shen, the seed of reading in Ming Dynasty, it can be concluded that it is a later generation. In this interesting gossip, people have long judged the pros and cons of Cui and Li, and even inadvertently "the first seven laws of Tang Dynasty", which made Li Bai wish to "smash the Yellow Crane Tower with one punch and kick Nautilus Island with one foot".

I don't know whether this malicious ridicule of future generations represents their general understanding of Li Bai's personality. For such a piece of material, the public will not be stingy to lift one foot and press a shoe print on your back. Li Bai's letter Jingzhou follows Han, which is labeled as "seeing words like faces", is a model of "modesty and high spirits". Later, he praised Han Chaozong for not eating well and washing his hair well, just like the Duke of Zhou. On the other hand, he boasted that his fencing articles were omnipotent, and he "reached Qing Xiang" and "fucked all the princes". Holding other people's articles for a while can catch up with immortals, and virtue can touch the world. At one time, I boasted that I wrote 10 thousand words a day. "I can rely on horses." So big and talented (although "less than seven feet long"), he pitifully asked for a "place in front of the stage", and the exaggerated rhetoric made it like a roller coaster. It is estimated that Han Chaozong couldn't stand this stimulus and simply ignored him.

Later, about the relationship between Li Bai and Li Lin, he wrote Wang Yong Dong Xunge, which looks like a royal scholar. I don't know what illusion the weather in Wang Yong army gave Li Bai, or whether Li Bai decided to settle for the second best. In fact, compared with wandering around without decline, Li Bai had hope. In short, Li Bai finally put all his eggs in one basket and exiled Yelang without much fun. "Li Bai", a Beijing humanistic school, turned Li Lin into a schemer and described Li Bai as full of dreams, but in the end, Li Bai still deserved it. A cock is valiant on his own dunghill. This place suits him very well. If it weren't for the drought in Guanzhong, he wouldn't have a chance to write "Jiangling in a day." Maybe in a few years.

From this point of view, it is not sufficient to say that "Going to Nanjing and Ascending the Phoenix Platform" was written after Li Bai was pardoned. The theory of "paying back the money" is obviously more in line with the context constructed in the poem. In particular, the phrase "A cloud has risen between the light of heaven and me, hiding his city in my melancholy heart" and "Floating clouds", Gao Lishi, Li Bai's colleagues, and all the roles that Li Bai despises are appropriate. If you don't write such a sum, you won't be called Li Bai; But even if such a stroke is written, a work that will almost certainly become the benchmark of ancient poetry is such a bad ending.

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When writing homesickness, it is often inevitable to sigh that prosperity is perishable and ups and downs are impermanent. Wang Anshi's "osmanthus fragrance" means "nostalgia for the past and competition with each other" and "the past of the Six Dynasties flows with the water". They all say they miss the Six Dynasties. In fact, the core is nothing more than the Southern Liang of the Eastern Jin Dynasty: a well-dressed manner circulated in a book "Shi Shuo Xin Yu", which made countless future generations watch these nobles drink and chat to catch lice. Although they can't arrive, they are eager for it; The representative of the most powerful national power in the Six Dynasties, the 480 Temple, came from this and was quickly taken to the abyss by Hou Jing, the "general of the universe". There are stories and legends, which not only ordinary people like, but also literati like.

Not now. Now go to Qinhuai River and cross the "Ancient Qinhuai" archway. It's all 36 1, Haagen-Dazs or Mi Bang Wei, and it won't take the usual road. The entrance in front of the Chinese gate has been destroyed and the stone has been welded to death. Looking at the devastation caused by poor business management, even if you want to have something, it is completely different from the ancients.

Back to Li Bai's poems. "The path of the Wu Palace is crooked, and the golden clothes are ancient dust" is just a concise summary, and it can't be said that it has written any deeper meaning: Soochow, the first dynasty with Jinling as its capital (also called Jianye at that time), has been firmly buried by weeds in its carefully designed deep paths; The Eastern Jin Dynasty is a charming and romantic era in which catkins are better than winter snow, female poets are famous, and all saints and sages in ancient costumes are dead.

Wang Dao was proud that he could muddle along, Xie An pretended to be calm, and then let the threshold chew off his clogs. These wonderful stories, accompanied by the swallows flying into the homes of ordinary people in front of their own halls, have vanished. Sun En and Lu Xun's insurrection against the rabble alone made Wang He and Xie almost completely extinct, not to mention the continuous suppression of these vested interests after Emperor Wu of Song came to power. Li Bai can only be regarded as physically just approaching the center of power. Mentally and mentally, he didn't even touch the door, let alone what feelings * * * can be heard with the past of the Six Dynasties. If these two sentences are not full of complaints, they can only be regarded as the same old tune at best.

Therefore, what really determines the realm of this poem can only be the following two sentences: "Three mountains and a half fall out of the sky, and Egret Island is a water." It is worthless to argue whether "one water" or "two water". If we really want to avoid rubbing sand in our eyes, we should immediately organize the Ministry of Education to re-edit the textbooks compiled by the Ministry, and change "drinking wine" into "cherishing empty bottles", "how lovely the Highgarden mirror is locked" into "the bedside mirror is sad and white-haired", and "the sober people of the ancient times forget all the saints and sages" into "all the saints and sages of the ancient times die".

It doesn't even matter what scenery these two sentences are about, whether they are written in front of us or subjective imagination-it only matters whether the answer to the poetry appreciation question in the college entrance examination is "feeling in the scenery" or "reality and reality coexist". The real meaning of these two poems lies in Li Bai's fourteen words, which outline an eternal, firm and indifferent landscape, a weather and realm that changes with time, and a transparency and wisdom of "I will watch you pretend quietly".

This understated brushwork really gives the "things" in nature a "yes" judgment, and then tells the "people" in couplets as "no". When Li Bai really re-describes the meaning of "things are people" from the philosophical dimension with concise and clear contrast, it is only after the literati in history really feel the same, that they rise to the cosmic level of reflection and reflection.

At this time, Zhang's "Moonlit Night on a Spring River" has a soul: "Who has seen the moon by the river? When did Jiang Yue take the photo at the beginning of the year? Life is endless from generation to generation, and Jiangyue is only similar every year. " China ancient literati's rare sense of the universe was concisely and vividly integrated into the writing of homesick poems by Li Bai, which raised the ideological realm of homesick poems to an unprecedented height: no more delicate than predecessors or successors, and less concise than Li Bai.

We can even say that it is the style of the seven laws that ensures that Li Bai has achieved the breakthrough and take-off of homesickness poetry in such a perfect way. Wang Anshi's "Guizhixiang" is also a masterpiece selected from high school Chinese textbooks, but the wording style is still too mild and discouraging.

What did Li Bai write?

"A cloud rises between the light of heaven and me, hiding his city from my melancholy heart."

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In fact, many famous poets have commented on Tang poetry and praised Li Bai's couplets. Liu's point of view is contained in the anthology of Tang poems, saying that without the last two sentences, there is no need to write the whole poem ("without the last two sentences, there is no need to write"); Excerpt from Art Garden quotes other people's comments, saying that with these last two sentences, this poem is far less than Cui Hao's ("The knower says that the first six sentences can't be used, and the conclusion is profound and generous, and the difference is not as good as the ear"); Zhou Jing's evaluation was quoted in A Review of the Forest of Tang Poetry, saying that with these two concluding remarks, there is no doubt that Cui Hao will be won ("a shoo-in")-

Why did the last two sentences about the sun and Chang 'an have such a good response? "China Back" tells the truth: "I love you and care about my motherland far more than I want to go to the countryside. Be good at this! " In the words of evaluating junior and senior high school students' compositions in the examination room, this is called aiming high.

It's too late for us to argue with the ancients, let alone take their views as the criterion. Even when writing academic papers, what we need to do is to establish a basic value judgment dimension based on our own knowledge, instead of thinking that the ancient people's old learning is much more solid than ours, and then treating the ancient people's things as prisons.

The ancients didn't think how important the consciousness of the universe was. Su Shi's "When will there be a bright moon" hit the nail on the head at best. The goodness of Zhuangzi and Zhang lies in their pursuit of time and space. What the ancients appreciated may still remain in the grand imagination and the creation of writing style. In their view, the possible mode of personal small happiness or small loss is really not high. Look at Li Bai, patriotic and worried about the king. This is called the literati's right path!

In our present era, the binding of literature and politics is not only regarded as extremely suspicious, but also likely to be a basin of dirty water. The worse the level, the more it will be maliciously buried. On the contrary, the publicity of personal values, the "discovery of nature" since modern literature, and even the exploration of mystery of the universe by all mankind have all reshaped our literary view and value evaluation system.

When we evaluate ancient works, we should first start from our true feelings and not be too limited to previous judgments. At the same time, we should be able to jump out and conduct knowledge archaeology on the self-evaluation system, so as not to fall into the quagmire of favoritism or favoritism, and always want to show off our sense of superiority. At best, it's called entertaining yourself, at worst, it's like eating a small loss (like in foreign Mandarin).

So let's just say that Li Bai can write couplets and necklaces because of his genius. We don't need to find or create other words to present the possible ideological depth of ancient poetry; And if Li Bai doesn't write knots, he will no longer be the Li Bai we know.

Whether you admire his immortal spirit or hate his political naivety and personality swing as much as I do, we all have to say: this is Li Bai. Reputation all over the world, slander all over the world, flesh and blood, is a living person.

However, from what I really think inside-

"On Climbing Nanjing to the Phoenix Terrace" is still unfinished. Unfortunately.