In the study of Tang poetry and the history of China literature, there are relatively few critical materials and monographs about Li Bai. Typical examples are Hu Zhenheng's Notes on the Complete Works by Li Shitong, Yang Qixian, Xiao Zhiyun and Xue's Chronicle. Only Mr. Guo Moruo has systematically studied it in modern times. Compared with Du Fu, a great poet of Li Bai's contemporaries, in terms of the quantity and quality of monographs, it can be described as "promoting Du Fu while suppressing Li". In fact, more researchers are hiding or avoiding deeper connotations and problems, or just studying the time when a poem was published or created, which is far from the excavation of human nature behind Li Bai's poems and far from the root and charm of the romantic spirit.
Li Bai is a unique cultural phenomenon in China and a fertile ground for China's language and writing. Its long-standing existence and lasting artistic and humanistic charm must have its deep-seated reasons that cannot be copied and reversed. This, of course, requires our ontological consideration of Li Bai, romantic poetry and even literature. This consideration should be based on the existence of life, which is a question of Li Bai's revaluation. My understanding of Li Bai will never come close to saying that I really understand Li Bai's spiritual charm. Plus, I'm only 20 years old now, so I can't and can't get caught up in the study of that detail. It's inevitable that I don't know the true face of Lushan Mountain, but I'm in this mountain. When I think about Li Bai's works, I always tell myself that a person should be a sincere person. According to his own nature, rather than secular ideas, romance can only be based on human life. Let's talk about my three self-deprecating views and experiences:
First, poetry and life are integrated.
Life should be a poetic life. Therefore, romantic poets always remember the poetry of life, purify people's true feelings, and try to pull human beings out of various "dehumanized situations" and enlighten the heavy hearts of all beings under the increasingly serious alienation phenomenon. Shown in Li Bai, he is a strong "selfish" person. Other poets of Li Bai's contemporaries simply could not put their individual subjective consciousness at the height of Li Bai. On the other hand, other poets regard the world as the private interests of others, or regard the world as the private interests of all. Li Bai is a member of the royal family, which made him get rid of the dream of "Tian Shelang" that a poor scholar pursued diligently. He entered the DPRK at the age of forty, not because of the imperial examination, but because of the invitation of Xuanzong's court. The greatest prediction of Leonardo da Vinci's life is that human beings must have wings to fly! And devoted himself to the research of aircraft. Li Bai told us all his life that he is the wing of the human spirit. Li Bai wrote "Fu Dapeng" at the age of twenty, and wrote it near Lv Ge before his death. In other poems, he always compares himself to a Dapeng with huge wings to pin his ambition of "inspiring 3,000 people to rise and inspiring 90,000 people"! He takes the Taoist unity of heaven and earth as his goal and criterion, and it is precisely because of this that he can spread the wings of imagination. It is out of this mentality that he can influence people's true feelings and remember the poetry of life without being alienated.
Other poets think that the world belongs to the emperor, and they are just passers-by between heaven and earth. They praise the scenery they see in their life journey, paying more attention to flattery than sincerity. Even if it is sincere occasionally, it lacks Li Bai's phrase "Heaven and earth move, ghosts and gods are shocked" as a master. And Li Bai is a master. When he praises, he is natural and generous, just because he likes and loves from the heart. Let's see how Li Bai flies with the magical power of the whole life and vibrates the wings of imagination:
1. Li Bai has cherished the ambition of "helping the poor and securing the country" since his youth, and has been pursuing and persisting in his ideal, hoping to establish immortal achievements. He despises sparrows, has no desire for power coveted by ordinary people, and has a broad political vision, just like Dapeng's character. As Bobby Chen said, "Sparrows know the ambition of swans!" But he doesn't want to climb to the top of his career step by step, but wants to wait for the king and get ahead step by step. He has been lucky to succeed all his life, which is the direct embodiment of this kind of "lucky psychology": he settled the country in one fell swoop, got what he wanted in one word, marched to Chang 'an in the west, and wanted to be an ordinary soldier in his later years. This is similar to the way Dapeng catches prey. It looks at its prey from a distance in the clouds, and it is easy to catch it with its claws when diving.
In the world, Taoism dominates him, and he is free and unrestrained, doing nothing. When he was in teahouses and restaurants, "The emperor couldn't get on the horse and said I was Brewmaster". When he was in the Golden Palace, he asked Gao Lishi to take off his boots for him, which is a reflection of this mentality. Dapeng always seems to be free and free in flight, but it has its own unshakable liveliness and toughness.
He observes politics, human feelings and the world with the eyes of a poet, and sometimes he sees the essence extremely keenly. But overall, it's not romantic. Dapeng pecked down from the clouds, no longer as isolated and static as when looking at the world on the flat ground. It is not "seeing the trees but not the forest", but grasping in the dynamic, putting aside the interference of color, sound and shape, and better grasping the essence.
4. In art, he inherited the excellent romantic tradition since Zhuang Zhou and Qu Yuan, and showed his great ambition and elegant demeanor with the spirit of eclecticism and sweeping away the famine. As the saying goes, "The Yellow River falls into the East China Sea, and Wan Li writes it in his heart", "Xing Han put pen to paper to shake the five mountains, and poetry laughs into Ling Cangzhou". Among Li Bai's fifty-nine "Antique", there is a poem "I am determined to delete the narrative and never write again", posing as a new generation of intellectual leaders. Dapeng spreads his wings and flies low. When he looks around the world, elegance is the expression and style of Dapeng flying.
5. When Li Bai flies with wings divorced from reality, he is far away from social value judgment, which is the main reason for his tragicomedy, but at the same time, it also injects charm beyond the times into his romantic poems. Compared with ordinary poets, Taibai's poems are almost connected by arrogant self. "Shame on Shu Ren" made him "arrogant and mean" all his life. This unprecedented indifference includes that the people can't understand him, and he can't understand the "double distress" of the people. However, his persistent pursuit of ideals and great love for life made him unwilling to yield-"shame and chickens eat together and grow into a group together." Du Fu also mentioned in his poems that Li Bai was not understood: "Our capital is full of nosy people, and you are lonely, helpless and poor!" " "The world wants to kill, I only sympathize." Dapeng's unique flying instinct upset him, but he would never give up easily.
6. Li Bai can express grief and indignation that is not understood by the world, which is reflected in his unconventional spirit and the magnanimity of crazy songs. In the violent emergency stop, he can express his extreme pain as being extremely detached from all the extraordinary momentum: "Luling is the great ancestor of the Han Dynasty, so why bother hanging on the long street!" "Reaching is not expensive enough, and poverty is not sad enough!" "Gold and white walls buy songs and laugh, and when you are drunk, wait for the king!" "It's not too late to make a comeback." Dapeng can soar into the sky in the storm, showing his vitality, which is determined by his aloof and indifferent personality. The transcendence of Li Bai's spiritual realm is almost unmatched by poets in the Tang Dynasty and even later generations. This transcendence makes his poetry more powerful than ever before, and also fully displays people's vitality and personality. In this sense, Li Bai is a real poet and a person who writes poems with his life.
Poem Example 1 "Xie Tiao Building Farewell Letter Shu Yun"
Those who dislike me can't stay yesterday, and those who disturb my heart are more worried about today. Autumn geese are escorted by Changfeng, and the contrast can be profound. The bones of great writers are all your brushes. In Tianyuan, I grew up beside you, Xiao Xie. I'm afraid of flying. I want to go to the sky and embrace the bright moon. But since the water is still flowing, although we cut it with a sword and raise your cup to drown your sorrow. There are always unpleasant things in life. Tomorrow I will loosen my hair and go fishing.
Li Bai's farewell poems occupy a considerable proportion in his poems, but it can be said that each farewell poem is not for writing poems, but for expressing emotional needs. His poems all jump out of his heart and beat with the pulse of the times. In farewell poems, he can always get rid of insincerity, stand on his own feet, express his feelings directly and be hearty. Such as "Climbing Mount Tianmu in a Dream" and "Farewell to Meng Haoran on the way to Yangzhou", not only there is no trace of entertainment, but also the expression is expressive and skillful. The poet is happy and sad, happy and sad, and the image of changeable emotions jumps violently. It truly reflects a poet's complex mood of complaining and not hating. Li Bai's poems can jump out of the stereotype of social poetry because he is full of sincerity. There is a harmonious beauty in the connection between form and meaning, so Du Fu's evaluation of it is "floating in the air, thinking differently".
Li Bai is a person who can make foreign things serve China anytime and anywhere, with a strong subjective color, which is reflected in his song "Taking the First Person as the Viewpoint". This practice of Li Bai undoubtedly brought disharmony to his works, or a sense of tension and jumping. However, Li Bai's romantic poems, which are not bound by his heart, will only spread their wings in a world where things are different and heaven and man are integrated through the form that most poets think it is impossible to write poems.
Second, rationality cannot guarantee the correctness of people's judgments. People should take their inner spirituality as the foundation of the outside world and judge according to their intuition and epiphany.
Li Bai is a spiritual poet. He has a strong subjective feeling and attaches importance to intuition. His feelings are passionate, and when he writes poetry, he is a bold and elegant spirit, which shows his great power of not donating with the momentum of a river. Du Fu, like a stone by the sea, stood quietly on the shore and expressed his poems with a clumsy force. The ontology of German romantic poets thinks: "The poet hopes to get rid of bondage and vulgarity in the country of poetry and achieve absolute freedom. Thus, in the trance state, the imagination passion and fantasy of poetry are given a limited life and the eternity of time is grasped. " A problem can be seen from the different understanding of poetry ontology between East and West. In China's poetry creation, the requirement for "ambition" is very low, as long as it is the expression of some kind of emotion. The specific form of five words or seven words depends on the poet's own subjective likes and dislikes, but in fact, most poets are self-disciplined, not only in neat format, but also never more than half a step. As for what the appreciator wants, there is no "trance" state and "eternity of time".
From the simple analysis and comparison of the concept of poetry, it is not difficult to see that poetry creation in different times has some characteristics. There is a debate about which is better in writing poems and practicing Buddhism: epiphany or gradual practice, direct expression of one's feelings and feelings with intuition, hard practice with rational observation, wandering immortals in Taoism or ascetic monks. One has passed the wine and meat sausage, and the other has abided by the five commandments and ten laws. Can you hold on today? This argument led to the split of Buddhism, and by extension, there are also southern sects and northern sects in life and poetry. The knowledge of the Northern School is profound and comprehensive, while the knowledge of the Southern School is clear and concise. "Northerners read like watching the moon, while southerners read like watching the sun. The northern style is backward, while the southern style is vertical. The northern Sect is heavy in detail, and the southern Sect is probably heavy. " The same is true of poetry. Li Bai is a spiritual poet. He worships Xie Lingyun very much. His heart is often "empty", so there is nothing to hold back. He can grasp the feelings of the moment, and is not limited to expressing his inner "ambition".