Drinking the Eight Immortals Juniper and riding a horse is like taking a boat, dazzling and falling asleep at the bottom of the well. Ruyang three fights began in the sky, Lu Yu? The mouth of the car is salivating, and I wish I could not seal it to Jiuquan. Drinking thousands of dollars, a cup of music is called avoiding sages. Zong Zhi, a handsome boy, looked up at the sky with white eyes, as bright as Yushu before the wind. Before Su Jin Dynasty embroidered Buddha in Changzhai, he often liked to escape Zen when he was drunk. Li Bai wrote a hundred poems in a bucket and went to sleep in a restaurant in Chang 'an, but the son of heaven told him not to get on the boat, claiming that he was Brewmaster. Zhang Xu handed down three cups of grass, and before he took off his hat and showed his head to the maharaja, he threw the paper like a cloud. Jiao Sui's five buckets of rice are outstanding and have amazing eloquence. Song of Eight Immortals Drinking is a unique and distinctive "portrait poem". Eight Brewmaster were contemporaries and all lived in Chang 'an. They are very similar in drinking, both generous and open-minded. The poet wrote them into a poem with refined language and characters' brushstrokes, forming a vivid group image. He Zhangzhi first appeared in the Eight Immortals. He is the oldest of them. In Chang 'an, he used to "solve scarabs for pleasure" (Li Bai's Preface to Celebrate Wine). The poem says that after he was drunk, he rode like a boat from side to side and felt dizzy. He fell into the well and fell asleep in it. According to legend, "Ruan Xian was drunk and rode on a horse, and people said,' The old man is like swimming in a boat'" (four words by Wang Ming in Du Yi). Du Fu used this allusion to vividly describe He's drunkenness and drunkenness when riding a horse after drinking, full of humorous and cheerful emotions, and vividly showed his broad-minded and reclusive character. The second character is Wang Lixian of Ruyang. He was the nephew of Emperor Xuanzong of the Tang Dynasty and was very popular for a while. The so-called "frequent kindness from the Lord" and "multiple flesh and blood" (Du Fu's "Gift to the Prince's Taishi Ruyang County King"), so I dared to drink three fights before going to court to visit the son of heaven. He has a different drinking mentality, too. Did you see it on the road? The car (that is, the wine car) is drooling and wants to move his fief to Jiuquan (now Gansu). Legend has it that "there is Jin Quan at the door, and the spring tastes like wine, hence the name Jiuquan" (see Three Ji Qin). It was not until the Tang Dynasty that the royalty was qualified to attack the fiefs. So, among the eight people, only Li Xian will arouse the idea of "moving fiefs", and no one else will dream like this. The poet grasped the characteristics of Li Xian's royal birth, and described his hedonic psychology and drinking behavior in detail, which was true and measured. Then Li Xianzhi. In the first year of Tianbao, he succeeded Niu Xianke as the left prime minister. He was a good guest and was rewarded in the evening. He spent thousands of dollars on drinking, and the amount of alcohol he drank was like a whale swallowing a hundred rivers. In one sentence, he pointed out his luxury. However, the good times did not last long. After five years of pioneering work, Li is very suitable for being excluded. After the strike, I will have a drink with my relatives and friends at home. Although the wine is still rising, I can't help complaining. I wrote a poem: "Avoid the sages and strike at the beginning, enjoy a cup. In order to ask the guests in front of me, how many will come today? " ("Old Tang Book"? "Li Xi 'an Biography" "A cup of music is called avoiding sages", which uses Li Xian's poems. "Le Sheng" means that he likes to drink sake and "avoid being virtuous", that is, he doesn't drink turbid wine. Combined with the fact that he went on strike, "avoiding sages" is a pun, which means satirizing Li. Here, grasping the important aspect of power gain and loss, portraying characters' personalities and meticulously depicting Li Xianzhi's portrait contain profound political content, which is very intriguing. After the three dignitaries were shown, two handsome celebrities Cui Zongzhi and Su Jin followed closely. Cui Zongzhi is a charming and handsome romantic figure. He drank too much, so he raised his glass, looked up at the sky, and looked at everything, but no one looked. Drunk, like Yushu swaying in the wind, I can't help it. Du Fu described Zongzhi's handsome figure and chic drunkenness with "Yushu facing the wind", which was very charming. Then write Su Jin. Sima Qian's Historical Records is good at expressing characters' ideological character with contradictory plots. Du Fu is also good at grasping contradictory behaviors and describing characters' personality characteristics. Su Jin indulged in meditation and fasted for a long time, but at the same time he was addicted to alcohol and often got drunk. He was in a contradictory struggle between fasting and drunkenness, but the result was often that "wine" defeated "Buddha" and he had to "escape meditation while drunk". In two short poems, Su Jin's personality characteristics of drinking like a dog, indulging in excess and having no scruples are humorously displayed. After the above five minor figures were presented, the central figure made a grand appearance. Poetry wine has an indissoluble bond with Li Bai. Li Bai himself said that "36,000 cups must be poured every day for 36,000 days in a hundred years" (Xiangyang Song) and "Xing Han put pen to paper to shake the five mountains" (Song on the River). Du Fu's description of Li Bai's poems highlights Li Bai's hobby and poetic talent. It is not surprising that Li Bai is a heavy drinker and often sleeps in restaurants in Chang 'an when he is drunk. The phrase "the son of heaven doesn't board the ship" suddenly makes Li Bai's image tall and strange. After Li Bai was drunk, he was even more bold and unrestrained. Even if the emperor summoned him, he was not so respectful and afraid, but proudly shouted, "I am Brewmaster!" " It strongly shows Li Bai's character of not being afraid of powerful people. Although it may not be true, The Son of Heaven Never Boats is very consistent with Li Bai's ideological character, so it has high artistic authenticity and strong artistic appeal. Du Fu is Li Bai's confidant. He grasped the essential aspect of Li Bai's thought and character, and romantically exaggerated it, and shaped Li Bai into such an artistic image of being unruly, wild and unrestrained, and despising feudal princes. This portrait, full of vigor and vitality, has both form and spirit, and shines with the ideal brilliance of beauty, which is unforgettable. This is the romantic image of Li Bai that people have loved for thousands of years. Another important figure who keeps pace with Li Bai is Zhang Xu. He is good at cursive writing and drinking. Every time he gets drunk, he screams and walks wildly, and his pen is full of changes. If God helps him "(Du Yi, Volume I). At that time, they were called "Cao Sheng". After three cups of drunkenness, Zhang Xu's lofty sentiments were unrestrained, and wonderful cursive script flowed from his pen. Ignoring the dignity of the dignitaries, he took off his hat and showed his head in front of the prominent princes. He writes freely and freely, and his words are like flowing water. How disdainful and informal it is to "take off your hat and show your face in front of princes" It shows Zhang Xu's unrestrained and independent personality. The figure behind the house in the song is Jiao Sui. Jiao Yuan called Jiao Sui a civilian in Ganze Ballad. Jiao Sui got drunk after drinking five times. At that time, he looked even different, talking a lot, and talking a lot, which alarmed the people present for dinner. The poem depicts Jiao Sui's personality characteristics, emphasizing his outstanding knowledge, eloquence, accuracy and prudence in writing. Song of the Eight Immortals has humorous artistic conception, bright colors, brisk melody and cheerful artistic conception. From the phonological point of view, it is a rigorous and complete, rhyme to the end, in one go. Structurally, each role has its own chapter, and the eight roles have distinct priorities. Each character has similarities and differences, differences and similarities, diversity and unity, forming a whole, which is like a group of sculptures. It is really unique in art, as Wang Siyuan said: "This precedent has no cause." It is really a unique work in classical poetry.

Recalling Li Bai and Du Fu's invincible spring poems, his thoughts are myriad. Li Bai's poems are the fresh wind of Yu Xin's poems and the backbone of Jun Zai's works. Now, I am alone on the spring tree in Weibei, and you are on each side of the sun, sunset and sky in the southeast, and you can only miss. When can we have another drink and discuss our poems? The friendship between Du Fu and Li Bai was first formed from poetry. The Five Laws of Remembering Li Bai was written by Du Fu when he lived in Chang 'an in the fifth year of Tianbao (746) or the sixth year of Tianbao (747), mainly from this aspect. The first four sentences, all in one breath, are enthusiastic praises to Li Bai's poems. The first sentence praised his poems as the best in the contemporary era. The second sentence is an explanation of the previous sentence, which means that the reason why he "has a way in his poem" lies in his extraordinary thoughts and interests, so his poems are unparalleled. Then praise Li Bai's poems as fresh as Yuxin and elegant as Bao Zhao. Yu Xin and Bao Zhao were both famous poets in the Southern and Northern Dynasties. Yu Xin was called Yu Kaifu in the Northern Zhou Dynasty, from the official to the generals in title of generals in ancient times and the three divisions of Kaifu instrument (Sima, Situ and Sikong). Bao Zhao, then joined the former Jingzhou Army, which the world called Bao joined the army. These four sentences are full of enthusiasm. The two auxiliary words "ye" and "ran" in the first couplet not only strengthen the tone of praise, but also add the weight of "invincible poetry" and "unconventional". Du Fu is full of praise for Li Baiqi's magnificent poems, whether he presents them or remembers them. From the frank praise of this poem, we can also see how much Du Fu admired Li Bai's poems. This not only expressed his love for Li Bai's poems, but also reflected their sincere friendship. In Qing Dynasty, Yang Lun commented on this poem and said, "The first sentence is naturally that I have read through all the difficulties and hardships, and I am willing to give up my local language. DUZH can't be listed among poets who steal from ancient times and modern times; But Taibai's genius is far behind, and Du Fu can't overwhelm it, so he is particularly convinced, and often the articles are nothing. " (Du Shi Jing Quan) This statement is quite right. These four sentences are about remembering people and their poems, and hymns are about remembering people. But the author didn't know what this meant, but wrote "divorce" through the third link, which naturally added. This treatment is not only concise, but also avoids straightforward narration, which makes the poems interlocking and tortuous. On the surface, the last two sentences only describe the scene of the author and Li Bai. "Weibei" refers to the Chang 'an area where Du Fu is located; "Jiangdong" refers to Jiangsu and Zhejiang where Li Bai roams. "Spring Tree" and "Sunset" are just plain descriptions without any modification. Taken separately, these two sentences are very general and nothing strange. However, the author organizes them in a joint, but naturally there is a wonderful close connection. That is to say, when the author misses Li Bai in Jiangdong in Weibei, it is also the time when Li Bai misses the author in Weibei in Jiangdong; The author looked at the southern sky, but only saw the clouds on the horizon. Li Bai looked at the northland from afar and only saw the colors of trees in the distance. Naturally, he saw their parting hatred, like "Spring Tree" and "Twilight Cloud", with a deep feeling of parting. Therefore, Huang Sheng in Qing Dynasty said, "Five fables recall each other, and six sentences recall each other." Both poems imply the same infinite feelings of both sides. How rich the memories of all the good times together, the situation after their separation and the various situations at this time should be. These two sentences seem dull, but in fact they are tempered every word; The language is simple, but rich in meaning, and it is a famous sentence that has been sung all the time. In the Qing Dynasty, it was called "Writing Scenery without Feeling" (Tang Poetry), and in the Ming Dynasty, Du Yi quoted Wang as "a work of ignorance", which was greatly appreciated. The above feelings of parting are written deeply and strongly, which naturally leads to the ardent hope of the later couplets: when can we meet again, as in the past, talk about wine and poetry! Talking about wine in the poem is the most memorable and desirable thing for the author, and the conclusion coincides with the beginning of the poem. The word "heavy" means that it used to be like this in the past, which made the disappointment of not seeing each other more distant and deepened the memory of friends. Taking "dang" as the tone of the question expresses the desire for an early reunion more strongly, making the ending endless, making people read the whole poem, and the author's infinite thoughts are still echoed in his heart. In Qing Dynasty, Pu Qilong said: "This poem is purely about poetry" (Reading Interpretation), which truly shows the content and structural characteristics of this poem. It is natural that the whole poem begins with a poem and ends with "paper", from poem to person, from person to poem, and turns around. The word "memory" runs through the whole poem, blending the admiration and nostalgia for people and poetry. The lyrical technique of scenery is even more superb, and the author's feelings of missing are deeply written.

Nine Poems (Sixth Poem) Before Du Fu went out, the bow was strong and the arrow was long. Shooters should shoot horses, and leaders should catch their leaders. There is a limit to killing people, and all countries have national boundaries. As long as we can stop the enemy's invasion, is it possible to fight and kill more people? The poet wrote nine Chusai first, and then five Chusai. Add "before" and "after" to show the difference. "Before Leaving the Village" is a current event of Ge's conquest of Tubo in the last years of Tianbao, which is intended to satirize arrogance. This article was originally listed as the sixth article, which is a relatively famous one. The first four sentences of the poem are very similar to the popular battle songs in the army at that time. They are quite charming and interesting, and win the main points of discussion. Therefore, Huang Sheng said it was "like a proverb, the most beautiful place in Yuefu". Two "pawns" and two "firsts" are witty remarks, which open people's minds, put forward the key to combat steps, and emphasize that the troops should be strong, the morale should be high, and the enemy should be resourceful and wise. Expressing four sentences in a row is like summing up combat experience. But judging from the whole article, it is not the main idea of the work, but just a foil for the following. The last four sentences show the ultimate goal of going to the border to fight. "There is a limit to killing people, and all ethnic groups have their own borders. If we can control the invasion of the mausoleum, how many people will be killed? " Poet's speech is generous, and he speaks his mind directly, hit the floor. In his view, keeping Qiang Bing is only for guarding the border, not for fighting. Whether "shooting horses" for the enemy, "killing people as a last resort" or "capturing the king" for Qiang Bing, we should limit ourselves to "controlling the invasion of the mausoleum", and we should not tamper with the war cases, let alone arrogantly invade foreign countries. This idea of fighting with war and stopping aggression with Qiang Bing is a grand theory and a good strategy to ensure border security; It reflects the interests of the country and the wishes of the people. Therefore, Zhang Hui said in "Du Fu Yao" that these words are "big classics, spoken by guards". From the perspective of artistic conception, the author adopts the method of first promoting and then restraining: the first four sentences are based on popular and philosophical proverbs, telling how to train and use soldiers and how to defeat the enemy; But in the last four sentences, I wrote about how to control martial arts and try to avoid a war, and gave the original intention of "stopping fighting for martial arts." Auxiliary pen first, then main pen; Between the auxiliary pen and the main pen, it seems to be sweeping, but in fact it is connected, seemingly contradictory, but actually dialectical. Because there is no reliable armament, it is impossible to stop foreign aggression; However, it is not advisable to rely on strong armed forces and resort to belligerence. Therefore, the poet advocates both supporting Qiang Bing and "controlling the invasion of the mausoleum", which is in line with the interests of the vast majority of people. Pu Yin Long read Du Xin Jie and said with great insight: "The above four sentences were so soaring, and the following four sentences were suddenly swept away, and the rabbits fell down. It really happened! If so! " The "soaring" and "sweeping" mentioned here refer to the surging momentum and waves in the works; The "rabbit rises and falls" mentioned here refers to the profound theme of "anti-Qiang Bing" in the momentum of Pentium. In the Tang dynasty, there were few works that won by argument, but this poem was famous for its argument; Its high conception, strong integrity, strong philosophy and great momentum have won high praise.

Comparison of Poetry Styles between Li Bai and Du Fu

Li Bai and Du Fu are the two peaks of China's Tang poetry and even China's ancient literature. We call them "poetic immortals" and "poetic saints" respectively. They * * * experienced the history of the Tang Dynasty from its heyday to turmoil. In the face of this troubled times, they formed poems with completely different artistic styles and personal personalities.

The style of Li Bai's poems was formed in the most powerful era of the Tang Dynasty, focusing on expressing personal feelings and praising the desire and pursuit of personal value in free life. (History of China Literature) His poems are free and unrestrained, clear and fluent, imaginative and magnificent. He inherited the romantic tradition since The Songs of the South and formed his own unique style.

Du Fu's poetic style was formed in the period of An Shi Rebellion, and gradually took shape in suffering. Du Fu went deep into the society, cared about the sufferings of politics and people's livelihood, and attached importance to realism. He shoulders the heavy responsibility of the country and the nation and faithfully depicts the face of the times and inner feelings. Du Fu's artistic style is gloomy. He inherited Du Fu's realistic style from the middle Tang Dynasty to the Song Dynasty, especially the Jiangxi Poetry School in the Song Dynasty, which took Du Fu as its ancestor. His influence is enormous.

When Li Bai was young, he read a lot of books. "At the age of five, he read hundreds of books, and at the age of ten, he read strange books, endowed with exquisite images." He also fought with Ren Xia, saying that "fifteen good swordsmanship, the prince is everywhere". (History of China Literature) When he was young, he traveled widely. All these have a great influence on the formation of Li Bai's bold and unconstrained character, and also directly lead to the formation of his romantic poetry style. Li Bai values martial arts and despises Confucianism. He is generous with money and likes drinking. His ideal in life is to be detached from things and actively join the WTO. His personality charm is beyond the reach of others.

Du Fu was born in an official family, and his grandfather Du Shenyan was an important poet in the early Tang Dynasty. Therefore, for Du Fu, career and poetry are both family businesses. He once said to his son, "Poetry is my family". Du Fu was deeply influenced by Confucian culture, and he had a desire to help the monarch all his life. In addition, he was poor all his life, which formed his character of caring for the country and the people and caring for the people. Therefore, his poems emphasize realism.

Li Bai has been wandering between being an official and dancing all his life. In Shu Dao Nan, he described the wonderful and breathtaking mountains and rivers on Shu Dao in Qin Dynasty, from which he revealed some worries about society. He said that "it's too high for a yellow crane to cross" and "the sword pagoda is indestructible" may be a metaphor for his depression at that time. In his "It's Hard to Walk", he used "I threw the food bar and cup aside, I couldn't eat or drink, I pulled out my dagger, and I peeped in four directions in vain. I will cross the Yellow River, but ice blocks the ferry until Taihang Mountain is covered with snow "to describe his difficult situation. Because of Gao Lishi Yang's love at that time, these wise men were kept out of the court, so he issued "It's hard to go, it's hard to go. All roads lead to the same goal, but his optimistic nature makes him persistent in his pursuit of ideals. Full of confidence and longing, he sang the strong voice of "I will ride the wind and waves one day, and set my cloudy sail straight and bridge the deep, deep sea". He wrote in "Nostalgia at Night in Niuzhu": "I looked at the autumn moon on the deck and missed the old general Xie in vain. I have poems; I can read. He hears others, but it's not mine. "Thank you for the story you met, to show that you didn't meet, and you want a bosom friend. All of the above shows that Li Bai is positive about his career. On the other hand, influenced by Taoism, Li Bai had the idea of escaping from the world from time to time and once lived in seclusion in the mountains. In Lushan, he said, "I am a madman of the Chu people and sang a crazy song arguing with Confucius." Holding a green jade stick in his hand, he bid farewell to the famous Yellow Crane Tower early in the morning. It is a habit of my life that the Five Mountains travel far away to find mountains. "It shows his devotion to Taoism, his mockery of Confucianism, and his feelings of getting rid of the secular and pursuing immortal life. In "Dream on Mount Tianmu", he described absurd dreams and expressed his yearning for the fairy world. Finally, he said that "security can make people rich and make me unhappy", which showed his ambition to lead an honest and clean life. It can be said that Li Bai's life is full of sadness in the contradiction between being born and joining the WTO.

Du Fu is much simpler. He has been seeking an official position all his life. "Obey Confucianism and guard the official, but don't fall into the vegetarian business" ("Carving and Fu Biao"). Throughout his life, he believed that one day he could "make the monarch Yao Shun ascend, and then make the folk customs simple". This spirit has been permeated between the lines of Du Fu's poems, as well as his seven laws "Climbing the Building", "Flowers, as high as my window, hurt the wandering heart, because I see, from this height, everywhere sad. The spring scenery of Jinjiang flooded in, and the clouds on the mountain, ancient, varied and changeable. The imperial court, like the North Star, will not change in the end, and the Western Hills of Kohl will not invade Tibet. However, I feel sorry for the sorrow of a long-lost emperor at dusk and talk to Fu Liang at sunset. " This poem can fully reflect the characteristics of Du Fu's poems, and the scenery at the beginning of the poem leads to the author's mood, which is as touching as "where the petals have fallen like tears and where the lonely bird has sang grief". Later, I wrote about how difficult it is for ten thousand people, and finally I wrote a personal report. He wants to make contributions like Zhuge Liang. The whole poem expresses the connection between mountains and rivers and the changes of society through the ages, and it talks about the infiltration and tolerance of personnel with the help of natural scenery. The combination of natural scenery, national tragedy and personal feelings embodies the poet's depressed and frustrated style. His banks of the Yellow River were recovered by the imperial army, and the news is in this distant west station! The north has been recovered! At first, I couldn't stop crying on my coat. Where are my wife and son? There is not a trace of sadness on their faces. However, I packed my books and poems crazily. On a green spring day, I began to go home, singing my songs loudly and drinking my wine. Come back from this mountain, pass another mountain, go up from the south and then go north-to my own town! . "It is about the joy of the poet after hearing the news after Tang Jun conquered Anshi's lair. The whole poem has left a deep impression on people with its smooth rhyme, sincere emotion and fast rhythm. His poem "Up the Mountain" is neat and neat, and the scenery is lyrical. The first two couplets describe the scenery, and the latter two couplets combine their own aging and come down to the root of being down and out. "Leaves fall like the spray of a waterfall, and I watch the long river roll forward. "This is a famous sentence through the ages.

Poetically speaking, Li Bai is good at ancient songs and May 7th quatrains. His unrestrained personality makes him not stick to the rules. His book Shu Dao Nan is uneven in length. The first two sentences of his book A Farewell to the School Cloud in Xuanzhou Xie Tiao Building, "Those who abandon me can't stay yesterday, and those who disturb my heart are more worried about today" use prose syntax. Du Fu is good at melody and arrangement. Therefore, metrical poems, especially the seven-tone poems, are his strong points. Li Bai is slightly inferior to Du Fu in the beauty of sound and form. From the beauty of style, Li Bai's elegant and heroic style and speech are naturally beyond others' learning. Li Bai speaks his mind, smiles when he is happy, and laughs when he is sad. Most of Du Fu's poems are subtle and tortuous, depressed and frustrated. This is one of the reasons why young people prefer Li Bai and mature people prefer Fu.

Li Bai loves all the beautiful things in real life and throws a contemptuous look at unreasonable phenomena without scruple. This attitude of being imprisoned by reality but unwilling to accept the desire to conquer reality is contrary to Du Fu's realistic spirit of always paying attention to and caring for the fate of the people of the motherland with serious compassion, and it is also the same in essence. In Han Yu's words: "Du Li's article is in full swing." Their artistic achievements and integrity will always be the representatives of China culture.