Second, the relationship between Li Bai and landscape poetry
Li Bai is an alternative among China landscape poets. He is very imposing, energetic and elegant. This personality factor makes Li Bai's landscape poems seem to have no fixed form and law in expression, and it is difficult to grasp the style and artistic conception of Li Bai's landscape poems. But just like watching Van Gogh's paintings, Li Bai's landscape is Li Bai's landscape. In fact, Li Bai really dominates the form and law of landscape poetry. Li Bai wrote not the details of the landscape, but the momentum of the landscape. In his words, it is the momentum of "how the water of the Yellow River moves to the sky, rushes into the sea and never returns", which is also his own momentum. It is his own motivation that drives him to write landscapes. Only his unrestrained personality can publicize the inner momentum of mountains and rivers. To publicize the momentum of the landscape is to publicize Li Bai's own personality and vitality, that is, to extend his personality and vitality into the landscape.
Thirdly, the roaming of Li Bai's landscape poems.
Li Bai, a young man in the prosperous Tang Dynasty, likes Ci Fu, swordsmanship, wine and food, and enjoys Taoism, hundreds of wonderful books and vertical and horizontal techniques. He received strange and improper ideological education, and developed a kind of arrogant, unyielding and unrestrained ranger spirit, which doomed him to embark on a unique road of hermit and chivalrous man all his life. Li Bai is not secular. He belongs to the immortal world of wine and mountains and rivers. Emperor Xuanzong of the Tang Dynasty admired Brewmaster Li Bai's talent and gave him gold silk, but Li Bai didn't accept it. As long as wine and mountains and rivers are lingering, Emperor Xuanzong of the Tang Dynasty gave him the gold medal of "eating all the wine and spending all the money in the library", which was passed down as an eternal story. The poet Du Fu has a poem praising Brewmaster Li Bai: "Li Bai has hundreds of poems about fighting wine, but he sleeps in a restaurant in Chang 'an. The emperor called instead of getting on the boat, claiming that the minister was Brewmaster. " Li Bai claimed that "the five mountains are sacred mountains, and I don't think about the distance, according to my unchanging habit all my life", and spent most of my life in seclusion and wandering. Li Bai roamed the famous mountains and rivers, seeing off the breeze and the bright moon, and left many famous landscape poems with far-reaching artistic conception. Li Bai traveled widely all his life, and when he entered Shu, he left an eternal famous saying, "It is difficult to get through the Shu Road, but it is difficult to get into the sky." Out of the Three Gorges, what is left is an empty valley where "the apes on both sides of the strait can't cry, and the canoe has passed Chung Shan Man"; Going south to Jiangsu and Zhejiang, leaving a long river painting of "the green hills on both sides of the strait are opposite, and the sails are self-drying"; On Lushan Mountain, I left a magnificent picture of "going straight down to thousands of feet, suspecting that the Milky Way has fallen for nine days"; East to Qilu, leaving the desolate scenery of "how the water of the Yellow River moves out of the sky and into the ocean, never to return"; Westbound to Huashan Mountain, leaving a magnificent chapter of "The Yellow River Wan Li touches the mountain and the vortex hub turns to Qin Mine".
Fourthly, the unique style of Li Bai's landscape poems.
(1) Li Bai's landscape poems are beautiful and fresh, with broad artistic conception.
Li Bai lived in a period of prosperity and decline in the Tang Dynasty. He enthusiastically pursued bright ideals and freedom and liberation, despised feudal ethics and imperial dignitaries, and refused to bow to the dark forces, so he was given a cold reception and hit by the court. The cruel social reality makes him cynical, "I am glad to visit famous mountains" [3] I have traveled all over Sichuan, the Yellow River, Jianghuai and Zhejiang, looking for famous mountains and rivers everywhere, with the passion of "I am not here to fish, I am here to love famous mountains and rivers" [4] and "I am here to fall in love at first sight". In the poet's famous landscape works, "beautiful and fresh, broad artistic conception" is one of its remarkable characteristics. For example, "Dai Tian Daoshi Mountain Tour":
In the barking of dogs, peach blossoms are thick.
See the deer when the tree is deep, but don't ring the bell at noon.
Wild bamboos distinguish haze, flying springs hang blue peaks.
No one knows where to go. I'm worried about two or three loose.
This poem was written by Li Bai in his youth. In the poet's pen, the Dai Tianshan Mountain in Shu, the beautiful water in Shan Qi, the gurgling brook, the peach blossom with dew, the elk in the forest, the graceful wild bamboo and the flying spring flowing down from Qingfeng Mountain are bright in color and deep in realm, just like a charming landscape painting, with the fresh and beautiful charm of Xie Lingyun and Xie Tiao, and the simple and quiet tastes of Wang Wei and Meng Haoran. Another example is "Emei Mountain Moon Song":
In the autumn of the first half of Mount Emei, the Pingqiang River reflected.
In the evening, Qingxi went to the Three Gorges, but the four gentlemen did not see Yuzhou.
The poet started from Mount Emei in a unique way and touched the hazy landscape under the bright moon with fresh pen and ink. The half-moon hanging in the air and the reflection of the fluctuating moon in the river are quiet and quiet, which set off a boat people's yearning for their old friends when they went to China. It has a flying spirit and sincere charm, and was once known as "the land of white beauty". Another example is "seeing friends off at Jingmen Ferry";
Sail from Jingmen Ferry, and soon you will be with southerners.
At the end of the mountain range and the beginning of the plain, the river winds through the wilderness.
Flying under the moon, the sea clouds shine like palaces.
The water brings you the feeling of home and makes your boat travel 300 miles.
In the 14th year of Emperor Xuanzong of the Tang Dynasty (726), 26-year-old Li Bai left Sichuan and the Three Gorges, crossed Jingmen and came to Jianghan Plain with the ambition of serving the country generously and the illusion of success in his career. The poet came from the mountains on both sides of the Taiwan Strait, faced with the distant mountains that gradually faded away and disappeared, faced with the rolling rivers on the vast land, and wrote down the vastness of the plain and the grandeur of the Yangtze River with novel feelings and heroic mood. The works not only show infinite prospects, but also reflect the author's youthful spirit and lofty sentiments of the times at that time, showing new features of freshness, beauty and openness. At this point, it is more magnificent than the artistic realm of Wang Bo's Biography of Sending Du Shaofu to Sichuan, where the city is three clear, and the fog and smoke look at five pounds, and Wang Wan's "A berth under the North Fort Mountain", where the banks are wide until the ebb tide, and there is no wind to stir my sails alone.
The ancients went around the stream and said, "Li Bai is good at talent, so he is wise in writing." This commentary brilliantly points out that Li Bai's creation is fundamentally different from that of the Song people in the Jin and Song Dynasties. They are "quite dull, pursue the realism of scenes, pay attention to practicing Chinese characters and prose sentences, and lack overall beauty". It also fully proves that Li Bai's landscape poems developed the artistic tradition of poetry and formed their own unique artistic style while accepting the nourishment of predecessors' art. For example, "Qiudeng Xuancheng Xie Tiao North Building": "Two water mirrors, two bridges drop a rainbow. Autumn scenery, where people are cold orange pomelo and old phoenix tree in autumn; " "Into Qingxi Mountain": "Sitting among fish and birds, shaking the shadows of mountains and rivers. Clear water echoing in rocks and quietly telling in streams; Parrot Island: fragrant leaves of flowers and trees and warm wind, peach blossom waves on the shore; Look at Tianmen Mountain: Chuhe River, "The green hills on both sides of the strait are opposite, and the solitary sails come day by day"; Guan Shanyue: "The bright moon hangs high in the sky, the sea of clouds is boundless", and the mountains and moons describe the scenery and fun of boating in the river, "Jingmen looks straight at the water in Shu"; Writing "Traveling to Dongting Lake with Ye Shilang, my uncle, and China calligrapher" has an open, clear and beautiful artistic conception; Emei Mountain Month runs through the whole article, and there are quips such as "Emei Mountain Moon Song sends Shu monks into Beijing". They all vividly depict the magnificent mountains and rivers with novel and meaningful brushstrokes, giving people a particularly fresh and open-minded feeling.
(2) Li Bai's landscape poems have a long lasting appeal.
In the creation of landscape poems, Li Bai is best at writing scenery with emotion and expressing emotion with scenery. In artistic expression, poets often only choose the most distinctive and emotional aspects of natural scenery. In the atmosphere with strong subjective colors, they contain infinite charm, which is superior to the three-stage form of "emotion, scenery and reason" in Jin and Song Dynasties, and their works have lofty ideas and more sincere feelings. In addition to the above works, Li Bai has more landscape poems that can be used as examples in this regard. For example, "Early Sending Baidicheng":
Early in the morning, I bid farewell to Jiangling city, which is high into the sky, thousands of miles away, and the boat is only one day away.
The cries of apes on both sides of the strait are still unconsciously crowing in their ears, and the canoe has passed the heavy green hills.
This poem was written in the spring of 759, the second year of Tang Suzong Gan Yuan, and it is now considered as the best chapter in ancient landscape poetry. At that time, the author was exiled to Yelang because of the Lin case and went to the relegated place via Sichuan. He was pardoned halfway and was overjoyed. He immediately set sail from Baidicheng for Jiangling. The poet's joyful mood of going through hardships and meeting forgiveness, anxious to return's longing for missing relatives and friends for a long time, and his cheerful expression after being free are all presented to readers in the beautiful scenery of the empty valley and gorge. The whole poem is bold, harmonious and delicate. Ming? Yang Zeng praised: "I was shocked by the storm and cried the gods." In Qingxi Xing, the author praised the beauty of nature with folk songs and expressed his resentment against the darkness of society with fresh and smooth poems:
The water in Qingxichuan makes me clear that its water color is different from other rivers.
Excuse me, where can I see the new river in Qing' an so clearly?
The man seems to be walking in the mirror, and the bird seems to be flying in the screen.
Towards evening, the apes began to lament, but they could not infect the wanderers in the distance.
The poet deliberately described the water in Qingxi as clear as blue and crystal clear, but he also expressed his indignation at the dirty and chaotic society and outlined a desolate and sad realm of silence. Another example is "sleeping in a mountain temple": sleeping in a peak temple, raising your hand and asking for stars. Standing here, I dare not speak loudly for fear of disturbing the gods in the sky.
Judging from the sentences in the poem, the poet wrote only a small temple in the mountain, but after careful chewing, the silence of the mountain temple, the quiet environment and the beautiful scenery beyond the hustle and bustle of the world all give people room for full imagination. The implication is that the author rejects secularism and yearns for freedom. Similarly, "Q&A in the Mountain" is also a masterpiece with implication and interest:
I asked what I meant by living in the blue mountains, but I laughed without answering my heart.
Peach blossoms are opening, and it is another world.
This poem expresses the poet's leisure in seclusion in the mountains in the form of questions and answers. Language is natural, natural Beautiful and elegant pictures, beautiful, far-reaching, charming and intoxicating. Another example is "seeking harmony, respecting teachers and living in seclusion":
A group of towering skyscrapers have been carefree for several years.
Dial the clouds to see the ancient road, lean on the tree to listen to the flowing water.
Warm flowers lie on green cows, white cranes sleep on high pine branches.
Talk to the teacher, the river has been shrouded in dusk, I want to walk alone in the cold mountain clouds.
The misty mountain forest is so quiet, and it is so leisurely to walk in the clouds. The poet successfully captured his unique feelings about natural scenery, mountains, rivers and colors, and made a profound exploration on the basis of inheriting predecessors such as Xie Lingyun, Xie Tiao, He Xun and Yinkeng. "Gu Han Tang Shi Hua" says: "The poems before Jian An Ruan were all devoted to expressing ambition; Pan Lu's later poems are dedicated to chanting things. Both, Du Liye. Expressing ambition is the poet's original intention, which is a special thing for the poet. "
Li Bai's poems are not mainly about scenery, but they are full of scenery and charm. For example, "Farewell to Meng Haoran on the way to Yangzhou" by the Yellow Crane Tower, "The lonely sail is far away from the sky, and only the Yangtze River flows in the sky", which captures the moving scenery when the boat is far away from the water, shapes a lofty and infinite image and shows the infinite yearning for the old friend. It's like "Qingxi listens to him, the ice clock listens to him, although the mountain is dark, the autumn sky is full, I will not change" in "Listening to the piano"; In the poems such as "Night Sleeping in Niuzhu" and "There is no cloud in the blue sky in Hexi tonight", the poet only uses one or two words to describe the scenery, that is, the scenery is described completely, which truly shows the characteristics of natural scenery and deeply and implicitly expresses the poet's sincere feelings. "They all give people beautiful artistic enjoyment and promote the development of landscape poems."
(3) Li Bai's landscape poems are magnificent.
Among Li Bai's excellent landscape poems, Wang Lushan Waterfall, Hengjiang Ci, Shu Dao Nan, Song Song, Xiyue Yuntai Song, Dan Song, Dream of Climbing Mount Tianmu, Lushan Song and other works with the help of landscapes are the most distinctive, which show the magnificence of nature and express their lofty sentiments. "Cai Baiqi's Poetry Review" says: "Li Taibai's poems are reflected in the Millennium." For example, in Looking at Lushan Waterfall, the poet vividly sketched the magnificence of Lushan Waterfall through the magical heroic posture of "the incense burner in Rizhao is full of purple smoke, and the waterfall hangs far in front of the Sichuan" and the flying momentum of "flying down three thousands of feet, suspecting that the galaxy has fallen for nine days", and used exaggerated metaphors to shape a magnificent artistic image, imagining that the sky is soaring and the realm is constantly sublimating. The six poems of Hengjiang Ci strongly exaggerate the dangers of the Yangtze River storms in Dangtu area, such as the fourth poem, "Poseidon returns to the evil wind and waves hit the stone walls of Tianmen." What is August like in Zhejiang? Tao seems to spray snow on the mountain, with a majestic image and full of real power. " Xiyue Yuntai Song's "Send Dan Qiu Zi" is magnificent! The Yellow River comes like a silk sky, "The Wan Li of the Yellow River touches the mountain and turns into a A Qin mine", "Genie growls and breaks the two mountains, and Hongbo sprays the East China Sea" and so on describe the magnificent and surging Yellow River in Huashan, and the great image of the Yellow River touching the ground and rushing to Wan Li reflects the heroic character of the author's longing for an extraordinary life. Another example is "Dream on Mount Tianmu", in which the poet imagines in the dream of sleepwalking, and depicts all kinds of scenery of Mount Tianmu with unpredictable magic pens, including the natural beauty of "the sky is vast and the sky is high and chickens crow", the horrible spectacle of "bears, dragons and mountains are stormy and the sky is high and shocking", and "wearing colorful clothes, riding the wind, coming to the clouds, descending one by one. Finally, the poet expressed his feelings about life, that is, "the pleasure in the world makes thousands of waters flow eastward in Qian Shan", and expounded the theme of the whole poem with the famous sentence "Alas, how can I bow and scrape to dignitaries, which is unpleasant?" He sang the voices of those who have not got talent and expressed his ardent pursuit of bright ideals and freedom and liberation.
The poet wrote six poems in the summer of the first year of Tianbao (742), and his imagination was equally strange. It not only wrote the beautiful scenery of "the sea falls before us, the sky is far and the sky is blue", "the mountains are different from the world, and the snow is white", but also conveyed the extraordinary spirit when reaching the summit. Li once said: "Taibai is ashamed that Zheng and Jiang Zuo don't read non-saints' books, so his words are more like those of immortals." Everything he writes is full of satire. For three generations, after coquetry, Qu Yuan was driven, and Yang and Ma were flogged, and they stayed alone for thousands of years. " This passage is an accurate evaluation of the artistic achievements of Li Bai's landscape poems.
He's Shu Dao Nan is a masterpiece in this respect. This * * * poem is divided into four paragraphs:
Hey, hey, it's dangerous! It's hard to get through the Shu Road, and it's hard to get to the sky. Until the two rulers of this area, in the foggy age, squeezed in, Ireland came for 48 thousand rounds, and it was not connected with Qin Sai. And Dabaishan, to the west, still has only one bird path, all the way to the peak of Emei. Once it was broken by an earthquake, some brave people lost it, and then the ladder stone pile was hooked. At the beginning, the poet showed the unusual rigor of Shu Dao through repeated sighs and layers of metaphors, and then wrote that Shu Dao was an insurmountable dangerous road in history through myths and legends and exaggerated pen and ink, which cast a mysterious color on steep ladders and sarcophagus, paving the way for further describing the dangers of Shu Dao.
On the high flag, six dragons drive the sun, and far below, the river lashes its twisted channel. Such a height is difficult for a yellow crane, poor monkey, they only have claws to use. The Green Mud Mountain is composed of many circles, and the Yanzi Mountain is full of twists and turns. Panting, we passed Orion, passed Jingxing, and then fell to the ground with our arms folded and groaned. In this passage, the poet wrote about the high risk of this mountain. The six dragons of the sun had to turn back to the abrupt peaks here, galloping and beating waves, winding around the rushing mountains and rivers. In addition, the yellow mud is difficult to fly over, and the apes are worried about climbing, which sets off the difficulties along the Shu Road. Then, the poet described the winding and tortuous road on the green mud ridge, like a dead vine winding on a dangerous rock, and described that pedestrians on high places seemed to reach out and touch the stars, making people hold their breath and sigh!
Through the description of steep history, steep mountain peaks and rugged mountain roads. It seems that all the dangers of Shu Dao have been written out, but the poet's style of writing has changed, and a new realm has been drawn with rhetorical questions:
We doubt whether this path to the west will never end, and that distant rock is out of reach. Nothing can be heard except the cries of birds surrounded by ancient forests. The male bird rotates smoothly and follows the female bird. Jathyapple, what comes to us is the melancholy voice of Du Fu, a sad empty mountain. It's hard to get through the Shu Road, and it's hard to get to the sky, and it turns pale when you smell it. The highest cliff is less than a foot from heaven, and the withered pine trees hang low on the cliff surface. One thousand waterfalls rushed forward one after another, sending out the thunder of rotating stones in ten thousand valleys. What are the risks? Why do people who live at a safe distance come here? ? Here, the poet focuses on rendering the desolate and sad atmosphere along the Shu Road. The mountains are steep, the trees are desolate, the wild birds wail, and there are even more mountains and mountains, pines hanging upside down, waterfalls roaring in the deep river, and pedestrians are eclipsed, which fully shows the breathtaking and sad emptiness of the Shu Road, thus producing overwhelming and thrilling artistic effects.
In the last paragraph, the poet wrote about the situation of Jiange, a fortress in the middle of Shu, which caused anxiety about the current situation and understanding of life:
Although the pass of the watchtower is strong and steep, one person guards it and ten thousand people can't beat it. What if he is not loyal, but a wolf to his companions? . There are hungry tigers in the daytime, and there are poisonous reptiles at night. Their teeth and fangs are ready to kill people like hemp. Although the Silk City is beautiful, I'd rather go home soon. It's hard to get through the Shu Road, and it's hard to get to the sky. Look sideways to the west and ask for advice! In this paper, the poet quoted the famous sentences describing the danger of Jiange in Zhang Zai's Ming of Jiange and Zuo Si's Fu of Shudu in the Western Jin Dynasty to show the danger of terrain, and then warned people to take history as a mirror and be alert to the occurrence of war. Finally, I ended by repeating the main theme of "It's hard to get through the Shu Road, and it's hard to get to the sky", which contains infinite feelings.
The image of Shu Dao Nan is majestic, with intense emotion, rich imagination and exaggerated language. With unpredictable brushstrokes, the poet vividly described the dangers of Shu Road, from ancient times to the present, from the whole to the part, from mountain roads to pedestrians, and described a colorful landscape picture, depicting the sinister environment and sinister political situation of Shu Road. The poem has fantastic colors, reciprocating structure and bright and changeable rhythm, which fully shows the characteristics of positive romanticism. Therefore, Yin Pan in the Tang Dynasty called it "strange". He also said that "it is rare to pay back money from a poet."
Li Bai's Difficult Shu Dao dwarfs the poems describing the difficulty of Shu Dao in previous dynasties. Although this poem tries to describe the difficulties and obstacles of Shu Dao, people do not feel depressed after reading it, but are excited by the exaggerated description and majestic momentum in the poem and feel a noble and magnificent beauty.
The above-mentioned landscape poems are the crystallization of the poet's creation of "serving the country with his sword and leaving for a long journey" Their images are magnificent, which entrust the poet's broad-minded mind and heroic spirit, show the spirit of yearning for majestic and extraordinary things, and have positive passion. As far as the development of China's landscape poems is concerned, the Tang and Song Dynasties witnessed the maturity and brilliant achievements of landscape poems. Before Li Bai, poets with romantic temperament showed the characteristics of "majestic and vigorous" in their creation, followed by Han Yu, Liu Yuxi and Su Shi, but the landscape images and momentum of their works were not as good as those of masterpieces such as Shu Dao Nan. Even Ren Jin Yuan Haowen in Ming Dynasty, Gao Qi and Yuan Mei in Qing Dynasty can't compare with them. Ni Qixin wrote: "Taoism's natural thought has given Li Bai a simple materialistic outlook on life, believing that life and death are everything." It is natural to have a rest and relax. This makes his landscape poetic image not only express self-image, but also melt into self-image, which makes the landscape image have the outstanding characteristics of idealization, fantasy and personalization. " This is Li Bai's transcendence over predecessors and inspiration to later generations in the creation of landscape poems.
To sum up, Li Bai loves nature. He once described the magnificent rivers and mountains of the motherland with his heroic mind and unrestrained passion and melted them into clear words. He wrote about the moon, mountains and water, which are clear and fresh, and the realm is open; He integrated his desire and pursuit for freedom and light into his landscape poems, which were full of scenes and lingering charm. He painted the nine-day waterfall, the roaring Yellow River and the rugged and dangerous Shu Road, which gave Wang Yang a wanton description, reproduced the majestic image of nature and produced magnificent and shocking artistic effects. In a word, Li Bai's landscape poems have achieved the unity of aesthetics and sociality with outstanding artistic style and strong spirit of the times. He stood at the peak of romantic art, which had a far-reaching influence on later generations, and established his special position in the history of the development of China's landscape poetry and landscape literature, which was characterized by "extraordinary peaks and unique artistic conception".