First, Li Bai's life can be roughly divided into five periods:

1. Roaming period of studying in Shuzhong (before the age of 25): Li Bai has dabbled in hundreds of schools since he was a teenager, learning Ci and Fu, learning fencing, being good at Ren Xia and worshiping immortals.

2. Career abroad (26-42 years old): In order to realize the ideal of life, Li Bai "waved his sword to serve the country, resigned from his relatives and traveled far away". After traveling around Jiangling, Dongting Lake and Yangzhou, she married her granddaughter in Anlu, Hubei. Since then, he has traveled to Liang, Song, Qi, Shandong and other places with Anlu as the center. I made many friends during my roaming, once studied Taoism in seclusion, once worshipped the powerful, hoping to be reused and introduced to realize my political revenge.

3. Chang 'an period (42-45 years old): In the first year of Tianbao, Li Bai was summoned to Beijing to be summoned by the Hanlin and enshrined in the imperial court. However, Li Bai's position and situation can't realize his ideal, and his arrogant and unruly character is intolerable to the world. He drank too much, looked down on powerful people, and eventually got jealous and lost his reputation, so he invited himself to set free. Chang 'an's life practice deepened his understanding of the real society.

4. Re-roaming period (45 to 55 years old): After Li Bai left Chang 'an, he traveled to Song Liang, Qilu, Zhao Yan, Jiangsu, Zhejiang and other places. During this period, I got to know Du Fu. Disillusionment of ideals, frustration of life and dissatisfaction with reality make his thoughts full of contradictions between ideals and reality.

5. Anshi Rebellion Period (44-62 years old): Since Anshi Rebellion, Li Bai ran from Xuancheng to Lushan Mountain. The following year, I applied to join the Yongwanglin shogunate. Wang Yong disobeyed orders and was defeated. Li Bai accused him of "disobedience". He was a long-term hooligan, but he was forgiven halfway. After the war, Li Bai was always full of ambition to serve the country, pacifying the chaos in the world and worrying about the country and the people.

Second, Li Bai's main ideas

Li Bai's thought mainly embodies the characteristics of Confucianism, Taoism and chivalry. The Confucian spirit of suffering, the thought of saving the world and its values of life have always influenced Li Bai, and the Taoist spirit of birth and detachment, the pursuit of spiritual freedom and the Taoist fairy world have always run through Li Bai's thought and character. In addition, Li Bai's thoughts and personality are permeated with the chivalrous spirit and personality ideal of rangers and strategists.

The second section is the ideological content of Li Bai's poems.

1. Express one's ideal ambition and desire to make contributions, as well as frustration and resentment that it is difficult to realize one's ideal and desire. For example, Fu Liangyin and Antique (the tenth) eulogize ancient famous ministers and sages, and express their personality ideals and ambitions of making contributions and saving the world. It's hard to go, go to wine, go to Xie Tiao Villa in Xuanzhou to bid farewell to Secretary Shu Yun, and dream of climbing Mount Tianmu and so on. , showing frustration and resentment after frustration, contempt for the secular and powerful arrogant personality, as well as broad-minded feelings and the spirit of pursuing freedom.

Second, care about realistic politics, criticize the difficult situation and darkness of reality, as well as love for the people and concern for the sufferings of people's livelihood. For example, some poems in "Antique" attacked the fatuity, debauchery and domineering of the rulers, and had a strong critical spirit of viewing reality. Poems after An Shi Rebellion, such as Running to the Dead Road, Wandering and Singing Dong, etc. , showing the patriotic spirit of opposing separatist regimes and saving the nation from extinction. Ding Du Hugh, Su Xun and Long March show their feelings for ordinary people and sympathy for the unfortunate fate of women.

Third, enthusiasm eulogizes nature and places feelings on nature. Li Bai likes traveling and being close to nature all his life, so he wrote a lot of landscape poems. Such as Meng Haoran's Farewell on the Way to Yangzhou, Looking at Lushan Waterfall, Looking at Tianmen Mountain, and Making Baidicheng Early all reflect the poet's aesthetic interest and emotional sustenance for nature.

Section III Artistic Achievements of Li Bai's Poems

First, Li Bai's poetic style is magnificent and elegant, and his true feelings are natural. The main and multi-dimensional presentation. He inherited Zhuang Sao's romantic spirit and creatively used romantic artistic techniques with his personal artistic genius, making the content and form of poetry perfect. He opposes ornateness and decoration, and advocates a fresh, natural, simple and true poetic style. His quatrains are fresh and meaningful, lively and natural, with elegant lines, smooth and natural, which can be described as "clear water produces hibiscus, naturally carved" ("Give Wei Taishou a good slaughter").

Secondly, although Li Bai's poems and songs are full of profound experience of real life, they emphasize the expression of inner feelings in artistic expression, so his poems are full of feelings, frank and bold, and have distinctive personality characteristics. No matter what the theme is, his poems are full of subjective lyricism, which fully shows the poet's life feelings, likes and dislikes, and makes us always aware of the existence of the poet's self-lyrical image.

Thirdly, Li Bai's poems are good at using rich and bizarre imagination to create colorful artistic images and entrust the poet's emotional implication and spiritual realm. Poets often combine imagination with metaphor, exaggeration, symbol and personification, and skillfully integrate reality and ideal, man and fantasy, nature and personnel into articles to create a magnificent and magical artistic realm.

Fourthly, Li Bai can master a variety of poetic styles by himself, especially Yuefu songs and ancient poems with five or seven words, and his achievements in quatrains are also quite outstanding, especially the works with seven words are the best.

[Reading works]

First, Li Bai's "Shu Dao Nan"

1. Difficult Road to Shu is one of the representative works of Li Bai's romantic poems. There are always different opinions about his writing age and ideological theme. Today, many people think that this poem was written in the early years of Tianbao in Xuanzong, and it was written when Li Baichu came to Chang 'an. The poem describes the dangers of Shu Road, the sinister situation and the sinister environment, which reflects the poet's anxiety and concern for reality.

2. The whole poem can be roughly divided into three layers: the first layer is from the beginning to the "ladder-stone overlapping", and the difficulty of opening up the Shu Road is written by myths and legends. The second level, from "Six Dragons in the World" to "Hu Weilai", describes the risks of Shu Dao from the aspects of mountain height, road danger, strangeness and sadness. The third layer, from the "towering Jiange" to the end, describes the dangerous terrain and sinister environment of Jiange, and expresses the poet's worries and worries about real politics.

3. The artistic features of Shu Dao Nan;

(1) The style of poetry is unrestrained, unrestrained, dripping and hearty, with colorful images, rich imagination and strangeness, which makes poetry full of strange colors and embodies romantic creative techniques and passion.

(2) Poetry is generally conceived and described according to the clues from ancient times to the present, from Qin to Shu. On the first floor, first of all, three exclamations were sung, which was abrupt and imposing, not only pointing out the topic, but also laying a bold tone for the whole poem. Then I used the historical legends of Can Cong, the myths of Yu Dafu and Wuding Mountain to brag about the difficulty of opening up the Shu Road. The opening of the poem has already shown a magical and romantic color. The second layer is the focus of the whole poem description. The poet used magical imagination, peculiar exaggeration and vivid description to describe the adventures and hardships of Shu Dao. First of all, I always write about the difficulty of the Shu Road: the height of "six dragons returning to Japan", the danger of "surging", the difficulty of flying the yellow crane, and the high risk of the ape climbing. Myth and exaggeration are used together. Rewriting Qingniling is tortuous and steep, "crossing the well and crossing the mountain" exaggerates its height, and "sighing" is sad because of its height. Then, the poet changed a pen, with a question, went deep into the songs of ancient trees and sad birds in the mountains, and used the sad scenes of "Old trees with sad birds" and "Zigui singing moonlight night" to describe the loneliness and desolation of Shu Road and render the sadness of the journey. At this point, the poet's brushwork has changed again, highlighting the strange dangers of Shu Dao: mountains and mountains, withered pines hanging upside down, flying noisily, mountains and petrochemicals turning into stubborn stones, with vivid images, exaggerated paving and unrestrained momentum. The third layer describes the dangerous terrain and sinister environment of Jiange fortress in central Sichuan, which is eerie and uses obscure hints. The transformation of the scene is extremely free and flexible, the image combination span is large, vertical and horizontal opening and closing, unpredictable and free to swing, but it is not divorced from the difficult theme of Shu Road.

(3) The most prominent artistic feature of poetry is that it is good at using wonderful imagination, romantic exaggeration and illusory myths and legends to create a magical and magnificent artistic world and produce thrilling artistic effects. In particular, the description of natural scenery revolves around "difficulty", empathy, layer upon layer rendering, and artistic conception and modality are fantastic and magnificent. As Yin Kun praised: "Odd is strange, and it is rare to return it from a poet." In addition, poetry is also very lyrical. In addition to the lyricism of the scenery, there are three exclamations in the poem, which strengthen the lyricism and deepen the theme through repeated chanting. The sentence patterns of poetry are free and flexible, with uneven levels and alternating length, which causes the language effect to be free and unrestrained and ups and downs.

Second, Li Bai's Dream of Climbing Mount Tianmu

1. Dream on Mount Tianmu is also one of the representative works of Li Bai's romantic poems. In the third year of Tianbao (744), Xuanzong gave Jin Li Bai. After he left, he worked with Du Fu, Gao, Liang, Song, Qi and Lu. In the second year, I'm going to set out from Donglu's home and go south to wuyue. Before I left, I wrote this poem to leave my friends, so the title of this poem is "Don't be an East Lu Gong". This poem depicts a dream trip to Tianmu Mountain and the fairy world, expresses the yearning for nature and the fairy world, and shows the poet's dissatisfaction with the dark reality, his pursuit of freedom and ideals, and his personality spirit of transcending the secular and despising the powerful.

2. This poem can be divided into three layers according to the order of before, during and after the dream: the first layer is from the beginning to "It, at this point, began to turn to the southeast". Before writing a dream, the object of sleepwalking was Tianmu Mountain, which described its grandeur. The second layer, from "My heart and dream are in Wu and Yue" to "Row upon row, such as the field of hemp, listing immortal figures", describes the process of visiting Tianmu Mountain in my dream, and describes the natural scenery and fairyland I saw during the journey. On the third level, from "I moved, I was frightened out of my wits" to the end, I wrote my feelings after waking up, expressed my ambition and personality, and revealed the main idea of the whole poem.

3. The main artistic features of Ascending to Heaven in a Dream:

(1) Poetry has a strong romantic sentiment, and mainly uses strange imagination to describe a colorful, realistic and illusory artistic realm. At the beginning, the legend is introduced in a virtual way, and then the Tianmu Mountain is described in an exaggerated way, which is a real way and a virtual setting, highlighting the magic and majesty of Tianmu Mountain and implying praise and yearning. The description of the dream in the middle, with the magic pen to describe the scenery and immortals, is detached, elegant and free, magnificent and magical, and changeable, which turns into a colorful sleepwalking picture. Describe the scenery through narration and scenery description. From the five mountains to the mirror lake, from Tunxi to Mount Tianmu, the scenery changes, and at the same time it is linked with Xie Gong's mountaineering. In particular, the description of the scenery seen in mountaineering is extremely unique. "The sun is halfway through the ocean, and the holy cock crows in space", just a cross vividly summarizes a scene of the first light, which is both intuitive and beautiful. The subsequent scenery description: thousands of stones turn, flowers are fascinated by stones, bears roar and dragons sing, chestnuts are shocked, clouds are light and the wind is clear, and it is even more colorful. The description of immortals is even more bizarre and colorful. Lightning, thunder and lightning, landslides and ground fissures, and holes are opened, showing the astronomical scene of "the cave is blessed with land": lush and bright, the sun and the moon are competing for glory, the clothes and horses are dressed in clothes, the tigers and drums are returning to the car, and the immortals of Yunjun are coming out one after another. Soul-stirring scenes and colorful fairyland, the dreamland is superimposed and the imagination is magical. The ending is lyrical after waking up, expressing the dreamlike sense of loss in life, yearning for the fairy tale world and resentment against the real world. The whole poem is also a combination of reality and ideal, human nature and fantasy, and the "truth" of soul and emotion is integrated with the "fantasy" of artistic expression.

(2) The theme of poetry is sleepwalking away, which also involves wandering immortals. In fact, the description of dreams and fairyland in the whole poem is also a contrast with reality. The conception of poetry is strange and organized, from reality to dreams, from dreams to reality, mainly focusing on the description of dreams. Therefore, the structure is clear and distinct, the scene changes and the meaning is different, which makes the structure level ups and downs, and so does poetry. The technique of poetry is mainly imagination, but it is also varied. Narration, description, comparison, exaggeration, discussion and lyricism are all used, which makes the poetic techniques appear novel and expressive. The artistic conception of poetry is magnificent, the images are colorful and fantastic, and the sentence patterns are uneven, free and smooth. This poem fully shows Li Bai's outstanding artistic talent.

Chapter V Du Fu

The first section Du Fu's life and thoughts

First of all, Du Fu's life can be divided into four periods:

1. Reading roaming period (before the age of 35): Du Fu was influenced by his family since childhood and received a good cultural education and Confucian traditional thoughts. Influenced by the ethos of the prosperous Tang Dynasty, he hoped to use the imperial examination to become an official, strive for fame, and realize his political ideal. At the age of 20, he began to roam and visited wuyue, Zhao Yan, Song Liang, Qilu and other places. Roaming life enriches the experience and broadens the horizon. During this period, Du Fu was optimistic, confident and enterprising, and his poetic style was mainly bold and romantic, which had not yet fully formed his own style.

2. Being trapped in Chang 'an for ten years (35-44 years old): After Du Fu entered Chang 'an, he came last in the exam, wrote poems for dignitaries and later paid tribute to Xuanzong, and was appreciated. It was not until the fourteenth year of Tianbao that you Weicai led the government soldier Cao to join the army. During this period, my ideals were frustrated and my life was difficult. But with a clear understanding of reality, he began to directly reflect reality with poetry and embarked on the road of realistic creation.

3. An Shi Rebellion Period (45 to 48 years old): An Shi Rebellion broke out and Du Fu fled with his family. He sent his family to Zhangzhou and went to court alone. On the way, he was taken into Chang 'an by rebels. After venturing to escape, I went to Fengxiang and was picked up by the left. Xuan was demoted to join the army for assisting in housing management. During this period, Du Fu divorced from body and classics, which made his understanding of reality more profound, and the realistic spirit of poetry creation reached a new height.

4. Wandering southwest (49-59 years old): After Du Fu entered Shu, he was funded by his friends and built a thatched cottage in Chengdu. In order to avoid confusion, I have been to Zizhou, Langzhou and other places, and then returned to the thatched cottage. After that, he moved to Kuizhou. In the third year of Dali, he decided to take his family back to his hometown and died on the boat home. This period is an unprecedented harvest period for Du Fu's creation. His thoughts of worrying about the country and the people are more profound, his poetic style is more gloomy and sad, and his poems reflect the reality more deeply.

Second, Du Fu's thoughts

Du Fu's thoughts are mainly influenced by Confucianism. Confucianism's benevolence, people-oriented thought, hardship spirit and ethical spirit are deeply rooted in his ideological spirit and become a solid foundation of his thought. Du Fu's social and political ideal, social critical spirit and value standard are all based on Confucianism. Du Fu cared about the country and the people all his life, actively studied the world, and always cared about the fate of the country and the sufferings of people's livelihood. His political ideal and spirit of caring for the country and loving the people are always associated with his sense of loyalty to the monarch.

The second section is the ideological content of Du Fu's poems.

Du Fu's poems are profound in thought and rich in content, which widely reflect the truth of the history of that era, so they have always been called "the history of poetry".

1. Du Fu's poems combine his personal experience with the fate of the country and the sufferings of people's livelihood, expressing his thoughts, feelings and patriotic spirit of worrying about the country and the people. For example, I went to Fengxian from Beijing to recite 500 sentences, such as Spring Hope, Northern Expedition, Qiang Village, the banks of the Yellow River were recovered by the imperial army, and the huts were broken by the autumn wind.

Secondly, Du Fu's poems profoundly reflect social contradictions, expose and criticize the rulers' policies and their extravagant, extravagant and tyrannical behaviors, and also reflect all kinds of disasters and pains brought about by war, military service and corvee, showing a profound realistic critical spirit. For example, the second supply road, military vehicle shop, washing horses, thatched cottage, three officials, three farewells and so on.

Thirdly, Du Fu's poems also contain the contents of expressing his feelings, writing scenery and singing things, thinking about relatives and friends, singing history and painting when he was at the scene. Such as Climbing the Yueyang Tower, Full of Autumn, Delighting in Rain on a Spring Night, Moonlit Night, Shuxiang, Song of Wang Zai's Scenery, etc.

Section III Artistic Achievements of Du Fu's Poems

1. Du Fu's poetic style is mainly gloomy, bold and sad, but also fresh, elegant, natural and peaceful, beautiful and elegant. Du Fu's ups and downs in life, the historical background of the ups and downs of the times, his thoughts and feelings of worrying about the country and the people and his personal personality spirit determine the main style of his poetry style. The appearance of other styles is often caused by different moods and emotions at present.

Secondly, the most basic artistic feature of Du Fu's poems is a high degree of realism. Du Shi is good at observing real life, extracting typical materials from life and reflecting the essence of real life with highly summarized artistic techniques. Du is good at infiltrating his own subjective feelings and ideological tendencies in the description of objective real life, and often combines narration, description, discussion and lyric. Du Fu's narrative poems often show real life in detail with true, delicate, accurate and vivid details.

Thirdly, the language of Du Fu's poems is rigorous, concise and colorful. As he said, "There is nothing surprising about human nature" ("Talking about the value of rivers and waters like the sea"), Du Fu paid great attention to tempering words, which enhanced the language connotation and expressive force of poetry. The language of Du Fu's poems is not only refined, profound and cautionary, but also popular, natural, fresh and beautiful.

Fourthly, Du Fu's poetry creation is well-prepared, and each style has famous works, which can be described as a combination of the achievements of predecessors in the application of poetry genre, and has promoted the construction and development of poetry genre with his creative practice. Du Fu's Yuefu poetry "is a masterpiece, nothing to rely on" (Bai Juyi's Preface to Ancient Yuefu), which directly inspired the new Yuefu movement in the middle Tang Dynasty. Du Fu wrote a profound masterpiece in the form of ancient poems. Du Fu wrote the most metrical poems, with the highest achievements, especially the Seven Rhymes, which have been used quite skillfully in his hands.

[Reading works]

First, Du Fu's "Spring Hope"

1. In the winter of the 14th year of Tianbao in Xuanzong of Tang Dynasty (755), An Shi Rebellion broke out. In June of the following year, the insurgents captured Chang 'an, and in July, Su Heng ascended the throne in Lingwu, and changed Yuan to Germany. At this time, Du Fu went north from Qiang village in Zhangzhou to Su Zong alone, and was captured by Anshi rebels on the way and taken to Chang 'an. In the spring of the second year of Zhide (757), Du Fu looked at the beautiful spring scenery in Chang 'an and came to the dilapidated capital. When he was hurt, he felt confused, worried about his country and homesick, and wrote this famous five laws.

2. The first couplet of this five-character poem describes the broken and desolate scene of the capital seen by Wang Chun with correct sentence patterns and general brushwork. A word "broken" describes the fall of Beijing, a word "deep" shows the desolation of the scene, and the description of the scenery places deep affection on it, which lays the tone of the whole poem. The antithesis of this couplet is ingenious. The national mourning is opposite to the "city spring", while the national mourning is opposite to the "mountains and rivers", and the "city spring" and "deep vegetation" also have opposite meanings. The contrast method is skillfully used, and the renovation is amazing. Zhuan Xu uses personification to convey his feelings, empathize with the scenery, and subtly convey his inner longing for spring, which is unique and profound. The anxiety about the country and the family caused by the writing of spring hope in the necklaces is closely related to "feeling the time", and the next sentence is closely related to "hating farewell" to express the anxiety about the family. "After Three Months of War" vividly summarizes the endless situation of war, and "a letter from home is worth a ton of gold" writes the urgent mood of looking forward to receiving letters from family members. The couplet ends with the description of the poet's self-image in spring, and the poet directly conveys the sigh of aging, but isn't this caused by the broken homeland of the country? It not only means perfect, but also adds the expression of deep sorrow.

3. This poem takes "spring" as the background, "hope" as the clue, from scene to emotion, and the scene blends. The first four sentences mainly talk about the scene of sudden release of spring, which hurts when you see something. In the scene of the first couplet, the couplet is empathetic to the scene. The last four sentences are mainly about yearning for spring, caring for the country and homesickness. Neck ties convey feelings with things, and tail ties convey feelings with people. The structure of this poem is ingenious, and the couplets pay attention to echo and connection, which are connected at different levels and integrated. Poetry takes worrying about the country and family as its emotional connotation, and its style is gloomy and sad, but it also conveys emotional implication with images such as scenery, events and people, so it has the effect of implication.

Second, Du Fu's "Ascending the Mountain"

1. Ascending the Mountain was written in 767, the second year of Daizong Dali, and it was the poet's work in his later years. After the Anshi Rebellion, the poet stayed in Kuizhou. It was when Chongyang poet came to the stage to help the sick that he wrote this famous poem with complicated feelings. This poem was praised by people. Yang Lun called it "the first of Du Ji's seven-character quatrains" (Du Shi Jing Quan), and Hu Yinglin called it "the first of seven-character quatrains in ancient and modern times" (poetry secret), which is the most representative work of the poet.

2. The first four sentences of Ascending the Mountain describe the scenery, and the last four sentences are lyrical. The first couplet takes the scenery of Kuizhou as the object, and writes the magnificence and sadness of autumn scenery on the riverside in a highly generalized way. The poet selected six images of wind, sky, ape, Zhu, sand and bird, and described them with urgency, height, sadness, clearness, whiteness, flying and echo from the perspectives of feeling, vision, hearing, sound and color, which was extremely ingenious, vivid and rhythmic, and also rendered a sad atmosphere for the whole poem. Parallel couplets are closely linked to the first couplet, which expands the writing scene to a deeper space, which is extremely open and magnificent. The first sentence of this couplet reads "falling wood" and the next sentence reads "Yangtze River". Endless and inexhaustible is profound and open, and rustling is vivid and magnificent. This sentence is magnificent and reveals endless sadness, which embodies the poet's gloomy and sad artistic style. The neck couplet turned to express his wandering life experience and sad and lonely feelings when he was a guest in autumn and went on stage when he was ill. Sad Autumn is unbearable and "sickly"; "Frequent Guest" suffered from wandering, and "Going on Stage Alone" added loneliness, and wrote a deep sadness with even worse brushstrokes. The upper and lower sentences of the tail link are connected with the upper and lower sentences of the neck link respectively, and "autumn guest" brings "bitterness and bitterness"; "More than a hundred years of illness" led to "being down and out", which further expressed the poet's sadness of being down and out. At the end, "softness brings cold, and infinite sadness is beyond words" (Hu Yinglin's poem).

3. In terms of art, this poem combines the empty and desolate autumn scenery with the bitter and lonely feelings, making it vigorous and sad, which typically embodies the depressed and frustrated style of Du Fu's poems. First of all, the language of poetry is precise, concise and profound. For example, the first couplet contains six images in just two sentences, which are described from different angles, which is accurate. Another example is the profound meaning of the neck couplet. "There are eight meanings between fourteen characters" and "Wan Li is far away; Autumn, when sad; Be a guest and travel; Frequent visitors, long-distance travel; For a hundred years, teeth are dying; Sick; Decline disease also; Taiwan, high also; A person on the stage, no relatives and friends. " (Luo Dajing's Record of He Lin Yu) Therefore, both scenery writing and lyricism have reached a very high artistic level. Secondly, the composition of poetry is also quite distinctive: "The article is regular in every sentence, and every sentence is regular, but it runs through the whole meaning in one go." A poem by Hu Yinglin. The whole poem is antithetical from beginning to end, each sentence is in harmony with the law, and one meaning runs through it in one go, such as flowing, clever and natural, deliberately arranged without the feeling of axe and chisel.