Wang Wei and Li Bai, two superstars of the Tang Dynasty, were born in the prosperous Tang Dynasty almost at the same time, and fell at the turning point where the An-Shi Rebellion led to the weakness and gradual decline of the Tang Empire. The main creative activities of these two poets were in the Kaiyuan period, which best represented the spirit of the prosperous Tang Dynasty. All their lives, they devoted great energy to landscape poems and made great achievements. It is very interesting and meaningful that these two landscape poems have different styles, one is blunt and distant, the other is magnificent and magnificent, showing completely different aesthetic tastes, each representing a complete aesthetic creation mode, vividly showing the shadow of the prosperous Tang Dynasty in two completely different aesthetic forms, and becoming the official tune of the prosperous Tang Dynasty.
Many of our studies are keen on the spirit of the times, and it seems good to solve the reasons according to the poet's poetic style. However, compared with Wang Li's phenomenon, it is difficult to justify itself, let alone draw a profound and reliable conclusion. "A writer's style is an accurate symbol of his inner life" (Goethe-German), and the factors that affect the formation of "inner life" are much deeper and more dominant than the spirit of the times. This is exactly the difference we are looking for, the most essential, unique and deepest secret of their poetic style. Therefore, we put the focus of our research on the poetic accident of "inner life".
The poet's attitude towards life in the world is nothing more than being drunk and dreaming of death. Zong Baihua, a famous contemporary aesthetician, pointed out in his book Artistic Realm: "A poet is alert. He can thoroughly understand the physics of human feelings, grasp the real reality of world life, and spread wisdom, the crystal-clear wisdom obtained from deep experience." He thinks: "The poet is drunk and dreams. From dreaming of drunkenness, the poet can temporarily get rid of the secular, transcend the secular, and deeply fall into a vague and mysterious situation in this world life ... "(1)
The poet's sober and drunken state usually appears after the poet participates in politics, and often fails politically. This is a realm of life and an aesthetic attitude. Wang Wei and Li Bai lived in the prosperous Tang Dynasty, when the mood of making contributions was generally high. Wang Li-er has extremely strong political ambitions and self-confidence in fame and fortune. One of them is "forgetting to resign, serving the country and taking the dragon court" ("Send the Governor of Zhao to win the green word on behalf of the state"); One is that "a strong man is far-sighted and determined to solve disputes in the world" ("Send Zhang Xiucai to join the army"). This obsession with politics will inevitably lead to their fate ending in adventure and tragedy like those officials who have always been keen on politics. Moreover, after political failure, it is bound to take the same road as frustrated literati in previous dynasties to heal, instead of fleeing to women and receiving comfort like western fighters. It is true that Wang Wei and Li Bai naturally can't find a more suitable way to cherish the heart of failure than mountains and rivers. Because of the different nature of failure, these two political losers and landscape lovers also show great differences in their relationship with landscape. Wang Wei's political career was prosperous, mainly because of his spiritual failure. However, in his early years, he was twice afraid of being sent out of Jeju and meeting a thief in the evening scene, so he had a rare quiet wine in history. "There are many sad things in life. If you don't enter an empty door, you can't sell it" ("Sighing White Hair"). He took the initiative to go up the mountain to meditate on Buddha, his heart was in the rocks, his body was in the nymphs, and he lived in a temple. Li Bai often acts rashly on the basis of temporary enthusiasm and lacks rational sobriety. It seems tragic that he was forced into the mountains. Therefore, confident Li Chenxian sighed awkwardly and pessimistically: "I didn't give up the world, but the world gave up me" (To Cai). He traveled extensively in his early years, and finally realized his dream of singing in Beijing in his middle age. After just two years, he got the gold back. After reluctantly leaving the officialdom, the poet still remembers his comeback, and once he was sentenced to exile Yelang because he volunteered to be king forever. Li Bai has failed in both officialdom and spirit. Therefore, "the formation of Li Bai's personality can not be found in nature, but only in society and social history." ⑵ It is this social and historical reason that makes the political views and positions of Wang and Li fundamentally different, forming a sober-up mentality, which is condensed in their respective landscape poems and becomes a style symbol of publicizing and visualizing aesthetic personality.
After quoting from Tiao Conghua, Hu Ji said, "If you look at his poems, you will know that his cicada is out of the dust and floats on the surface of everything." The transcendence of this ultimate concern in Wang Wei's poems vividly shows the degree of his "awakening". When Li Bai and Du Fu helped the world with intestinal heat, Wang Wei was tired of flying home. Zhang Jiuling's dismissal from office marked the end of enlightened politics in Tang Dynasty and the beginning of Wang Wei's boredom with politics. His early political enthusiasm as a ranger can no longer inspire him. However, the political disaster did not make him completely divorced from officialdom. But the separation of body and mind, wandering in the officialdom, and staying in the world, showing a unique awakening wisdom of observing the times and life. Therefore, he thinks that Tao Qian's shortcoming is that he has not reached the state of being truly "awake". In Wang Wei's eyes, Tao is everywhere, so why pay attention to whether it is a lush forest or a government agency? The key lies in the epiphany of self-subjective spirit, regardless of formal abandonment or pursuit. He is neither persistent nor persistent; It doesn't matter if you enter, and it doesn't matter if you leave. Few people, like Li Bai, have the persistence and enthusiasm of "knowing what not to do" and have no persistence in dealing with the secular. It is the so-called "judging people's affairs with the heart of heaven and earth" and "doing Confucianism with the spirit of Taoism" (Feng Youlan's language).
Wang Wei's awakening is also the result of political oppression. He described the process of waking up and the state after waking up in many poems. For example, Ceng Yun said in his poem, "Teenagers have known for a long time. If things go well, you can regret it, and you can be lucky to last a lifetime. Swear never to be flesh and blood and never to be a baby again. Floating name sends tassel, empty and unfettered. ..... "He also denied the young people's enthusiasm and hard work, and thought it was a regrettable childish behavior, and vowed to" concentrate on the law "and" stop being a child ". Wang Wei soon made a successful psychological adjustment, realized the transformation of life value, and "waited for things with his own shortcomings", which showed his wit in life and pragmatic attitude of doing nothing. Instead of clinging to utility, freedom is regarded as the noumenon of life, quiet and indifferent, and it has become a rare secret place in the city. He also went to the mountains and rivers, because he was an active choice, and he made a decent move in a more noble capacity. Even if he doesn't get what he wants politically, he won't have much resentment, but he is easy to be calm, easy to turn setbacks into comfort, and easy to be friendly with mountains and rivers. Therefore, what his landscape poems present will not be the bitterness and drunkenness that is excited by ambition inside and influenced by things outside. Flowers bloom and clouds fall, and everything is happy and unaware. It is an inevitable warning that people live in harmony with nature, forget things, and are not enslaved by things other than gains and losses, wealth, life and death, and poverty.
The branches of the topmost hibiscus flowers are full of scarlet calyx in the mountains.
The mouth of a stream is silent, without a trace. They open and fall.
(Wu Xinyi)
I leaned alone in the dense bamboo, playing the piano and humming a song.
It's too light for anyone to hear, except my partner, Mingyue.
(Bamboo House)
No one can be seen in the silent valley, only the voice is heard.
The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant.
(Chai Lu)
Wang Wei deliberately showed the ancient ethereal Zen realm and the primitive rhythm of nature. There is no worry about secular disputes, only the harmony between things and me, and the dust is empty. The poet enjoys infinite happiness outside the spirit.
Li Bai is not. His life is almost lost in a fantasy world. He always thinks highly of himself and has a strong sense of trust. His political hopes are naturally very high, and he has never died. However, it didn't take long for him to be complacent in Going Out with a Smile and Nanling Bieer Going to Beijing, and he disappeared into Artemisia again, becoming an almost permanent Artemisia man. Li Bai, who was indomitable and unwilling to work for others, suffered great humiliation and felt a great sense of loss. I can't cry all my life, so I can't stop crying here. They always can't find a way out, but they are always unwilling to "stay away from the golden palace". They always rely on scenery and fantasy to paralyze themselves. "Who wields the spurs to drive the four fates? Everything naturally rises and falls ","I will include a large section, and I will be noble and humble with the Lord "("Going in and out in the daytime "); "The day is short, and it is easy to be full in a hundred years. Vast tracts of poverty are too long to be snatched away. ..... If you want to get the six dragons, return to the car and hang the hibiscus "("Short Song "). The poet is proud of everything, including the big guy, and the whole universe is not enough for him to participate in the competition of life. However, wandering outside the octupole, this unparalleled innocence and the extreme self-confidence of "Who else" are quite typical drunk psychological states. However, his transcendence can't get rid of the attraction of "Gong Lang Lu Lian" after all. Instead, he has always participated in heaven and earth with a utilitarian attitude and educated everything. Therefore, Li Bai fully developed Zhuangzi's free spirit of being proud of the world and being open-minded, and gave up the Taoist essence of "Heaven is like a man" of Laozi and Zhuangzi.
Modern psychology believes that when people's wishes are not satisfied or seriously frustrated, they often adapt to the current life with some primitive childish behaviors that are not commensurate with the life stage in the early stage of human development. This regression is an abnormal psychological phenomenon from conscious state to unconscious state. Judging from the conditions, process and results of Li Bai's transformation, it is an excellent proof of the theory of division. Many of Li Bai's early landscape poems are similar to Wang Wei's peace and indifference to a great extent. For example, "Dai Tian visits the Taoist priest": "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 are green and misty, and flying springs hang blue peaks. No one knows where to go, but it depends on two or three loose. " This is the poet's peaceful, quiet, calm and carefree mind and the peaceful, quiet, beautiful and bright nature, which have been harmoniously blended without trace. However, when he was brutally oppressed by politics, his landscape poems were more grateful and had a strong "Sao" rhyme. For example, in the dream of climbing Mount Tianmu, the wandering mind between heaven and earth is fascinated and people fall asleep. The last two sentences, "Oh, how can I bow and scrape solemnly to officials and people in high positions? I can't be proud of my nature." Suddenly, I told the world clearly that his drunkenness was not mountains and rivers, but politics. The natural landscape did not cause nothingness and comfort, but aroused resentment and resentment closely related to political utilization. Therefore, his landscape poems are not only full of anger, but also with some resentment from time to time, which makes his landscape poems political lyrical, which shows the depth of his "unconscious state". The serious opposition between subject and object makes Li Bai a huge, disharmonious person who is always in fierce conflict. In particular, his romantic temperament and idealism, very difficult and arduous things overnight to see simple, with the poet's heart to observe politics and the world. Funnily enough, after suffering from the misfortune of exile, he was psychologically rebellious, and his feelings of using the world were particularly strong: "Sighing in the middle of the night, often worrying about big countries" ("After the chaos, Tian En Liu Yelang recalled old books and was too defensive"); The heart of achievement is also particularly urgent: "I want to go to the dragon to see the Lord" ("Fu Liangyin"); Self-confidence is becoming more and more lofty: "But I use Xie Anshi from Dongshan to laugh at you" (the second part of Wang Yong Dong Xunge). "Mr. Chen Yinque once textual research, saying that he has the lineage of conference semifinals, so he is full of vitality and imagination. He wants to do something big and be a fairy. However, Taibai's fault is extremely romantic In order to vent his vitality, he sometimes does whatever it takes ... "(Wen Yiduo on Classical Literature, page 107), and as a result, the gap between subject and object is widening. In this inversely proportional acceleration cycle, Li Bai's psychology is becoming more and more sensitive, and his mood is becoming more and more prone to drastic changes. Once something outside the landscape collides with his uneven heart, he is deeply and greatly worried. He constantly uses images such as "Yellow River Wan Li, Nine Rivers Swirling Bai Xuefeng" to vent his anger, show his talent, and show his pleasure of spiritual victory in alcohol and fantasy, so that we can appreciate the depth of his drunkenness.
In short, the push and pull of political leverage is the fundamental reason why Wang Wei is sober and Li Bai is intoxicated. Wang Wei has been an official all his life, whether he is an official or not. When you are tired, you will fly back to your nest in a high profile. The affinity with mountains and rivers is really the leisure and elegance of literati. Therefore, even if he is depressed because he has made no political achievements, he will not become angry from embarrassment, so his poems will be peaceful and distant. Li Bai, however, indulged in self-criticism all his life, and finally won the humiliation of being idle and being given freedom, and had to wander between mountains and rivers. The less you get, the more you want, and the more you want, the less you can get. Naturally, your mind will not be cold and calm. His anger lingered for a long time, but he was crazy, drunk and full of noise, so his poems were full of coughing and vomiting.
China's cultural view of nature is characterized by multiple integration. Especially in the Tang Dynasty, where Confucianism, Buddhism and Taoism were highly complementary and blended, the rationality of the carefree landscape of Confucianism and the nihility of Zhuang, Zen and Lotte were almost indistinguishable from the integration of you and me. This feature of China's natural culture has a universal and powerful balancing effect on the psychology of ancient China literati. In fact, this multi-component and multi-element integration, specific to a poet, can also make qualitative or even quantitative analysis. Let's take Wang Wei and Li Bai as examples.
Wang Wei and Li Bai, like almost all scholars of ancient culture in China, are deeply influenced by Confucianism and have a strong feeling of worrying about and using the world. However, mainly due to political reasons, under the cultural background of the coexistence and confluence of the three religions in the Tang Dynasty, they had a strong interest in the spirit of freedom of the Buddha and the Lao, which was non-utilitarian, and they tended to adjust themselves: Wang "learned from the great man" and Li took Zhuang Sao as his heart. (3) Zhuang Zen takes nature as the supreme, and pursues to experience the deepest essence of the universe in a mountain, a valley, a grass and a tree, so that Wang Wei can cultivate a new personality and a new outlook on life by being close to the mountains and rivers, and become a dashing scholar in the forest. Li Bai, on the other hand, combines irreconcilable Zhuang and Sao, and has a common theme of not admiring splendor and despising dignitaries. Sao is a copy of Confucianism. Confucianism views life and nature from the perspective of social ethics, while the combination of Sao and Zhuang makes Li Baiduo view society from the perspective of individual life. Their emphasis on philosophical thinking and cultural psychology makes their life value orientation and aesthetic attitude very different, which can be clearly shown in their respective landscape poems.
Only when Wang Wei reached middle age did he realize Tao and regret himself. Excited by the desire and progress of his youth, he was deeply addicted to Zhuang Zen, enriched his personal spiritual world and developed a tact to cope with external attacks and maintain his independent personality. Therefore, Zhuangzi's attitude towards life, way of thinking and aesthetic taste have a direct and effective influence on him, which is sometimes reflected in his poems. In Wang Wei's discourse on Zen and Buddhism, a high proportion of Zhuang Xuecheng appeared consciously or unconsciously, forming the characteristic of saying Zen with Zhuang. Judging from the aesthetic taste of Laozi and Zhuangzi, it is consistent with the theme of Zen. The spirit of "nothing" shared by Wang in the Zen of Zhuangzi pursues the assimilation realm from "being" to "nothing" and the beauty of indescribable charm. The poet holds a kind of "nothingness" of aesthetic attitude that does not abandon the "existence" of perceptual objects, but can transcend the spirit. He realized the profound meaning of the universe from nature and appreciated nature with this profound meaning. In this "circular" awakening smell, he realized the transformation of the way of thinking and the value of life, melted his mind into the mountains and rivers, and obtained a calm heart of the universe, which is the universe, and the universe is the heart, which is the poet himself. "Sleeping on a sunny day, birds in the mountains whimper" ("Stone Living in the Deep Mountains"), "I am lonely this night, and I have not returned yet" ("Pan Qianpi"); "One day I will meet an old woodcutter, laughing and laughing, and never return" ("My Seclusion in Zhongnanshan") ... Mr. Yuan Xingpei thinks: "On the surface, the communication between poetry and Zen seems to be two-way, but in fact it is mainly the one-way infiltration of Zen into poetry. Poetry gives Zen only a form, and Zen gives poetry introspective kung fu and inner interest; The original artistic style of China's poetry also occupies a more important position. " ⑷ Wang Wei is good at Zen introspection kung fu. At the same time, he draws lessons from Zhuang's experience of "forgetting" and "fasting", so that the expression of landscape poems is from the outside to the inside, from form to quality, and the original artistic style and aesthetic taste of China's poems can be carried forward to the maximum extent. This is his most outstanding and important contribution to landscape poetry, and it has a great influence on the formation of China's poetic and aesthetic characteristics. Wang Yuyang, the founder and advocate of the theory of verve in Qing Dynasty, took Wang Wei as his true poem. Weng Fanggang made such a guess in "Three Flavors of Seven-character Poems": "Mr. Wang advocated honesty in Tang Xian alone, and few scholars got three flavors. Gai is mainly based on Chongyuan, and he is not willing to take the male obo as the Sect. " 5] Peace and simplicity are authentic. Although there is a preference, it is still highly praised at home. Wang's poems are far-reaching, meaningful and unique, which is really unparalleled.
Li Bai also has many profound landscape poems, such as Wang Wei's "Sitting alone in Jingting Mountain": "Birds are high, and lonely clouds go to leisure alone. Seeing each other tirelessly, I only respect Tingshan. " God is outside the party, he is outside the shadow. However, after all, being clear and handsome is the main feature of his landscape poems. The poet's life has never been political at all. Apart from offering sacrifices to Hanlin for two years, he has always been a flying canopy far away from the rivers and lakes. Therefore, he has begun to doubt the Confucian spirit of being practical and even his own economic ability. However, the enthusiasm of "serving the Lord all one's life, and respecting one's relatives from generation to generation" (the first part of "Giving Zhang") is not cold at all, but there is more and more momentum step by step. In the case that he can never realize his ambition, he is particularly addicted to fantasy, and his aesthetic foundation is often on political utility, visualizing the realm of fantasy with the help of fiction as a psychological compensation. We might as well spend some space and record the whole poem of Song of Lushan Mountain to review Lu Xuzhou:
I am like a chariot catcher, singing phoenix songs and laughing at Kong Qiu. Holding a green jade stick in his hand, he bid farewell to the famous Yellow Crane Tower early in the morning. All the five mountains are sacred, and they have a good life without thinking far.
Visit famous mountains. Lushan Mountain stands out beside Nandou. Clouds extend to silk like nine screens, and its shadow in Crystal Lake deepens the green water. The Golden Gate Bridge leads to two mountains.
A silver stream hangs down to three stone bridges. Xianglufeng Waterfall is separated from it by a distance, and it is a heavy cliff towering into the sky. In the morning, another cloud appeared in the sun, and the birds were afraid to fly to Wu.
Forever. Between the sky above and the sky below, the river is gone forever. Huang Yun, Wan Li, the wind, and a snow-white snow peak surrounded by a vortex of nine streams. Hao Wei
Lushan Ballad is a song born of the breath of Lushan Mountain. When looking at the stone mirror to purify the soul, Xie Lingyun's footprints were covered with moss. I ate the elixir and got rid of the troubles of the world. I ate Qin Xinsan.
Overlapping roads have just formed. Watching immortals in colorful clouds, holding hibiscus in hand. Immortals have met in nine days, and I hope to see you invite me to visit Taiwan.
This poem was written in his later years, after his exiled Yelang Zhongdao was pardoned and returned to Lushan Mountain. We quote this poem with three meanings: first, the poet is angry with Confucianism because of his great disappointment with the political future, showing disrespect and dissatisfaction with the ancestors of Confucianism. Combining his poem "Mocking Ru Ru", Li Bai found this theory unrealistic. "Chaucer talked about the Five Classics and turned white and died." Asking about economic policy is like falling smoke. "So" New Tang Book "said:" White night is so old. "Secondly, the poet's heart is extremely intense and contradictory. He loves the beauty of the world and misses real fame. However, due to the impermanence of life, it is difficult for events to happen again. He wants to soar on the top of the world. This is also the reason why its eyes meet ordinary scenery and create many strange realms. Thirdly, Li Baiji is good at taking infinite time and space as the background, and his roaming spirit is all-encompassing, omnipotent and wonderful. These three generalizations are intended to highlight the characteristics of Li's poems in style and thought, as well as the essential differences with Wang's poems.
Philosophically, Laozi and Zhuangzi believe that "being" is born of "nothing" and everything is born of "nothing". In poetry creation, the subjective understanding of the aesthetic subject is "existence", but it is "nothing" before it is embodied. What is embodied by the "being" in the heart is the "being" born of "nothing". Liu Xie has a cloud: "The husband's feelings are accompanied by sound and shape, and the hair style is accompanied by writing, which covers the hidden and even the obvious, and those who appear from the inside are also" ("Wen Xin Diao Long Ti"). This artistic creation process and aesthetic experience are out of nothing, which accords with Li Bai's aesthetic creation characteristics. From his landscape poems, we can get a very distinct feeling, that is, the poet has an extremely strong and free subjective spirit, and often dominates everything with the inner "existence" of "emotion" and "meaning". The absolute central position and lofty value of human beings in the infinite space endow mountains and rivers with the power to soar from the bondage of time and space. Therefore, there are many natural imaginary things such as "Dapeng" in his poems, and there are also many landscapes that are "out of nothing". As Ji Chuan Kichijiro, a Japanese scholar, pointed out in The History of China Poetry: "Li Bai wants to embrace the whole world with his own unique fantasy. It can be said that he is a poet who produces' being' from' nothing'. " ⑹
The pluralistic structure of Wang and Li's thoughts, adjusted and evolved under the main political reasons, all started from Confucianism, went to their respective extremes, and gradually developed into a relatively simple single under the infiltration of various ideological and cultural factors. In the way of thinking, Wang wants nothing, while Li wants something. Wangzhuang and Zen complement each other, saying Zen with Zhuang, participating in Zen with Zhuang's nothingness, and everything comes to nothing; Li, on the other hand, focused on Zhuang Qu's aid to Confucianism. In understanding the value of life, Wang pursues the ultimate concern for life, while Li pays more attention to the realistic value of life. In terms of aesthetic taste, Laozi and Zhuangzi have the most profound influence on them, and they just show distinct personality bias according to their needs.
Madame de stael said: "The poet just liberated the feelings imprisoned in the soul. The genius of poetry is an innate temperament ... "Once, landscape poetry, from the dialectical relationship between man and nature, was the product of a special way of material exchange between man and nature. In this kind of communication and interaction, the id of the aesthetic subject is the starting point and the core. Wang Wei and Li Bai, who are also super geniuses in poetry, have their "inner sainthood" as their natural endowment to become poetic stars, and the flourishing age of Kaiyuan is the necessary condition for their "inner sainthood" to be poetic. In this dynasty (Li Bai's Book of Jingzhou in Korea), Wang Li's "feelings in the soul", including imprisonment, was liberated and developed beyond the level, making their landscape poems glow with extraordinary splendor different from any other era.
Biography of Wang Wei in Old Tang Dynasty said: "(Wei) was born in vegetables, not in blood. Old people fast for a long time and don't wear clothes. Lantian Villa was near the mouth and surrounded by sheds by the water. I don't go to Zhuzhou Huawu, I just associate with Taoist friend Pei Di, play the piano and make poems, and finally sing. " And "after retiring from the DPRK, I burned incense alone and took Zen as my business." In fact, only about 50 years old, the poet's lifestyle and attitude towards life are rare. His juvenile poems "Peach Blossom Garden" have already revealed their yearning for a quiet and distant life in a sparsely populated small country. "A Play for Beauty" (three poems) was written at the age of twenty, "I wish to die here and cross the water to my home"; "Everything is a savage, and the fisherman's fish" reveals that the author designs his own life ideal with the image of a superior person. There were two periods in Wang Wei's life when his political enthusiasm was high. One was when there were few knights in Kansai, and the other was when he returned to Chang 'an from Jeju and was appreciated by the sage Zhang Jiuling. Wang Wei has two self-recommendation poems, and Xinglong Gong. Although he admires Zhang Xiang's frankness and integrity, although he very much hopes that the other party will know his talent in economic development, even though he is eager to play a contemporary role, his expression in his poems is euphemistic and subtle without losing his style. I mean, I'm a person who pays great attention to justice, refuses to be attached to powerful people, and doesn't have much ability. I am just moved by your merit of "moving for the people's livelihood" and want to have a chance to serve me. But it is also the content of self-recommendation, and Li Bai's book Jingzhou in Korea is quite different from this. On the one hand, he is a good compliment, on the other hand, he is a straightforward recommendation. By comparison, we can see that Wang and Li have very different personalities. Wang Wei's temperament and personality are completely different from Li Bai's. There are three points: first, humility and respect. Wang Wei never seems to make any noise to brag. On the contrary, from time to time, he has self-modesty such as "suffering from ignorance", "being stubborn and secretive" and "not being tired of tomorrow". From the poems such as Zhuliguan, Pastoral Music, Qingxi and Answering a Deputy Magistrate Zhang, we can see that the poet has strict rules on his behavior and pursues the perfection of his elegant and elegant self-image, which is completely different from the arrogant, arrogant and rude impression left by Li Bai. Second, indecision and cowardice. The main performance is that as long as there are a little twists and turns, they will not stubbornly persist. When people reach middle age, it may really be because of Zhang Jiuling's strike that they see through the political sobriety of Qingming in the Tang Dynasty, and their political enthusiasm can no longer be aroused. On the contrary, I often regret denying my original enthusiasm: "Young people are shallow, and learning is excellent, so they become officials"; "It is not enough for a teenager to say that he has learned Tao for a long time." Li Bai's persistence is in sharp contrast with his ambition and confidence. Third, change with fate. Especially after he began to have some life experience, he stopped aiming too high, never fantasized, paid attention to reality, pretended to be self-sufficient, and behaved freely in a rather sinister career. Taken together, these three points can be summarized in one word: Ya, all his landscape poems are elegant.
If Wang Wei is a Confucian scholar and Zen, then Li Bai is a genuine Confucian scholar and a fairy. Li Bai said to himself, "I have been talking about metaphysical poetry for months. Get drunk and enjoy the backcountry. ..... Although joy is in the world, there is no half of fun and escape. I have a good time, so I don't want this banquet. As for the brisk and magnificent singing, the male pen is beautiful, drunk and drunk. I am worthy of the ancients. " (Preface to seeing Zhang Zu off in the spring and summer) Records of such wandering life are also found in his poems, such as Preface to Seeing Home in the Early Spring and Summer, Preface to Looking for Peach Blossoms in the 17th and 24th, Preface to Remembering the Past Years and Joining the Army and County, Preface to Seeing Meng Zanfu Brothers off in Autumn Night. Li Bai is so drunk that seven or eight of his poems are related to wine, and it is these works with wine as the theme that can best express his temperament and thoughts and represent his artistic personality. This talented poet, with the blood of people from the western regions in his veins, was described by the ancients as "as bright as a torch and as hungry as a tiger" (Hao Wei's preface to Li Hanlin), which was not in harmony with the Confucian gentle and respectful personality norms. Taiwan Province scholar Huang believes that Li Bai's mind and works are based on the word "wild". Therefore, people's comments on "the spirit of surging waves", "the talent of relying on heaven", "being independent" and "being bold and unconstrained" can all be footnotes to this point. This temperament determines his pursuit of Kuang Ji's ideal, which is doomed to be a tragic life arrangement. The miserable life arrangement aggravated his arrogance. We also have three generalizations: first, innocence and willfulness. In this respect, poets of all ages can't compare with it. The records of the games "Wancheng" and "The Arrogant Prince" exaggerate their willfulness to the point where it is hard to see. The pride of singing into the DPRK, the obsession with politics and never achieving anything, and the innocence of doing nothing make people feel ridiculous and pitiful. Second, self-esteem is extremely high. In Li Bai's poems, it is difficult to find the boast of "how good my poems are", but there is the boast of "how high my political talent is" everywhere. The poet's arrogance is in sharp contrast to Wang Wei's modesty. Third, loneliness and purity. It can be said that Li Bai's life was spent in an extreme sense of pride. He never took the imperial examination, did not ask for a small official, and did not want to be promoted step by step. Officials are unwilling to bend over, let alone cooperate with small groups. "Shame on the chicken and eat it, for a long time with the chicken. A blow of nine kilometers, phase is Zi Ling atmosphere "("to Guo Xiuying "). This is completely an empty fantasy divorced from reality and a very idealized political realm. These three points constitute Li Bai's spirit of acting in a wild world and speaking freely, and also make his landscape poems show his artistic personality of driving nature and coughing up nature.
Ancient western philosophers once said that "character determines fate". In fact, fate can also affect or even change personality in turn. Personality and temperament, as the most essential factors in poetry creation, Wang Wei and Li Bai, who are both refined and popular, are bound to show differences and differences in artistic interest, image presentation and aesthetic effect. We can compare the evidence of their works at will.
Wang Wei's Autumn Night in the Deep Mountains;
The empty mountains are bathed in a new rain, and feel the early autumn at night.
The moon shines in autumn, and the crystal stone is in its stream.
The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe.
Ah, my friend's prince, please enjoy yourself while you are here. .
Li Bai's "Looking at Lushan Waterfall" (two choices);
West climb incense burner peak, south see waterfall water: suspended flow 300 feet, spray gully dozens of miles! Like lightning flying, like Bai Hong looming. At first, the river fell and was half scattered in the sky. Look up at the situation and turn to the male, which is a good thing! The sea breeze keeps blowing and the moonlight is still empty. Shoot in the air and wash the blue wall left and right; Flying beads scatter light clouds, and foam boils dome stones. And I am happy in famous mountains, and I am happy in famous mountains; Wash your face no matter what you wash. Harmony and accommodation, willing to die forever!
These two songs are the main ones. (In fact, Li Bai's most typical poems are Song of Lu Shan's Suggestion and Lu Xuzhou, Difficult Road to Shu, Dream of Climbing Mount Tianmu or other famous works. From four aspects, this paper summarizes the differences between Wang and Li's poetic styles.
First, Wang Weiduo is ordinary in the choice of materials and the setting of images, and he is obsessed with Shan Ye's curiosity. He is meticulous about ordinary things. Although he photographed more scenery in the north, he was not greedy for big moves. Sunset, autumn moon, thin mountains, secluded places, ancient trees and bird songs are all "elegant words, new meanings, just in spring, like pearls, painted on the wall, every word." Li Bai, on the other hand, is proud of his heart and especially likes grandeur. His works are full of southern scenery, pursuing outstanding images, rugged rocks, dangerous cliffs and waterfalls, stormy waves, lightning and thunder, and repelling resentment with mountains and rivers, making him "fascinated and unpredictable" (poetry).
Secondly, in the form of expression: Wang Wei uses five words, and his quatrains are short, which must be thought-provoking and express as many connotations as possible with as few words as possible. This is related to the poet's pursuit of aesthetic taste with infinite meaning besides images without making big statements. He often has a poem and a scene, which is peaceful and quiet, delicate and delicate, like a sketch in a painting, but he has nothing to say, and he is inexhaustible, and has the beauty of "getting carried away". However, Li Bai did not follow the old habits and let his will dominate him, but he could not be bound by the law. Therefore, he used the seven-character song to carry out the ancient style, which is complicated and can't be hesitated. It really conforms to his nature and posture. The poet wrote the dynamics and grandeur of the waterfall with a stroke of genius. In the face of the great power of nature, Li Bai felt not his own smallness, but an extremely infinite sense of liberation, high spirits and elegance.