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Li Bai (70 1-762), a great romantic poet in the Tang Dynasty, was called "Poet Fairy" by later generations and "Du Li" with Du Fu. In order to distinguish himself from two other poets, Li Shangyin and Du Mu, that is, "Little Du Li", Du Fu and Li Bai were also called together. According to the Book of the New Tang Dynasty, Li Bai is the ninth grandson of Gui Li, the king of Liang, and he is a descendant of all kings. He is cheerful and generous, loves to drink and write poems, and likes to make friends.
Li Bai was deeply influenced by Huang Lao's idea of sorting out villages. Li Taibai's poems have been handed down from generation to generation, and most of his poems were written when he was drunk. His representative works include Looking at Lushan Waterfall, it is hard to go, Difficult Road to Shu, Entering Wine, Fu Zhi, and First Making Baidicheng.
There are biographies of Li Bai's Ci and Fu in the Song Dynasty (such as Wen Ying's Xiang Ji). As far as its pioneering significance and artistic achievements are concerned, Li Bai's Ci Fu enjoys a high status.
Li Bai has the highest achievements in Yuefu, Gexing and Jueju. His songs completely broke all the inherent forms of poetry creation, with no one to rely on and many strokes, reaching the magical realm of vagaries and swaying.
Li Bai's quatrains are natural and lively, elegant and chic, and can express endless feelings in concise and lively language. Among the poets in the prosperous Tang Dynasty, Wang Wei and Meng Haoran were good at the Five Wonders, while Wang Changling and others wrote the Seven Wonders well. Li Bai is the only one who is good at both the Five Odds and the Seven Odds.
Li Bai's poems are magnificent and elegant, and his artistic achievements are extremely high. He eulogized the mountains, rivers and beautiful natural scenery of the motherland, with bold and unrestrained style, elegant and fresh, full of romantic spirit, and achieved the unity of content and art, so he was called the "fallen fairy". His poems mainly described the mountains and rivers and expressed his inner feelings.
Li Bai's poems have the artistic charm of "the pen is shaken by the wind and rain, and the poem makes the gods cry", which is also the most distinctive artistic feature in his poems. Li Bai's poems are full of self-expression and subjective lyricism, and the expression of feelings is overwhelming. He and Du Fu are called "Big Du Li" (Li Shangyin and Du Mu are called "Little Du Li").
In Li Bai's poems, imagination, exaggeration, metaphor, personification and other techniques are often used comprehensively to produce magical brilliance and magnificent artistic conception, which is the reason why Li Bai's romantic poems give people heroic and unrestrained, elegant and immortal.
Li Bai's poems and songs had a far-reaching influence on later generations. Han Yu, Meng Jiao and Li He in the middle Tang Dynasty, Su Shi, Lu You and Xin Qiji in the Song Dynasty, Gao Qi, Yang Shen and Gong Zizhen in the Ming and Qing Dynasties were all greatly influenced by Li Bai's poems.
Li Bai lived in the prosperous Tang Dynasty. He has a heroic personality and loves the mountains and rivers of the motherland. He traveled all over the country and wrote many magnificent poems praising famous mountains and rivers. His poems are bold, fresh and elegant, with rich imagination, wonderful artistic conception and light language. People call him "Poet Fairy". Li Bai's poems and songs not only have typical romantic spirit, but also have typical romantic artistic characteristics from the aspects of image shaping, material intake, genre selection and the application of various artistic techniques.
Li Bai successfully shaped himself in his poems, expressed himself strongly, and highlighted the unique personality of the lyric hero, so his poems have distinct romantic characteristics. He likes to express himself in a magnificent image, expressing his feelings in his poems without disguise or restraint.
Li Bai's best genre is seven-character poems and quatrains. Li Bai's seven-character song also adopts the structure of opening, closing, jumping and swinging. The beginning of a poem is often abrupt, such as a sudden surge, while the middle image of the poem is abrupt, often omitting the transitional care, as if there is no trace to follow, and the end of the poem comes to an abrupt end at the emotional climax.