Li Bai was born in Chengji, Longxi (southwest of Jingning, Gansu), and his ancestors lived in Shiba (near Tokmak, northern Kyrgyzstan) at the end of the Sui Dynasty. When he was young, he moved with his father to live in Changlong County, Mianzhou (now Jiangyou, Sichuan Province), Qinglian Township, from the age of twenty-five, "resigned from his family and traveled far away", sword out of Shu. In the early days of Tianbao, he served in the Hanlin, and left Chang'an after only one year because he was slandered by the powerful and wealthy. In the Anshi Rebellion, was a staff member of the Yong Wang Lin, because of Lin's defeat Department of Xunyang Prison, banished to Yelang, midway to meet the amnesty to the east. In his later years, he ran away to his uncle, Li Yangbing, who died in Dangtu and was buried in Longshan. Tang Yuanhe twelve years (817), XuanShe Chi Observatory Fan ChuanZheng according to Li Bai's lifetime "ambition in the green mountain" wishes, will move his tomb to the green mountain. There are thirty volumes of Li Taibai's Collected Works.
More than 990 poems of Li Bai exist today. There are a large number of political lyric poems, which fully express the poet's extraordinary ambition, unrestrained passion, chivalry, and also represents the typical tone of the Sheng Tang poetry. Li Bai has a strong sense of self, and has compared himself to the roc many times, "The roc rises with the wind one day, and the roc rises ninety thousand miles upwards", "On Li Yong". But Li Bai in Chang'an three years of disappointment and return, so that his impassioned political enthusiasm, and then by the reality of the impact, it will be transformed into unrecognized talent grief and indignation song, from the chest gushing out: "Avenue such as the blue sky, I can not get out of the shame of banished to Chang'an society in the child, red chicken and white dog gambling pear and chestnut, playing the sword for the song to play the sound of bitterness, trailing train the king's door is not called love. Li Bai also used his drinking poems to dispel the sorrow of his unrecognized talents. The poem "Will Enter Wine": "Life must be full of joy, do not make the golden bottle empty to the moon, born to be useful, thousands of gold scattered and come back, cooking sheep and slaughtering cows and for the joy, will have to drink 300 cups" and this bold and unrestrained, no cover up the emotional momentum, Li Bai's poetry in the art of the significant characteristics of the approach is: magical imagery, endless changes, the structure of the horizontal and vertical jumps, the stanzas of staggered lengths and forms a style of majestic and ethereal. The roof of the heavenly platform is 48,000 feet high, and it is ready to fall to the southeast. I want to dream of Wu-Yue, so I flew across the moon of Mirror Lake one night. I'm not sure if I've ever had a good time or a bad time. I'm not sure if I've ever had a good time, but I'm sure that I've had a good time. I'm not sure if I'm going to be able to do this, but I'm sure I'll be able to do it in a few minutes. I'm not sure if I'm going to be able to get a good look at this, but I'm sure I'll be able to. The path of thousands of rocks and ravines is uncertain, and the lost flowers leaning on the rocks have suddenly gone dark. The bears roar and the dragons roar in the rocky springs, and the chestnut forests are astonished at the tops of the floors. The clouds are green and ready to rain, the water is tranquil and smoky. The columns of thunderbolts, the Qiu mountains crumble, the cave heaven stone fan, immerse in the opening. The blue underworld is so vast that it cannot be seen, and the sun and the moon shine on the gold and silver platforms. The neon is a coat and the wind is a horse, the king of the clouds comes down in droves, the tiger drums and the luan returns to the car. The people of immortality are like hemp." And when the dream first woke up, the illusion disappeared, but also led to the feelings of the world of life: "the world of fun is also so, the ancient world of things east flowing water", "can break the brow and bend the waist of the power of the rich and powerful, so that I can not be happy face". Li Bai's characteristic of wanting to fall out of the sky has greatly developed Zhuangzi's fables, Qu Yuan's first romantic spirit and expressive techniques, and also blended with Taoism's fairy imagery, which has a marvelous artistic charm and won the praise of a generation of "Poetry Immortal".
The subjects of Li Bai's poetry are varied. His seven-character poems ("difficult road to Shu", "difficult road", "dreaming to travel to Tianmu Yin Liubie", "will enter the wine", "Liang Fu Yin", etc.); five-character poems ("Ancient Winds", 59); a sentence of the Han, Wei, and six dynasties of the music and folk song flavor of the "long dry rows", "Wu song of the night", etc., and the seven-character stanzas ("looking at the waterfalls of Mt. Lushan", "looking at the Heavenly Gates Mountain", "morning departure from the Baidi City", etc.) have become a famous piece of work of the Tang Dynasty. Li Bai was already famous in the Tang Dynasty. His poems were "collected in no fixed volume, but in every house". He was the first person in Chinese poetry.
Early years
Li Bai's ancestral home was Chengji in Longxi (east of present-day Qin'an, Gansu). He was born in the first year of Wu Zetian's Chang'an reign (701 A.D.) in the western region of Shiba (near present-day Tokmak, Kyrgyzstan). According to the New Book of Tang, he was the ninth grandson of Emperor Xing Sheng (Li Hao, King of Liang Wuzhao), and was practically the same as the kings of Li Tang. As a child, Li Bai and his father Li Ke moved to Qinglian Township in Changlong, Mianzhou (present-day Jiangyou County, Sichuan). In his youth, he began to travel throughout China. Later, Li Bai served as a minister of Hanlin in the first year of Tang Xuanzong's Tianbao reign (742 A.D.)[/ur]. It was his unruly character that determined that he could not be tolerated by the rich and powerful, so he left Chang'an in less than two years.
In his middle age
He later met Du Fu, another famous Chinese poet of the Tang Dynasty, in Luoyang and became a close friend. After the outbreak of the An Shi Rebellion, in December 756, Li Bai was invited to be the staff of King Yong in order to quell the rebellion. When King Yong was killed for offending Emperor Suzong of Tang, Li Bai was imprisoned. Shortly afterward, he was exiled to Yelang (present-day Tongzi, Guizhou). He was pardoned on the way to exile, when he was 59 years old.
Later Years
In his later years, Li Bai drifted around Jiangnan. When he was 61 years old, he heard that the lieutenant Li Guangbi was leading an army to crush the Anshi rebels, so he traveled north to follow Li Guangbi to kill the enemy, but he turned back due to illness. The following year, Li Bai joined his uncle, Li Yangbing, who was then the magistrate of Dangtu (now in Anhui). In November of the same year, Li Bai died in his apartment at the age of 62, after a long illness.
Works
During his lifetime, Li Bai wrote a large number of poems, more than 900 of which have been handed down to the present day. His poems covered a wide range of classical Chinese poetic themes, and he produced masterpieces on many of them. His favorite genres were mainly ancient poems, including ancient winds and lefu poems, but he often had masterpieces in close poetic genres such as metered poems and stanzas. Two of his lyrics, not yet popularized in the Tang dynasty, are thought to be the works of Li Bai, namely Bodhisattva Barbarian and Yi Qin'e, which Huang Sheng, a native of the Southern Song dynasty, called "the ancestor of a hundred generations of lyrics and music". There are also a few who suspect that they are not by Li Bai.
According to the Old Book of Tang, Li Bai was a native of Shandong whose father was a lieutenant of Rencheng. In his youth, Li Bai showed extraordinary talent, and his ambition was grand and unrestrained, with a transcendental heart. He and his students in Luzhong, such as Kong Chaofu, Han Shin, Pei Zheng, Zhang Shuming, Tao Shin, etc., hid in the Feedback Mountain, singing and drinking, and were called the "Six Yis of Zhuxi" at that time.
According to the Old Book of Tang, although Li Bai was pardoned for his exile, he died of drunkenness in Xuancheng ("he died of drunkenness in Xuancheng after drinking too much wine").
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Li Bai's Life and Character
Li Bai (701-762), known as Taibai, was originally from Chengji, Longxi (present-day Qin'an, Gansu), and was born in the city of Shiba, in the western region of Central Asia (in present-day Kyrgyzstan). When he was about five years old, his family moved to Changlong, Mianzhou (present-day Jiangyou, Sichuan). His father, Li Ke (or his real name is unknown; "Ke" is a generic term for outsiders), was a wealthy family man who did not seek a position of honor, so it is assumed that he may have been a huge merchant. Li Bai's adolescence was spent in Shu, he read widely since childhood, the so-called "five years old recite six armor, ten years old view of a hundred" ("on the Anzhou Pei Changshi book"), "fifteen view of the strange book, made a gift Ling Xiangru ("Gift to Zhang Xianghao"). When he was young, he was a swordsman, and he wrote "The Book with Han Jingzhou":
"Fifteen years old, he was a good swordsman, and he worked all over the feudal lords." Wei Hao said that he "eyes gleaming, do like a hungry tiger ...... less chivalrous, hand to kill a number of people" ("Li Hanlin collection preface"). Cui Zongzhi, in his poem "Gift to Li XII Bai", also described his demeanor with lines such as "with a dagger sword in his sleeve" and "his eyes shining brightly". A long time later, when he and his friends talked about old times, he still recalled with great interest the incident when he killed his way out of the encirclement of Wuling's villainous young men (see "Talking about old times, presenting Jiangyang Zai Lu Tiao").
He also longed for a life of traveling to the Immortals: "Fifteen years of traveling to the Immortals, the Immortals have not rested." ("Sense of Xing eight songs" of the fifth) eighteen, nine years old, Li Bai had secluded in Daitian Dakuangshan, and from the Zhao蕤学. Zhao Lei was a scholar who practiced "the way of the king and the hegemony" (Sun Guangxian's "Zuoyan of Northern Dreams"), and wrote "The Long and the Short Scriptures," a ten-volume book that emphasized the importance of the work of the state to help the people of the world. Li Bai met Su Sorry at the age of 20, and was y appreciated by this "great writer of the imperial court" and a great scholar. In the fall of the twelfth year of the reign of Emperor Kaiyuan (724), Li Bai "left the country with his sword and resigned from his family to travel far away" (Shang An Zhou Pei Chang Shi). He traveled south from Emei Mountain along the Pingqiang River to Jingmen and Dongting, then to Jinling, Guangling, and Huiji, etc. He soon returned to his boat and went west to live in Utopia (present-day Anlu, Hubei). At that time, the famous Taoist priest Sima Chengzhen met him in Jiangling, and praised him for his "immortal style and Taoist bones, which can be compared with the table of the Eight Extremes of God" (Li Bai, "Roc Fugue - Preface"). In the fifteenth year of the reign, he married the granddaughter of the late minister Xu Mingshi. Three years later, in the 18th year of the reign (730), Li Bai traveled from Nanyang to Chang'an, when he was exactly 30 years old.
Li Bai first entered Chang'an for about three years. He lived in seclusion in the Southern Mountain, and traveled widely, hoping to be introduced to the princes and emperors. At that time, the sister of Emperor Xuanzong of Tang Dynasty, Princess Yu Zhen's house was located in Zhongnan Mountain, and there were often literati (including Wang Wei, Chu Guangxi and other famous poets) as guests. Li Bai got to know the princess, but failed to get what he wanted, and finally left. Kaiyuan twenty years (732) summer, Li Bai along the Yellow River east, has roamed the Jiangxia, Luoyang, Taiyuan and other places. In the 24th year, he moved his family to the east, and "learned the sword to Shandong" ("May East Lu Xing Answer Wenshang Weng"). When he was living in Rencheng, he used to drink with Kong Chaofu and others at Feedback Mountain, and they were called "Six Yis of Zhuxi". Later, he roamed around Henan, Huainan and Hunan, Hubei and Hubei, climbed Mount Tai in the north, and went to Hangzhou and Huiji in the south, where he went, he sang and sang, and his poems spread far and wide, shaking the countryside, and finally even the Son of Heaven was also shocked.
In the fall of the first year of Tianbao, due to the introduction of Princess Yu Zhen, Emperor Xuanzong of the Tang Dynasty issued an imperial decree to enlist Li Bai to the capital, and treated him with great courtesy: "He descended in the carriage to welcome him, as if he were seeing Chihao; he gave him food on a bed of seven jewels, and he mixed the soup with the royal hand to cook it." (Li Yangbing's "Preface to the Cao Tang Collection") ordered Li Bai to be enrolled in the Hanlin. When Li Bai was summoned to the capital, he was quite complacent. The poem "Farewell Children to the Capital at Nanling" reads, "Laughing up at the sky and going out the door, my generation is not a man of artemisia!" He wanted to do something to repay Emperor Xuanzong's kindness, but the arrogant poet was soon hated by the court authorities. A year later, he began to be slandered, "How could the white jade be innocent? The green fly has become an injustice" ("The Book of Love to Cai Sheren Xiong"), "although the king loves the moth-eyebrow good, no way to kill the jealousy of the palace" ("Jade Kettle"), these poems are a reflection of the perilous situation he was in. In the spring of the third year of Tianbao, Li Bai was released to his hometown. This time he served in the dynasty for only a year or so, but it made a profound change in the poet's understanding of society.
After leaving Chang'an, Li Bai traveled east along the Shangzhou Road to Luoyang, where he met Du Fu, and then traveled with Du Fu and Gao Shi around Liang and Song, living an indulgent life of drinking and essaying, and chasing eagles and rabbits. In the following year, Li Bai met Du Fu in Yanzhou, Shandong Province, and traveled with him to Surabaya and Dongmeng. As the political situation deteriorated during the Tianbao period, Li Bai was y worried and uneasy about the danger of the state. In his poems "Answer to Wang XII's Wistfulness of Drinking Alone on a Cold Night" and "Farewell", he openly protested against Li Linfu's and Yang Guozhong's arrogation of power and the killing of dissidents, and cried out in pathos against the perilous political situation. He traveled widely, drifting around Liangyuan, Lu County and Jinling, and also visited Youzhi and other places. Along the way, he wrote many excellent poems.
Tianbao fourteen years (755), the Anshi Rebellion broke out, Li Bai avoided the southeast, to and from Xuancheng, Dangtu, Jinling, Liyang area. Later, he lived in Mount Lu. At that time, the son of Emperor Xuanzong, Yong Wang Lin, led a division eastward from Jiangling, "Pai Shu San Zhi" ("Book with Jia Shao Gong"), in the name of revitalization of the great cause of respectfully invited Li Bai to participate in the military screen, Li Bai was full of enthusiasm and resolutely from the military. Unexpectedly, Suzong Li Heng and Yongwang Lin and the trouble between the wall, Li Lin military defeat was killed. Li Bai was convicted and imprisoned, and was soon sentenced to exile in Yelang (present-day Tongzi, Guizhou). At that time, the poet was in a dangerous situation where "everyone wanted to kill him" (Du Fu's "Not Seeing"), and Du Fu even misbelieved the rumors and wrote poems to express his grief. Li Bai traveled back to Jiangxi Province and was pardoned and released when he arrived at Wushan Mountain. By this time, he was nearly sixty years old, but he still had a strong heart, and in the second year of the reign of Shangyuan (761), he set out on another expedition to join Li Guangbi's rebel army, but he was ill on the way and turned back. In the first year of Baoying (762), Li Bai died at the home of his uncle Li Yangbing in Dangtu, ending his legendary life. There is Li Taibai Collection.
Li Bai was a wanderer, and his ups and downs brought him into contact with all aspects of life. His distinctive personality was formed on the basis of fully sucking the breath of the times. Since his youth, Li Bai was generous and conceited, not sticking to the normal tone, "often wanting to make a splash, a flight to the heavens, his gradual Lu Qianqiao, are not able to" (Fan Chuanzheng, "Tang right pick up the Hanlin scholar Li Gongxin tombstone preface"). He had a very strong style of chivalry: martial arts, light on Confucianism, skimming the surface, light on money and charity, and bold and bold. When he was young, he "traveled to the east of Weiyang, not more than a year, more than 300,000 yuan of gold, and there were down-and-out gentlemen, all of which were given to him" (Li Bai, "on the book of Anzhou Pei Changshi"). Li Bai was fond of boozing and boasting, and he was also good at riding and archery. He disdained to take the common track road of general scholars to enter the civil service by the imperial examinations, and hoped to accomplish great things in one go. He was also devout in seeking immortality and learning Taoism, collecting medicine and alchemy, Dugu and said that his traveling clothes were "full of immortal medicine and Taoist books" (Preface to Sending Li Bai to Cao Nan). He even received the seal of Taoism from his revered master Gao Rugui in Shandong, fulfilling the formal ceremony of becoming a Taoist. He was very fond of the strategists who solved problems and disputes, and he had the style of a columnist. Cui Zongzhi said that he was "clear-minded in his arguments, and brilliant in his esoteric talks. He was a man of the style of a columnist, and Cui Zongzhi said that he was "a man of clear arguments that could meet the palms of his hands, and a man of profound talks that could never be defeated. The New Book of Tang - Literature and Art Biography also said that he was "fond of vertical and horizontal techniques". In short, "the ambition of Taoism, that the immortals can be achieved; do not seek a small official, to the world's affairs of the self-conceited" (Liu Quanbai, "the late Tang Hanlin Li Jun Jie record"), his ideal of life is both transcendent and active in the world. The above aspects are the distinctive features of the social customs and cultural spirit of the Tang Dynasty. Therefore, Li Bai has naturally become the human style that contemporary people desire. For example, in order to see Li Bai's splendor, Ren Hua and Wei Wan traveled thousands of miles to track him down; He Zhizhang, the "Simei madman", was amazed at Li Bai and gave him a golden tortoise; Wu Qi, a disciple of Li Bai, was willing to go through fire and water, and he crossed the occupation zone of An Lushan's rebels to Donglu to retrieve the poet. The disciple Wu Qi was willing to go through fire and water, crossing the occupied area of An Lushan's rebels to Donglu to fetch back the poet's children. Li Bai's poetry is through the projection of his personality, reflecting the era of the style of grace, so as to become the strongest voice of the Tang Dynasty.
The artistic sublimation of the ideals of the times
Li Bai's poetry is a typical representative of the weather of the Tang Dynasty. Poets throughout his life, are in the naive heart eulogize the ideal life, no matter when and where, always with passion to embrace the whole world, the pursuit of full of action, success and enjoyment, to all the things of beauty have a keen sense of grasping the reality and not satisfied with the reality, into the life of the rapids and beyond the misery of the sorrows in the exuberant state of mind to realize their own values. If the ideal color is the main feature of the poetry of the Tang Dynasty, then Li Bai is more rich in outlook of the ideal singing in the forefront of the times.
Li Bai's poetry enriched and developed the artistic theme of heroism in Sheng Tang poetry. Like his contemporaries, he had grand ambitions of achievement, the so-called "Shen Guan Yan talk, seek the emperor's art, to fight for his intelligence, willing to be aiding and abetting. Make the Huanqiu area is greatly determined, the sea and county clear one" ("on behalf of the Shoushan reply to Meng shaofu moved the book"), is his most persistent belief in life. It may be doubtful whether Li Bai had the practical ability to engage in political activities in a complex power structure, but as a poet, this conviction became more of a starting point for his pursuit and celebration of a magnificent life. He draws his strength from the poise and demeanor of countless ancient heroes, and projects the ideal of reality into history, thus building up a gallery of characters of heroic character in his poems. He sang the praises of the heroes who rose up in the grass and swamps and met the wind and clouds, such as "Liang Fu Yin", which wrote about Taigongwang: "Don't you see that Chaoguo Tuosuo resigned from the Echinocereus, and came to the west to fish in the Weibin in his eighty years of life; I would rather be ashamed of my white hair to shine in the clear water, and I would like to think about the scripture when I have the time to think about the scripture. Wide open three thousand eight hundred fishing, wind period secretly with the king of Wen pro. The great sages and tigers are unpredictable, and they were quite like ordinary people back then." To glorify the righteous men who regarded fame, fortune and wealth as if they were no more than grass, for example, one of the tenth of the "Ancient Winds" wrote about Lu Zhonglian: "Qi has a suave student, and Lu Lian is particularly skillful. The moon came out from the bottom of the sea, and the light was turned on in one day. But Qin Zhen Ying voice, the future generations look up to the end of the light. I am also a tantalizing person, but I am not a good person, so I will not be able to do anything about it. I am also tantalizing people, whisking clothes can be the same tune." In the second part of "Hard to Walk the Road", he sings the praises of the great masters who loved talents as if they were thirsty for them and courteous to the wise, such as "Don't you see that in the old days, the Yan family valued Guo Kui so much that they embraced the comet and folded their knuckles without any suspicion. Drama Xin and Le Yi were thankful for their share, and they lost their livers and dissected their guts to serve the talented. King Zhao's white bones are haunting the grass, who will sweep the yellow gold platform!" Praise for arrogant and untamed ministers who insisted on the dignity of a man of cloth, such as Li Yizi in Liang Fu Yin: "Do you see that in the drafting of Gao Yang's drunkard, he bowed to Shandong's Long Zhun Gong; he didn't worship his eloquent speech at the entrance, and the two women dropped out of the bath to tend to the wind. The two women dropped out of their baths and came to the wind. They went east to the city of Qi for seventy-two days, and commanded Chu and Han like a whirlwind. The madman is still so down and out, not to mention the hero when the group!" Most of his heroes are in the turbulent and chaotic extraordinary period in the historical arena of powerful characters, and and the lyrical protagonist of the mingled, however inseparable. For example, in a poem he wrote to honor his friends and friends, he said, "Feng Shui is like seeing capital, casting a pole to support the emperor." (Rewarding Wang Sima of Fangzhou and Yan Zhengzi for their gift to the snow.) "I say to myself, who would have authorized Guan and Ge, and I longingly appeal to Muo Er to remain shut up." ("Gift to Yang Shanren after Driving to the Hot Spring Palace") After waking up from a drunken stupor, he expressed his own ambition: "Fu said that he was a minister of board construction, and Li Si was an eagle and a dog. I would rather have a long and arduous journey." (Winter Night Drunkenness at the Dragon Gate) When the Anshi Rebellion started, Li Bai regarded the situation as a Chu-Han struggle and described himself in terms of Zhang Liang and Han Xin: "It is quite like the time of Chu and Han when there was no definite end to the fluctuations. He was in the city of Huaiyin in the evening, after having passed through Bolangsha. Zhang Liang had not met Han Xin, who was poor, and the survival of Liu Xiang was in the hands of two ministers. I have come to Xiapi for the time being to receive the military strategy, and I will come to join my drifting mother as my master." ("The Walk of the Fierce Tiger") After he joined the staff of Yong Wang Lin, he compared himself to Xie An: "But I will use Xie Anshi of the Eastern Mountain to talk and laugh about Hu Sha for you." ("Song of Yong Wang's Eastern Patrol" two) until he was 60 years old when he joined the army, but also to the Western Han Dynasty warrior play Meng self-recognition:
"Halfway Xie sick still, no reason for the southeastern conquest. The first is that Yafu didn't see him, but Drama Meng prevented him from going ahead."
("I heard that Lieutenant Li Taoliang Qin army millions out of the southeastern ...... ") born in the heyday of Li Bai and the heroes of the chaotic world to pay tribute, of course, is not just to send the ancient feelings. Because through such characters, the poet was able to express his "heart of ten thousand men" and passion, and to express his desire to build up a brilliant career in history and to actively create his own value in life. At the same time, this is also a personification of the ideals of the times.
Li Bai united the ideal of helping the world by solving its problems with the freedom of unrestrained individuality in order to achieve a successful life. The design of his life path is divided into two steps: the first is to establish a great cause, such as the cloud: "If there is no help for the heart of the generation, the only good is not good?" (Gift to Secretary Wei Zi Chun) "When the two dragons fought, the sky and the earth were in turmoil. When the two dragons fought, heaven and earth were in turmoil. I was drunk and waved my long sword, and I solved the disputes in a hurry." ("Sending Zhang Xiucai to visit the High School Chancellor") and after the success, but not greedy for wealth and fame, but to "five lakes", "Cangzhou" for home, yearning for a free life. In his early years, he did not shy away from saying this during the period of dry visit to seek an official position: "When the work is done, I brush my clothes and go, swaying next to Cangzhou." ("Bitter Rain in Princess Yuzhen's Pavilion") He did not give up this point when he was most satisfied with his career: "I thanked the world for my success, and I have been fishing ever since." ("Hanlin's Words of Wisdom") "When I have done my best to repay my master, then we will lie together in the white clouds." ("Gift to Yang Shanren after Driving to the Hot Spring Palace") Until his later years, he remained steadfast in his determination: "I will finally settle the gods of the earth and grain, and go to the five lakes when I have accomplished my work." ("Gift to Secretary Wei Zichun") This ideal of life centered on the poet's sense of "being ashamed to cut down his virtue" and his love of freedom: "With a book of arrows, I was able to gain the merits of Liaocheng. I was not rewarded in the end, and I am ashamed to be the same as the people of my time." ("May East Lu line answer Wenshang Weng")
"At first to the grass in the Gengjie death, do not seek gold cage under the life." ("Setting up the Paixie伎鼓吹雉子斑曲辞") All these verses are the self-expression of the poet's heart. Because his sense of freedom is so strong, when encountering the obstruction of the ugly forces in real life, his anger and resistance is also expressed extraordinarily strong.
Among the ancient Chinese poets, Li Bai's active and liberated personality is rare.
He did not make a name for himself in his life, but he had high self-expectations. He defied the powerful and the noble with the body of a man of cloth, ridiculed the hierarchical order centered on political power with impunity, criticized the corrupt political phenomena, and advanced the spirit of heroism in the culture of the Tang Dynasty with his bold gesture of defiance.
Li Bai's ideology of opposing the powerful and the rich is increasingly conscious and mature with the richness of his life practice. In the early days, the main manifestation of the "not to bend themselves, not dry people", "equalization of the king and his vassals," as he said in his poem: "In the past in Chang'an drunken flowers and willows, the five vassals and seven nobles with a cup of wine. The air bank was far away from the front of the great men, and the style was willing to fall behind others!" ("The Night of the Flowers" by Judge Xin) "publicizing the master of the Nine Heavens and Ten Thousand Vehicles, and bantering with the wise men of the Red Court and the Green Zoan." ("Yuhu Yin") he sometimes also issued contempt for the rich and powerful bold words, such as "gold and white jewelry to buy songs and smiles, a drunken light of the king's vassals" ("Memories of the old trip to send Qiao County, Yuan Senjun") and so on, but the main is still to show the inner arrogance. And with the understanding of the actual situation of the high-level power group, he further reveals the antagonism between the cloth and the power and nobility: "Pearls and jades buy songs and smiles, and chaff feeds the virtuous and talented." (Ancient Winds, XV) "The sycamore tree nests swallows and sparrows, the hedge thorn inhabits luan and luan." (Ancient Winds, Thirty-ninth) "Chickens gather in clans to compete for food, and phoenixes fly alone without neighbors. The name "Hemidactylus" mocks the dragonflies, and the eyes of the fishes are mixed with the treasures; the ugly woman is clothed in brocade, and the Xishi is burdened with a salary."
("Minggao song to send Cen Zhengjun") and on the sycophancy of the emperor to steal the power of the scandalous situation of the people to the fullest extent of ridicule, such as the "Ancient Winds" of the twenty-four:
The big car raised flying dust, Tingwu dark pathway. The most important thing to remember is that there is a lot of gold in the middle of the world, and even the clouds are opening up. The first time I saw this, I saw a guy who had a cockfight, and he was all over the place. The first thing you need to do is to get your hands on a new one, and you'll be able to do that. The first time I saw this was when I was a student at the University of California, Berkeley, and the second time I was a student at the University of California, Berkeley!
And in "Dreaming of Tianmu Yin Liufei", he issued the loudest cry:
An can break the eyebrows and bend the waist to the power and nobility, so that I can not be happy face!
This artistic summary is as important in Li Bai's poetry as Du Fu's famous line, "The stench of wine and meat at the vermilion gate, and the frozen bones on the road" ("From Beijing to Fengxian: 500 Words of Chanting") is in Du Poetry. In the deteriorating political situation at the end of the Tianbao period, Li Bai also linked his opposition to the rich and powerful with broad social criticism. For example, "Answer to Wang XII's Wine on a Cold Night" not only fights for the virtuous men who died, but also expresses his disappointment and contempt for the imperial court:
Don't you see Li Beihai, where is the heroism now? You don't see Pei Shangshu, the earth grave three feet Artemisia residence. The young man wanted to go to the five lakes, see this 弥 will be bells and tripods sparse.
In the "book of love to Cai Sheren Xiong", "Ancient Winds" 51, "Ascending the high mound to look at the distant sea" and other poems, Li Bai even borrowed from the past to satirize the present, Xuanzong himself put forward a sharp rebuke.
In short, it can be said that he played the theme of anti-powers and nobles in Tang poetry to the fullest extent. Ren Hua said that Li Bai "has been a guest for decades, and has never tasted a single day of low color" ("Miscellaneous Words to Li Bai"), and that this sense of unyielding in front of the rich and powerful and the courage to resist in order to maintain self-esteem is an important part of the tradition of valuing the individual and emphasizing the bones since the Wei and Jin dynasties, and it is in the new historical conditions that Li Bai has succeeded to and carried forward this excellent tradition and become a great star of poetry. The first time I saw him was when he was a young man in the middle of his life, and he was a great man.
Li Bai's poetry is full of passionate love of life. His poems are often overflowing with childlike interest in the openness, such as: "Two people drinking mountain flowers, a cup of a cup of a cup of a cup of a cup. I am drunk and want to go to sleep, but tomorrow I intend to come with my qin." ("Drinking in the Mountain with a Ghostly Man") "The long sleeves and pipes urge me to lift up lightly, and the governor of Hanzhong dances in a drunken stupor. I am drunkenly sleeping on my pillow." (Recollections of an Old Journey, Sent to Counselor Yuan of Qiao County) "The setting sun is about to disappear in Da Nang Shanxi, and I am lost in the flowers of Gracilaria. The children of Xiangyang clapped their hands together and sang 'White Copper Diogenes' in the street. The people on the street asked what they were laughing about, but they laughed at the drunkenness of Mr. Shan." ("Song of Xiangyang") Life is like a rich wine that intoxicates the poet's heart, which of course does not mean that there is no sorrow and pain in life, but the poet's optimism is enough to enable him to transcend and overcome the sense of sorrow, so to speak, "Is there no time to be sorrowful when one's life reaches the end? The so-called "Is there any time to worry when one's life is full of sorrows?" (Liang Yuan Yin) and "Drunken in the pool of Xi's home, don't look at the monument of fallen tears" (Xiangyang Qu) are the portrayal of his open-mindedness. One of the three songs in his "Hardship of the Road":
The wine in the golden bottle is 10,000 buckets, and the jade plate is 10,000 dollars of treasures and shyness. I can't eat when I stop my cup and make chopsticks, and I look around with my sword drawn. I want to cross the Yellow River, the ice is blocking the river, and I will climb the snow-covered mountains of Taihang. I was idly fishing on the Bixi River, and suddenly I was in a boat dreaming of the sun. The road is difficult, the road is difficult, there are many divergent paths, where are they now? The first thing you need to do is to get your hands on a new one, and you'll be able to do it.
Even if you write about the sadness of losing the road, there is not the slightest cold and awkward words of danger and bitterness, the poem appears in the Yellow River, Taihang, the sea, the sun and other imagery, as well as draw the sword to look around the posture of the male, the sail across the sea of the reverie, are with a magnificent mood of color. He never rests on loneliness and isolation, such as "drinking alone under the moon" one:
A pot of wine between flowers, drinking alone without relatives. The glass is raised to invite the moon, and the shadow becomes three people. The moon does not know how to drink, the shadow of the body with me. The first thing you need to do is to get the ball rolling, and the second thing you need to do is to get the ball rolling. I sing to the moon, I dance to the shadows. When I wake up, we have fun together, but when we are drunk, we are scattered. The first thing you need to do is to get a good look at your favorite movie, and you'll be able to see what you're getting yourself into.
Only a poet who is full of vitality can give out such a fantastic idea. He has a "short song", the poem conceptualized: "I want to take the six dragons, back to the car hanging Fusang. The Big Dipper drinks wine and advises the dragons to drink one goblet each. Wealth and riches are not what we wish for, but for people to stay in the decadent light." Here, there is no lamentation of old age and sighing, but the naive imagination of "persuading wine" expresses the infinite attachment to life. These poems, with their innocent interest, appeal to the beautiful human nature drowned by the vulgar life, and therefore gained permanent charm.
Li Bai has a strong sense of nature, he was good at melting his personality into the natural scenery, so that his pen landscape hills and valleys are not idealized color. He said in the poem "Riqiu Xing": "I will encompass the big block, the vastness and dim watery water with the same section." He also said, "Yangchun called me to the smoke and scenery, the big piece of fake me to the article."
("Spring Banquet from the younger brother Peach Blossom Garden Preface") Li Bai has a heroic spirit, and the pursuit of simple and pure state of mind, these different sides of the character has also formed his landscape mood of the two major types: one type is in the majestic mountains and rivers to highlight the power of the United States, the beauty of the movement in the magnificent mood to express the magnificent thoughts; the other type of the pursuit of the beauty of the light and clarity of the beautiful in the showy mood performance The other type is interested in pursuing the beauty of brightness and clarity, and expresses the innocent feelings in a beautiful and beautiful environment. For example, the Yellow River and Yangtze River in his writing, rushing and roaring, a thousand miles: "The water of the Yellow River comes from the sky, rushing to the sea and never returning" ("Will Enter the Wine"); "The Yellow River touches the mountains for ten thousand miles, and the disc vortex hubs turn the Qin mines ...... giant roaring to break the The two mountains, the flood wave jet shoots the East China Sea" ("Xiyue Yuntai song to send Danqiu Zi"); "Ascending the spectacular heaven and earth, the great river is vast to go not yet.
The yellow clouds move the wind color, white waves of nine streams of snowy mountains "(Mount Lu ballad sent Lu Squire Void Boat);" "Neptune to come through the evil wind back, the waves hit the Tianmen stone wall open. Zhejiang in August why so, the waves like even the mountains spray snow to" ("Hengjiang words"). His peaks are high and steep, lofty and strange: "Lianfeng to the sky is not more than feet, withered pines hanging upside down leaning against the wall" ("The Road to Shu");
"Tianmu Liantian to the sky across, the potential to pull up the five mountains cover the red city; Tiantai forty-eight thousand zhang, on which the fall of the southeast pouring" ("Dreaming of a trip to the sky to say goodbye to"). He gave the landscape with the lofty beauty of his chest, his eulogy to the greatness of nature, but also to the far-sightedness, the struggle for the ideal of life's salute, extraordinary natural imagery and the heroic character of the proud of a blending of one. At the same time, Li Bai wrote a lot of landscape poems with crystal clear and beautiful mood. For example, "A man swims by the moon, a boat travels in the air" ("Sending Wei Wan, a mountain man from Wangwu, back to Wangwu"); "A man rides the moon on the sea, a sail falls in the sky in the lake" ("Seeking the sun to send my brother Chang Chang to die at Poyang"); "The moon follows the blue mountains, the water flows together with the green mountains. The moon turns with the blue mountains, the water flows with the green mountains. The moon follows the blue mountains, and the water flows with the green mountains. It is as far away as the starry river, but I feel the ghost of the cloud forest" ("Sending Cui Zongzhi to Cui Zongzhi on a Moonlit Night River Journey"); "The night of Jinling is quiet and cool, and I go up to the west tower alone to look at Wuyue. The white clouds reflect the water and shake the empty city, and the white dew drops the autumn moon" ("Reciting under the Moon on the West Tower of Jinling City"), etc. These poems are characterized by clarity and purity. These poems win by their clarity and purity.
Li Bai's landscape poetry is not so much a realistic depiction of the natural landscape, but rather a transformed and idealized picture of the poet's personality. He only seeks to grasp the overall momentum or atmosphere, by swiftly soaring up the sensation of ink writing, and skipped the specific details, and even the order of the visual transfer of the scenery often do not care. Li Bai's landscape poems are always lyrical, and he is good at penetrating and intermingling landscape objects with specific emotions, and there is a subtle echo of "isomorphism and mutual sensation" between the situation of the "scenery" and the characteristics of the "emotions". There is a subtle echoing relationship between the situation of "scenery" and the characteristics of "emotion". For example, when he first came out of Sichuan, he wrote "Farewell to the Thorny Gate":
The ferry is far away from the Thorny Gate, and it comes from the state of Chu. The mountains are exhausted with the plains, and the river flows into the great wilderness. The moon is in the mirror of the sky, and the clouds are in the sea. The first thing you need to do is to get a good look at your favorite place.
The poet's journey from the enlightened