I. The sense of superiority and self-confidence of the powerful nation in the prosperous era, and the poet's positive attitude towards life and ambitious political ambitions.
One hundred and forty years, the country's appearance.
The five phoenix buildings are hidden, and the three rivers are crossed.
The kings and lords are like the stars and the moon, and the guests are like the clouds.
Cockfighting in the Golden Palace, Cuju by the Yao Terrace.
Li Bai's Ancient Poem 59 (46)
Remembering the heyday of Kaiyuan in the past, there were still ten thousand families in a small town.
Rice and corn were white, and both public and private granaries were rich.
The roads of the nine states are free of tigers and jackals, and there is no need to travel on auspicious days.
The roads of the nine states are free of jackals and tigers, and there is no need to travel on an auspicious day.
--Du Fu's "Memories of the Past" (one of the two)
The Tang Dynasty was in a state of upward mobility from the founding of the Tang Dynasty to the An Shi Rebellion, especially during the reigns of the Emperor Kai Yuan and Tian Bao, when all the four oceans were at peace and the country was at peace with the people. The period of feudal society has reached its heyday. This unprecedented prosperity greatly inspired the national self-confidence and sense of superiority of the times. The poet could not help but sing in praise of this era and resolved to devote himself to this era. "It is not that I do not have the ambition of the river and the sea, but to send the sun and the moon in style. In his "Five Hundred Words on Going to Fengxian County", Du Fu praised Emperor Xuanzong of Tang Dynasty, comparing him to the ancient sage kings Yao and Shun, and then expressed his passion to serve his country. "The air is vaporizing Yunmengze, the waves are shaking Yueyang City. There is no oar to help, and it is a shame to live in a holy place." --Meng Haoran used the Dongting Lake as a metaphor in "Looking at the Dongting Lake and Giving Gifts to Prime Minister Zhang" to show that he was born in a prosperous time and met a bright master, so he had to do something for the world, and could not "live in the end" with nothing to do. "The end of the floating cloud steed, fluttering out of the military. "I've traveled thousands of miles to achieve success. I drew a picture of the Kirin Pavilion, and entered the Ming Guang Palace. Laughing at the scribes, I've never been poor enough. The ancients often became old men when they failed to follow this path." --In his "Under the Plateau" (塞下曲), Gao Shi glorified the victory of the border wars, showing that he was full of confidence in the country and hoped to fight in the army and build up his military achievements, rather than being a poor scholar. "The captors should be afraid of hearing this, and I know that they will not dare to meet the short troops, and the western gate of the Cheshi will be presented with a victory." --Cen Shen in his "Walking on the Horse River" warmly eulogized the western army's courageous crossing of the Horse River without fear of death, and then confidently predicted that the enemy would be terrified and that the victory report would come immediately. "The yellow sand wears gold armor in a hundred battles, and we will not return until we have broken Loulan." -- Wang Changling in his "Marching from the Army" (Part 4), impassioned on behalf of the soldiers in the battle, issued a steel oath to break the enemy. In this era of wealth and prosperity, Li Bai also wrote a lot of poems to express his generosity to serve the country and to kill the enemy at the border. For example, one of the Six Songs Under the Plateau ("In May, snow falls on Tianshan Mountain, and there are no flowers but cold. In the flute, I heard the song "The Broken Willow", but I have not seen the colors of spring yet. In the morning I fight with the golden drum, in the night I sleep with the jade saddle. I would like to put my sword under my waist to cut down Loulan.") The song "Marching from the Army" ("Iron clothes were broken in a hundred battles, and the city was already surrounded by a number of heavy sieges. I shot General Hu Yan in the camp, and returned alone with a thousand riders.") etc. But Li Bai is more likely to compare himself with the famous sages in the ancient times to show his ideal of building up his career. For example,
The bridge in Xiapi, Huai Zhang Zifang:
The Zifang is not a tiger, bankruptcy is not a home.
The strongest man in the ocean, the strongest man in the world, the strongest man in the world, the strongest man in the world, the strongest man in the world, the strongest man in the world.
The earth and the sky were shaken by the failure to repay Han.
They are the best of the best, and the best of the best.
Another example of this is "Liang Fu Yin":
Don't you see the Chaogou butcher resigning from the Echinococcus, eighty years to the west to fish in the Weibin!
Wouldn't you rather be ashamed of your gray hair shining in the clear water? I'm not going to be able to do that, but I'm going to be able to do it, and I'm going to be able to do it.
There are three thousand and six hundred fishing boats, and the winds are not as clear as King Wen's.
There are three thousand and six hundred fishing boats.
The great sage, the tiger, was quite like an ordinary man in those days.
Didn't you see Gao Yang's drunkard in the middle of the draft, bowing to Shandong's Longzhun Gong?
The two girls dropped out of the shower and came to the wind.
Seventy-two of the cities of Qi are in the east, commanding Chu and Han like a whirlwind.
Another example is "Reading the biography of Zhuge Wuhou and presenting it to Shufeng Kunji of Cui Shaofu in Chang'an":
The red ambush started the decadent fortune, and the crouching dragon got Kongming.
When he was in Nanyang, he was farming on his own.
Fish and water were combined, and the wind and clouds were born in the four seas.
Wuhou established Minshu and swallowed Xianjing.
Another example is the Eleven Songs of the Eastern Tour of King Yong:
But Xie Anshi of the Eastern Mountain is used to talk and laugh about Husha for the king.
Li Bai paid great tribute to those who had made great achievements in ancient times, showing his desire to enter the world on the one hand, and on the other hand, his desire to build up his career on the basis of his entry into the world. Zhang Liang was a brave and chivalrous man, and even before he joined Gaozu, he sought for a strong man to fight against Qin Shi Huang at Bolangsha in order to fulfill his duty to the Republic of Korea. Li Bai admired him for this alone. Jiang Taigong met King Wen at the age of 80 and assisted King Wu to establish the Zhou Dynasty. Li Bai was only a drunkard in Gao Yang, but with a three-inch tongue, he subdued Qi's 72 cities in the east. Li Bai also admired their wisdom. Zhuge Liang, who lived in Longzhong and cultivated his own land, followed Liu Bei, the late lord, in the south and north, and achieved the miraculous achievement of three divisions of the world. Xie An, a wild woodland scholar, came back from the East Mountain and swept back hundreds of thousands of enemy soldiers from the South ....... All of them are the founder of the era or the creator of the situation. Li Bai aspired to be such a person, aspired to establish such a merit. Driven by this ideal, he sincerely began to worship these ancient heroes, and eulogized them, and in these eulogies he put his great political ambitions. Li Bai so enthusiastic pursuit of ideals is the continuation of his positive attitude towards life, but also from the spirit of the times to inspire and encourage.
Li Bai's passion for serving his country was strong and deep, and his faith was firm, and he never gave up under any circumstances. When he was prevented from joining the government, he wrote a poem with indignation: "Jade does not say as peach and plum, fish eyes laugh at the Bian and shame, Chu green flies too much, even the city of white jade by slander." ("Jiu Ge Xing") "Wutong nesting swallows and sparrows, Hovenia thorns inhabiting luan and luan." ("Ancient Poetry 59" 39). But no matter how generous he was, how he said that he was unrecognized and had no way to serve his country, he was always confident in his own ability and in the future destiny of the country and society. For example, in his "Three Songs about Traveling on the Road" (one of them):
The wine in golden bottles is 10,000 buckets, and the delicacies on jade trays are 10,000 coins.
It is not possible to eat without stopping the cup and throwing the chopsticks, and I look around with my sword drawn in disbelief.
The Yellow River is frozen, and the mountains are full of snow.
It is not easy to go fishing on the blue stream, but to dream of the sun in a boat.
The road is hard to travel, the road is hard to travel, there are many different roads, where are they now?
The wind and the waves will be broken sometimes, hanging straight from the clouds and sailing to the sea.
It is easy to see that although the poet is full of grief and anger about losing the way, he has never lost confidence in his future. In the poem, he just said "ice blocking the river" and "snow filling the mountain", which seems to be in a desperate situation, but he immediately compared himself to Jiang Taigong and Yi Yin, and thought that the dawn is just ahead. Just said "the road is difficult, the road is difficult, many divergent paths, where are you now", feeling that it is difficult to move, do not know where to go, and then sang "the long wind will break the waves sometimes, hanging straight from the cloud sails to help the sea," indicating that they have the determination and confidence to break through all the difficulties and dangers, and to realize their own political ambitions. confidence. Another example is "Liang Fu Yin":
I want to climb the dragon to see the bright master, Lei Gong banging the heavenly drums, and the emperor throwing pots with many jade girls.
Three hours of laughter and lightening, and a sudden flicker of wind and rain in the darkness.
The nine gates of the gate of heaven are impassable, and the keeper of the gate is angry.
The sun does not shine on my sincerity, and the country of Qigong has nothing to worry about.
The Pillsbury pills are the most popular pills in the world, and they are the most popular pills in the world.
The Pillsbury pills are the most popular pills in the world.
The wise can roll up the foolish, and the world sees me as light as a feather.
The three heroes of Nanshan Mountain were all killed by the same man.
Wu and Chu are not the same, but Yafu is in vain.
Leung Fu is chanting, the voice is sad, Zhang Gong's two dragon sword, the gods are sometimes together.
The wind and the clouds will rise up, and the hill will be bare.
The poet first said that he "wanted to climb the dragon to see the Lord", to assist the Lord to establish a career, and then wrote about his own repeated failure. Such as "the nine gates of heaven can not pass" "doorkeeper anger" "the sun does not shine" and so on, so that people feel that the poet has been completely desperate, but he suddenly and confidently said: However, he suddenly said with confidence: "Zhang Gong's two dragon swords, the gods are sometimes together. The wind and the clouds will rise up to kill the fish, and the hill of the lord will be at peace." It means that in the near future, he will be able to transform into a dragon and enter the water like the two divine swords of Zhang Hua of Jin, and meet with the king of Wen like Jiang Taigong, to show his talent and realize his ambition.
Second, the poet's perfect independent personality and open personality.
"The poets who centrally embodied the weather of the Tang Dynasty were often charismatic characters." [2] In the group of poets in the Sheng Tang Dynasty, "Li Bai's charisma is unrivaled, and he conquered the readers at that time with a kind of shocking power". [2] Li Bai's glamorous charisma originated firstly from his perfect and independent personality, pure quality and proud spirit. Li Bai actively into the world, keen on fame, is in order to show talent, to realize the value of life; for the humiliation of the body name and seek to be among the behavior of the officialdom, he is extremely contemptuous disdain. Li Bai was living in the corridor temple, but did not submit to the rich and powerful, exclaimed "can break the eyebrow and bend the waist to the rich and powerful, so that I can not be happy face" ("dreaming of traveling to Tianmu Yin Liubie"). This is the poet's declaration of self-consciousness awakening, is the power of the long-accumulated call for freedom of eruption, but also a strong call for personality independence of the literati, it is open, is embedded in the infinite excitement and the spirit of defiance without fear. Li Bai's indignant oath "to the grass in the first Gengzhi death, do not seek gold cage under the life" ("set up the Paixie伎鼓吹雉子斑曲辞"), the poet would rather die than give in to death to fight, in order to maintain the independence of the personality. Li Bai's proud spirit not only lies in his unyielding and uprightness, but also in his ability to break free from the shackles of the world and defy the king and his vassals. Such as: "publicize the Lord of the Nine Heavens and Ten Thousand Vehicles, bantering with the Red Court of Qing Zao Xian." ("Yuhu Yin") "In the past, when I was drunk in Chang'an, five lords and seven dignitaries drank with me. I was drunk on flowers and willows in Chang'an in the past, with five lords and seven noblemen drinking together. ("The Night of the Flowers", for Judge Xin) "Gold and white jewelry buy songs and smiles, and a drunkenness makes the lords and lords lighter." ("Recollections of an Old Journey to Qiao County") Li Bai regarded the ten thousand rides as his friends and colleagues, drank with the "five lords and seven nobles", overpowered the great and powerful, and drunkenly lightened up the princes and lords, and always maintained a dashing and free style in the hierarchical officialdom.
Li Bai's charm also comes from his extraordinary spiritual realm. Li Bai was different from ordinary men and women, who only drew a career in order to enjoy the glory and wealth; he was in the world, but did not touch the dust; he hoped to cover the world, but regarded the rich and powerful as a floating cloud. The song says: "Bells and drums, food and jade are not precious enough, but I wish to be drunk for a long time and do not want to wake up." （"Life is all about knowing each other, no need for gold and money." (Two of Three Songs for a Friend) He left behind the clamor of the world, did not take the rich and noble, did not attach importance to wealth and goods, and wished for what he wished for, and valued what he valued. Li Bai is known as the "Poetry Immortal", he must have the realm of the immortals, he is free and easy to play between the landscape, transcendent, not to walk on the high position, not to be attached to the outside world. He said, "Let the white deer go among the green cliffs, and ride to visit the famous mountains" ("Dreaming of Traveling to Tianmu and Reciting Farewell"), "Finally, I'll settle the gods of earth and grain, and go to the five lakes when I've accomplished my work" ("Gift to Secretary Wei, Zi Chun"), and "If life is not satisfactory in this world, I'll send out the flatboat in the morning" ("Xuanxuan, the first of many Chinese books"). The poem shows that Li Bai is not tired of the world, and he is not willing to leave it. The poem shows that Li Bai is not tired of things, not subject to the constraints of the world's nets, and has an unorthodox temperament of being in love with the mountains and the water. Li Bai's "Xian" also lies in the fact that he is happy with his life and is optimistic about the world. "Life must be happy, don't make the golden bottle empty to the moon." The fulfillment of life transcends the sorrows of the world. For example: "There is no time to be sad when one's life is full of happiness, let's drink fine wine and climb up to a high building." (Liang Yuan Yin) "The spring breeze comes from the east and suddenly passes by, the golden bottle of wine is clear, the falling flowers are a little too much, and the beauty wants to be drunk and flushed." (One of the Two Songs of Bottled Wine in Front) "Hu Ji looks like a flower, smiling at the spring breeze in the shop. Laughing at the spring breeze, dancing in a silk dress, if you don't get drunk today, you will go home safely." (Two of Two Songs of Bottled Wine in Front of Me) "The two of them are drinking mountain flowers, one cup after another... I'm drunk and want to sleep, the Secretary to go, tomorrow intention to hold the qin to come" ("the mountain and the ghost of the drink") He forgets all the favor and humiliation, poor and up to no regard for the outside world, free from external objects, randomly wielded, there is an immortal's floating and transcendent, but also the heroism of the martyrs.
Li Bai's charisma also stems from his highly flamboyant personality. Li Bai held the talent and the spirit of the quick-witted, and had the courage to break through all the rules and regulations, which can be summarized as the spirit of chivalry. Li Bai's spirit of chivalry, which dares to "violate the ban with weapons", and is light on life and death and heavy on the promise, makes people feel that the English wind is stirring; his poems gain a kind of irresistible power and lofty spirit; his charm shines more brightly. Li Bai's poems praised those chivalrous men who held martial arts and played in the world. For example: "When I was young, I learned the art of sword fighting, but I was a white ape. The beaded robe and the brocade belt, the dagger stuck in Wu Hong. I have the courage of ten thousand men, and I have a strong wind in my veins. I entrusted my life to Meng, and got drunk in Xinfeng. Laughing out loud, I kill people in the city." ("Walking in the Youth Stadium") "The bow destroys the tiger in the South Mountain, the hand catches the brisk and brisk in the Taihang Mountains. After drinking, I'll make a sword with three cups of wine. Killing people is like cutting grass, playing with Meng and traveling." （"In the white blade, I kill in the red dust." ("Gift to My Brother Xiangyang Shaofu Hao") When Li Bai described the swordsman, he deliberately pursued freedom and glory. He used the phrases "to finish a cup of wine with a smile" and "to make a sword with three cups" as a backdrop, and "like cutting grass" as an exaggerated metaphor to portray the behavior of wielding a sword in an exceptionally elegant and carefree manner. The chivalry of Li Bai's "White Horse" is similar to that of Cao Zhi's "White Horse" ("I drove the Xiong Nu, and looked at the Xianbei."). ...... donate his life to the national disaster, and die as if he were returning") are different, Li Bai's chivalrous man is soaring, while Cao Zhi's young man is more courageous and swashbuckling. Li Bai's portrayal of characters like to use bright words, such as "bully", "wind", "style", etc., he intended to highlight the glorious image of young chivalry. Li Bai appreciates the young man's capriciousness and courage, not to take into account the danger of their death at any time, but to praise the eye on the courage of "to the white blade". This is a tribute to the flamboyant personality, is to the unrestrained free spirit of reverence.
Thirdly, the majestic and powerful momentum and strong emotions in the bold style.
Li Bai's poems contain a vigorous and powerful momentum, overflowing with strong emotions.
Li Bai's poems are full of powerful momentum and strong emotions. The momentum of "the breath of the pen shakes the five mountains, the poem becomes proud of the Cangzhou" ("River Song") and "the Yellow River falls from the sky and walks on the East China Sea, 10,000 miles are written between the breasts" ("Gift Pei XIV") are the vivid embodiment of his bold and generous spirit. Li Bai has many poems depicting natural landscapes, and the things in his writing are by no means a simple replica of objective things or a photo, but he gives his spirit to the objects he depicts. We can feel the poet's emotion from the objects he depicts, and there is a kind of unstoppable passion in his poems, which he wants to embrace nature. Li Bai completely into the magnificent mountains and rivers, forgetting to praise them. Such as "looking at Mount Lushan waterfalls":
Sunlight incense burner purple smoke, look at the waterfall hanging in front of the river.
Flying down three thousand feet, suspected to be the Milky Way falling nine days.
Another example is "Looking at Tianmen Mountain":
The Heavenly Gate interrupts the opening of the Chu River, and the blue water flows eastward to this return.
The two sides of the green mountains are opposite each other, and the lone sail comes by the side of the sun.
Another example is "Early departure from Baidicheng":
We left Baidi in the morning, and returned to Jiangling in a day.
The apes on both sides of the river can't stop crying, and the light boat has already crossed ten thousand mountains.
Watch Mount Lushan Waterfalls, "sunshine", "purple smoke" to the waterfall provides a brightly colored background; description of the waterfall with a "hanging" word, small words with great use. The waterfall with a "hanging" word, a small word is used in a big way, turning the movement into a static, contrasting the waterfall's majestic high; "flow" free and easy to depict the waterfall's high and light form; "hanging" "flow" "straight" "down" "fall" "waterfall" and "waterfall" are the most important words of the waterfall. Down" "down" the Mount Lushan waterfalls show a school of life, full of youthful vigor; "three thousand feet" "fall nine days" arbitrary exaggeration, gallop imagination, the image is novel and true. Image novelty and real, can highlight the majestic momentum of the waterfall. Look at Tianmen Mountain" poet based on the clouds, look at the two mountains facing each other, such as the establishment of a gate between heaven and earth, the river back to the ring, through the door, the landscape is majestic and broad; poetry vision of the eye, the realm of the high and wide, showing the poet's broad-mindedness. In the line "the light boat has crossed ten thousand mountains" in "Early departure from Baidicheng", the poem is light and sharp; the whole poem is bright and colorful, the aura is stirring, erect and flying, full of vitality and passion, giving people a sense of grandeur. Li Bai's landscape poetry contains unlimited enthusiasm, it is clearly different from the Qi Liang landscape poetry, even if the same in the era of the Sheng Tang Dynasty, but with the idea of seclusion Wang Wei and Li Bai style are also different.
Li Bai loved to celebrate the majestic and grand things. Li Bai's poems have been integrated into his character, from which we can realize his unique aesthetic pursuit. For example:
The sun and the moon do not shine like this. But the north wind comes from the sky. The snowflakes on Yanshan Mountain are as big as a mat. The snowflakes in Yanshan Mountain are as big as a mat. ("Walking in the North Wind")
The Yellow River comes from the west to break the Kunlun, roaring for ten thousand miles and touching the Dragon Gate. ("Gong Wu Du He")
To climb up to the heights of heaven and earth, the great river goes on forever. (The Ballad of Mt. Lushan Sending a Boat to Servant Lu)
The wind blew down the mountain in three days, and the white waves were higher than the Waguan Pavilion. （
Why is the month of August in Zhejiang like this? The waves look like snow coming from the mountains. （
Shocked by the waves, the three mountains are moving, and the public has not crossed the river to go back. (Six Songs of Hengjiang River)
In "North Wind Walking," the poet's imagination and bold exaggeration exaggerate the snowflakes as if they were a ten-foot-square bed mat, one by one, covering Regulus Terrace and the human body, and the oppression produced by the huge snowflakes makes people feel frightened and frightened. The public without crossing the river "" Lushan ballad sent Lu Yu virtual boat " from a high point of view, far away from the pen, depicting the scene of the magnificent river. The words of Hengjiang exaggerate the danger of waves with the metaphor of mountains. The most representative one is "The Road to Shu", in which the poet splashes ink and uses artistic techniques interlaced and overlapped to ****together build up the danger of Shu Mountain. The lines such as: "Yelp (sigh), dangerously high! The difficulty of the road to Shu is harder than the sky!" The opening phrase used in succession, exclaimed the difficulty of the Shu Road, the world's most difficult, "difficult to get to the sky", hyperbole and simile caused by the strange situation, with an irresistible shock. "On the six dragons back to the sun of the high standard, under the wave of reversal of the back of the river. The yellow crane is not yet allowed to fly over, but the apes and briskets want to climb." The poet describes the steepness of the mountain, borrowing myths and legends to exaggerate the height of Mount Shushan, even the sun can not pass through, to this point it turns back; good flying yellow cranes can not fly; good climbing apes and briskets do not dare to climb; the steepness of the mountain is unimaginable. "A hundred steps and nine folds to haunt the rocky mountains." Compare and contrast the figures with the exaggerations to show the twists and turns of the mountain road. "But I see the sad birds calling the ancient trees, the male and female flying from around the forest. And I hear the moon cry at night, and the mountains are empty." The sad song of the birds rendered the Shu Road eerie and horrible, and the Zigui's cry of the moon emphasized the emptiness of the Shu Road, which made people shiver. "The peaks of the mountain are not more than a foot from the sky, and the pines hang upside down against the wall." Capture a scene close-up, exaggerate the Shu Mountain wall even the sky, the pine trees can not grow upward but only downward hanging upside down, set off the steepness of the mountain. A series of exaggerations, metaphors, and renderings immediately draw a picture of the dangerous mountains. Although the scenes depicted in the above poems are different, but the characteristics are very similar, the river waves are magnificent, the waves are dangerous, the wind is fierce, the snowflakes are spectacular, the mountains are lofty, their beauty is the same, is the atmosphere of the majestic, majestic and powerful. This is the poet according to their own aesthetic tendency, the use of hyperbole, metaphor and other techniques to try to show the magnificent side of nature, to create a sublime and magnificent masculine beauty.
Li Bai's poems often use simile, exaggeration, imagination and other techniques to create a majestic momentum and high and wide realm. His use of simile, exaggeration and imagination often creates unexpected effects. For example, in the opening of "Wine", he exclaims: "Don't you see that the Yellow River water comes from the sky and never returns to the sea? Don't you see the high hall mirror sad white hair, as green as silk into snow in the twilight." The poet with an unfathomable foothold and infinite vision exaggerates the Yellow River out of the mountains to the high and vast sky, the Yellow River water is like a heavenly river pouring down, roaring and roaring, falling down to the earth, shaking the heaven and earth, unstoppable, pouring down a thousand miles and flowing into the sea, the momentum of the Yellow River is mind-boggling. The poet first creates the extraordinary momentum, and then the metaphor is repeated, comparing the life is no longer as the Yellow River never returns, and exaggerating the aging of life as the green silk, white hair in the twilight. The momentum of the Yellow River and the rapidity of the change of morning and evening are shocking to the heart. Li Bai can turn the original depressed and melancholy feelings into powerful and majestic objects to express them. For example,
White hair is three thousand zhang, the edge of sorrow is a long ("Song of Autumn Pool")
Five-flower horse, a thousand gold furs, call for a child will be out of the wine, with you to eliminate all the sorrows of the past ("Will enter the wine")
The knife breaks the water more water flow, raise a cup of wine to eliminate the sorrows of sorrows even more sorrows ("Xuanshu Xie Lou Preserved Farewell to the school book Shujun")
Li Bai used the "white hair" as a metaphor for sorrow, "white hair" is a metaphor for sorrow, "white hair" is a symbol of sorrow.
Li Bai used "white hair" as a metaphor for sorrow, and his sorrow is also arrogant, with "three thousand zhang of white hair", white hair like a waterfall, hanging between heaven and earth; the exaggeration of "three thousand zhang" is so shocking that people do not dare to imagine it; his sorrow is also long-standing, and it has already been "ten thousand years". The "ancient" sorrow, unceasingly, until today; its sorrow is also deep, such as the river, the knife can not be broken, the wine can not be eliminated. Li Bai performance of objective objects, the use of hyperbole and simile is even more remarkable, not to mention the original momentum of the mountains and rivers, even the small things in Li Bai's writing is also extremely vivid, and other people marveled at. Such as the depiction of music: "For me a wave of the hand, such as listening to ten thousand ravines pine." (Listening to the monk Joon playing the qin) "The wind blows around Zhongshan, and all the ravines are filled with dragons." ("Listening to the Flute Played by Mr. Han at Jinling") The poet gave up describing the actual form of the object and only pursued the similarity in feeling. The poet feels the power of the sound of a zither as if it were the sound of pines in ten thousand ravines; similarly, the sound of a flute has the shocking power of the sound of dragons in ten thousand ravines for the poet. Hyperbole and metaphor vividly express the poet's strong reaction to music. Calligraphy is usually described in terms of "vigorous" and "robust", but Li Bai's "Cursive Script Songs and Acts" ("The ink pool flies out of the northern sea, the brush kills all the rabbits in the mountains...") is a great example of calligraphy, which is often described as "vigorous" and "robust". ... The wind and the rain are so valiant, and the flowers and the snow are so boundless, that ...... can only see the dragons and snakes walking. The left disk and right knit like shocking electricity, like Chu and Han attacking each other.") The calligraphy is depicted in a glowing manner. He used metaphors to show that the momentum as the Kunpeng wings, spilling as the wind and rain, strokes fluttering as dragons and snakes tend to go, chapter and verse layout as the Chu-Han war, not yet seen its words, the shape of its spirit has captured the soul.
Four, the poet's rich romantic temperament and extraordinary imagination and creativity.
"The greatest characteristic of Li Bai's works is the strong spirit of romanticism, and at the same time, there is a distinct romanticism in the artistic method." [3] (P147), his poetry is rich in magnificent romanticism, often with the emotions at will, the spirit at will to roam. The poet is completely detached from the constraints of reality and expresses scenes that are not available in reality, creating a realm of immortals that is both real and unreal. For example, "Song of the Immortals" ("A crane flies eastward across the sea, and I am relieved to know where I am. Immortals are looking forward to my coming, they should climb the jade tree and wait for me forever. Yao and Shun's deeds are not surprising, but the clamor of the rest of us can be lightened. Don't wear the giant ostrich to the three mountains, I want to walk on the top of Penglai.") I would like to walk on the top of Penglai."), "The Words of Immortal Yuzhen" ("Immortal Yuzhen goes to Taihua Peak from time to time. Early in the morning, he was sounding the heavenly drum, and crashing the twin dragons. His hands are always working on the electricity, and he travels on the clouds without a trace. When will you enter the Shaohu Room? The Queen Mother should meet you.") The poet shows his unassuming temperament and his desire to meet the immortals. Another example is "The Ancient Winds":
Westward to the Lotus Mountain, a long way to the stars.
The lotus flower is in my hand, and I am walking on it.
The neon dresses and the wide sash are floating in the sky.
Inviting me to climb the clouds, I greeted Mr. Wei Shuqing.
When I leave, I'll be on my way to the purple underworld.
This is a poem about traveling to the immortal, Li Bai's imagination, creating a wonderful clean space, this space is completely unrestrained. The poet saw the Jade Maiden holding a hibiscus in her delicate hand, walking in the air, and her neon dress trailing a wide belt, fluttering in the wind. The Jade Maiden invites the poet to climb up to the Yuntai Peak and bow to the immortal Wei Shuqing as they soar across the sky on the back of a wild goose. The poet's imagination, integrating the Taoist legend into a magnificent and wondrous artistic realm, makes the lyrical protagonist take on the strong color of an exiled immortal. The poem vividly expresses the characteristics of romantic poetry.
Li Bai's Dreaming of Tianmu Yinliu Bie gave full play to the poet's extraordinary imagination. The poet shifts back and forth between dream and reality, unreal but not completely detached from reality, and then freely imagines and transcends reality when he expresses his feelings. For example: "Haikou Yingzhou, it is hard to find the letter in the mist and waves. The Yue people speak of Tianmu, and the clouds and neon may be visible." The poet starts from the fairyland and moves from the imaginary Yingzhou in the legend to the Tianmu Mountain in the reality of clouds and colors. The Tianmu Mountain here is not a real place that the poet has visited, but an exaggerated imagination to depict the steepness of Tianmu Mountain. From the imaginary mountain, the poet moves to the dream world, depicting a strange and beautiful fantasy world. He writes: "I want to dream of Wu-Yue, and I flew over the moon in the mirror lake one night. The moon shone on me and sent me to the river Hephei. The water was clear and the apes were crying. The clogs of Mr. Xie are on my feet, and I am climbing the ladder of green clouds." After flying down the river, the poet saw Xie Lingyun's place of residence, he put on Xie Lingyun's special wooden clogs, climbed the Qingyun stone ladder that Xie Lingyun had climbed, and formally entered the mountain. "It is not surprising that he could see the sun on the half-wall of the mountain and hear the rooster in the air, but there are more strange scenes, "The path of a thousand rocks is uncertain, and the flowers leaning on the rocks are suddenly dark. The bears roar and the dragons roar, and the chestnut forests are so deep that it scares the top of the mountain. The clouds are green and ready to rain, the water is tranquil and smoky". The poet depicts a scene of fairy fantasy, with the weirdness of the wind and rock, mountain flowers, mountain streams sounding like "bears roaring and dragons chanting", clouds and smoke, and water and mist filling the air. The magical landscapes imagined by the poet are already surprising enough, but Li Bai's romance is not only to be in the fairyland, but also to meet with the immortals. "Thunderbolts of lightning break out from the mountains and hills. The stone fan of the cave opens up. The blue underworld is so vast it's hard to see the bottom. 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, and the immortals are listed like hemp." Accompanied by a thunderous roar, a marvelous dwelling place of the immortals appeared, and the immortals in gorgeous clothes and fresh horses and cars came down one after another in clouds and cars. The colorful neon, the breeze, the divine tiger, the immortal luan reflected in the sun and the moon shine brightly on the gold and silver platform, and there is immortal music and singing. The scenery is gorgeous, colorful, how amazing, dazzling, dazzling. Just when the fairyland is extremely happy, the poet fell out of the fairyland, fell on the cold pillow on the earth, the poet sighed with disappointment: "but feel the pillow, lost to the smoke and haze." The poet's emotion has three twists and turns, suddenly joyful to the extreme, suddenly melancholy, and at this time and frankly relaxed to put forward "the world is also so happy, all things in ancient times, the East flowing water. When will you return? Let the white deer between the green cliffs, and ride to visit the famous mountains". The poet suggests to have fun in time, to ride the white deer, to visit the famous mountains, to pursue the freedom of the immortals. The space of this poem is very wide, from "Yingzhou" to "Tianmu" and "Tiantai" and "Wuyue". The river is a very wide space, from "Yingzhou" to "Tianmu" and "Tiantai", "Wuyue" and "Hepathe" in the region of several transformations, time to expand to the Xie Lingyun, the poet also has Xie Lingyun of the spirit of escape. The poet travels back and forth between the real and the imaginary, galloping across the river, and his emotions change from sadness to happiness. The poem is rich in images. Before the dream, there are clouds and clouds, Yingzhou and Tiantai; after entering the dream, there are the bright moon in the mirror lake, the red sun in the ocean, apes and roosters in the sky, flower paths in the immortal mountains, forests and springs in the caves, mountain marshes and smoky mountain peaks, gold and silver caves, the cloud monarchs and immortals, the wind as a horse, the immortal luan driving a car, the colorful neon as a garment, the divine tiger drumming, and the blue cliff and the white deer after waking up. The image of the combination of real and imaginary, real and unreal difficult to distinguish, mixed and rendering each other contrast, appearing strange and strange, magical flow. The use of rendering, exaggeration, metaphor and other techniques fully demonstrates the characteristics of romanticism.
Li Bai is the representative of the poet of the Tang Dynasty, his spiritual realm, the height of thought is difficult to reach, his life pursuit of ideals, yearning for freedom, fame in poetry and wine. He was famous for his poetry and wine. He was at the top of the classical poetry in China with his romantic spirit, infinite imagination and creativity.