Li Bai's Poetic Style 1 Artistic Features of Li Bai's Poetry
1, with strong subjective color.
2. Rich and peculiar imagination
3. Fresh and lively language
4. Bold and elegant style
Writing skills of Li Bai's poems
Extensive use of exaggeration, metaphor, personification, symbolism and other techniques, but also with the help of fantasy or fairy tales to form a romantic artistic realm.
The ideological content of Li Bai's poems
1, despise the rights of the rich, vent their anger and struggle.
2. Express your ideals and ambitions and publicize your personality.
Praise the magnificent rivers and mountains and show your love for nature.
4. Care about the destiny of the country and sympathize with the sufferings of the people.
Extended data:
Li Bai has the highest achievements in Yuefu, Gexing and Jueju. His songs completely broke all the inherent forms of poetry creation, no one relied on them, and his brushwork was diverse, reaching the magical realm of unpredictability 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's poetic song style 2 Li Bai's poetic language, such as "clear water produces hibiscus, natural carving", is the most vivid description and summary of his poetic language. The most prominent feature of his language art is bold artistic exaggeration and imagination, and his language is fluent, natural, unique and beautiful.
First, Ren Zhen is simple, deliberately pursuing natural beauty without carving.
In Li Bai's own words, it is "small and naive." In order to do this, Li Bai tried from different aspects.
1. Good at learning from folk songs, from Yuefu folk songs.
Li Bai never stopped roaming all his life. Everywhere he went, he learned local knowledge, which laid the foundation for him to learn folk songs, especially Yuefu folk songs in the Han, Wei and Six Dynasties had a great influence on Li Bai's poetry and song creation.
For example, "The wind blows my heart and hangs Xianyang trees in the west" ("Jinxiang sends Wei Ba Xijing"); "I am worried about the bright moon in my heart, and I will go with the wind until Yelangxi" ("I heard that Wang Changling moved to Longbiaoyao to send this"); "My heart and my dream are in Wu and Yue, flying over Jinghu and Mingyue overnight" ("Climbing Mount Tianmu in Dreams") and so on. Obviously, it was inspired by "the south wind knows what I want and dreams of Xizhou" in the Song of Xizhou written by Yuefu in the Southern Dynasties.
Li Bai also wrote a large number of poems with Yuefu as the old theme, such as Difficult Road to Shu, Entering Wine, Traveling Far, Midnight Song and so on. Among them, Four Seasons Songs at Midnight is full of Yuefu color in both material selection and artistic expression. Wang Shizhen commented accurately in the Ming Dynasty: "Violet antique Yuefu is only made according to his own will."
2. Be good at tempering the language of poetry to make it neat and natural.
Li Bai often chooses the most expressive language in his poetry creation. For example, "Qiupu looks at autumn scenery, and depression makes people sad" ("Qiupu Song") expresses the poet's melancholy mood of visiting Qiupu, wanting to reach Yangzhou, and cherishing Chang 'an. "Although the mountains are dark and the autumn clouds are all over the sky, I have no feeling" ("Listening to the Shu Monk Playing the Piano"), the poet looked around after listening to the Shu Monk playing the piano, but he didn't know when the castle peak was dusk and the gloomy autumn clouds overlapped and filled the sky.
This refined language is most obviously used in five-character poems, such as Thinking of a Quiet Night. Looking down at the foot of my bed, such a bright line is his hometown. I looked up at the moon and looked down, feeling nostalgic. In this poem, Li Bai makes no secret of his words and affectation, and evokes the feelings hidden in his heart with the most plain language.
3. Be good at writing breathtaking natural scenes in a peaceful and natural way, which is fascinating.
Many of Li Bai's poems are not only bold and unrestrained, but also make people feel relaxed and comfortable. For example, the poet wrote in Farewell to Shu Zhong: "The road is rugged and difficult to walk", "The mountain starts from the human face and the cloud is beside the horse's head". Shudao is around the mountain, and people take the plank road, and the cliff is like the oncoming; On the one hand, Shu Road looks steep, on the other hand, it also has beautiful and moving places. The magnificent scenery is on the Qin stack. "The fragrant trees cage the Qin stack, and the spring flows around Shucheng." The poet wrote a steep and magnificent scene with a beautiful style, which made the poem not only have a vigorous artistic conception, but also give people a beautiful feeling.
Second, the language application of prose sentence patterns is more natural, not limited to form.
Poetry language is rigorous, prose language is more natural, and it is not limited to form. However, Li Bai can write prose poems, and never let metrical patterns bind his feelings. When his feelings reach their climax, he will naturally break through the limitations of metrical rules and use some prose poems.
For example, "The breeze and the bright moon don't cost a penny, and Yushan is not artificially pushed" ("Xiangyang Song"), this poem says in plain language that the breeze and the bright moon don't cost a penny, and it will be so chic and comfortable when drunk as Yushan! It shows that although Li Bai's lifestyle is free, it is not decadent. This language description is very vivid and full of drama.
There are many such prose languages. For example, in the poem "Going to Stay in the Field", it is written like this: "The unintentional thing is still like this, and the businessman Hu Xun Tian Bing. Solitary bamboo Yanling is famous all over the country. The wind is horribly high, and the fallen flowers are clear. Feet away, ears can't hear. " Shen Deqian commented on this poem: "The last verse is like the chaos of music." . It can be seen that these prose sentences do not make the structure of the article incomplete, but make the whole poem more artistic and musical.
Third, he is good at using exaggeration and imagination to express his strong feelings.
Li Bai is a typical patriotic poet. He has great ambitions all his life and hopes to make contributions to the motherland. His patriotic feelings never hide convergence, but gush out and overflow thousands of miles. When ordinary language is not enough to express his passion, he exaggerates boldly; When things in real life are not enough to describe, compare and symbolize his thoughts and wishes, he relies on unrealistic myths and all kinds of wonderful and amazing imaginations.
"Three cups of promise, five mountains are light" ("Chivalrous Journey"), using the light of five mountains to set off the weight of promise, to write the chivalrous character of chivalrous men. "Didn't you see the lovely lock in the bright mirror of the high room? Although it was silky black in the morning, it turned into snow at night" ("Walking into the wine"), and wrote that life is short. "If fame and fortune exist, the Hanshui River should also flow to the northwest" (Song on the River), which denies the permanent existence of fame and fortune by the objective fact that you can't want to flow back to the northwest with sweat.
Li Bai is also good at combining exaggeration and imagination, blending with each other, bringing out the best in each other, and creating fantastic colors in poetry. "The wind blows my heart and hangs Xianyang trees in the west" ("This Township sends Wei Ba to Beijing"), which shows my yearning for Chang 'an in a magical and unique way. "Worried about the bright moon, wandering in the west with the wind" ("I heard that Wang Changling moved to Longbiao kiln to send this"), the heart can be sent, bold and exaggerated; Sending the bright moon is a strange imagination, and the yearning for friends is best expressed in poetry.
This bold and imaginative sentence can be found everywhere in Li Bai's poems, but if it is used best, it is the poem "Difficult Road to Shu". The poet wrote: "The highest cliff is only one foot away from heaven", and even "even if you hear its voice, your cheeks will turn pale". In order to emphasize the long time that the traffic between "Qin" and "Shu" was blocked, the figure of "48,000 years" was exaggerated. In order to highlight the dangers of the Shu Road, he even used "as high as a banner, six dragons drive the sun, and the river below lashes its winding river" to imagine that the car of the sun god in the fairy tale could not pass because of the strangeness of the Shu Road, which is extremely high. In order to emphasize the twists and turns of Qingniling Mountain Road, the poet used "a hundred steps and ten twists". Such extreme exaggeration, coupled with the author's imagination of Shu Dao from beginning to end, strongly highlights the high risk and unattainable awe-inspiring momentum of Shu Dao.
Therefore, Li Bai not only has a strong romantic spirit, but also creatively uses all romantic methods in language expression. He reached an unattainable artistic peak in poetry. Similarly, he climbed a towering mountain in the use of language. His poetic language has a great influence on later generations, which is worth learning and learning from today's new poetry creation and development.
Li Bai's poetry and lyrics style 3 Li Bai's poetry and lyrics 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 use 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. For power, he "holds a chrysanthemum and stirs two thousand stones" (one of the two songs "Send Cui Shiyu after Drunk"); Seeing the hard work of the working people, he was "heartbroken like rain". When the country was destroyed and the people perished, he vowed to cross the river to clear the Central Plains. Draw a sword and hit the front column, and the sad song is hard to recover "("South Ben Shu Huai "), so impassioned; When drinking heartily with friends, "two people fall in love, one cup after another." I'm drunk and want to sleep. The Ming Dynasty intends to hold the piano ("Mountain Lovers"), which is so naive and straightforward. In a word, his poems vividly show his unruly character and image.
Boldness is the main feature of Li Bai's poems. In addition to the factors of ideological character and talent, the artistic expression and genre structure used in Li Bai's poems are also important reasons for his bold and elegant style. Being good at relying on imagination and being subjective and objective are the important characteristics of romantic artistic techniques in Li Bai's poems. His imagination is extremely rich, almost every article has imagination, and some even use a variety of imagination throughout. Realistic things, natural landscapes, myths and legends, historical allusions and dreamland have all become the media of his imagination. He often uses imagination to transcend time and space, interweaves reality with dreams and fairyland, interweaves nature with human society and reproduces objective reality. The images in his works are not the direct reflection of objective reality, but the externalization of his inner subjective world, which is the truth of art.
One of the artistic techniques of romanticism in Li Bai's poems is to skillfully combine personification with metaphor, empathize with things and compare things with people.
Another romantic artistic technique in Li Bai's poems is to grasp a certain feature of things and boldly imagine and exaggerate on the basis of real life. His exaggeration is not only strange in imagination, but also always combined with concrete things, so natural and unobtrusive; So bold, true and credible, it has played a role in highlighting the image and strengthening feelings. Sometimes he combines bold exaggeration with sharp contrast to enhance the artistic effect by increasing artistic contrast.
Li Bai's best genre is seven-character poems and quatrains. Seven-character songs are long in length, large in capacity and free in form, which are suitable for expressing the poet's contradictory and complicated thoughts and expressing the poet's unrestrained talent, while Li Bai's seven-character songs adopt a structure of wide opening and wide closing and jumping. 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.
Li Bai's quatrains of five or seven words can better represent the fresh and lively style of his poems. For example, the beauty of "Early Making a White Emperor City" and "Farewell to Meng Haoran on the way to Yangzhou" lies in "only looking at the prospect and oral language, but there are overtones and foreign flavors, which make people stay away from it." (On)
The language of Li Bai's poetry, some fresh as spoken language, some bold, informal and close to prose, is unified in the natural beauty of "clear water produces hibiscus, natural carving" This is related to his conscious pursuit of natural beauty. He inherited Chen Ziang's literary thought and took it as his duty to restore the tradition of poetry and Sao. He once said, "Since Liang Chen, Yan Bo has been extremely thin, and Shen Xiuwen still pays attention to temperament and must go back to the ancients, not me but who?" (Bai Meng's "Gao Yi") He advocates "halal" and satirizes the ugly girl who is "naive" and learns from Handan. The natural beauty of his poetic language is the result of his careful study of folk songs and his understanding of popular characteristics, which is clear as words, popular and vivid.
Li Bai's poetic style 4 Li Bai (70 1-762), Han nationality, Taibai, Jiangyou, Sichuan, was a great romantic poet in the Tang Dynasty. His poetic style is bold and elegant, with rich imagination, fluent and natural language and harmonious temperament. He is good at absorbing nutrients from folk songs and myths, forming his unique magnificent and gorgeous colors, which is the new peak of active romantic poetry since Qu Yuan. He and Du Fu, a great romantic poet in Tang Dynasty, are also called "Da Du Li" and "Poet Fairy".
Li Bai's ancestral home is in Longxi (now Ji Cheng Township, Jingning County, Gansu Province) Ji Cheng. At the end of Sui Dynasty, he moved to Broken Leaf City in Central Asia (now near tokmak in northern Kyrgyzstan), where Li Bai was born. At the age of five, his family moved to Zhangming County, Mianzhou (now Jiangyou, Sichuan). At the age of twenty, he left Sichuan alone and began to wander widely, reaching Xiangjiang River in Dongting in the south and wuyue in the east, and living in Anlu (now Anlu City, Hubei Province). He traveled around, hoping to make friends and pay homage to celebrities, so as to get an introduction, climb high in one fell swoop and realize his political ideals and ambitions. However, after ten years of wandering, I have accomplished nothing. Continue to go north to Taiyuan and Chang 'an, east to Qi and Lu, and live in Rencheng, Shandong (now Jining, Shandong). At this time, he has made many celebrities and created a lot of excellent poems, which are famous all over the world. In the early years of Tianbao, on the recommendation of Taoist Wu Renyun, Emperor Xuanzong of the Tang Dynasty called him to Beijing and ordered him to worship the Hanlin. Soon, due to the remorse of the dignitaries, he was driven out of Beijing in Tianbao 34 (AD 744 or 745). Since then, he has been wandering around the Jianghuai area, and his thoughts are extremely boring.
In the winter of the 14th year of Tianbao (AD 755), An Lushan rebelled. At this time, he lived in seclusion in Lushan Mountain, which coincided with the great army of Wang Yong and invited Li Bai down the mountain to enter the shogunate. Later, Li Lin rebelled against Su Zong and was eliminated. Li Bai was implicated and sentenced to exile in Yelang (now Guizhou Province). He was pardoned and released halfway from Xunyang to Xuancheng (now Xuancheng, Anhui). In the first year of Baoying (AD 762), Daizong died in dangtu county, Anhui.
Li Bai lived in the prosperous Tang Dynasty. He had the progressive ideal of "helping the poor" and "settling down in peace", and he struggled to realize this ideal all his life. A large number of his poems not only reflected the prosperity of that era, but also exposed and criticized the debauchery and corruption of the ruling group, showing the positive spirit of despising the powerful, resisting the traditional bondage and pursuing freedom and ideals. In art, his poems are novel in imagination, strong in emotion, magnificent in artistic conception and fresh and lively in language, forming a bold artistic style and reaching the peak of positive romantic poetry in ancient China. There are more than 900 poems, including Li Taibai's poems.
His poems are rich in imagination, unique in conception, magnificent and bold in style, and he is a representative figure of romantic poetry in the prosperous Tang Dynasty.
1 Qiu Puge (Part 15) Li Bai
White hair three thousands of feet,
Fate is like a long sorrow.
I don't know. In the mirror,
Where did you get the autumn frost!
Theme: The poet reveals his deep sadness with romantic artistic techniques.
2 "Looking at Tianmen Mountain" Li Bai
Tianmen interrupted the opening of the Chu River,
Higashi Shimizu flow by this time.
Green hills on both sides of the strait are opposite.
Lonely sails come from the sun.
Theme: Reproduce the majestic momentum of the Yangtze River and express the poet's extraordinary personality.
3 "The Yellow Crane Tower Farewell Meng Haoran on the way to Yangzhou" Li Bai
The ancients said that the West Yellow Crane Tower,
Fireworks fell in Yangzhou in March.
Lonely sails, distant shadows, blue sky,
I only saw the Yangtze River flowing in the sky.
Li Bai's Poetic Song Style 5 Among many poets in the Tang Dynasty, Li Bai is the only romantic poet who is known as chivalrous, courageous, immortal and Taoist. Li Bai's legendary life and bold and elegant poetic style really left a deep impression on people, so that when we talk about Li Bai, we can imagine a poet floating in the air.
So far, no matter Li Bai written by researchers or Li Bai living in the hearts of ordinary people, that's all. In fact, since he called Li Bai an immortal, Li Bai's image has been stereotyped. This stereotyped image of historical figures adds to the legend of Li Bai and makes later poets yearn for it. However, this stereotyped image of poetic immortals has also caused the distance between people and Li Bai, which is close to the distance between admirers and idols. It has also caused an unattainable gap between watching flowers in the fog and watching the moon in the clouds, which restricts us from following the poet's externalized ideological and emotional trajectory-poetry, and entering the hall of Li Bai's mind.
In fact, Li Bai's character is free and easy, pursuing freedom, persistent and deep. The sadness in his emotions is accompanied by the joy that goes hand in hand. The contradiction between the poet and society and the poet's own personality makes some seemingly happy, elegant and free-and-easy poems of Li Bai mixed with disappointment, anxiety and loneliness. Whether it is a sigh of hope for the world, a hope for birth, or even a criticism of reality, it often contains this mentality. Some people think that Li Bai's poems are full of sadness and have a deep sense of sadness. This understanding reveals the personality characteristics and mentality revealed in Li Bai's poems from a deeper level.
Reading Li Bai's poems, I often feel bold, optimistic and free and easy, and appreciate a kind of loneliness and sadness of being alone, wandering and looking around. Li Bai's poems sometimes seem optimistic and free and easy, but in fact, in the poet's natural and unrestrained smile, there is a lonely and painful mentality under the wandering Zi Xia fairy dress.
Loneliness accompanied Li Bai's life until his death. Li Bai's Song of Near Lu;
"Peng Fei xi strike eight, zhongtian xi. The rest of the wind always excites me. I swim to Fusang and hang left. Later generations spread this, who will cry when Zhong Ni dies? "
Obviously, this romantic poet, who was proud of his blue sky and soared in Wan Li, left the world he loved with lifelong loneliness and regret, hatred and persistence.
Li Bai's loneliness is mainly manifested in three aspects:
(1) Unfortunate talents and untimely birth are the common tone of Li Bai's poems, accompanied by a sense of political abandonment and no place to return. When Li Bai was young, he had a strong desire for fame and fortune, and he was "conceited for worldly affairs." This strong concept of charity obviously comes from the Confucian idea of governing the country and calming the world. However, Li Bai is not an ordinary scholar. As a romantic poet, his chivalrous character and unique temperament, that is, his rich imagination and whimsy divorced from reality, came from the Confucian thought of helping others, and melted into the catalyst of the poet's own subjective spirit, which naturally expanded into arrogance, conceit and easy fame. However, Li Bai's arrogance and conceit are often inconsistent with reality, which makes the poet feel helpless about his political future.
(2) If the sense of political abandonment and loneliness without a sense of refuge are caused by the conflict between the poet's ideal, the poet's personality and the environment. Then, Li Bai's loneliness can only be said to come from the poet's subject and personality itself. This is the loneliness that the poet is aloof, arrogant and unwilling to walk with the world. Let's call it loneliness of self-exile. The loneliness of self-exile can especially show the strength and brilliance of the poet's character. Li Bai has a very strong sense of self. His chivalrous and romantic character, coupled with his natural talent and good education, often makes him feel pretentious and superior. Searching for a bosom friend embodies Li Bai's strong desire for the world. The sigh of bosom friend's peace of mind also reflects the unique loneliness in this world, and of course reveals the pride of Chun Xue.
(3) In some of Li Bai's poems, there is also a sadness of crossing the world. "The living are passers-by, and the dead are returnees. Heaven and earth go against each other, sharing the same sorrow and dust. " It is precisely because the poet is aware of the irreversible natural laws of life and the universe that he can realize this desolate loneliness consciousness in this strong contrast between finite and infinite, death and eternity.
Although Li Bai is a poet, he is not always elegant. In his mind, there is often a sense of loneliness that cannot be dispatched. This sense of loneliness directly influenced his poems and brought him a sense of loftiness and sadness. Although the style of Li Bai's poems is bold and unrestrained, the sense of loftiness and sadness brought by loneliness makes quite a few of his works have the style characteristics of seeing loneliness in luxury and sadness in luxury.