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Gao Yun, a poet in the Ming Dynasty, once quoted three sentences to evaluate Li Bai's Shu Dao Nan, namely, "Beauty is in ups and downs", "Talent is presumptuous" and "language is strange". With these three sentences, we will interpret Shu Dao Nan from the following three aspects.

First of all, beauty lies in ups and downs

"Literature looks like looking at the mountains and doesn't like peace", so does poetry. In order to avoid the "straightforward narration" in writing poetry, it is necessary to pay attention to the ups and downs of poetry, thus arousing people's interest in reading. This kind of poetic ups and downs has also been fully demonstrated in Shu Dao Nan.

First of all, the poet tried his best to express the hardships of Shu Dao. "Forty-eight thousand years have passed, and there is no connection with Qin Saitong", "Tietian Stone Stack", "High above, as on a high flag, six dragons drive the sun, while the river below is flowing in a twisted way", "Even the yellow crane is difficult to climb at this height, and the ape wants to climb" ... "And one person keeps it, and ten thousand people can't force it" and so on, all of which confirm. This is the difficulty of rendering Shu Dao from a big perspective, and we can regard it as a "start".

Secondly, in the rendering of "it is difficult to get through the Shu Road and go to the sky", it conveys the delicate feelings of keeping friends and preventing them from going west. From "people who are in danger and come from afar, why do you want to come?" "Although the Silk City is delicious, I'd rather go home soon. Such travelling is harder than scaling the blue sky, squinting at the west for a long time, we saw the subtle spiritual world of this great poet. We can understand it as "V".

In this ups and downs, the poet's uninhibited personality and rich and delicate thoughts and feelings have been fully displayed. It is not unreasonable for the ancients to say that it is "wonderful in ups and downs".

Secondly, talents are unscrupulous.

The so-called "unfettered thinking" means to open your mind when writing poetry. For a romantic master like Li Bai, this is natural. In order to highlight the "difficulty" of Shu Dao, the poet first wrote the "height" and "danger" of Shu Dao from the overall impression of "such travelling is harder than scaling the blue sky is in danger"; Secondly, write the "difficulty" of Shu Dao from the perspective of its opening history, that is, time; Once again, from the perspective of space, that is, the sinister terrain, write the "difficulty" of Shu Dao. In addition to directly describing the "difficulty" of Shu Dao, the poet did not forget to use "sad bird" and "Zigui crow" to contrast the "difficulty" of Shu Dao. The "difficulty" of Shu Dao is not only the strange terrain, but also man-made turmoil, such as "What if he is not loyal, but to his companion's wolf?" Get ready with their teeth and fangs and kill like hemp. These artificial turbulence factors also reflect the "difficulty" of Shu Dao to some extent.

Sometimes from the overall impression, sometimes from the time point of view, sometimes from the space point of view; There are both direct descriptions and side comparisons; The natural environment and man-made turmoil are intertwined ... the poet's talent is as free as a horse. The ancients commented that it was "just a wild mind", which may be the reason!

Third, the language is unfamiliar.

The so-called "strangeness" refers to writing everywhere when people don't expect it. The whole poem is to express the intention of keeping friends, but at the beginning of the poem, there is such a sentence: "Hey, hey, the danger is high!" " It is difficult to go to the sky! "This is quite unexpected. For friends who are about to go west to Sichuan, this beginning undoubtedly has the warning function of "taking a warning". This is one of the "strange words".

Is it time to write the "difficulty" of Shu Dao next? However, the poet was not in a hurry. He had to beat around the bush to tell the story of "Silkworm Leaving" and "Fish Fu" and the legendary story of "Wuding Kaishan" to prove the long-term closure of Shu and the difficulty of opening the road to Shu. This kind of writing is also quite unexpected. This is the second singularity of the second rise of singularity.

When creating the atmosphere of "fear of Taoism" in Shu Dao, the poet invited "sad birds" and "Zigui" to help him, and tried to render the "difficulty" of Shu Dao with their numbers, cries and worries. This kind of writing is also quite unexpected. This is the third singularity of the second rise of language.