Common ground of Li Bai's and Su Dongpo's poems

Li Bai's best genre is seven-character poems and quatrains. Li Bai's seven-character song also adopts the structure of opening, closing, jumping and swinging. The beginning of a poem is often abrupt, like a sudden surge, while the middle image of the poem is abrupt, which often omits the transitional care and seems to have no trace to follow.

Taibai Style (created by Zhu Weijing) [7]

The end of the poem often 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 "Come to Baidicheng early", "Farewell to Meng Haoran on the way to Yangzhou" and "Thinking of a Quiet Night" lies in "only looking at the prospect and spoken language, but there are overtones and foreign flavors that keep people away." (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 in carving insects" 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.

word

There is no unanimous conclusion as to whether Li Bai created Ci, but there are about 20 works that have been handed down as Li Bai's Ci, such as Autumn Wind Ci, Zhi Zhu Ci and White Nose Knotting Socks. Is it true or not, and can it be classified into Ci [8]. As far as its pioneering significance and artistic achievements are concerned, "Li Bai's Ci" enjoys a high position in the history of Ci. This position is just like the position of ancient Greek mythology in western art. As an unattainable norm, Li Bai's ci has become an eternal idol in people's hearts. Li Bai has made great contributions to the formation of the text mode and the creation mode of ci.

In fact, since the Five Dynasties' Huajianji, all the anthologies and collections of Tang and Song Ci will not be forgotten in the concrete operation.

To remember Li Bai, at least one sentence should be mentioned in the preface and postscript; Other achievements As the first great poet in the history of literature, although he has only a few poems whose copyright is often questioned, no one has ever expressed any dissatisfaction or criticism to him. If the world's first poet is selected, Li Bai will undoubtedly be elected as the "King of Ci" by unanimous vote. [8]

calligraphy

Shangjietie is a cursive script with four words and four lines written by Li Bai, and it is also the only authentic calligraphy handed down from generation to generation. Paper, 28.5 cm long and 38. 1 cm wide. The cursive script has 5 lines and 25 words. Department "Taibai"

Li Bai's pillars on the balcony

"This word. Quoting the title of "Qinglian Han Yi" in the regular script of Emperor Li Hong, Emperor Gaozong of Qing Dynasty, the title of "Tang Li Taibai Shangjie" is engraved on the upper right of the text, and the title is Song Huizong Evonne Bojinshu.

content

There are thousands of things in the mountains. Unless you have an old pen, you can be strong or poor. [9]

18, superior book, Taibai.

After the paper, there are inscriptions by Yuan, Du Ben, Ouyang Xuan, Yuan, Qi Lu and Qing Qianlong. There are Zi Gu and Dong Zhai of Zhao in Song Dynasty, Chou He's book of Jia Sidao, Zhang Qian's private seal in Yuan Dynasty and Ouyang Xuan's seal in Ming Dynasty, as well as Xiang, He Qing Biao, An Qi, Qing Neifu and modern collection seal.

swordsmanship

Li Bai is not only brilliant in literary talent, but also brilliant in fencing. He is "fifteen good swordsmanship" and "swordsmanship self-study".

Li Bai's sword dance

Extraordinary achievements. Li Bai's poems, Pei Minzhi's swordsmanship and Zhang Xu's cursive script are collectively called "Three Musts" in the Tang Dynasty. Although Li Bai's swordsmanship was not included in the "Three Musts", his swordsmanship was second only to that of Pei Min, ranking second in the Tang Dynasty.

According to statistics, the word * * * appeared 107 times in Li Bai's Poems of the Whole Tang Dynasty, except for "Jiange" which appeared three times as a place name, "Sword Wall" which appeared 1 time, and "Sword" which appeared as a weapon 103 times. Sword with 1 time, Wu Gou with 1 time, Wu Hong with 1 time, Zhan Lu with 1 time, and Mo Xie with 1 time. In total, the * * * of Sword appeared 1 18 times (including Frost and Snow in Wu Gou, Sword in Idle Zhanlu, Sword Flower Hà Thu Out of the Box, My Wife's Evil Sword and My Family's Green Ping Sword were 1 time respectively). It can be seen how much Li Bai loves swords.

Taoism

Li Bai enjoys the moon

Since childhood, Li Bai often went to Daitian to talk to Taoist priests about Taoism. Later, he lived in seclusion with a hermit named Dong Yanzi in Minshan and studied hard. They keep many exotic birds and work as animal keepers in the mountains where they live. These beautiful and docile birds, accustomed to being kept, fly in for food every once in a while, as if they can understand human language. As soon as they scream, they fly down the steps from all directions, and they can even peck the food in people's hands without fear. This incident was passed down as an anecdote, and finally Mianzhou secretariat personally went up the mountain to watch birds eat. Seeing that they could direct the movement of birds, the secretariat decided that they had Taoism, so he wanted to recommend them to take the Taoist exam. However, both of them politely refused. Zhao Kun, a famous strategist at that time, was also Li Bai's teacher. He wrote ten volumes of long and short classics in the fourth year of Kaiyuan (7 16). Li Bai was only fifteen years old. Zhao Kun's strategic works, which studied the similarities and differences of the Six Classics, analyzed the situation in the world, emphasized the way of rise and fall, and managed chaos, aroused Li Bai's great interest. He is bent on making contributions in the future and likes to talk about the way of Wang Ba, which is also influenced by this book.

Su Shi

curie

Su Shi has made extraordinary achievements in the creation of ci. As far as the development of a style itself is concerned, the historical contribution of Su Ci has surpassed that of Su Wen and Su Shi. After Liu Yong, Su Shi carried out a comprehensive reform of ci style, and finally broke through the traditional pattern of "Ke Yan", improved the literary status of ci, changed ci from an accessory of music to an independent lyric style, and fundamentally changed the development direction of ci history.

The transformation of Su Shi's ci is based on his concept of ci and his creative idea of "being unique".

Ci has been regarded as "Tao" since the late Tang Dynasty and the Five Dynasties. Liu Yong devoted his life to the creation of ci, which promoted the development of ci style, but failed to improve the literary status of ci. This task needs Su Shi to complete. Su Shi first broke the concept that poetry is superior to ci in theory. He believes that poetry is homologous, and the word "is the seedling of poetry". Although there are external differences between poems and words, their artistic essence and expressive function should be the same. So he often compares poetry with poetry. Because he raised the word to the same position as the poem from the stylistic concept, it provided a theoretical basis for the word to move closer to the poetic style and realize the mutual exchange and infiltration between the word and the poem.

Portrait of Su Shi

In order to make the aesthetic taste of ci really keep pace with poetry, Su Shi also put forward the creative proposition that ci should be "one family". The theory of "being a family" here is put forward according to the different "lasting appeal" of Liu Yong's ci, and its connotation includes: pursuing magnificent style and broad artistic conception, ci should conform to people's quality, and ci should express its true temperament and unique life feelings like writing poems. Because only in this way can we "write like a man" in the creation of Ci (Answer to Zhang Wenqian's immortal book). Su Shi always pays equal attention to integrity in his articles, but he opposes conformity in literature, so he is not satisfied with Qin Guan's "learning Liu Qi's words" and lacks "integrity".

Expanding the expressive function of ci and opening up the realm of poetry is the main direction of Su Shi's ci style reform. He extended the traditional expression of women's gentleness to the expression of men's pride, and extended the traditional expression of love to the expression of temperament, so that words can fully express the author's temperament embrace and personality like poetry. Su Shi let ambitious people full of enterprising spirit, lofty ideals and passion into the world of ci, changed the original feminine artistic conception of ci, and set a precedent for new poets in the Southern Song Dynasty.

Su Like's poems and Su Shi's poems often express his thoughts on life. This rational thinking on the fate of life has enhanced the philosophical meaning of ci. Although Su Shi deeply felt that life was like a dream, he did not deny life because of it, but tried to pursue self-detachment, and always maintained a tenacious optimistic belief and a detached attitude towards life.

Su Ci fully shows the author's mental journey from positive to contradictory depression, striving to get rid of self-adaptation and constant pursuit, and his wild, romantic, affectionate and thoughtful personality temperament. After Liu Yong and Ouyang Xiu, Su Shi further made the lyric characters and creative subjects in his poems move from separation to unity.

Su Ci not only expanded the inner world, but also expanded the outer world. The life scenes expressed by literati ci in the late Tang Dynasty and the Five Dynasties are very narrow, mainly confined to the enclosed colorful buildings, embroidered households and pavilions and courtyards. After entering the Song Dynasty, Liu Yong began to extend his ci realm to natural spaces such as Duyi Town, Qianliguan River and Weicun Hill, while approaching the daily life environment of officialdom. Su Shi not only described the author's daily communication, leisure reading, farming, hunting, sightseeing and other life scenes, but also further demonstrated the magnificent scenery of nature.

Su Shi used his own creative practice to show that words are omnipresent and have no intention of entering it. Ci, like poetry, has the function of fully expressing social life and real life. Because Su Shi expanded the expressive function of Ci, enriched the emotional connotation of Ci, expanded the temporal and spatial scenes of Ci, improved the artistic taste of Ci, and introduced Ci into the literary hall in an upright manner, which made Ci rise from a "path" to a lyric style with the same status as poetry.

"Poetry as Ci" is Su Shi's main weapon to change the style of Ci. The so-called "taking poetry as a word" is to transplant the expression of poetry into words. The more successful expressions in Su Ci are useful.

With the title and word order, it is not only convenient to explain the writing time, place and source of words, but also enrich and deepen the aesthetic connotation of words. The extensive use of allusions in Ci also began with Su Shi. The use of allusions in ci is not only an alternative and centralized narrative way, but also a tortuous and profound lyric way. Su Ci used a lot of prefaces, postscripts and allusions, which enriched and developed the expressive techniques of Ci, and had a great influence on the development of Ci in later generations.

Su Shi's "Poetry as Ci" is essentially to break through the restriction and bondage of music on Ci, and make Ci become an independent lyric style from the accessory of music. Su Shi writes ci mainly for people to see, while Dont Ask For Help sings, so he pays attention to the freedom of expressing emotions, although he also abides by the rhythm of ci and is not bound by it. For this reason, Su Shi wrote his lyrics with great composure, even though he occasionally disagreed with the musical norms. It is the poems that make Su Ci show rich passion, rich imagination and changeable and colorful language style. Although most of Su Shi's existing 362 poems are still close to the traditional graceful and feminine style, there are also a considerable number of works that reflect the bold and unconstrained new style, such as the famous Mink Head (when is the bright moon)

Su Shi was a key figure in the change of ci style in Song Dynasty. Wang Zhuo's "Bi Ji Man Zhi" Volume 2 said: "Mr. Dongpo is not addicted to temperament, and occasionally writes songs. He points out that all the way up, the world will be new, and the eyes and ears will be new, which will make the author know and find new things." Strengthening the literariness of ci and weakening the dependence of ci on music are "all the way up" pointed out by Su Shi for later poets. Later poets and Xin poets further developed along this road. [ 19]

poetry

Su Shi's views on social reality and thoughts on life are undisguised in his literary works, among which poetry is the most hearty. In more than 2,700 Su poems, the theme of intervening in social reality and thinking about life is very prominent. Su Shi's attitude towards various unreasonable phenomena in social reality is "out of date", and he always regards criticizing reality as an important theme of his poems. What is more valuable is that Su Shi's criticism of society is not limited to the New Deal or the present. He criticized the long-standing abuses and bad habits in feudal society, and embodied a deeper critical consciousness.

Su Shi's life was ups and downs, and he traveled everywhere, and his life experience was extremely rich. He is good at summing up experience from life experience and seeing laws from objective things. In his eyes, ordinary life content and natural scenery contain profound truth, such as Xilin Wall Topic and Mianchi Nostalgia. In these poems, natural phenomena rise to philosophy, and the perception of life is also transformed into rational thinking. What is particularly commendable is that the philosophy in poetry is naturally expressed through vivid and distinctive artistic images, rather than through logical deduction or discussion and analysis. This kind of poem is both beautiful and interesting, worthy of the name. "I don't know the true face of Lushan Mountain" and "Snow Mud Red Claw" became a popular idiom as soon as they came out, which shows that Su Shi's reasonable poems are widely loved. There are many similar works in Su Shi's poems, such as the Sangha Pagoda in Sizhou, the rain on the lake after the Qing Dynasty, and the wind control in Cihu. Su Shi is very insightful, so he can find wonderful ideas everywhere.

Deep life thinking makes Su Shi hold a calm and broad-minded attitude towards ups and downs, which is fully reflected in Su Shi's poems. Su Shi's poems in adversity, of course, contain pain, resentment and depression, but Su Shi shows more contempt for suffering and transcendence of pain.

Su Shi has profound knowledge, mastered the artistic skills of poetry to the point of perfection, and has an amazing spirit of innovation in treating artistic norms. Moreover, the expressive force of Su Shi's poems is amazing, and there is almost no theme that Su Shi's poems can't contain.

The late Northern Song Dynasty, represented by Yuan You's poetry circle, was the heyday of Song poetry. The creation of Wang Anshi, Su Shi, Huang Tingjian and Chen Shidao pushed the art of Song poetry to the peak. The prominence and distinctiveness of Wang, Huang and Chen's poems in style and personality may be more striking than Su Shi's poems. But in terms of creative achievements, Su Shi is undoubtedly the first poet in the Northern Song Dynasty. Su Shi's poems are outstanding in the dimensions of wide subject matter, diverse forms and profound emotional connotation. More importantly, Su Shi has a strong artistic compatibility, and he did not push a certain style to the status of a statue in theory and creation. In this way, although Su Shi made great contributions in the process of creating a new look of Song poetry, he basically avoided the two main shortcomings of Song poetry, namely, sharpness and dullness. Therefore, Su Shi surpassed his contemporaries in overall achievement and became the most popular poet in the Song Dynasty. [ 19]

essay

Su Shi's literary thought pays equal attention to literature and Taoism. He praised Han Yu and Ouyang Xiu for their contributions to ancient Chinese prose from two aspects: literature and Taoism. However, Su Shi's views on literature and Taoism were very unique in the Northern Song Dynasty. First of all, Su Shi thinks that article art has independent value, such as "pure gold and beautiful jade". Article is not only a tool to carry Tao, but also an advanced form of human spiritual activities. Secondly, the "Tao" in Su Shi's mind is not limited to Confucianism, but refers to the law of things in general. Therefore, Su Shi advocates that articles should be as natural as the objective world, with a natural attitude. He advocated the diversity and vividness of artistic style, and opposed the unification of literary style, believing that it would make the literary world as barren as "yellow hair and white reed".

It is under the guidance of this unique literary thought that Su Shi's prose presents rich and colorful artistic characteristics. He absorbed artistic nutrition extensively from his previous works, the most important source of which was the heroic momentum of Mencius and strategists in the Warring States period, Zhuangzi's rich association and natural and unrestrained writing style. Su Shi is really expressive, and there is almost nothing objective or inner feelings that his works can't express. Su Wen's style changes freely with different objects and is as natural and smooth as running water. Han Yu's ancient prose relies on eloquence, layout and momentum to achieve the same goal, while Su Wen relies on a contented and thoughtful way. Su Wen is full of energy, but his language is simple and natural, which is one of the characteristics that Wen Song is different from Tang Wen.

Preface and allusions.

Su Shi is good at writing argumentative essays. His historical essays written in his early years have a strong habit of strategists, sometimes pretending to be amazing and unreasonable. For example, On Jia Yi accused Jia Yi of not knowing how to make friends with ministers in order to win the trust of the court, and On Fan Zeng suggested that Fan Zeng should be the righteous emperor who killed Xiang Yu. But there are also many original opinions, such as "On Hou", which advocates that the old man was a hermit in Qin Dynasty, and humiliation is to cultivate his perseverance; On Wang Ping criticizes Zhou Pingwang's blunder in avoiding bandits and moving the capital, which is novel, profound and enlightening. These historical theories are good at randomness, amazing in writing, showing a high degree of argumentation skills, and became the model essays for scholars at that time, so they spread widely. Su Shi's political essays in his early years also had similar stylistic features, but with the deepening of his experience, the habits of strategists gradually weakened. For example, some memorials written by Yuan You are purposeful in content and calm in words, which are close to the styles of Jia Yi and Lu Zhi.

Although the historical and political theories show Su Shi's extraordinary talent, essays, letters, prefaces and postscripts can better reflect Su Shi's literary achievements. These articles are also good at renovation, but the form is more lively and the discussion is more vivid, often mixed with narration and lyricism. They strengthen logical persuasion with artistic appeal, so they are more beautiful than historical and political theories.

Su Shi's narrative notes wandering prose, narrative, lyricism and discussion are well combined.

Because Su Shi's composition is based on the principle of "what he says must be done", he should do what he should do, stop when he should, and say few words and sentences, which is most prominent in his notes and essays. For example, Night Tour in Chengtian Temple has only more than 80 words, but its artistic conception is detached and its charm is meaningful. It is a wonderful work in the Song Dynasty.

Su Shi and Si Liu also made great achievements in their ci and fu. His Ci and Fu inherited Ouyang Xiu's tradition, but it was more integrated with ancient prose and absorbed the lyrical meaning of poetry, which made Zhao You better than Lan, and created famous works such as Fu on the Red Wall and Fu on the Back Red Wall. Red Cliff Fu follows the traditional question-and-answer mode of subject and object, restrains the object, extends the subject, expresses its own philosophy of life, and describes the beautiful scenery of the Yangtze River on a moonlit night. It is a beautiful prose poem, which is full of prose and scenes.

Su Shi's flowing style is even reflected in forty-six. When he was in imperial academy, the composition of imperial edict was rich and magnificent, which was rare among Taige figures. After he was demoted, the expression he wrote was even more real and touching, which was a rare temperament work in CET-4 and CET-6.

Su Shi's prose was as famous as Ouyang Xiu in the Song Dynasty, but from the literary point of view, Su Wen is undoubtedly the most accomplished one in Song Wenzhong. [ 19]

achievements of art

calligraphy

Su Shi is good at writing running script and regular script, and he is also called "Song Sijia" with Huang Tingjian, Mi Fei and Cai Xiang. He studied with famous artists in Jin, Tang and Five Dynasties, and integrated the creative styles of Wang Sengqian, Xu Hao, Li Yong, Yan Zhenqing and Yang Ningshi into his family. He once claimed: "I can't create ideas in books" and "I am innovative and don't practice the ancients". Huang Tingjian called him: "In the early years, the pen was refined and not as natural as the boss." This shows that Su Shi's life is full of ups and downs, which led to the ups and downs of his calligraphy style. The existing works include Red Cliff Fu, Huangzhou Cold Food Poetry and Yellow River Sacrifice. [2 1]

draw

Su Shi is good at painting ink bamboo, and his paintings are as heavy as spirit. He advocated that painting should have feelings beyond painting, painting should have sustenance, and opposed similarity and procedural constraints. He advocated "the unity of poetry and painting, ingenious and fresh" and clearly put forward the concept of "literati painting", which laid a certain theoretical foundation for the future development of "literati painting". His works include Atlas of Ancient Trees and Strange Stones and Atlas of Xiaoxiang Bamboo Stones. [2 1]

Huangzhou Cold Food Poetry Postscript Huangzhou Cold Food Poetry Post [22]