Li Bai was born in the prosperous Tang Dynasty and traveled all over China all his life. Li Bai doesn't want to be an official, but this poem is well known. At that time, this poem was already famous all over the world. He once wrote a book with Han Jingzhou, a famous contemporary figure, but there was no reply from Han Jingzhou to Li Bai in history. Until the first year of Tianbao (742), due to the recommendation of Taoist wujun, he was called to worship the Hanlin in Chang 'an, and the style of the article was world-famous. Du Fu's Eight Immortals of Drinking. The son of heaven called instead of boarding the boat, claiming that he was Brewmaster. "Strange sentences. Under the complicated historical background of the feudal dynasty at that time, Li Bai was appreciated by Xuanzong for his talent. Later, after only three years in Beijing, he gave up his official position and continued his wandering life. In the second year after the Anshi Rebellion, he was angry and difficult, and once joined Li Lin, the shogunate of Wang Yong. Unfortunately, Wang Yong and Su Zong competed for the throne. After the defeat, Li Bai was dragged into exile in Yelang (now Guizhou) and was pardoned on the way. Wandering southeast in his later years, dangtu county made Li die soon. He said he was drunk, fished for the moon in the water and died.
The most essential part of Bai Juyi's poetry creation is satirical poems, including 50 masterpieces such as New Yuefu and 10 Qin Zhongyin. These poems widely reflect the major issues in all aspects of social life in the mid-Tang Dynasty, focusing on the darkness of reality and people's suffering, such as Watching the Wheat Harvest, Rehmannia glutinosa Picking, Heavy Fu, Ling Du Wrong and so on. "Ziwei Geshan North Village" and "Selling Charcoal Weng" describe the arrogance of eunuchs and the suffering brought by the court market to the people; Light and fat, singing and dancing, red carpet, Zhuge, etc. Expose the luxury of the rich and noble; Xinfeng Brokeback Weng, Bin Rongman, Cheng Yanzhou, Xi Liangci, etc. Reflect the border defense problem and the disaster brought to the people by the war. Loosening the sword, winning the world, leaving sadly, remaining, etc. Angry at the suppression of talents under the restriction of family status; Silver Bottle at the Bottom of the Well, Marriage Proposal, Mother's Farewell and Shang Yang's White-Haired Man accuse women of their tragic fate under the bondage of ethics. "Bad Friends", "Harmony Pheasant" and "The Way of Heaven is Measurable" attack the declining world and show weak human feelings; Long Sea and Dream Fairy satirize the falsehood and ignorance of superstitious immortals. These works are called hard work and directness. On the basis of widely reflecting the reality, the poet criticized unreasonable phenomena, such as "taking away my warmth and buying my immediate favor" ("Heavy Fu"); "I don't know if cold people want to be warm, so I take other people's clothes and make less lichens" (Red Carpet); "If you abuse people and hurt things, it is a wolf. Why do you have to grab your teeth and eat human flesh? " ("Du Lingcuo") sharp wording, no scruples, broke through the Confucian "gentle and honest" poetry teaching frame. This is very prominent in ancient poems criticizing current politics.
In the form of expression, satirical poems mostly adopt the method of direct assignment. Sell charcoal Weng, Xinfeng Brokeback Weng, Binrongman, silver bottle at the bottom of the well, etc. , has a complete narrative and vivid plot, vividly depicts human feelings and things, and has made positive contributions to the development of Chinese narrative poetry tradition. The other part of satirical poetry uses allegorical excuses and relies on natural images to express the author's political feelings. For example, "Black Dragon" wrote that every family killed pigs to sacrifice to the Dragon King, and all the wine and meat were actually fed to the fox, but the Dragon King, who lived in the ninth place, knew nothing about it, vividly depicting the situation that saturated people were exploited by the corruption of the emperor's eyes, ears and officials. On the other hand, Painting on the Sea created a scene of "Wan Li has no living scales and all rivers flow backwards" by making waves at sea, which gave a true portrayal of the political situation of the separatist regime and the joint rebellion against the Tang Dynasty. There are also anthropomorphic animals and plants such as cranes, birds, pines and bamboos, which are used to express various characters and their relationships in social life. For example, the twelfth chapter of Birds and Insects written in his later years belongs to this kind of fable poem. Whether it is direct homework or fable stories, they are generally profound, typical, focused in theme, vivid in image and clear in language. Some new Yuefu also adopted the sentence pattern of "three, three, seven", which showed that the poet borrowed from folk popular literature and art.
Bai Juyi's leisure poems are mostly used to express his leisure, his yearning for seclusion and quiet life and his interest in a clean and honest life. Many chapters also promote the negative thought of contentment. However, there are also some striking aphorisms, such as "The guest is difficult, especially the minister", "I am straight and express, but if I encounter something strange, it is not my ambition" (the second service) "The situation is too rigid to share the dust with the world. Not only is it not expensive, but it is also afraid of disaster "("self-writing straight "). It still reflects his dissatisfaction with the real society from the side, indicating that his pursuit of leisure is only helpless self-liberation. There are also some excellent works describing natural scenery and pastoral scenery in leisure poems. Such as "Looking at the Crops" and "Three Songs Returning to the Fields", writing rural scenes is simple and fresh. "Poems on the Temple of Youwu Town 130 Rhyme" describes the five-day trip to the mountains in turn in the style of travel notes, which makes people feel immersive.
Bai Juyi's sentimental poems are about temporary feelings, but they often have deep sustenance. Among them, such as the famous narrative poems "Song of Eternal Sorrow" and "Pipa". Song of Eternal Sorrow tells the love story of Li Longji, Emperor Xuanzong of the Tang Dynasty, and Yang Yuhuan, the imperial concubine of the Tang Dynasty. It is sentimental, and it is a deep sustenance. The emperor of China longed for the beauty that might shake an empire to be written in poetry, which led to ignorance and misunderstanding of the country, with obvious irony; He even wrote, "The earth endures, and the sky endures; One day both will end, and this endless sadness will last forever, "expressing the author's sympathy." Tang Hong Chen said that Bai Juyi was "deeper than poetry, more than emotion", and the creation of Song of Eternal Sorrow "not only felt things, but also wanted to punish beautiful things, smothering chaos and hanging on the future" (Song of Eternal Sorrow). Pipa travel has a sense of urgency. These two long poems have twists and turns in narrative, delicate feelings, vivid descriptions, changeable atmosphere and harmonious rhythm, and have made great artistic achievements. "The boy can solve the song of eternal regret, and Hu Er can sing the pipa" (Li Chen, Emperor Xuanzong of the Tang Dynasty, hangs Bai Juyi), which just shows that these two poems are loved by the masses. Therefore, Zhao Yi, a Qing Dynasty man, pointed out that Bai Juyi "has no complete works, but his two poems are immortal" (Volume 4 of Ou Bei Shi Hua). Many sentimental poems have been rewarded by relatives and friends, such as Moonlit Night after Farewell to My Brother, Happy Su in Tianbao of the South of the Yangtze River, Painting Bamboo Songs, Praise for Silver after Drunk, etc. , are sincere. Most of this kind of poems lament the illness and mourn the death of the old man, such as "fear of old age turns to force, worry about illness", "crying in my heart, loving at dusk" (second consciousness) and so on; Tired of worldly troubles, he tried to get rid of them, claiming to "get rid of the wheel of life and death" and "wash away the dust of troubles forever" (ibid.), which was obviously branded with Buddhist thought.
Miscellaneous poems are the most numerous in Bai Juyi's poems. Among them, Farewell to Grassland, Spring Tour in Qiantang River, Farewell to West Lake, Mujiang Song, and A Suggestion for Friend Liu. It takes only a few strokes to draw a picture of a prosperous business, which has always been popular. And some long lines that tell the truth and compare sounds and rhymes, a glass of wine and a variety of small pieces of customs are also quite effective, but not enough.
The basic style of Bai Juyi's poems is simple, clear and popular. Plain is to write ordinary things with ordinary words, understand nature and let everyone appreciate it. The so-called "there is no trace of the weight of people, and there is no trace of the clothes of immortals" (Liu Yuxi's "Twenty-two Poems Sent by Hanlin Bai") is a high praise for this simple and natural poetic style. Simple realm is not easy to achieve. Liu Xizai's "Outline of Art" said: "Common sayings are easy, strange words are difficult, and this poem is also at the beginning. Strange words are easy, but common sayings are difficult, so this poem is also important. Xiangshan is often strange, and this situation is not easy. " Zhao Yi's Poems of Oubei also thinks that "Yuan and Bai are free and easy, and people say what they think", and points out that "those who are free and easy, touch the scene more, take care of the overall situation, have a bright future, are eloquent and can be refreshing and chewy". The plainness of white poetry is also related to the straightforward narration of the scene, which means that the pen follows and the writing is free. "Emotions lead to the end of the song, enter the liver and spleen, follow things, and are full of danger and vitality" (Wang Ruoxu's Su Shinan Dialect), which is very infectious. This simplicity is the result of refining. Zhao Yi added: "His pen is as fast as scissors and as sharp as a kundao, without any hidden meaning or slightly gloomy words;" Work hard and exercise clean. Seemingly simple, it's actually very pure. "In the Song Dynasty, there was a monk named Hui Hong who told the legend that Bai Juyi wrote poems to make the old woman understand. Although it is not necessarily true, it is a fact that his works use simple words and rarely use allusions and Archaic language, which is easy for readers to accept. He also likes to refine folk proverbs into poems to add poetic flavor. Tang Yingui quoted Yu Genglu as saying, "In the poem of Bai Taifu,' clothes dry in summer, and the tide gives birth to a boat', and Wuzhong took the rising tide as the boat movement and adopted it into the poem, which became a good sentence. Gong Yizheng's Notes on Tibetan Mustard also said: "In the poem, using the present, like a horse, is a little more cold-hearted, jealous of him, bullying me, hateful, not staying, winning, and being soft, all like heaven. "
The creative style of Bai Juyi's poems has been criticized by later generations. Some people say that he is "vulgar", "shallow" and even "strong anger" (Si Kongtu's Comments on Wang Jia's Poems). These criticisms show that some of Bai Juyi's works are dazzling, charming and vulgar in style; In his later years, he was "more contented and identical" (Wang Shizhen dialect was quoted in the Style of Poetry Origin), and "among them, the corrupt customs in the Tang Dynasty ranked sixth and seventh" (Ye Xie's Original Poetry). In art, he also has a considerable number of poems, the meaning is too detailed, the language is too explicit, lacking implicit charm and cadence. However, most of his successful works can be "shallow and profound, and the meaning is clear" (Xue Xue's "A Ladle of Poems"), which contains far-reaching ideological interest in a simple and compact form and effectively shows the important achievements of Bai poetry in popularization and popularization. Therefore, in the late Tang Dynasty, Zhang Wei called Bai Juyi "an educator in a broad sense" in the poet's subject-object diagram, which just illustrates this point. The profound content and simple style make Bai Juyi's works widely circulated in the society. When he was alive, the poem has been widely read. "There are no books on the wall of the forbidden temple, and the princes and concubines have no way. As for those who write about moles and sell them in the market, or use them to make wine and tea, they are everywhere (Preface to Evergreen Collection in Yuanshi County). The so-called "Yuanhe Style" that he sang with Yuan Zhen, "He dressed himself as a scholar, slandered slang and learned irony" (Biography of Yuan Zhen in the Old Tang Dynasty). Bai Juyi's fame spread far and wide overseas. At that time, a Korean businessman came to look for white poems and took them back and sold them to the prime minister. One of them is worth one hundred dollars. Hui E, a Japanese monk, also copied a white collection in nanzenji, Suzhou, and brought it back to China. Later, others copied it back one after another. There are three kinds of manuscripts in Japan so far, which are equivalent to Song and Yuan Dynasties and are regarded as national treasures.
Bai Juyi's poems have a great influence on later literature. Pi Rixiu, Nie, Lu Guimeng, Luo Yin and Du Xunhe in the late Tang Dynasty, Wang Yu □, Mei, Su Shi, Zhang Lei and Lu You in the Song Dynasty, and Wu and Huang Zunxian in the Qing Dynasty were all inspired by Bai Juyi's poetic style in different ways and to varying degrees. In addition, many playwrights in Yuan, Ming and Qing Dynasties wrote operas based on the stories of Bai Juyi's works. For example, Bai Pu's Rain evolved into Song of Eternal Sorrow, Hong's Palace of Eternal Life, Ma Zhiyuan's Shirt Tears evolved into Pipa, and Jiang Shiquan's Four-stringed Autumn. Many words in Bai poetry were also adopted in the scripts of Song, Yuan and Ming dynasties.
Besides poetry, Bai Juyi's articles are also very distinctive. Although he does not belong to Han Yu and Liu Zongyuan's literary group, he promoted the innovation of prose with his own creative practice. Seventy-five articles in his "Ce Lin" discuss world affairs and consciously follow Jia Yi's "public security policy". Some of these chapters, such as Deception, Honest Officials and Eliminating Thieves, are not only practical in content, but also profound in analysis, vivid in language and straightforward in words, which are excellent works in argumentative writing. The book for the Prime Minister and a series of political dramas are detailed and straightforward, which opened the precedent for Wang Anshi to write things in the Northern Song Dynasty. Yuan Jiu Shu is an important literary criticism document in Tang Dynasty. However, it is meaningful to write landscapes, such as Caotang Collection, Lengquan Pavilion Collection, Preface to Three Wandering Cave and Preface to Litchi Map, and it is also the style of writing Qu Zi Ci. His poems "Recalling Jiangnan", "Langtaosha", "Flowers Are Not Flowers" and "Sauvignon Blanc" opened the way for the development of literati ci.
The poem written by Bai Juyi is:
Buy flowers on the pond, forget the south of the Yangtze River, sell charcoal weng, Song of Eternal Sorrow, Ode to Mujiang, A suggestion for my friend Liu, Spring outing in Qiantang, Pipa, Three Micro-messages, White-haired Man in, Farewell to Ancient Grass, etc.
Li He (790 ~ 8 16), a poet in the Tang Dynasty, was called "Shi Gui" by the world. He was born in Yichang Valley in Luoyang, Henan Province. He lived in the Valley of the Mansion, so later generations called him Li Changgu and called him "Shi Gui".
Li He is a descendant of Li Liang, the imperial clan of the Tang Dynasty, but he is a distant relative, and his relationship with the royal family has become very distant. His father, Jin Su, has a low official position and his family is not rich. He is "thin, with eyebrows and long fingers and claws", and he can write poems when he was a child. At the age of 65,438+05,65,438+06, like his predecessor Li Yi, he was famous for his Yuefu poems. Li He wrote the famous poem Gao Xuanguo. His father's name is Jin Su, and "Jin" and "Jin" are homonyms. The man contending with Li He said that he wanted to avoid his father's taboo to mention Jinshi. Han Yu's "taboo discrimination" encouraged Li He to take the exam, but he was helpless. "When the fan is off, knowledge and strength will be sloppy." After returning to Changgu, he went to Luzhou (now Changzhi, Shanxi) and lived in Zhang Che for a period of time. He was sickly all his life and died at the age of 27. Due to the frustration of his official career, Li He devoted all his energy to poetry creation, which was full of deep depression.
Li He (4 photos)
During my stay in Beijing, I lived in Chongyili and became close friends with Wang Shenyuan, Yang Jingzhi, Quan Kun and Cui Zhi. Often travel together, a little slave rides a donkey with a broken bag on his back. Li He has a poem, which he wrote in his pocket and finished when he got home. Mrs. Zheng's mother often said, "If you want to express your heart, it's your own." Before she died, she divided it into four parts. It is also said that his mother dreamed of Li He one night and said that he was writing notes about Bai Yao Palace for Heaven Emperor (Li Hechuan by Li Shangyin and Xuanshi Ji by Zhang Du). During Zhao Zong's reign, Wei Zhuang posthumously awarded Li He Jinshi and gave him a post to fill the vacancy. However, due to an incident in court, the performance was put on hold. Li He once edited his anthology. There is a book of poems by Li He. His life.
Li He is a romantic poet in the middle Tang Dynasty and a representative of the transition period from the middle Tang Dynasty to the late Tang Dynasty. Most of his poems lament the untimely birth, feel depressed and express the pursuit of ideals and ambitions. At that time, the regime of the buffer region, the eunuch's authoritarian power and the cruel exploitation suffered by the people were all reflected. He likes to gallop in fairy tales and ghost fields, and with his bold and peculiar imagination, he builds a ups and downs artistic realm and expresses his sad feelings that his good times are not long and time is fleeting. He said in a general literature review: "The gentlemen of Song Dynasty are all in the museum.