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Li Bai (70 1 ~ 762) was a poet in the Tang Dynasty. The word is too white, and the number is purple. Mian Governor Long (now Jiangyou, Sichuan) (see the color map of Longxi Hospital, the hometown of Li Bai, Jiangyou, Sichuan). His father Li Ke's life story is unknown. When Li Bai was young, his family was rich and generous. Some modern Li Bai researchers speculated that his father Li Ke made a fortune by doing business in the Western Regions, but this was not confirmed.

In his youth, Li Bai studied in a wide range. In addition to Confucian classics and ancient literary and historical masterpieces, he also browsed hundreds of books and became a "swordsman" (with Jingzhou Book in Han Dynasty). He believed in Taoism, which was popular at that time, and liked to live in seclusion in the mountains and seek immortality to learn Taoism. At the same time, he has the political ambition to make contributions, claiming to "learn from Yan Guan's words, seek the skills of emperors, and strive for the wisdom of emperors". Willing to assist him to enlarge the atlas area and clarify Haixian ("Dai Shoushan answers Meng Shaofu's command"). On the one hand, it is necessary to be a hermit immortal beyond the secular world, on the other hand, it is necessary to be an assistant to the monarch, which has formed the contradiction between being born and entering the WTO. However, actively joining the WTO and worrying about the country and the people are the mainstream of his life thoughts and the ideological basis for the progress of his works. Li Bai's poems written in Shu during his youth have not been handed down from generation to generation, but articles such as Dai Tian's Visit to Taoist Temple and Emei Mountain's Moon Song show outstanding talents.

Li Bai traveled in eastern Sichuan when he was about twenty-five or twenty-six. In the following ten years, he roamed many places in the middle and lower reaches of the Yangtze River and Yellow River, and married the granddaughter of then prime minister Xu in Anlu (now Hubei), so he lived in Anlu for a long time. Later, he moved the capital to become a city (now Jining, Shandong). Li Bai didn't want to take the imperial examination and get an official position like ordinary scholars at that time. Instead, he tried to cultivate his reputation and gain the appreciation of the emperor by living in seclusion in the mountains and making extensive friends, which was not customary. In the eighteenth year of Kaiyuan (around 730), he once arrived in Chang 'an to strive for a political outlet, but he returned in frustration. In the first year of Tianbao (742), due to the recommendation of Princess Yu Zhen, Xuanzong was called to worship the Hanlin in Chang 'an as a minister of civil affairs and participated in the drafting of documents. At first, Li Bai was emotional and wanted to do something, but in the last years of Xuanzong, politics became increasingly corrupt and dark, and Li took power, gradually forming a decadent ruling group in the court, and talented people were repeatedly rejected and persecuted. Frankly speaking, a white man can't flatter the dark forces, so he was slandered. After staying in Chang 'an for less than two years, he was forced to resign and leave Beijing. During this period, Li Bai's poetry and song creation tends to be mature, and his representative works include Long Gan Xing, Hengjiang Ci, Wuqi Qu, Difficult Road to Shu, Midnight, Antique, Car Flying Dust, Difficult Travel, and Poem of Liang Yuan, etc.

Li Bai was frustrated and depressed in Chang 'an. 1 1 years later, he continued to wander in the middle and lower reaches of the Yellow River and the Yangtze River, "wandering around the world, adapting himself to poetry and wine" (Liu Hanlin in Tang Dynasty). He still cares about state affairs and hopes to be re-appointed by the court. In the third year of Tianbao, Li Bai met Du Fu in Luoyang, became friends, and traveled to some places in Henan and Shandong together to explore the road to victory, becoming close to each other, which became a much-told story in the history of China literature. The next year, they broke up and never met again, but they both wrote sentimental poems about their memories. In the fourteenth year of Tianbao, the Anshi Rebellion broke out, and Li Bai lived in seclusion in Xuancheng (now Anhui) and Lushan Mountain. At that time, Xuanzong appointed his sixteenth son, Li, as our ambassadors for Shannan East Road, Lingnan Road, Qianzhong Road and Jiangnan West Road, and served as the viceroy of Jiangling, responsible for defending and managing the central region of the Yangtze River. With the desire to eliminate rebellion and restore national unity, Li Bai took part in the work of Wang Yong shogunate led by Jiangling Dong. Unexpectedly, Li did not listen to Su Zong's orders and wanted to seize the opportunity to expand his power. As a result, he was wiped out by the sectarian soldiers of the Soviet Union. Li Bai was also convicted and imprisoned in Xunyang (now Jiujiang, Jiangxi) and soon exiled Yelang (now Tongzi, Guizhou). Fortunately, I met an Amnesty on the way and was able to return to the East. I was 59 years old then. Living in Jiangnan area in his later years. At the age of 6 1, I heard that Qiu Li Guangbi led an army out of the city to attack the Anshi rebels and went north to join the army to kill the enemy. He turned back halfway due to illness. The following year, he died in the apartment of his uncle Dangtu (now Anhui) county magistrate Li. The representative works of this period before the Anshi Rebellion include Climbing Mount Tianmu in a Dream, The Battle of the South of the City, Twelve Nights of Answering the King, Antique, Feathering into a Meteor, Entering Wine, Popular in the North, Farewell, and Farewell School Shu Yun in Xuanzhou Inclined Building. Literary creation Li Bai's poems have been lost a lot, and there are still more than 900 poems with rich contents.

Li Bai cared about national affairs all his life, hoping to make contributions to the country, but he was not satisfied with the dark reality. His 59 antiques are representative works in this field. The dark corruption in Tang Xuanzong's later politics was widely exposed and criticized, which reflected the grief and indignation of talents who had nowhere to go. Among them, the first song begins with a clear meaning, inherits the traditional responsibility of elegance in the Book of Songs, and clearly shows the creative spirit of caring for reality. Articles such as Farewell and Twelve Nights Answering the King show his worries about the endangered power and the fate of the nation. During the Anshi Rebellion, he participated in the Li □ shogunate, attempted to kill the enemy to serve the country and recover the two capitals, "vowed to kill whales to clarify Luoyang water" ("Gift"), "The south wind swept away Hu and went west to Chang 'an to go to Japan" (Song Shi Dong Xun, Volume 11). This strong patriotic feeling not fade away. After he came back from exile, he was still "sighing in the middle of the night, often worrying about big countries" because of the Anshi rebellion ("after the chaos, Tian En Liu Yelang recalled old books and gave Jiang a good slaughter"). In Song of Dying, he felt very sorry that his political ambition could not be realized, and compared himself to a Dapeng bird. For his works, Li called it "many words satirizing xing" (preface to the collection of thatched cottage) and "holding high the spirit without losing the way of praising the wind" (preface to the collection of Zen Moon), all of which pointed out that his poems paid attention to state affairs and satirized the dark politics.

Li Bai is eager to make contributions and serve the country, but he does not envy wealth, but thinks that "what are bells and drums, treasures and treasures?" ("into the wine"). After making contributions, he will follow the example of Lu Zhonglian, a senior scholar in the Warring States period, and quit without respect. He can't flatter the powerful for the sake of wealth, but "when he goes out, he must make peace with his ministers, and when he runs away, he will overlook the old nest" ("Preface to Send Swallow Garden to Mr. Ziyang's Dining Hall in Suizhou for a winter night performance of Hidden Fairy Mountain"). He declared that "pines and cypresses are lonely and straight, but it is hard to be handsome" (the twelfth in Antique), and declared that "I am drunk and tired, and I despise princes" (Reminiscence of Time Past sent Jun Yuan to join the army). The decadent ruling group formed in the later period of Xuanzong was even more dismissive. In his poems, he compared Xuanzong to Yin (ancient style 5 1) and denounced the overbearing eunuch as a thief (ancient style 24). He sang: "Oh, how can I bow and scrape to those high-ranking officials whose sincere faces will never be seen!" " (Dream of Mount Tianmu) This kind of high-pitched singing, just like the legend that he was drunk and made Goliath take off his boots, won wide popularity and love. Su Shi once borrowed Xiahou Zhan's words from the Jin Dynasty and praised Li Bai for "being a friend in the play, treating the column like dirt, being a hero, and being in high spirits" ("Li Taibai Monuments Yin Ji"). The content of this thought is obviously influenced by Taoism, especially Zhuangzi. Zhuangzi called the greedy and cruel ruler a thief and regarded the powerful as a rotten mouse. His thoughts obviously inherited Li Bai's poems. In Qing Dynasty, Gong Zizhen said that Li Bai's poems fused Qu Yuan and Zhuang Zhou into one furnace (Collected Records of Li Bai). Indeed, Li Bai loves the motherland like Qu Yuan, hates the dark forces, cares about politics actively, and despises the powerful like Zhuang Zhou.

Many of Li Bai's poems show concern and sympathy for people's lives. This content is often combined with criticism of rulers. He hoped that the society would be stable and the people could live a peaceful and peaceful life, so he sharply attacked the unjust war that destroyed people's lives and destroyed their peaceful life. In "Antique" and "Feather Like a Meteor", he accused Yang of waging a militaristic war against Nanzhao, which made a large number of soldiers sacrifice needlessly. Finally, the psalm hopes that those in power will follow Yu Shun's example and give up Wu Xiuwen, thus bringing about a peaceful situation. During the Anshi Rebellion, he angrily denounced the Anshi rebel generals for killing the people as jackals with crested hair ("Lotus Mountain in the West" in Bo Gu), and asked: "What is the crime of making a mountain with white bones?" Some of his Yuefu poems inherited the tradition of the ancient Yuefu in the Han, Wei and Six Dynasties, paying attention to reflecting women's lives and their sufferings. Among them, thinking about women and remembering people are the main ones, and also writing about the grievances of businessmen, abandoned wives and maids. His "Searching under the Five Mountains", "Song of the Tiger Ding Du" and "Song of Autumn Pu" describe the lives of farmers, boatmen and miners respectively, showing concern for the working people.

Li Bai called himself "according to the unchanging habit of my life" ("Lushan Song, Yushi Lu Xuzhou") and wrote many poems describing natural scenery. He loves and praises mountains and rivers. In his works, Wan Li's roaring Yellow River, the Yangtze River with white waves like mountains, the Shu Road with "a hundred steps, nine turns between its hills" and Lushan Mountain's "returning to the cliff" are all magnificent. His poems "It's difficult to ascend to heaven through the Shu Road", "The water of the Yellow River can't be moved out of the sky, into the ocean and never return" (Into the wine) and "Doubt that the Milky Way has fallen for nine days" (Looking at Lushan Waterfall) are all famous sentences that have been passed down through the ages. This kind of poetry, just like some of his works praising Dapeng birds, shows his lofty aspirations and broad mind, and reflects his desire to pursue extraordinary things from the side. Other poems, such as Xie □ Qiubei Building, Jingting Mountain Sitting Alone, Qingxi Journey, are good at depicting beautiful scenery, fresh and meaningful, and their styles are close to those of Wang Wei and Meng Haoran.

Li Bai also has many poems about love and friendship, some of which are sincere and touching. He praised the warm and pure love of "knowing that no dust can seal our love" (Long March). His Yuefu poems often express euphemistic and profound love from the perspective of female inheritors. There are also some poems that give gifts and miss their wives, such as most chapters in Diqu and Twelve Farewells, which are deeply emotional. Li Bai donated a large number of works to his friends, including many excellent works. Some of these poems show a distinct political attitude, such as Song of Farewell and Twelve Nights of Answering a Cold by Wang, which are closely related to the ancient style. More often, it shows daily farewell and lovesickness, such as the Yellow Crane Tower seeing Meng Haoran off on his way to Yangzhou, and Du Fu at Dunmenmen. I heard that Wang Changling left Longbiao Kiln for this reason, reminiscing about the past and sending him to the county to join the army, and giving him gifts to Wang Lun. Deep feelings, vivid images and strong artistic appeal.

The content of Li Bai's poems also contains some feudal dross, among which more is the negative nihilism of promoting life as a dream, eating and drinking, and the religious superstition of seeking immortals to visit the Tao and alchemy. There are some chapters in 59 "Antique" that express this kind of ideological content. His poems, such as Xiangyang Song and Drunk in Spring, etc. There is a certain artistry, but it also shows a strong sense of oppression. Some of his poems about women and love are vulgar.

The main characteristics of Li Bai's poetic art are that he is good at expressing his warm thoughts and feelings by using exaggerated techniques, vivid metaphors, rich imagination, free and liberated genres and concise and beautiful language.

In Li Bai's poems, exaggerated and vivid metaphors are widely used. His poems "But since the water is still flowing, let's cut it with a sword and raise a glass to dispel our worries" ("Xuanzhou Xie Lou Farewell to the School Book Uncle Yun") and "White Hair Three thousands of feet, Sorrow Like a Beard" ("Song of Autumn Puge" Part XV) depict his deep worries after the failure of his political activities in Chang 'an, which are well-known sentences. For example, he wrote "Poetry is a gift from the north window, and a thousand words are not as good as a glass of water" ("Answering the Twelve Cold Nights of the King"), and he wrote that his talent was not satisfied; "I would like to cross the Yellow River, but the ice will choke on the ferry, and Taihang Mountain will be covered with snow" ("Difficult to Walk"), and my writing career is difficult; "Peach Blossom Pond is deeper than thousands of feet, not as good as Wang Lun" ("To Wang Lun"), and writing about the deep friendship between friends all impress readers with distinctive and prominent images. In his works, not only his thoughts and feelings are expressed, but also women, historical figures and even natural scenery are endowed with strong lyrical colors. In addition to the above-mentioned chanting of Shu Dao and the Yellow River, his poems such as Snowflakes in Yanshan Mountain are as big as seats, and pieces blow down the Xuanyuan Terrace (Popular in the North), and the wind from a thousand miles blows the battlements of Yumenguan (Guan Shanyue) all depict ordinary scenery in an exaggerated way, which sets off the melancholy of the characters in the poems. Such poems can be found everywhere in Li Bai's poems.

The imagination of Li Bai's poems is very rich and amazing. His strong wind blows my heart and hangs a fairy tree in the west (Golden Elephant sends Wei Baxi) and I miss the bright moon in my heart, and the wind blows the wild west (I heard that Wang Changling moved to Longbiaoyao to leave) all show his nostalgia for Chang 'an and his poetry friends with strange imagination. Yin He in "West Lotus Mountain" expressed their downfall in Chang 'an and the ravages of Anshi Rebellion on the Central Plains through fantasy respectively. Farewell from afar shows the hidden worries about the political situation in the later period of Tang Xuanzong through the wandering fantasy legend. They are vivid and meaningful. With the help of myths and legends, Shu Dao Nan and Meng Deng Tian Mu Shan have built a colorful and thrilling realm. For chapters such as Shu Dao Nan and Farewell, the predecessors rated them as "strange and strange" (Yin□ "He Ling Ji") and "varied and complicated" (Hu Yinglin's Poems), which just revealed the characteristics of rich imagination and changeable sentence patterns. The rich imagination of Li Bai's poems is particularly prominent in the long seven-character poems, which are obviously influenced by Qu Yuan.

In terms of genre, Li Bai is good at classical poems and quatrains with relatively free form, and doesn't like to write metrical poems. 59 pieces of Antique are his representative works of five dynasties. They inherited the tradition of Ruan Ji's love poems and Chen Ziang's sentimental poems, and widely expressed their dissatisfaction with dark politics, their feelings of making the best use of their talents and their negative thoughts of seclusion. It is more expressive and literary than Ruan and Chen's works, and it has the characteristics of "winning with talents and venting with feelings" (Hu Zhenheng's Li Shitong). He inherited the fine tradition of Yuefu folk songs in the Han, Wei and Six Dynasties, and paid attention to the sufferings of the lower classes and women, such as Ding Du Hugh, Zhang Yuxing and Midnight Wu Ge. His writing is concise and vivid, full of the poet's enthusiasm. His seven-character ancient poems (including Yuefu seven-character songs and general seven-character poems) are more creative. In addition to seven-character poems, seven-character ancient poems can also use miscellaneous sentences with uneven length, which is the most free in form and easy to express rich and complicated thoughts and feelings. Such as Farewell to Shu, It's hard to walk, it's hard to go to the sky, Going into wine, Ascending to Heaven in a Dream, Farewell to Uncle Yun in Xuanzhou Xielou, Song of Lu Jinshan's Suggestion and Lu Xuzhou, etc. The scenery is magnificent and colorful, while the lyrical feelings are unrestrained and fluctuating. From the literary origin, this kind of poetry is most influenced by Qu Yuan's works, and it is difficult for Bao Zhao to imitate it.

Li Bai is good at quatrains. His quatrains were improved on the basis of Yuefu folk songs in the Southern and Northern Dynasties, which made him more alert. "Thinking on a Quiet Night" and "Yu Jiefen" and other five wonders are implicit and meaningful. There are also excellent works, clear and concise language, harmonious and beautiful timbre, lyrical scenery and simple explanations. For example, See you Meng Haoran on the way to Yangzhou from the Yellow Crane Tower, Looking at Lushan Waterfall, Looking at Tianmen Mountain, Making a White Emperor City as early as possible, and Presenting Wang Lun. Are well-known masterpieces. The evaluation of the seven-character quatrains in the Tang Dynasty has always been that Li Bai and Wang Changling are best at blending scenes; Li Panlong is even known as "one person prospered in the Tang Dynasty for 300 years" (Preface to Selected Poems of Tang and Song Dynasties). Li Bai concentrated on the study of the Seven Laws, with only a dozen books and few excellent works. There are more than 70 five-rhythm poems, some of which are well written, such as Farewell to Friends at Jingmen Ferry, Farewell to Friends, and Xie □ North Building in Qiudeng Xuancheng. The neat rhythm and harmonious scene show that he can write metrical poems, but he just doesn't like to write more.

Li Bai is good at Yuefu poetry. He studied and became familiar with the ancient Yuefu poems of the Han, Wei and Six Dynasties. He once taught Wei Qumou, a young poet, Chronicle of Tang Poetry (Volume 48). There are four volumes of Yuefu poems in his collection of poems. Although he used old Yuefu poems, he was able to bring forth the new and write many excellent works, and his achievements were outstanding, which has always been affirmed. For example, Wang Shizhen in the Ming Dynasty said that "Taibai Ancient Yuefu is ethereal and dreamy, and talented people come forth in large numbers." Hu Zhenheng said, "Taibai is the deepest in Yuefu." There is nothing in the ancient title, either using the original meaning or turning over the original case to create new ideas. If the combination is divorced, the separation is actually consistent, and the song is full of imitation of ancient times. "("Tang Yin Gui Qian "Volume 9) Li Bai's achievements were the most outstanding when Tang people wrote poems with the theme of ancient Yuefu. Some of his poems and quatrains are full of Yuefu poems, although they don't use Yuefu themes.

Li Bai opposes the style of "carving insects and mourning innocence" (Article 35 of Ancient Style). The greatest feature of his poetic language can be said to be "clear water gives birth to hibiscus, which is logical" ("After the chaos, Tian En Liu Yelang recalled the past, gave Jiang the prefect, and slaughtered well"), which is clear and natural. Specifically, the language is straightforward and natural, the syllables are harmonious and smooth, natural and unpretentious, and it exudes the flavor of folk songs. This is mainly due to the study of Yuefu folk songs in Han, Wei and Six Dynasties. But he didn't just learn and imitate the language of folk songs, but improved it on the basis of learning to make it more concise, beautiful and meaningful. His seven-character ancient poems are not only pure and natural, but also bold and unconstrained in language. Du Fu's poem "Memories of Li Bai in Spring" praised Li Bai's poems as "fresh" and "elegant", which revealed the remarkable characteristics of his language style.

Li Bai's poems have a far-reaching influence on later generations. Han Yu and Li He in the Tang Dynasty, Ouyang Xiu, Su Shi and Lu You in the Song Dynasty, Gao Qi in the Ming Dynasty, Qu Dajun, Huang Jingren and Gong Zizhen in the Qing Dynasty all benefited from and were influenced by Li Bai's poems to varying degrees.

Li Bai also wrote several poems. There are 12 poems in Zunqian Collection and 7 poems in Hua 'an Miao Ci Selection. Among them, there are three songs in Qingpingdiao: Clouds Want Clothes, Flowers Want Capacity. The genre is actually a seven-character quatrain, which was sung with music at that time. Other long and short sentences handed down by Li Bai are not very credible. Among them, Bodhisattva Man's Smoke Forest, Memory of Qin E and Xiao Shengyan are the most famous, and Hua 'an Miao anthology is known as the "ancestor of hundreds of pronouns". However, these two words were not included in Li Taibai's collected works in Song Dynasty, but began to appear in the notes of Song people. Whether they are Li Bai's works is a considerable problem for future generations. Hu Yinglin and Hu Zhenheng in Ming Dynasty were suspected as false trusts by later generations. Many modern scholars don't believe Li Bai's works. One of the main reasons is that literati ci in the early Tang Dynasty is still in its infancy, and the literary system is relatively simple. However, these two poems have the characteristics of disyllabic, rhyming, concise language, meticulous description and mature art, but some scholars recorded the title of Bodhisattva Man according to Cui in the Collection of the Prosperous Tang Dynasty, and thought that these two poems were written by Li Bai. This question has not been settled.

There are more than 60 essays by Li Bai today. There are still many antithetical sentences, which have not got rid of the popular parallel prose fashion at that time. But the language is natural and fluent, which is similar to its poetic style. Among them, Hanshu Jingzhou and Preface to Peach Blossom Garden (Li's Spring Banquet Collection) were selected by later generations and widely read.

Neither this episode nor the proofreading edition of Li Bai's collected works compiled by the Tang Dynasty has been handed down. In the mid-Northern Song Dynasty, Song Min supplemented the old edition of Li Baiji and got nearly a thousand poems. Ceng Gong decided its order and marked the writing place under some poems. Later, it was revised, and 30 volumes of Collected Works of Li Taibai were published and engraved in Suzhou, which was called Su Ben in history. Later, there was a Shu version copied from Su Ben, which was the earliest extant Li Baiji. Originally collected by bibliophiles in the Qing Dynasty, it was copied by Miao Yue during the reign of Kangxi, called Miao Edition. The original Shu edition (about the last leaf of the Northern Song Dynasty and the early year of the Southern Song Dynasty) is now in the library of Jingjiatang, Japan and photocopied by the Institute of Humanities, Kyoto University, Japan.

The earliest annotation for Li Bai's Collection was Yang Qixian's Collection of Li Hanlin in the Southern Song Dynasty, with a total of 25 volumes and rich annotations. At the beginning of the Yuan Dynasty, Xiao deleted Yang's annotation and wrote 25 volumes of Collection, which was generally detailed, but it was still too complicated and had omissions. In the Ming Dynasty, Hu Zhenheng wrote Li Shitong (Volume 2 1), but he did not pay attention to the actual canon, occasionally expressed his own opinions, and refuted the mistakes of the old annotations. During the reign of Emperor Qianlong of Qing Dynasty, Wang Qi collected old notes, supplemented them and revised them, and compiled 36 volumes of Li Taibai's Collected Works, which were selected from Hong Fu and annotated in detail. The last six volumes 1 are chronologies, and the other five volumes are about the classification of Li Bai's life and works. In the Ming Dynasty, Zhu Jian wrote two volumes of Shi Li Bian Yi, citing more than 200 poems by Li Bai as forgeries, but most of them were based on speculation. Li Bai's works, such as cursive songs, songs in laughter, songs in sorrow, etc. It can be classified as a pseudo-author by later generations, but there are only about 20 articles. At the end of Qing Dynasty, Huang updated the old score and compiled a more detailed Chronicle of Li Taibai. Huang also compiled the Chronicle and carefully arranged it. Although it is not properly compiled, it is quite helpful to study Li Bai's poems in depth. Today, Qu Tuiyuan and Zhu Jincheng compiled Li Baiji's Collating Notes. Based on Yang Qi's old notes, he collected relevant poems, notes, textual research materials and research results since the Tang and Song Dynasties, supplemented by annotations, and made textual research on Miao. Taking Wang Qi's annotation as the base and referring to other books, it is the most detailed annotation in Li Baiji's annotation so far.

About learning Li Bai's works. From the May 4th Movement to the founding of New China, he wrote "Li Bai, a Taoist poet and his pain" and wrote "A Study of Li Bai". After the founding of New China, Zhan wrote Li Bai's Poems, Li Bai's Poems and Studies. In addition, there are many individual papers, some of which were selected as representative papers by Zhonghua Book Company, compiled into "Li Bai Research Essays" and published in the 1960s.