Lee, right?

It's the difficulty in Sichuan, not the difficulty in Sichuan. ...

The third poem of Tang Mengbang's "A Poem of High Skill" says: "Li Taibai entered Beijing from Xishu, so he gave up his tour. He Jian knew Zhang's name. When he visited him for the first time, he was surprised at his appearance and invited him to write again. The publication of "Difficult Road" is to show it. " Haven't finished reading, there are four people sigh, the number is fairy fairy, dung beetles replaced by wine, drunk. According to this, we can see that the poem "Difficult Road to Shu" was written before the early years of Tianbao. Only "from West Shu to Beijing" is wrong. Li Bai Tianbao entered Beijing from Nanling in his early days. There have been different opinions about the meaning of this poem (refer to the notes of the Complete Works of Li Bai and the commentary part). One of the more credible ones is that because my friend is in Sichuan, I hope my friend will return as soon as possible. The poet did not experience Jiange Shudao personally, but with rich imagination and exaggerated methods, quoted historical stories, myths and legends, described the steep mountains and rivers of Shudao and lamented the difficulties of Shudao. The poetic style is magnificent, the syntax is vivid and changeable, and the rhyme and prose are used together. This is one of the representative works of Li Bai's romanticism.

Translation of works

Alas, how dangerous and noble! It's hard to compete in the Shu Road, and it's too far to climb the sky! Can Cong and Yufu, two emperors of ancient Shu, are so far away from the establishment of People's Republic of China (PRC). After that, about 48,000 years, Qin and Shu were separated by the Qinling Mountains and did not communicate with each other. Taibai Mountain in the west of Chang 'an is blocked, and only one bird has been climbing the majestic Emei Mountain. The five strong men were buried in a landslide, and then there was a ladder-shaped plank road connecting Qin and Shu. There is a mountain top that blocks the six dragon cars of the sun god, and a steep wave drains back to the tortuous Dachuan. The oriole, who is good at flying high, still can't fly. Even if the lynx wants to climb over, she is worried that she can't climb over. How does the winding Qingniling hover around the mountain, and the surrounding rocks turn nine times within a hundred steps. You can touch the stars of god and scenery, making people hold their heads and hold their breath, touching their chests and sighing.

Westbound prodigal son, when will it be returned? Dangerous mountains and bad waters, the terrible Shu Road is really difficult to climb! I only saw birds whining among the ancient trees, and male and female birds flying among the desolate mountains. What I heard on the moonlit night was the sad cry of the cuckoo, which made me sad. What a desolate empty mountain! It's difficult to get through the Shu road, but it's sad to climb high and look far. Listening to it will also make life sad and fade the rosy face of youth. The peaks are connected together, less than a foot from the sky; The withered old branches hung upside down and got stuck between the cliffs. Swirls and waterfalls scramble to make noise; Water and stones collide and rotate, just like a thousand valleys are thundering. Wow, Shu Dao is so difficult; Alas, how did you come all the way to make a guest appearance in this place?

The land of Jiange is towering into the sky. As long as one person is guarding it, it is difficult to capture a thousand troops. If the accredited official is not a close relative of the royal family; Being a jackal is inevitable, and this is not rebellion. In the morning, you should avoid the tiger in fear; Be alert to the disaster of the long snake at night. Jackals, tigers and leopards have prepared their teeth and fangs, which is really disturbing; Poisonous snakes and beasts kill people like hemp, which makes people tremble with fear. Although Jinguancheng is said to be a happy place; So sinister, it is better to return to China early. Shu Dao is too difficult to walk, and it is almost impossible to go to heaven; Looking sideways to the west makes people feel sorry and sigh!

Piecewise analysis

The Book of King Shu records another myth about Shu Dao. It is said that when King Hui of Qin was alive, King Shu had five Hercules, who were called "Five Ding Lishi". They can move mountains. King Hui of Qin gave a beautiful woman to Wu, the king of Shu, who ordered five Ding Lishi to move mountains to open the way and marry the beautiful woman. One day, I saw a big snake enter the cave, and five Ding Lishi went to pull the snake together. Suddenly, the mountain collapsed and killed five Ding Lishi. The five beauties of Qin all ran up the mountain and became stone men. This myth reflects that in ancient times, many working people cut mountains to open the way, sacrificing many people, and finally opened the Qin-Shu passage. Li Bai wrote the second sentence of the fifth rhyme with the motif of this myth: "It was once broken by an earthquake, but the brave were lost", which can also be said to refer to the five Ding Lishi, or the working people who sacrificed their lives to pave the way. They died, and then entered Shu from Qin to connect the mountain road with the plank road. The poem ends here, describing the origin of Shu Dao with four rhymes and eight sentences.

The second paragraph * * * enjoys nine rhymes, describing the Shu road of the ladder stone stack. "Six Dragons Return to Japan" is also a fairy tale. It is said that the sun god He drives six dragons every morning from Fusang to Xichi to Ruomu. There are two sentences describing the mountains and rivers in the middle of Shu in Zuo Si's "Shu Du Fu": "He Xudao is in Junban, and Wu Yang's wings are near high." He and Wu Yang are synonymous with the sun. It means: the sun wants to borrow from the mountain. And the highest mountain also lets the sun fly back to escape. "As high as the Gao Qi, six dragons drive the sun." This sentence means that there are peaks on it that even the sun can't cross. "High standard" means holding high and towering, but it can be interpreted as a peak because it is used as a noun. Xiao quoted the cloud in the classic painting: high standard is the name of the mountain. This is because later generations misread Li Bai's poems, or attached them intentionally, and insisted on naming a mountain Gaobiao. In the original poem, "Gao Biao" and "Hui Chuan" are compared, which shows that it is by no means a proper noun.

These two poems have different versions. There are two anthologies in the Tang Dynasty, one is Yue Ying Ling He Ji and Ji Xuan Ji, the other is Tang Dynasty manuscripts found in Dunhuang stone chambers, and Tang Cui Wen in the early years of the Northern Song Dynasty. These two sentences are not "high above, six dragons drive the sun, and thousands of valleys are difficult to fill", but "there are clouds on the river that break the sea, and there are rapids under the river." From the dual point of view, the latter is more neat, while the former is more stable if the sentence is bold and unconstrained. Perhaps the latter was the first draft circulated at that time, while the former was the author's final draft. Therefore, the anthology at that time was Crossing the River and Breaking the Sea, while the anthology compiled by Li was Six Dragons Returning to Japan. Now let's copy according to the album.

The following paragraph also describes the height and danger of Shushan. Yellow cranes can't fly, and apes are afraid to climb. Qingniling, in Lueyang County, Shaanxi Province, is the only way for Qin to reach Shu. This mountain road twists and turns, winding back and forth on the rocks, and the road is extremely difficult. Shenhejing is one of the 28 lodgings. Shu belongs to the dividing line of Betelgeuse and Qin belongs to the dividing line. On a high-risk mountain road, going from Qin to Shu is like lying on your back, holding your breath and touching the starry sky. During such a difficult journey, pedestrians put their hands on their chests and sighed. The word "sit" is not sitting on your feet, but rather "therefore"

The above is the first half of the second paragraph, with four rhymes and eight sentences, which renders the difficulty of Shu Dao. Suddenly, the next sentence was followed by "Ask Jun how much he paid for his trip to the west", which revealed the theme of the gift. The author didn't say something like a farewell poem, but inserted "When will you come back?" This reflects that it is not easy to come and go. This sentence itself has also become a description of the difficulty of Shu Dao.

The following four rhymes and seven sentences are still written immediately after the above four rhymes, but the object of description has changed. Now don't write high mountains and high roads, write birds in the mountains. The poet said: these towering rocks that cannot be climbed are really roads that travelers dare not take. On this road, all you can see is the birds moaning on the ancient trees, and the female birds are flying around with the male birds in the secluded forest. There is also the famous Zigui bird in Sichuan, which often cries under the moon. It is said that in ancient times there was a Shu king named Du Yu, nicknamed Wang Di. He died of national subjugation and became a bird, whining in the mountains every night, as if crying. There are always different opinions on the interpretation of this poem. The Selected Works published in recent years all have the punctuation of "jathyapple, we heard the melancholy voice of the cuckoo and worried about the empty mountain". Into seven words and one sentence, three words and one sentence. I don't think it's right to read it like this. It should be two five words. There are no punctuation marks in ancient books, so it is difficult to know how the ancients read this poem. However, Wu Changqi's Annotations on Tang Poetry and Qian's Poems on Tang Yin Shen are both block prints in the early Qing Dynasty, and both of them have broken sentences. They named this sentence "On the empty mountain and under the lonely moon, we heard the melancholy voice of the cuckoo". I think it is more appropriate to break sentences like this. It's two five-sentence sentences, not seven or three-sentence sentences. The reason is that the word "empty mountain" is not a word. Three sentences in a lyric are often used together with two sentences and rarely used alone. Many examples can be found in Li Bai's poems. It is precisely because Zigui and Ye Mi often cry for the moon in Tang poetry that many people dare not separate the word "jathyapple" from the word "crow", so they read it as the syntax of "going up seven times and going down three times". As for the meaning of the sentence "out on an empty mountain, under the lonely moon", it means that in an empty mountain, under the bright moon, pedestrians are concerned. Li Baiyou's quatrains of "I heard that Wang Changling moved to the left and Long Biao sent this" also used the same artistic conception:

After the easy autumn, cuckoo clock, I heard you pass five streams.

I sent a bright moon to my heart, and the wind went straight to langxi for the night.

Taking the first sentence and the third sentence of this poem as evidence, we can see that Li Bai wrote two five-character sentences, rather than the syntax of going up seven times and down three times. Xu Zeng, who wrote Two Tang Poems, read this cross as a sentence and explained: "The empty mountain is deserted, and the lonely moon is deserted, only the cuckoo cries. Among the ancient trees in the empty mountains, the sun can see them, but sad birds fly in groups; I heard it at night, but the blood in Zigui is the most bitter under the moon. " This explanation is most prominent for those who have been speaking Tang poetry. He made an evasive speech, but we can't see how he analyzed cross syntax.

There are one or two rhymes below, which are the conclusion of the second paragraph. Repeat "this kind of trip is more difficult than climbing the blue sky" first, and then say: people will turn pale with fear after hearing these things. The "fading face" here can only be said to be "discolored" because of fright, although it should be said to be "aging" elsewhere.

Below the second paragraph, the rhyme and composition seem a little uneven. Now I write according to rhyme, which is divided into three paragraphs. But judging from the structure of ideological content, it can only be said to be two paragraphs. From "breaking up with heaven" to "fooling around" is a paragraph, which is the third paragraph of the whole poem. From "although the dagger-tower passage is firm and stern" to the last sentence is another paragraph, that is, the fourth paragraph of the whole poem. The first four sentences of the third paragraph still describe the danger of mountains and rivers in Shu, but the author uses two rhymes. The rhyme of "ruler" and "wall" is only two sentences, and then the rhyme changes immediately, making readers feel that there is a lack of atmosphere here. Suddenly inserting such a short rhyme syntax into a long line is usually considered as a disadvantage. Although Li Bai is brilliant, free in rhyme and unconstrained style, these two rhymes are urgent and incoherent, which is not desirable in the eyes of people who pay attention to poetry.

The first two sentences of this paragraph describe the withered pine hanging upside down on the cliff, and the last two sentences describe the violent trend of the mountain spring rushing to the cliff, such as the thunder of thousands of valleys. Finally, end with a sentence "This is at stake". This "so" not only refers to the above two sentences, but also summarizes all the following descriptions: "high, just like on a high banner, six dragons drive the sun." The danger of Shu Dao in the landscape situation has passed. Here comes another question: Why do you want to be a long-distance guest here? This is another unexpected remark. From the standpoint of people in Shu, it means that our place is difficult to walk, so why did you come? If you stand in the sender's position, that is, why do you have to go there to embark on such a dangerous journey?

Then I turned to the fourth paragraph and suddenly talked about the military situation in Sichuan. "One man is better than ten thousand men" is easier to defend than to attack. It's very dangerous for a place like this to be guarded by someone you can trust. These poems are entirely based on four sentences in Zhang Zai's Ming of Jiange in the Jin Dynasty: "One person holds a halberd, ten thousand people stumble, the ground wins, and bandits are close." Li Bai's description of the difficulty of Shu Dao is related to the political significance of the situation in Shu, which has actually gone beyond the scope of the old Yuefu title "The difficulty of Shu Dao". Bashu is rich in products, which is very important for the economic supply of Sanqin. Therefore, the first sentence of the poem "Farewell to Du DuDu's appointment in Shu" said that Sichuan "this wall surrounds Sanqin" and also pointed out this point. Although Li Bai's Yuefu poems all use old topics, they often inject new ideas and have practical significance. This poem reflects that since the early Tang Dynasty, Shu, because of its non-blood relationship, caused many invasions by Tubo and Naman, which led to a devastating war and shook the Sanqin.

This poem is a part mentioned by Li Bai in passing when describing the difficulties of Shu Dao. But it made later readers mistakenly think that this is the theme of the whole poem. Some people satirize Zhangqiu and Joan of Arc for this poem, some people think it's satirizing Yanwu, and some people think it's satirizing officials who usually take risks. They are all confused by this poem and come to these conclusions. However, these poems do destroy the unity of the whole poem, and they are written in poems for friends in Sichuan, which really make people feel the feeling of two different themes. In the Ming Dynasty, Li Yulin once commented on Li Bai's poems: "Too white is vertical and horizontal, and it is often a spent force. There are long articles in between, and heroes deceive others." For this poem, I also think it is "a spent force" (superfluous words) and "a long speech".

works appreciation

This poem was written by Li Baichu when he came to Chang 'an in the early years of Tianbao, Emperor Xuanzong of the Tang Dynasty. "Difficulties in Shu Road" is an ancient theme of Yuefu. He developed a rich imagination about it, focused on describing the wonderful and breathtaking mountains and rivers on Qin Shu Road, and revealed some worries and worries about society.

Poets generally follow the clues from ancient times to the present, from Qin to Shu, and describe them by grasping the landscape characteristics of various places to show the difficulty of Shu Dao.

It is a passage from "Ehu" to "then the ladder is connected with the stone pile" At the beginning, he spoke highly of the difficulty of Shu Dao and pointed out the theme with strong emotion, which laid the tone for the whole poem. With the ups and downs of feelings and the changes of natural scenery, the chanting of "it is difficult to get through the Shu Road and get to the sky" appears repeatedly, like the main theme of a piece of music, which touches the readers' heartstrings.

Why is Shu Dao more difficult than Tian Dao? This is because since ancient times, Qin and Shu have been separated by mountains. From Qin to Shu, Taibai Peak bears the brunt, and only birds flying high can fly low. Taibai Peak, located in the southwest of Xianyang, Qin Dou, is the highest peak in Guanzhong area. There is a saying among the people that "martial arts are too white, and three hundred miles reach the sky." The poet wrote an insurmountable obstacle in history with exaggerated pen and ink, which blended into the myth of Wuding Mountain and touched the magical color, just like the overture of a movement, which was fascinating and magical. The following is a description of the high danger of Shu Dao.

From a height, such as on a high flag, six dragons drove the sun to the point where even hearing its pale cheeks was another passage. This paragraph describes the high risk of this mountain. The more complete the mountain is, the harder the road is. Look at that abrupt mountain, towering high in the sky, blocking the operation of the sun god; At the foot of the mountain is a choppy and winding river. Poets not only combine exaggeration with myth, but also describe mountains and heights, and are lined with the risk of "returning to Sichuan" Only its water risk, but also its mountain high risk. The poet's meaning is not enough, and he compares it with that of an ape. The mountain is so high that even the yellow crane flying thousands of miles away can't fly, and the agile ape is worried that he can't climb it. It goes without saying that it is even more difficult for people to walk. The above is the foil of layers of imaginary writing, and the following is a detailed description of the difficulty of clearing the spirit.

Qingniling, "Wan Ren on the Cliff, Cloudy and Rainy" (Yuanhe County Records), is the main road for people in Shu in the Tang Dynasty. The poet focuses on the entanglement of the peak road and the steepness of the mountain, showing the hardships and fears of pedestrians, and capturing detailed actions such as wandering on the ridge, touching the stars, breathing nervously, touching the chest and sighing. In a few words, he vividly described the difficult steps and expressions of fear of pedestrians, and the situation of being trapped and dangerous was like this.

At this point, the difficulty of Shu Dao seems to have been written to the extreme. However, when the poet turned his pen, he used "ask the gentleman" to draw out his travel worries, and with a low melody, he brought the reader into a realm of desolate ancient trees and sad birds. The cuckoo is ringing in the empty valley, full of sadness, which makes people feel pale and more difficult to escape from the road. Poets express their feelings with scenery, and use natural landscapes with strong feelings such as "sad birds, ancient trees" and "Zigui Strip" to render the lonely and desolate environment and atmosphere on Shu Road, which effectively sets off the difficulties of Shu Road.

However, the winding Shu Road has a more magical scenery. From "barely one foot below the highest cliff in the sky" to the end of the whole article, it mainly reveals the difficulty of Shu Dao from the danger of mountains and rivers, and tries to render a thrilling atmosphere. If "the sky is high and the rocks are low" is a boast of the height of mountain peaks, then "the dry pine hanging from the cliff surface" is a danger of causing precipice.

The poet first showed the high risk of the mountain, then turned from static to static, and wrote the thrilling scene of water and stone stirring and valley roaring. Like a series of focal planes: at first, it is a distant view of rolling mountains and continuous peaks; Then gently push it into a close-up of dead pine hanging upside down; Then, followed by a group of fast shots, speeding rapids, waterfalls, cliffs and rocks. With the sound of thousands of valleys and thunder, it flashed quickly from the eyes, which was amazing and dizzying, thus causing overwhelming artistic effects and making the description of Shu Road difficult to reach its peak. If the high risk of the mountains above is daunting, then the mountains and rivers here are even more thrilling.

The scenery is changing and there are many dangers. In a very thrilling atmosphere, I finally wrote the Jiange fortress in the middle of Shu. There is a 30-mile plank road between Dajianshan and Xiaojian Mountain. The peaks are like swords, standing tall, cutting walls like doors, forming a natural fortress. Because of its dangerous terrain, it is easy to defend but difficult to attack. Historically, there were many people who claimed to be kings here. The poet described a political situation from the danger of Jiange. He used the phrase "If you win, it's not suitable for bandits' relatives to live in" in Zhang Zai's Ming of Jiange in the Western Jin Dynasty to advise people to take warning and be alert to the occurrence of war. In connection with the social background at that time, he revealed that "he bared his teeth and claws, and Sichuan jackal killed people like hemp", thus expressing his anxiety and concern about state affairs. In the early years of Tianbao in the Tang Dynasty, there was a crisis lurking behind the peaceful and prosperous times, and the Anshi Rebellion that happened later proved that the poet's worries were of practical significance.

Li Bai vividly described the dangers of Shu Dao with unpredictable brushwork, artistically expressed the winding, majestic, lofty and rough face of ancient Shu Dao, and described a colorful landscape painting. The touching scene in this poem seems very vivid.

Li Bai's description is so touching because of his romantic passion. The poet sends his feelings to the mountains and rivers. He is not indifferent to the natural scenery, but enthusiastically praises it to express his ideal feelings. The surging water and the dangerous peaks and valleys endow the poet with emotional temperament, thus presenting a flying soul and a magnificent posture. Poets are good at combining imagination, exaggeration and myths and legends to write scenery and express feelings. The mountain height is called "high, such as on the Gao Qi, where six dragons drive the sun"; Obstacles in the shape of roads are called "once broken by earthquakes, lost by brave people, and then connected by ladders and stone piles" ... The poet "galloped away from the wind and clouds and lashed Haiyue" (Lu Shiyong's evaluation of the seven sentences of Li Bai's ancient saying in "A General Theory of Poetry and Mirrors"), from the creation of silkworm clusters to the creation of mountains in Wuding, from the return of six dragons to the night cry of Zigui, and it was unconstrained and unconstrained. Through the spectacular scenery of mountains and rivers, I seem to see the tall image of the poet "shaking the five mountains with pen and laughing proudly at Cangzhou".

Before the Tang Dynasty, Shu Daonan's works were short and pithy. Li Bai innovated and developed the ancient poems of Dongfu, and used a large number of prose poems, ranging in length from three words, four words, five words, seven words to eleven words, forming a very unrestrained language style. The rhyme of poetry also broke through the old rhyme procedure in Liang and Chen Dynasties. Later, I described the sinister environment in Sichuan and changed the rhyme three times in a row, trying my best to change things. Therefore, Yin Kun's "He Yue Ling Photo Collection" called this poem "strange and strange, and it is rare for the poet to return."

There are various moral theories about this article, and it is concluded that it was written specifically for someone or something. According to Hu Zhenheng and Gu in Ming Dynasty, Li Bai "sang for himself" and "had no other intention". Nowadays, some people say that this poem is difficult to write on the surface of Shu Dao, but in fact it is a bumpy career, reflecting the resentment that the poet's life experience and talents are not satisfied during his long-term roaming. So far, there is no conclusion.

Writing background

There have been many speculations about the writing background of Shu Dao Nan since the Tang Dynasty. There are four main opinions: first, this poem is worried about Fang (Wang Guan) and Du Fu, hoping that they will leave Sichuan as soon as possible to avoid being killed; Secondly, this poem is written for Li Longji, the Emperor Xuanzong of the Tang Dynasty who fled to Shu to avoid the Anshi Rebellion, urging him to return to Chang 'an to avoid being held hostage by local warlords in Sichuan. Thirdly, this poem aims at satirizing Zhang Qiu, the governor of Shu at that time. Joan wanted to take advantage of people's danger and refused to listen to the court. Ding, this poem is purely a song of mountains and rivers, and it has a profound meaning.

This poem was first seen in the Collection compiled by Yin (Wang Fan) in the 12th year of Tianbao, Emperor Xuanzong of the Tang Dynasty (AD 753). It can be seen that the writing age of Li Bai's poem should be before the compilation of He Yueling Photo Album at the latest. At that time, the Anshi Rebellion had not yet happened, Tang Xuanzong lived in Chang 'an, and Fang (Wang Guan) and Du Fu had not yet entered Sichuan. Therefore, the two statements of A and B are obviously wrong. As for the satire of Zhang Qiu and Joan, judging from the relevant records in some historical books, it is also unfounded. Although Zhang Qiu and Joan exploited and oppressed the people, they did not dare to resist the imperial court. On the contrary, in order to be Beijing officials in Chang 'an, they tried their best to please the powerful people in the DPRK. Relatively speaking, the last statement is more objective and closer to the actual work.

It is generally believed that this poem was probably written by Li Bai when he was in Chang 'an from Tianbao for one year to Tianbao for three years, in order to persuade Wang Yan not to detain Shu and return to Chang 'an as soon as possible.

Appreciate examples

This poem was written by Li Baichu when he came to Chang 'an in the early years of Tianbao, Emperor Xuanzong of the Tang Dynasty. "Difficulties in Shu Road" is an ancient theme of Yuefu. He developed a rich imagination about it, focused on describing the wonderful and breathtaking mountains and rivers on Qin Shu Road, and revealed some worries and worries about society.

Poets generally follow the clues from ancient times to the present, from Qin to Shu, and describe them by grasping the landscape characteristics of various places to show the difficulty of Shu Dao.

It is a passage from "Ehu" to "then the ladder is connected with the stone pile" At the beginning, he spoke highly of the difficulty of Shu Dao and pointed out the theme with strong emotion, which laid the tone for the whole poem. With the ups and downs of feelings and the changes of natural scenery, the chanting of "it is difficult to get through the Shu Road and get to the sky" appears repeatedly, like the main theme of a piece of music, which touches the readers' heartstrings.

Why is Shu Dao more difficult than Tian Dao? This is because since ancient times, Qin and Shu have been separated by mountains. From Qin to Shu, Taibai Peak bears the brunt, and only birds flying high can fly low. Taibai Peak, located in the southwest of Xianyang, Qin Dou, is the highest peak in Guanzhong area. There is a saying among the people that "martial arts are too white, and three hundred miles reach the sky." The poet wrote an insurmountable obstacle in history with exaggerated pen and ink, which blended into the myth of Wuding Mountain and touched the magical color, just like the overture of a movement, which was fascinating and magical. The following is a description of the high danger of Shu Dao.

From a height, such as on a high flag, six dragons drove the sun to the point where even hearing its pale cheeks was another passage. This paragraph describes the high risk of this mountain. The more complete the mountain is, the harder the road is. Look at that abrupt mountain, towering high in the sky, blocking the operation of the sun god; At the foot of the mountain is a choppy and winding river. Poets not only combine exaggeration with myth, but also describe mountains and heights, and are lined with the risk of "returning to Sichuan" Only the danger of water and the high risk of mountains. The poet's meaning is not enough, and he compares it with that of an ape. The mountain is so high that even the yellow crane flying thousands of miles away can't fly, and the agile ape is worried that he can't climb it. It goes without saying that it is even more difficult for people to walk. The above is the foil of layers of imaginary writing, and the following is a detailed description of the difficulty of clearing the spirit.

Qingniling, "Mountain on Cliff" (Yuanhe County Records), is the main road to Shu in Tang Dynasty. The poet focuses on the entanglement of the peak road and the steepness of the mountain, showing the difficult situation and fear of pedestrians, and capturing detailed actions such as wandering on the ridge, touching the stars, breathing nervously, touching the chest and sighing. In a few words, he vividly described the difficult steps and expressions of fear of pedestrians, and the situation of being trapped and dangerous was like this.

At this point, the difficulty of Shu Dao seems to have been written to the extreme. However, when the poet turned his pen, he used "ask the gentleman" to draw out his travel worries, and with a low melody, he brought the reader into a realm of desolate ancient trees and sad birds. The cuckoo is ringing in the empty valley, full of sadness, which makes people feel pale and more difficult to escape from the road. Poets use scenery to express their feelings, and use natural landscapes with strong feelings such as "sad birds, ancient trees" and "Zigui Strip" to render the lonely and desolate environment and atmosphere on the Shu Road, which effectively sets off the difficulties of the Shu Road.

However, the winding Shu Road has a more magical scenery. From "barely one foot below the highest cliff in the sky" to the end of the whole article, it mainly reveals the difficulty of Shu Dao from the danger of mountains and rivers, and tries to render a thrilling atmosphere. If "the sky is high and the rocks are low" is a boast of the height of mountain peaks, then "the dry pine hanging from the cliff surface" is a danger of causing precipice.

The poet first showed the high risk of the mountain, then turned from static to static, and wrote the thrilling scene of water and stone stirring and valley roaring. Like a series of focal planes: at first, it is a distant view of rolling mountains and continuous peaks; Then gently push out the close-up of dead pine hanging upside down; Then, followed by a group of fast shots, speeding rapids, waterfalls, cliffs and rocks. With the sound of thousands of valleys and thunder, it flashed quickly from the eyes, which was amazing and dizzying, thus causing overwhelming artistic effects and making the description of Shu Road difficult to reach its peak. If the high risk of the mountains above is daunting, then the mountains and rivers here are even more thrilling.

The scenery is changing and there are many dangers. In a very thrilling atmosphere, I finally wrote the Jiange fortress in the middle of Shu. There is a 30-mile plank road between Dajianshan and Xiaojian Mountain. The peaks are like swords, standing tall, cutting walls like doors, forming a natural fortress. Because of its dangerous terrain, it is easy to defend but difficult to attack. Historically, there were many people who claimed to be kings here. The poet described a political situation from the danger of Jiange. He used the phrase "If you win, it's not suitable for bandits' relatives to live in" in Zhang Zai's Ming of Jiange in the Western Jin Dynasty to advise people to take warning and be alert to the occurrence of war. In connection with the social background at that time, he revealed that "he bared his teeth and claws, and Sichuan jackal killed people like hemp", thus expressing his anxiety and concern about state affairs. In the early years of Tianbao in the Tang Dynasty, there was a crisis lurking behind the peaceful and prosperous times, and the Anshi Rebellion that happened later proved that the poet's worries were of practical significance.

Li Bai vividly described the dangers of Shu Dao with unpredictable brushwork, artistically expressed the winding, majestic, lofty and rough face of ancient Shu Dao, and described a colorful landscape painting. The touching scenes in the poem are vivid in my mind.

Li Bai's description is so touching because of his romantic passion. The poet sends his feelings to the mountains and rivers. He is not indifferent to the natural scenery, but enthusiastically praises it to express his ideal feelings. Surging water and dangerous peaks and valleys endow the poet with emotional temperament, thus showing a flying soul and a magnificent posture. Poets are good at combining imagination, exaggeration and myths and legends to write scenery and express feelings. The mountain height is called "high, such as on the Gao Qi, where six dragons drive the sun"; The obstacles in the shape of the road are called "once broken by the earthquake, lost by brave people, and then connected by ladders and stone piles" ... The poet "galloped away from the wind and clouds and lashed the sea yue" (Lu Shiyong's evaluation of the seven sentences of Li Bai's ancient saying in "A General Theory of Poetry and Mirrors"), from the creation of silkworm clusters to the creation of mountains in Wuding, from the return of six dragons to the night cry of Zigui, and it was unconstrained and unconstrained. Through the spectacular scenery of mountains and rivers, I seem to see the tall image of the poet "shaking the five mountains with pen and laughing proudly at Cangzhou".

Before the Tang Dynasty, Shu Daonan's works were short and pithy. Li Bai innovated and developed Yuefu ancient poems, and used a large number of prose poems, ranging in length from three words, four words, five words, seven words to eleven words, and formed a very unrestrained language style. The rhyme of poetry also broke through the old rhyme procedure in Liang and Chen Dynasties. Later, I described the sinister environment in Sichuan and changed the rhyme three times in a row, trying my best to change things. Therefore, Yin's Collection of He Yue called this poem "strange and strange, and it is rare to return it from the poet."

There are various moral theories about this article, and it is concluded that it was written specifically for someone or something. According to Hu Zhenheng and Gu in Ming Dynasty, Li Bai "sang for himself" and "had no other intention". Nowadays, some people say that this poem is difficult to write on the surface of Shu Dao, but in fact it is a bumpy career, reflecting the resentment that the poet's life experience and talents are not satisfied during his long-term roaming. So far, there is no conclusion.

(Selected from Appreciation Dictionary of Tang Poetry, Shanghai Dictionary Publishing House, 1983 edition)