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Li Du met

In the summer of Tianbao (744, note: In the third to fifteenth year of Tianbao, during the Zhide period, he was called "Zai" but not "Nian"). In the summer, Li Bai arrived at Luoyang, the eastern capital. Here, he met Du Fu. The two greatest poets in the history of Chinese literature met. At this time, Li Bai was already famous all over the country, and Du Fu was in his prime, but he was trapped in Luocheng. Li Bai was eleven years older than Du Fu, but he did not arrogantly beside Du Fu for his own talent. Du Fu, who was "rich and also addicted to alcohol" and "who made friends with him all old and old" did not bow his head to praise him in front of Li Bai. The two of them were equal.

They established a deep friendship. When they were in Luoyang, they made an appointment to meet in Liang and Song (now Kaifeng and Shangqiu) next time to visit Taoism and seek immortality. In the autumn of the same year, the two arrived in Liang and Song as promised. They expressed their feelings and made comments on the past and present. They also met the poet Gao Shi here, who had no position at this time. However, the three of them had great ambitions and the same ideals. The three of them traveled happily, commented on writings and poems, and talked about the general trend of the world, and they were all worried about the hidden dangers of the country. At this time, Li and Du were both in their prime, and the two's creative exchanges had a positive impact on their future.

During the autumn and winter of this year, Li Du broke up again. Li Bai went to Ziji Palace in Qizhou (now Jinan, Shandong) to ask Taoist priest Gao Tianshi Rugui to teach Taoist talismans [5-6]. From then on, he officially performed Taoist rituals and became Taoist priests. Later, Li Bai went to Anling County, Dezhou and met Guaihuan, who was good at writing talismans in this area, and created real talismans for him. This time, Li Bai got a perfect result for seeking immortals and visiting Taoism.

In the autumn of the fourth year of Tianbao (745), Li Bai and Du Fu met for the third time in Donglu. In just over a year, they made an appointment twice and three times, and their friendship continued to deepen. They visited the hermit master and the master of the world, and went to Jeju to visit Li Yong, a writer and calligrapher who was famous at that time. In the winter of that year, Li and Du broke up.

Li Bai's Yuefu, songs and quatrains are the highest achievement. His songs and quatrains completely break all the inherent formats of poetry creation, with no support and numerous brushwork, and reaching a magical realm of being unpredictable and swaying. Li Bai's quatrains are naturally bright, elegant and elegant, and can express endless emotions in concise and bright language. Among the poets of the prosperous Tang Dynasty, Wang Wei and Meng Haoran are good at the Five Classics, Wang Changling and other seven Classics are well written, and Li Bai is the only one who has both the Five Classics and the Seven Classics and the Seven Classics.

Li Bai's poems are majestic and elegant, and have extremely high artistic achievements. He praises the mountains and rivers of the motherland and the beautiful natural scenery. His style is majestic and unrestrained, elegant and fresh, and has a romantic spirit, achieving the unity of content and art. He was called "the exiled immortal" by He Zhizhang, and most of his poems are mainly used to describe mountains and rivers and express inner emotions. Li Bai's poems have the artistic charm of "the pen falls and shocks the wind and rain, and the poems make ghosts and gods cry", which is also the most distinctive artistic feature of his poems. Li Bai's poems are rich in self-expression and lyricism, and the expression of emotions has a momentum that is overwhelming and overwhelming. He and Du Fu are called "Big Li Du" (Li Shangyin and Du Mu are called "Little Li Du").

Li Bai's poems often use imagination, exaggeration, metaphor, personification and other techniques to create a magical and magnificent artistic conception. This is why Li Bai's romantic poetry gives people heroic and unrestrained and elegant as an immortal.

Li Bai's poems had a profound influence on future generations. Famous poets such as Han Yu, Meng Jiao, Li He in the Middle Tang Dynasty, Su Shi, Lu You, Xin Qiji in the Song Dynasty, Gao Qi, Yang Shen, and Gong Zizhen in the Ming and Qing Dynasties were all greatly influenced by Li Bai's poems.

style

He is heroic and unrestrained, fresh and elegant, rich in imagination, wonderful artistic conception, wonderful language, romanticism, and clear idea.

Li Bai lived in the prosperous Tang Dynasty. He had a heroic personality and loved the mountains and rivers of the motherland. He traveled all over the north and south, and wrote a large number of magnificent poems praising famous mountains and rivers. His poems were both heroic and unrestrained, fresh and elegant, with rich imagination, wonderful artistic conception and light language. People called him the "Poet Immortal". Li Bai's poems not only had a typical romantic spirit, but also had typical romantic artistic characteristics from image shaping, material intake, to genre selection and the use of various artistic techniques.

Li Bai successfully shaped himself in it, strongly expressed himself, and highlighted the unique personality of the lyrical protagonist, so his poems have distinct romantic characteristics. He liked to use a majestic image to express himself, express his feelings without any concealment in the poem, and expressed his joys, anger, sorrow, and happiness. For the sake of power and power, he "holds a chrysanthemum in his hand and teases two thousand stones" (one of the two poems "Send to Cui Shiyu after Drunk"); when he saw the hard work of the working people, he "churched like rain."

When the country was overthrown and the people's livelihood was tragic, he "crossed the river and sweared to flow water, and was determined to be in the Qing Central Plains. He drew his sword and hit the front pillar, and the tragic songs were hard to discuss" ("Nanfeng Shuyou"), so passionate; when he drank with his friends, "the two drank together the mountain flowers, one cup after another. I was drunk and wanted to sleep, and I went away, but the Ming Dynasty intended to hold the piano to come" ("Drinking with a Secluded Man in the Mountain"), so innocent and straightforward. In short, his poems vividly express his bold and unrestrained personality and his image of being dashing and unrestrained.

Boldness is the main feature of Li Bai's poetry. In addition to the factors that affect the thoughts, personality and talent, the artistic expression techniques and genre structure used in Li Bai's poetry are also important reasons for the formation of his bold and elegant style. Being good at using imagination and subjectively manifesting objective is an important feature of Li Bai's romantic artistic techniques. Almost every chapter has imagination, and some even use a variety of imaginations throughout the poem. Real things, natural landscapes, myths and legends, historical allusions, and dreams all become the mediums of his imagination. He often uses imagination to transcend time and space, interweave reality with dreams, fairylands, and human society, and reproduce objective reality. The images he wrote are not a direct reflection of objective reality, but an externalization of the subjective world in his heart and the reality of art.

Another romantic artistic technique of Li Bai's poetry is to grasp a certain feature of things and boldly imagine and exaggerate on the basis of the reality of life. His exaggeration is not only strange in imagination, but also always combines specific things, exaggerating so naturally without leaving any traces; so bold, real and credible, playing a role in highlighting the image and strengthening emotions. Sometimes he also combines bold exaggeration with sharp contrast, and strengthens the artistic effect by increasing artistic contrast.

Li Bai’s best genres are seven-character songs and quatrains. Li Bai’s seven-character songs and deeds adopt a structure of opening and closing, jumping and uneven structure. The beginning of the poem is often abruptly like a rush, while the image in the middle of the poem changes rapidly, often omitting the transitional response, as if there is no trace to follow. The end of the poem often ends at the climax of the relationship.
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