At the beginning of the poem, "Climbing Mount Tai in April" seems to tell the time flatly, but in fact it secretly contains the background of Mount Tai's seasonal wonders. In the late spring of 742 AD (the first year of Tianbao), Li Bai wore a sword and hung a reed, holding a piano and smoothing his clothes. I started climbing from Wang Mu pond. "Shiping Imperial Road is open", the peak of Mount Tai in front of us is like a fan screen. When it is opened for the second time, an imperial road opened when the emperor is amenorrhea suddenly appears. The ancient imperial road was more than ten miles long, winding in the peaks and valleys. The poet did not draw a straight line. But with the magnificent scenery of Yao Si's retreat in the Tang Dynasty. "Six dragons over a thousand valleys, lingering in the valley. The clues around Bifeng are now covered with moss. " Qian Shan Wangu, valley bees, seems to fly with the galloping of the emperor's horses and chariots. A few strokes vividly show the vivid modality of Mount Tai's "high" mountain. If winding roads and winding mountains are several renderings of the scenery at the beginning of the poet's climbing, then the poet uses the perspective of scattered perspective to transform the scenery and describe the wonders and mysteries of the mountains and rivers along the way to readers from different levels and in different ways. On the way to Mount Tai, we passed the Zhongtianmen, and the winding road was replaced by stepped stone steps. Looking up at both sides, the cliff is steep, "the flow is absolutely scattered, the water is suddenly loose and mournful", "the north is strange, and the cliff is destroyed to the east". If the spring "flies", the height of the peaks and cliffs will never be seen, and the boulder is too tired to climb. Unlike Lushan Waterfall, the Gao Quan torrent on Mount Tai "hangs in front of the river statically". Instead, it falls on the cliff, splashing beads, "splashing" water on layers of cliffs, and then gathers into a stream and dives into a deep valley. The sound of water is integrated into the roar of Songtao. This is the unique landscape of Mount Tai. Looking north, the mountain is like a fan, with many stone pillars, swords and shadows, grotesque, and cliffs everywhere, all of which seem to fall to the east, which is sad. The poet picked a word "down" and "destroyed" at random, and Taishan's high risk came to life. The poet's perspective moved down to the valley, only to see large and small caves embedded in the cliff wall, "the cave door is closed with a stone fan", and the boulder is like a stone door, sealing the cave house. Lan Qi's condensed clouds rippled in the valley, and rapids and pine trees echoed like thunder in the mysterious valley. These clouds and thunder seem to come out of the ground. "There are clouds on the ground, and there are thunder", and the poet imitates the scenery and sounds vividly, setting off the wonders of the deep streams in Mount Tai. This is like the "profound" artistic conception in landscape painting.
Like a skilled tour guide, the poet guides readers to appreciate the wonders of Mount Tai from different positions and perspectives, which can be described as one step at a time. Climb eighteen episodes, climb Yumen Pass, cross Tianjie and reach the top. "Look at the octupole on the edge of the cliff and keep your eyes free for as long as possible", which is the great realm of "going out of heaven and earth". Climbing the Sun Peak in the East, "Climbing high to look at Peng Ying" and "the sea color moves far away from the mountain", the poet sees "the sky is far and blue before the sea falls", and the "sea of clouds" under the Sun Peak connects with the East China Sea and blends with Mount Tai, depicting the vastness of Mount Tai. Looking at the north of the cliff, I saw that "the Yellow River comes from the west and enters the distant mountains". Li Bai did not imitate the bold brushwork of "The Yellow River touches the mountain in Wan Li, and the red waves spray the East China Sea" (Xiyue Yuntai sang Dan Qiu Zi) and "The Yellow River sets Kunlun Mountain from the west, roaring Wan Li touches Longmen" (Kung Fu crosses the river), but used line-like painting techniques to show another graceful gesture of the Yellow River. This is not only the real basis for the smooth flow of the lower Yellow River, but also reflects the height of Mount Tai from the visual image. The poet looked up and the mountains were stacked. "Long pine trees are scattered into the sky, and the distance is endless." Although he wrote about the distant reality, he painted the wonders of Mount Tai. Overlooking the foot, it is "Wanfeng strives to gather, and Wangu must calendar". Looking down from this extreme, thousands of giant peaks and mountains seen from the foot of the mountain have become like people's heads, and all the valleys are unfathomable, giving people the feeling of "climbing Mount Tai and being smaller than the world". On this occasion, the poet "seems to fly in the sky" and "seems to be out of heaven and earth", and his body and mind are completely melted in the infinite universe, and his mind is galloping and his power is mighty. He can't help but open his arms and scream "Tianmen". This long whistle shook the peaks, this long whistle opened the clouds, and this long whistle was called "Wan Li Breeze Coming". At this point, the image of a poetic immortal who left Lingyun, absorbed the essence of heaven and earth, and stood on the top of Mount Tai jumped from the page. For thousands of years, Li Bai's "Long Whistling in Tianmen, Breeze Coming from Wan Li" has become a major cultural landscape at the top of Mount Tai, making future generations have to understand it or "whistle" skillfully.
If we only do the above analysis, the poet's description of Mount Tai can only be regarded as a master of landscape poetry. However, the more unique artistic feature of Six Poems on Mount Tai is that Li Bai conjures up a vivid, realistic and illusory Mount Tai wonderland in the poem with the help of Taishan myths and legends, which greatly enriches the content of the poem, expands the artistic conception of the poem and enhances its artistic appeal. There has always been a legend that immortals haunt Mount Tai. The Legend of the Immortal once described the immortal Qiu Jijun as "a Taoist on Mount Tai". Legend of Immortals says that Emperor Xiao of Han Dynasty visited Mount Tai and met the "father of Mount Tai", with white light on his head and a life span of 300 years. An Qisheng, the immortal worshipped by Qin Shihuang, traveled between Mount Tai and fairy mountain in the East China Sea with "elixir of life". The legendary immortal figures are foggy and mysterious, and the mountains and rivers of Mount Tai are magnificent and strange. The poet's integration of the two adds a hazy and illusory color to poetry, enticing people to look forward to details in myth and taste endless love.
The poet climbed the high southern gate and looked east at Peng Yingxian Island, daydreaming. He seemed to really see the gold and silver palace where the gods lived. In the waves of the sea, "the silver platform was upside down and the waves turned into whales." Heartstrings are stirring, whistling behind them, echoing the clouds from afar, breaking the tranquility of Tianyu. "There are four or five jade girls, fluttering in the air nine times", Yu Pei's eyes slightly opened and she paid a cordial tribute to Li Bai. Perhaps she heard Brewmaster's name in the fairyland, and the jade girl gave Li Bai a glass of Liu Xia fairy wine to taste. It seems to be asking: why do fallen fairies stop practicing and remain as free as we are! "It's a pity that you can't be a genius and kowtow again." Li Bai thanked him and showed embarrassment. I don't know whether this kind of "shame" is a modest statement or something to hide. "How carefree it is to die in a small universe!" The poet has a little intention of giving up worldly troubles and dying with the gods. This shows that the unexpected arrival of the fairy aroused Li Bai's thoughts. Li Bai happened to meet a "square and hospitable" feather fairy while enjoying the scenery and thinking about problems at the top of Mount Tai. "I want to talk to her, but I don't want to talk to her." The fairy didn't talk to him, but gave him a roll of fairy books and disappeared into the clouds. The poet picked up the fairy tale book and leafed through it quickly. "It's ancient", just like "bird trace" and "I don't know why". Li Bai wants to wait for the immortal master to come back and point out the maze. After waiting for a long time, all he can do is "feel these three sighs". Although it is difficult to seek immortality, the beauty of Mount Tai is pleasing to the eye. Li Bai boarded Japan to watch bees. "Look at the eight poles on the edge of the cliff, and the days will be as free as possible." "Raise your hand to clear the clouds" and look at the jade belt of the Yellow River. Just as he was enjoying himself infinitely, a little fairy with "green hair and double clouds" came from nowhere and even laughed at me for learning fairy tales late, wasting my face. The poet's just calm mood was disturbed again. It has been more than twenty years since he wanted to leave his twenties and travel far and wide. Time flies, and Zhu Yan thanks him. Since the ideal of official career cannot be realized, we should find a shortcut to cultivate immortality. "Hesitant and invisible, mighty and hard to chase", Fairchild has suddenly passed away. However, Fairchild's laughter left a lot of excitement for Li Bai. He really wants to try to cultivate immortality. The fourth poem cuts into Li Bai's experience of cultivating immortals by montage and depicts a wonderful dreamland. Li Bai did follow Wu Yun, a famous Taoist priest, to live in seclusion, saying that "I fasted for 3,000 days, and I have written the Taoist scriptures", and also had the illusion that "the gods protect my shape, and the clouds are faithful and the wind is long, like wings". Climbing Mount Tai at this time, he seems to be the immortal of "Xiao Qing riding a white deer straight to Tianmen Mountain". In the dim light, the poet saw the genie of the East China Sea floating on the top of the mountain with Peng Yingxian Mountain, the gold and silver palace where the immortals lived was reflected in the sea, the whale stirred up the waves and heard the cock crow. Looking back at the top of the mountain, the poet said, "there are different flowers in the mountains, and five miles in the snow." Mount Tai soars into the sky. Although it is nearly May, the top of the mountain is still crystal white, and the mountain flowers are actually blooming in the snow. There won't be such beautiful scenery on earth. I can't tell the difference between heaven and earth at all. The poet seems to be settling down to cultivate immortality. He masturbates and teaches him to "smell the jade liquid here", so that he can get the "elixir of life" and ride a crane to "disappear without a trace" and "fly high to Peng Ying".
At this point, the "story" of Li Bai's encounter with immortals in Mount Tai seems to be coming to an end. Unexpectedly, the poet went one step further and created another scene of the sixth poem, Wandering Fairy Nights, which not only described Mount Tai wonderland more completely and truly, but also pushed the poet's complex emotions to a new climax. The night of Mount Tai is so secret that the poet embraces the harp and strolls through the green hills and wild trails. "the mountains are bright and the moon is white", "the night is quiet and the wind is clear" and "the jade is really green". Songtao subsided, the immortal palace was hidden in the green, and Yuet Shan Ye was covered with a transparent veil. The poet caught a glimpse of the immortals starting their nightlife at the top of the mountain: "Singing everywhere" and "Imagine the phoenix dancing fluttering in dragon and tiger clothes". "Quiet entertainment and bright", the vast sky holds its breath and listens to the carols sung by free life. The moon hanging high is like the light of the immortal soul, and it shines in the poet's heart. Li Bai has already melted into the fairy world at this time. He forgot where he came from and didn't want to go home. He saw the cucumber star twinkling and the Milky Way overhead, and he could almost touch the weaver's loom. The poet hopes that the sky will no longer be bright and the fairyland will no longer disappear. "Picking melons in the morning", the poet raised his hand to the river and simply wanted to pick melons. He used his quick wits to pick Vega by mistake, and it was still bright. Wonderland is gone, Mount Tai is still beautiful, and colorful clouds are floating in the morning light. "I lost my seat tomorrow morning, but I saw Wu Yunfei." The poet's trip to fairyland came to an abrupt end, and all the thoughts of attracting, seeking, learning and respecting immortals were eroded in a daze, leaving the poet with a little frustration and even realistic thinking: it is very difficult to realize his great ambition by seeking officials, and it cannot be achieved by his own efforts without the recommendation of powerful people; It is also difficult to seek immortals, because immortals don't really exist; However, among people like Mount Tai, there are often "fairyland". In this fairyland, you can let your emotions gallop freely and enjoy spiritual pleasure.
Six Poems on Mount Tai occupies an important position in all Li Bai's poems, which can be compared with such famous works as Difficult Road to Shu and Entering Wine. Its outstanding artistic feature is to write landscape poems in the form of wandering immortals, forming a perfect and unique poetry creation paradigm. Since the Book of Songs, China's poetry creation has gradually formed two major literary traditions, one is poetry expressing the content of wandering immortals, and the other is landscape poetry since Wei, Jin, Southern and Northern Dynasties. The former depicts the beautiful artistic realm of the fairy fairyland, and places more emphasis on the author or political ideal with unrequited or cynical seclusion feelings; The latter describes natural landscapes, natural phenomena and human landscapes attached to landscapes, expressing the poet's emotions such as emotions. Kasper? Lingyun's Landscape Poems During the Liu and Song Dynasties, he had combined the content of wandering immortals with landscape poems, and occasionally saw them, but they were not yet spectacular. Xie Lingyun's "Island in the River" seems to have had such an attempt: "Clouds shine in the sun, empty water is fresh?" Imagine the middle edge of the Myanmar village building in Kunshan. I began to believe in the safety period, and I had a healthy year. "Although there is no lack of emotion, the use of fairy fairyland such as" the posture of Kunshan ","the edge of the region "and" the art of peace "in the poem only adds color to the poem and cannot be called unique. Li Bai's Six Poems of Mount Tai combines the advantages of wandering immortals and landscapes, forming a new conception style. The poem not only outlines the magnificent and open artistic picture of Mount Tai with rich and extensive lines and bright colors, but also combines the commonly used figures (Jade Girl, green-haired teenager, An Qisheng, etc.). ), events (giant ao negative fairy mountain, immortal living in gold and silver platform, immortal drinking clouds, etc. ) and vocabulary (nine beggars, mitogen, jade liquid, mystery, etc. ) The poem not only describes the specific scenes of fairyland in different time and space, but also has the coherence of plot development, thus creating a strong aesthetic feeling and vivid image. This aesthetic feeling and vivid image are superimposed on the real background of Mount Tai's mysterious landscape, which not only enhances the hazy artistic conception of poetry, but also gives people an immersive artistic feeling, and its artistic effect greatly exceeds that of other landscape poems with Mount Tai as the theme.
Matching with the artistic conception style of you xian's description of mountains and rivers, in Six Poems of Mount Tai, the poet adopts the structural form of two development lines, namely, the real scenery of mountains and rivers and the fairyland of you xian, which are intertwined and hidden from each other, showing the author's unique sense of time and space in artistic conception. China's traditional lyrical way of poetry is to seek spiritual correspondence in external images, so as to realize the externalization of emotion and form a tacit understanding between emotion and image. The counterpart of Li Bai's emotional externalization here is both the actual scenery of Mount Tai and the fictional scenery of Wonderland. The two are combined into an artistic whole, and together they accomplish an artistic mission: to convey the poet's deep affection for traveling to Mount Tai. The real scene described by the poet is caused by the general leader of "Climbing Mount Tai in April", which runs through six poems. Or write a panorama, or write a part, or use close-up, vertical and horizontal brushwork, re-dye and lightly wipe, soothing and elegant, with vast weather, magic and full of charm. However, after reading these six poems, readers feel that the description of mountains and rivers in the poems is clearly building a big environmental atmosphere and scene transformation, which has become the base, background and foil for the emergence and plot development of fairyland. The fairyland and immortal activities described by the poet are tortuous through the real scene of Mount Tai described by the poet, with the plot clues of meeting immortals, attracting immortals, thinking immortals, learning immortals and respecting immortals. The complex emotions expressed by the author in his poems, such as freedom, amazement, confusion, helplessness and disappointment, melt into the entanglement of fantasy lines in real life and fluctuate between reality and fantasy, which not only shows the poet's inner world in many ways, but also makes readers involuntarily resonate with the rhythm of the poet's emotions, arousing similar aesthetic psychology in the landscape realm and triggering endless taste for the world and life.
The unique artistic conception and structure of Six Poems on Mount Tai are not only the originality of ancient poetry creation, but also the result of Li Bai's special emotional background when he wrote this poem. Li Bai is a man with "swan" ambition, and his ambition is great. He hopes to be an assistant minister of the emperor and make great achievements in politics. But because he refused to "bow" to the powerful, he could only be a victim under the feudal system. Li Bai's "Six Poems on Mount Tai" not only shows the beauty of Mount Tai's landscape and fairyland from the surface of poetry, but also contains the lingering contradictions and doubts in Li Bai's heart. Mount Tai is a cave, and its eyes are as wide as the sky. It is not only the natural expression of the poet's wild and unruly character, but also a temporary catharsis of him in the vast universe, or "raising his hand to clear the clouds" or "whistling in the sky". However, the expression of this personality and the release of emotions sometimes contrast and collide with the hard-to-pay ambition complex hidden in the bottom of my heart. Therefore, although the fairyland fairy created by the poet with exaggerated, dangerous or beautiful language is extremely attractive, it does not show the poet's sincere and enthusiastic pursuit of immortality. On the contrary, it is a state of mind that pursues unattainable free personality and grand ideal, which has a taste of "saying this and meaning that" (Ye Xie's original poem). Every poem in the whole poem generally goes from the real scene to the dreamland and ends in the dreamland. If connected, we can appreciate that the poet used whimsy to pass away the boredom of the soul and entrusted his feelings in his dreams. As can be seen from the poem, the poet's answer to the fairy tale of Jade Girl is "to feel ashamed, not to be a fairy", and the fairy book that the fairy points out the maze is "to read it at leisure" and "to feel three sighs". The poet wants to talk to the immortal, but he hesitates to disappear, but it is difficult to catch up. Even if he wants to practice jade liquid with the immortal, he will get the "immortal medicine". At the end of the poem, the beautiful fairyland that the poet yearns for ends with the regrettable reality of "missing". Isn't the meaning to be expressed in the poem the poet's helpless melancholy? For example, Lenovo Li Bai suddenly went to Beijing in autumn after climbing Mount Tai in April, and even sang "Laughing in the sky when going out, are we Artemisia people?" (Nanling children go to Beijing), we will understand the meaning of this poem better. In Tang and Song Dynasties, Shi Chun once commented on Li Bai's poem "If you visit immortals near, it will be very interesting." It's just that Li Bai is arrogant, broad-minded, angry but not angry, sad but not bitter, and his poetic style is elegant and bold. The meaning in the poem is not like Chen Ziang's "I miss heaven and earth, and there is no limit, who will cry alone", and "I place my trust in the unspeakable and return to the insoluble meeting" (Ye Xie's Original Poem).