First, before leaving Shu (70 1-725)

Li Bai was born in Haoshang and grew up in Qinglian Township, Zhangming County, near Jiangyou, Sichuan. After the tour, they all went out of the gorge with Emei. The following Interview with Dai Tianshan shows that he has long been branded as a Taoist.

Second, swim eastward along the Yangtze River until you leave Anlu (725-735).

Li Bai went out to Shu at the age of twenty-five to visit Taoism, make friends and visit mountains and rivers. "History of Shang 'an Peichang" said: "I think that a gentleman will be like a mulberry bow and arrow all his life, shooting at his husband everywhere, so I know that a gentleman must have good thoughts and great ambitions." He left the Three Gorges eastbound, passed Jingmen and Jiangxia, and went to Xunyang to climb Lushan Mountain. Traveling to Jinling and Yangzhou, wandering between Wu and Hui; Back to the boat, from Jiangxia to Hanshui, through Xiangfan, to your vicinity, during which I met Meng Haoran; From Linru to Anlu (AD 727), I married my granddaughter and started the life of "drinking in Anlu for ten years". In the autumn of the 23rd year of Kaiyuan (AD 735), I visited Taiyuan Temple at the invitation of my friend Yuan. Shortly after returning to Anlu in the following spring, he moved to Donglu. The following "Jiangxia Tour" expresses his sympathy for businessmen's wives and other civilians; The book Sleeping in Huainan can find the root of his strategists' thoughts.

3. From East Road to Nanling and then to Chang 'an (736-742)

Li Bai moved from Anlu to Shandong and settled in Rencheng. He also lived in seclusion in Culai Mountain, and from time to time drank with five people, including Kong Chao's father, who was called Zhuxi Liu Yi. In the meantime, I went back to Han and Xiang once each, traveled north and Wan, and soon returned to East Road, and went south to wuyue to meet the Taoist priest of Wujun. In the first year of Tianbao (AD 742), I was called to Chang 'an in Nanling. The next excerpt from "Going East in May, Answering Wen Shang Weng" shows that he is confident to enter the official position from the right path; "Nanling Children Don't Go to Beijing" more vividly shows his arrogance when he was called to Beijing, and also reflects his enthusiasm for fame and fortune.

Fourth, in Chang 'an (742-744).

Li Bai went to Chang 'an with Taoist Wu Yun, and was personally summoned by Emperor Xuanzong of the Tang Dynasty on the recommendation of the princess and some other people. As a sacrifice, he was presented to the Hanlin, with no official position. He pretends to be a scholar in Wang Zuo, but Xuanzong regards him as a literary attendant and is often called to do some so-called "due work". It seems that he was not satisfied with this experience, plus he indulged in drinking and was arrogant, which inevitably offended some villains, such as Gao Lishi, and was finally exiled to Beijing. Spring breeze is just a flash in the pan. Unfortunately, Chang 'an is the political center of the country. He opened his eyes here, increased his knowledge, and had a perceptual understanding of the declining politics at that time. He collected a lot of poetry materials and enriched the content of his works. The following "Twenty-four Ancient Styles"-"Car Flying Dust" openly mocked current politics; Song of the Horse is a metaphor for a horse, lamenting that a wise master has never met before. And "looking at Nanshan to send a hermit a song" shows that Chang 'an's ten-foot world of mortals failed to make him give up his yearning for immortals.

Verb (abbreviation of verb) leaves Chang 'an for Yelang (745-757).

After Li Bai left Chang 'an, he moved north and south. He lived in seclusion between Song Liang and Qilu, and traveled back and forth between Huiji, Jinling and Yicheng many times. What is worthy of a great book is that in this early period, he forged an immortal friendship with Du Fu, climbed mountains with poets and great calligraphers such as Gao Shi and Li Yi, and returned poems and wine. An Shi Rebellion, he is in Xuancheng. Later, he moved to Liyang and Zhongshan. In the 15th year of Tianbao (AD 756), he took refuge in Lushan Screen, met Wang Yong of Xunyang, and invited him to join the shogunate. The following year, in the second year of Zhide (AD 757), Wang Yong defied the imperial edict of Su Zong and defeated Danyang. He was dragged down to Xunyang prison and sentenced to leave his wife at the age of 57, and went through the sinister wind and waves of the Three Gorges in Dongting alone and embarked on a long road of life and death. At this stage, Li Bai has the richest life experience and the most poems handed down. The following excerpts from "Into the Wine" and "Seeing the Rhododendron in Xuancheng" reflect his concern and dissatisfaction with state affairs, his chagrin that he failed to make progress twice, and his glimpse of his family, friends, landscapes and immortals.

Six, Wushan met with forgiveness and died (758-762)

Li Bai wandered for a long time, arrived in Wushan, met Xie Dong, and then came back. After a short stay in Jiangxia, Baling, Hengyang and Lingling, I returned to Xunyang. Later, I revisited Jinling and traveled to Xuancheng and Liyang. One year before his death, Li Guangbi of Dongzhen Town was allowed to resist Shi Chaoyi. He wanted to serve his country when he heard the news. Unfortunately, he turned back because of illness. In the first year of Baoying (AD 762), Li died in Dangtu at the age of 62. At this stage, Li Bai gradually entered the bleak old disease. However, his poetry and wine are as good as they were then. The following song "Don't Pine Branches in Jiangxia" reflects Li Bai's helplessness to the country in his later years. (The picture on the right shows Li Bai's handwriting. Looking at Li Bai's life and handed down works, we can see that the mainstream of his thoughts is Taoism and strategists, and he is also influenced by Confucianism. He worships Fu Shuo, Lu Shang, Fan Li, Lu Lian, Sean, Xie An and other so-called "national prosperity and security" big shots, as well as Zhuan Xu, Hou Ying, Jing Ke and other assassins and rangers. He had the ambition to help the poor, but he didn't try. Of course, objective social conditions limited him, as did his own subjective personality and feelings. There is no doubt that he loves the people of this country and hates evil and treachery.

Du Fu

First, the roaming period of reading (before the age of 35)

During this period, he traveled to Wu, Yue (now Jiangsu and Zhejiang), Qi and Zhao (now northern Shandong and southern Hebei) and worked in Luoyang. After meeting Li Bai in Luoyang, they formed a profound friendship, then met Gao Shi and traveled with Liang and Song (now Kaifeng and Shangqiu). Later, Du Li went to Jizhou again, met on East Road and broke up again.

Second, trapped in Chang' an period (35 to 44 years old)

During this period, Du Fu took the exam in Chang 'an for the first time and came last. Later, he presented gifts to the emperor and presented them to the nobles. He lived a life of "detaining the rich in the morning, following the fat horse dust at night, throwing a cup and baking it cold, hiding his worries everywhere". Finally, he got a small official who led the government to join the army. During this period, he wrote poems such as "Car Shop" and "Two Ways", criticizing current politics and satirizing dignitaries. The book "Singing 500 Words from Beijing to Fengxian" is particularly famous, which indicates that his understanding of the political and social reality of the imperial court has reached a new height after ten years of hard life in Chang 'an.

3. The arrested thief is an official (45 to 48 years old).

When the Anshi Rebellion broke out and Tongguan fell, Du Fu settled in Zhangzhou and went to Suzong alone. He was captured by the Anshi Rebellion and taken to Chang 'an. In the face of chaos in Chang 'an, he heard the news that the loyalist troops were repeatedly defeated, and wrote poems such as Moonlit Night, Spring Hope, Ai Jiangtou and Sad Chen Tao. Later, he fled to Fengxiang to cheat and made a collection. Because of the suggestion, Shangshu was demoted to be the prime minister of joining the army. Later, he recorded his experiences in the form of poems and became his immortal works, namely "Three Officials" and "Three Farewells".

Fourth, the wandering period in the southwest (48 to 58 years old).

With the collapse of Xiangzhou loyalist and the famine of Guanfu, Du Fu abandoned his official and fled with his family, passing through Qin Zhou and Tonggu, and lived a relatively stable life in Chengdu. When he entered the DPRK, the warlord in the middle of Shu rebelled and he went to Zizhou and Langzhou. Then go back to Chengdu. After Yanwu's death, he drifted again, lived in Kuizhou for two years, drifted to the same lake and died on the Xiangjiang River. The works of this period include Heart on the Water Threshold, Delighting in Rain on a Spring Night, Autumn Wind Breaking the Cottage, Sick Orange, Climbing the Building, Book Reading, The Yellow River was recaptured by the imperial army, Showing Wu Lang again, Ascending the Mountain, Qiu Xing, Three Jueju and Sui Yanxing. In 770, in order to escape the war, Du Fu went to Chenzhou to take refuge in his uncle Cui Wei. Later, due to the recurrence of a serious illness, the expenses were exhausted, so I had to go back to Miluo River to visit my friends in Changjiang County (now Pingjiang) for treatment. Unfortunately, he died in the county government and was buried in Days Mirror Lake, ODA. Yuan Zhen wrote an epitaph for Du Jun and spoke highly of Du Fu: As for the beauty of Zi, it was thin and elegant. In fact, it was when Shen Song seized Su Li and swallowed Cao Liu, hiding his face and thanking him for his loneliness, while the beauty of Xu and Yu was unique in ancient and modern times. It's not expensive for Zhong Ni to fake his purpose, but it's more than that. If you can do everything you can, no one has been as beautiful as a child since the poet.

Su Shi

First, it will enter the official career period. Including Fu Shang Fu, Qu Yuan Temple Fu and Kunyang City Fu. At this time, Su Shi was twenty-four or five years old, and all three poems were written on the way to Beijing. This is Su Shi's second visit to Beijing. Previously, he had taken an exam in Beijing and gained a high reputation. Later, because of his mother's death, he returned to Shu. This trip to Beijing is the beginning of his career. It is generally believed that Su Shi was in high spirits and full of ambition at this time. In fact, he studied these three poems carefully and found that this view was simple and arbitrary.

Su Shi corrected the name of dumping in "Dumping Things": "Dumping things at the mouth of Quxia is the most dangerous thing in the world, and the shipwrecker is responsible for this stone. From the rest, Gai has contributed to Sri Lanka. " As a symbol that has contributed to others but is not understood, "mound" also contains Su Shi's anxiety about the future road. Although he still wants to "seek safety with danger", he has long foreseen the future storm. At this time, he often put himself in the concrete contradictions in his life to think, and this tendency is more obvious in Qu Yuan's temple fu: "Mourn for your husband! People are inherently mortal and it is difficult to be executed. If you want to go to the river, you will be shocked. " This paper makes a vivid reflection on Qu Yuan's psychological activities before his downfall, which is rare among ancient intellectuals who are about to enter the official career. "Kunyang City Fu" expresses the feelings of personnel in the deserted desert and sympathizes with Yan You, who is proficient in the art of war and is not listened to: "Yan Sheng is sad alone, but his talent is not met. Don't you know that he will be lost and he will be lonely? "

Throughout the three poems, all of them are famous works, which reflects Su Shi's ambivalence of never turning back before becoming an official, hoping to achieve something and feeling uncertain about the future situation.

Second, the period of demoting Huangzhou. Including the previous "Houqiju Fu", "Kuaizai Feng Zhe Fu" and "Wutai Poetry Case", and the previous "Xiebi Fu", "Huma Fu" and "Mou Xin Fu".

During this period, Su Shi's poems have not been handed down for nearly fifteen years. Compared with when he was young, his poems have changed greatly since then. The pursuit of achievement is completely indifferent, and personal spiritual self-help and leisure work occupy an absolute position.

Most of Su Shi's fu works in this period showed the spirit of positive thinking and getting rid of bondage and detached self-help consciousness. The writing of Fu on the Back Banner saved and surpassed hunger, and Zhuangzi's thought of "all things coexist" began to become the dominant thought of Fu. The former's "Red Cliff Fu" expresses the sadness of limited life, while the latter's "Red Cliff Fu" has a far-reaching theme, which, in my opinion, also contains the realistic detachment of sadness and joy, and the Taoist "crane" has become a symbol of spiritual freedom. Fu on the Rat is intended to get rid of the troubles of foreign objects, while Fu on the Horse shows the tendency of keeping in good health and Taoism, which reached its extreme when it was released again.

Fu in this period often shows a kind of confusion-the same mode of liberation, which is the embodiment of Su Shi's efforts to transcend his inner pain at this time.

Third, North Korea assisted the political period. Including six items: Yanhetang playing new music fu, reforming and supporting fu, the wise man can be faithful, change it to benefit others, three ways to seek public feelings, and six things to be honest.

After Zongshen's death, the young philosopher Li Zongjian established political power, and the empress dowager took power. Su Shi changed from a semi-supervised relegated official to a trusted minister of the empress dowager and a teacher of the prince. The six poems handed down by Su Shi during this period are all legal poems, and they are all written for the young emperor. These poems are more like a theory, probably because Su Shi took the way of "literature and art serve politics" and remonstrated with the emperor in various literary forms. At the same time, it also shows that Su Shi put all his efforts on the emperor at this time. He realized that his ability was insignificant, and only the emperor was the ultimate power to decide the fate of the whole world. This is obviously different from his thought of taking the world as his responsibility when he was young, which is also the ups and downs of his career for many years.

Fourth, the Linghai period of Yuan Chen. Including the previous Qiuyang Fu, Dongting Spring Fu and Jiuyin Fu, and later written in Huizhou and Danzhou, Zhong Shan Song Lao Fu, Chen Xiang Shan Fu, Tian Ru Quan Fu, Old Gourmet Fu and Gu Fu.

Qiuyang Fu inherited the speculative color created in Huangzhou period. However, the mood is more indifferent. Since then, wine and diet have become the main contents of fu (except the fu of agarwood, which is for writing). Leisure and health preservation are the themes of this essay. Su Shi's spirit is unyielding and his optimism is indestructible. Even in the hard years of living in Hainan, he can still find the real interest of life, even in a meal and a glass of wine, and enjoy the rest of his life.

Ouyang Xiu

I didn't find it. I'll tell you when I find it!

Huang tingjian

Huang Tingcun, a famous poet in Song Dynasty, has nearly 1800 poems. /kloc-started writing poetry at the age of 0/7 and finished it at the age of 6 1. His creative activities lasted for 45 years. Looking at all his poems, we can see that there are obvious stages in his creative development: the creative exploration period, from the six-year Jiaqing style formation period of the Northern Song Dynasty (1000), from the first year of Yuanfeng (1078) to the eighth year of Yuanfeng, he wrote 650 poems; During the establishment of the paradigm, he wrote 4 13 poems from the first year of Yuanhu (1086) to the eighth year of Yuanyou. During the period of artistic transformation, 422 poems were written from Shao Shengyuan (1094) to Chongning (1 105). This stage is the embodiment of the formation and change of the poet's artistic essence and style in his creation, and its development and change are inevitably influenced by the literary trend of thought of the times and social and historical conditions.