Du Fu cared about the country and the people throughout his life. With his most conscious and profound social consciousness, he used his whole life energy and genius to create poetry, personifying individuals into a broad life, with a broad mind and a sincere nature, which made Du Fu Poetry reached the highest achievement of ancient Chinese poetry art in the Tang Dynasty. His poems are "full of meaning and vast, with thousands of shapes gathered together" (the original biography of "New Book of Tang"), "all the styles of ancient and modern times are combined, and each person's unique specialty" (Yuan Zhen's "Tang Dynasty Inspection and Works Department Yuanwai Lang Du" "With the preface to the epitaph of the emperor"), he has a large body of work, a profound and profound connotation, and is good in all styles. He is known as the "history of poetry"; he was praised by his predecessors as "the first poet in ancient and modern times" and "the master of all things", and enjoys The reputation of "Poetry Saint". Du Fu's lofty status in the poetry world is inseparable from factors such as the rich content, profound thoughts, and wide range of themes of his poems. It is also closely related to the changes and innovations in artistic techniques of Du Fu's poems. It can be said that Du's poetry is unique, "changing the predecessors and all the predecessors are in it", creatively creating rich images, accurately conveying the complex emotions of the poet's heart, containing huge artistic charm, and giving people a sense of A strong shock of beauty. This article intends to explore the characteristics of the image generation in Du's poetry and the aesthetic effects it produces.

1. The relationship between the personalization of the image selection in Du's poems and the melancholy and melancholy artistic style of Du's poems

Image is an artistic image that contains the writer's subjective feelings. It is formed through the poet's emotions, imagination, and emotions. The reprocessed feelings of thoughts, aesthetic tastes, etc. come from the poet's "take out and take away" screening and smelting of objective things. It is not only a portrayal of real life, but also the crystallization of the poet's aesthetic creation and the carrier of his emotional ideas. Poets and scholars at home and abroad in ancient and modern times attach great importance to the creation of images and their aesthetic effects. Liu Xie once discussed in "The Literary Mind and the Carving of Dragons" that "the poet should use aesthetic images to construct his artistic world"; Sikong Tu's "Twenty-Four Poems·Description" clearly stated that "from form to resemblance" "The idea of ????encouraging poets to "skim the shape and take the divine bones" and pursue the spiritual resemblance of art. "Shuimi" said that "the image is about to come out, and nature is already amazing"; He Jingming of the Ming Dynasty advocated in "On Poetry and Books with Li Kong" "Image should be said to be together, image should be said to be separated", pointing out the artistic effect of whether the image and the image match or not; Qian Zhongshu emphasized the causal relationship between poetry and image: "Poetry also has the words of image, and depends on the image. To make words into words; to abandon images and forget words is to have no poetry." ("Selected Works of Qian Zhongshu", Volume 1, page 67) The American poet Pound believed that image is "a complex of reason and emotion that appears in an instant." Experience"; while Welleck and Warren said in "Principles of Literature" that it is "a combination of fundamentally different ideas." Therefore, poets are often good at shaping specific images to express their emotions implicitly. People of the same ethnicity and cultural background often create specific images with their own national cultural emotions, such as "swan geese", "willows", "chrysanthemums", "moons", "cuckoos", "plum blossoms", etc. As the saying goes, "Chinese people have a Chinese mentality, and Chinese people have Chinese ears" (Liushahe language).

Du Fu is such a great poet! In his many years of poetry creation practice, Du Fu has innovated and refined his thoughts, forming a distinctive group of images. These groups of images are imbued with the poet's emotions of sorrow for the country and love for the people, with a strong tragic color. Du Fu had great ambitions and high self-esteem. He "thought about being strong at the age of seven, and chanted the phoenix with his mouth" ("Zhuang You"), determined to "steal Ji Ji and Qi", and "make customs pure again". He was full of confidence in himself and consciously gave himself a sense of mission of the times. , showing a strong desire to achieve self-improvement and transcend the world. It is this majestic character, great ambition, noble personality, and broad mind that made Du Fu admire powerful and magnificent works in his creative tendencies and pursue masculine beauty in his creative practice. Reflected in the unique choice of images, it is determined that Du Shi's choice of objects will inevitably tend to be broad objects with masculine beauty, showing a unique artistic style and pursuit of aesthetic values.

So the natural scenes reflected in Du Fu's writings are "the beautiful bells of nature, the yin and yang cut off the dusk", "the stars hang down on the plains and the vast fields, the moon surges into the river", "Wu Chu is in the southeast, the universe floats day and night" " The choice of extremely majestic and vast mountains, giant swamps, long sky and great rivers, etc., such as the waves in the river and the surge in the sky, blocking the wind and clouds grounding the earth, "the boundless falling trees rustling under the rustling, the endless Yangtze River rolling in", express the poet's broad mind and powerful Spiritual strength and charisma. As reflected in Du Fu's poems about chanting things, he mainly sings about powerful animals such as phoenixes, horses, eagles, falcons and vultures. "Phoenix" is a unique image in Du's poems. The phoenix is ??a sacred bird in ancient Chinese legends. It is said that the appearance of the phoenix will bring peace to the world.

Since chanting the phoenix at the age of seven, Du Fu has become more and more conscious of describing himself as a phoenix. Isn't this phoenix, which can bring peace and auspiciousness, a symbol of his great ambition and his totem? In "The Journey of Zhu Feng", the image of the benevolent and kind-hearted Zhu Feng who is in a difficult situation, poor and lonely, but cares about all the birds, as if "willing to separate the bamboo from the ants", is the symbol of the poet's own benevolence to the people and love for things. . The poet eagerly calls for its arrival in the poem, "The war has not ended, the phoenix and the unicorn are at peace" ("Another View of Fishing"); he is even willing to sacrifice his own flesh and blood: "I can cut my heart and drink my blood. Peck to soothe the lonely sorrow. The heart is like a solid bamboo, and it is bright and has nothing to do with it. The blood is like a sweet spring, but it is nothing more than a clear stream." ("Phoenix Terrace") Let's look at the horse written by the poet again: "The horse has a great name and is sharp and thin. The bones are formed; the ears of the bamboo are sharp, and the wind is light on the four hooves; there is no open space in the direction, which is really worthy of life and death; with such a strong spirit, it can travel thousands of miles." ("Fang Bing Cao Hu Ma") This poem "The words are vigorous. He is bold and powerful, flying thousands of miles, just like now." (Zhao Wei, volume 1 of "Du Shi Jingquan"), using the image of the horse's clear bones and high head to express his ambition and ambition, which fully expresses the author's indomitable ambition and taking the world as his own responsibility. heroic spirit. In "Painting an Eagle", the poet compares himself with an eagle, not only "his body is thinking of a cunning hare, his sideways eyes are like a sad beard", but he is also looking forward to "how to attack a mortal bird and spread its blood on the grass." In the poem "The King's Soldiers and Horses Envoy the Two-Horned Eagle", the poet writes that the horned eagle eliminates evil birds and separates the owl, expressing his feelings of eliminating evil and recreating peace. The poet's ambitions, feelings, spirit and vigor become more and more prosperous as he gets older, adding to his uncompromising spirit. Poems such as "Skinny Horse Walking", "Sick Horse" and "Yang Jian Painted Twelve Eagles Again" all show the image of Du Fu who is still ambitious, dedicated and loyal even in his old age. In "The Journey of the Righteous Falcon", although the weak are shown to be strong and brave, the arrogant spirit of "can travel thousands of miles" reflected in the poet's early images has become "whining and thinking about fighting" due to the difficult times and unfulfilled ambitions. "Standing far toward the blue sky" ("Qinzhou Miscellaneous Poems"), there is a tragic undertone in the heroic spirit; and "Wei Xi Lu Shi Zhai Watching General Cao's Horse Painting Song" contains a sigh of relief for the hero's doom. These poems inject the subject's emotions into the object, and the poet's emotions are organically integrated with the objective things, making the image more vivid and the connotation deeper and broader. Just as Huang Che said: "Because of his ambition to reach far, he is not willing to wait; when he is averse to evil and has a strong heart, he especially wants to attack." (Volume 2 of "Bixi Poetry Talk") So far, the poet's ambition to reach far and a strong heart to abhor evil are reflected. Loyalty to the emperor and patriotism will inevitably be sublimated into benevolence and love for the people who are deeply concerned about the fate of the people. The heroic complex embodied in the former and the humanitarian sentiment embodied in the latter are essentially consistent.

Thus, Du's poems also show his praise and concern for objects that are small and fragile or that have been destroyed and forgotten. For example, "The Solitary Goose": "The solitary goose does not drink and peck, but flies and cries out to the flock. No one cares about a shadow, but it is lost in the clouds thousands of miles away. Looking at it seems to be seen, and mourning is like hearing more. Wild crows have no emotions, and their calls are also numerous." In terms of visual language, this poem says, "The one who can't stop flying after looking at it seems to have seen the group and chased it away."; in terms of auditory language, "The person who mourns a lot and keeps singing, even if he hears the group, he calls out to it." ( Pu Qilong's "Du Xinjie" Volume 3-5). War is frequent and the people are homeless. The poet's sympathy and sorrow are fully revealed. The whole article is based on the aesthetic subject's observation of the object. The objective objects are clearly marked with the poet's subjective emotions, forming a unique image. The poetic meaning is embedded and the ideological capacity is huge. For example, "Parrot" embodies the feeling of being out of control; "Gull" envy its leisure and contentment; "Ape" marvels at its full intelligence; "Muntuntjac" expresses the dangers of troubled times; "Chicken" expresses the customs of a different country; "Yellow Fish" "Pity grows up and is hard to tolerate; "Bai Xiao" is unavoidable when it comes to minor injuries. They all vividly display the author's spiritual world in the observation of small lives. Love and hate are clear, and the true love is true. "One by one covers my heart, and the mountains, birds, and flowers are my friends" ("A Journey to Two Temples in Daolin, Yuelu Mountain").

In addition, diseased trees, diseased oranges, withered nan, withered palms, ancient fortresses, autumn clouds, dusk anvils, residual torches... and even high rivers, rapid gorges, dangerous cities, lone boats, singing apes, and soaring trees. Birds, falling flowers, setting sun, cold moon, etc.; as well as the hard-working Weaver Girl, the old woman fluttering dates in front of the hall, the old farmers groaning under the heavy load, the newlyweds; the plundering officials, the arrogant generals, the rude and unreasonable young men, The beauties by the waterside in Chang'an have become images that are quite representative of the style of Du's poetry. They express the poet Du Fu's enthusiasm for reviving the world, his condemnation of the chaos, his indignation at the tyranny, his sadness at wandering, and his compassion for the loss of life. Regret over the exhaustion of material resources and praise for giving to the masses.

Just as Ye Xie said: "If you cite one of Du Fu's poems and one sentence at a time, you can see everywhere that he cared about the country and loved the king, showed compassion for the chaos, was unscrupulous when he was in trouble, made promises without being excessive when he was in poverty, fought against thieves in rough terrain This is the face of Du Fu." (Volume 2 of "Original Poetry") In short, Du Fu's life was always filled with a kind of feeling, whether poor or prosperous, safe or dangerous. He has an unshirkable sense of responsibility and mission, and a firm belief in sacrificing his life for the cause he loves and pursues. "I feel sorry for the burning of nine temples, and feel sorry for the sores of all the people below." His spirit is the most powerful and strong, and his emotion is the most tragic. Pain; and its unique poetic imagery integrates natural scenery, national disasters, and personal feelings, with profound feelings, which makes the real and magnificent picture of life in the era be covered with a dignified and deep melancholy color and tragic atmosphere, with heroic and tragic feelings. , the brushstrokes are old and vigorous, clearly forming the melancholy artistic style of Du's poems. The masculine beauty generated by his images may be "gushing out" or "magnificent" (Volume 17 of Fang Dongshu's "Zhao Mei Zhan Yan"), Or the feminine beauty of "transparent and gentle" and "lingering and charming" (ibid.) are just two different aspects of his poetic style. Belinsky once said: "The reason why any great poet is great is because his pain and happiness are deeply rooted in the soil of society and history, and he thus becomes the representative and mouthpiece of society, the times and mankind." (" Belinsky's "Literature") Du's poems intertwined family sorrow and national hatred in his unique poetic imagery, profoundly showing that the personal destiny of upright intellectuals is closely related to the destiny of the country and the nation, which has a high degree of generality and typical significance. , this is exactly the spiritual essence of "depression and frustration".

2. The dense combination of images and its overcoming of the metrical limitations of modern poetry.

The combination or jump of poetic images is the most concise and refined way of expressing images. The combination of images in Chinese classical poetry relies on the characteristics of Chinese grammatical meaning. Words can be directly combined with words and images with images. This is like the montage technique in movies, one image after another, one picture after another, leaving a lot of blank space between the shots, allowing readers to supplement and improve based on the logic of life, accumulation of experience and their own cultivation. This highly condensed verse maximizes the density of poetic imagery and the strength of the verses; it not only makes the image groups in the poem stand out, but also provides readers with a vast world of association and imagination, which has great aesthetic value.

Different from the "spacing" of images in Li Bai's poems, Du Shi is good at compressing several images into one poem, with high density and large capacity, making it look dignified, mature and profound. For example, "Deng Gao", which is known as "the first of seven ancient and modern rhymes": "The wind is strong and the apes high in the sky are screaming in mourning, and the white birds are flying back in the clear sand of Zhugistan. The endless fallen trees are rustling, and the endless Yangtze River is rolling in. The sad autumn of thousands of miles is a frequent guest, and it has been a hundred years. The sick person appears on the stage alone. The hardships and hardships make the hair frosty, and the wine glass is full of poverty. "The imagery of the whole poem is very tightly organized, especially the first couplet and the neck couplet. The images appear one after another, and the wording is extremely precise. A mere fiction. The combination of "Wanli" has many layers of meanings, and they are piled up unconsciously. It has always been appreciated by people. In this regard, Luo Dajing said: "Ten thousand miles means that the land is far away; autumn means that the time is miserable; being a guest means traveling for a long time; being a frequent guest means traveling for a long time; a hundred years means being old and tired; being sick means aging; platform means high , in a completely different place; alone on the stage, with no relatives or friends; the fourteen words contain eight meanings, and the parallels are precise." ("Helin Yulu" 11) Others say that it is sad to be a guest in a foreign country, and it is sad to be a frequent guest. It is sad to be a guest thousands of miles away. It is sad to be a guest when the autumn wind is bleak. It is sad to be on the stage in autumn. It is sad to go to the stage alone. It is sad to go to the stage alone with relatives and friends. It is sad to go to the stage to support the illness. It is sad to come here often. It is sad to live in illness for only a hundred years. But Jiu is sad. Here, many images of thousands of miles, sad autumn, being a guest, hundreds of years, illness, loneliness, and stage are intertwined and combined. There is me in you and you in me. They are orderly but not in time order. When they are intertwined, they can be seen at a glance. The autumn scenery in the poem is no longer a real record of Kuizhou, but an artistic illusion that is "out of shape and resembles"; the sad autumn mood in the poem is not only Du Fu's unique personal emotion, but an aesthetic of universal significance extracted from personal life experience. experience, and truly achieve "writing reality and transcending reality". Another example is "Spring Hope": "The country is broken by the mountains and rivers, and the spring vegetation in the city is deep. I feel the flowers splashing with tears, and I hate the other birds and scare my heart. The war continues for three months, and letters from home are worth ten thousand gold. The white hair is scratched shorter, and the lust is overwhelming. "Ms. Chen Wanjun of the Qing Dynasty noted that the poem has "four sentences and eighteen layers", which shows the density of images and the compactness of the combination. Otherwise, it is not enough to express the richness, complexity, twists, subtleties and sadness of this poem.

The remnant walls of the first couplet "National Destruction" are in sharp contrast with the vitality of "City Spring", highlighting the dilapidated scene after the fall of Chang'an, and embodying the poet's deep feelings about the current situation and concern for the country. Sima Guang praised: "In ancient times, poetry was more valuable than the meaning behind the words, making people think about it... In modern times, Du Zimei is the most eminent poet. If you say 'mountains and rivers are there', it is clear that there is nothing left; 'the grass and trees are deep', it is clear that there is nothing There are traces of people; flowers and birds are things that can be entertained in daily life. If you cry when you see them and feel sad when you hear them, you can know the time." ("Wen Gongxu Shihua")

When Du Shi uses natural scenery to form images, He also pioneered the method of image superposition, that is, using all substantive noun images to splice and condense them, omitting the related words between the noun images, "the words are not connected but the meaning is connected", using highly poetic language to expand the scope of modern poetry. The capacity has reached the artistic realm of making promises and adding more with less, adding aesthetic value. Such as "The wind is strong and the sky is high, the apes are screaming in mourning, and the white birds are flying back from the clear sand in Zhu" ("Ascending"), "The fine grass is gentle on the shore, and the boat is alone at night with dangerous rafts" ("Lv Ye Shu Huai") "Three Years in Dili Guanshan" In the moon, the wind blows over the grass and trees in front of the soldiers of all nations." "The green walls are covered with thin clouds, and the red maples and thousands of trees are thick behind them." (Official Pavilion of Xiangji Temple, Fucheng County)) "The sun and moon are in cages with birds, and the universe is like apples on the water." ("Hengzhou Farewell") "Doctor Li Qizhang Zhao Guangzhou") are all sentences with extremely dense images. There are broken gaps between the images, causing a disconnect between the images. In fact, this is a gap intentionally left by the poet for the audience, which prolongs the The aesthetic perception process of the appreciator increases the aesthetic taste. This kind of image superposition method was gradually imitated by Du Fu, and there are many masterpieces, such as "Yellow-leafed trees in the rain, white-headed man under the lamp", "Cocks singing in the moonlight in Maodian, people walking in the frost on Banqiao", etc. Liu Yong, Ma Zhiyuan and others also have exquisite works. reference and innovation. Du Fu's exploration and innovation of the way of combining images overcame the limitations of modern poetry itself, expanded the capacity of this genre, enriched the expression skills of modern poetry, and made the poet's emotional expression more free, flexible and changeable, thus giving modern poetry a unique A new aesthetic feature different from ancient poetry.

3. The novel structure of images and the unique aesthetic effects they produce

When the poet’s unique feelings and emotions cannot find suitable expressions in objective things, the poet will He will use his own imagination to deform and recast objective things, allowing the images nurtured by his soul to properly convey the poet's feelings in novel ways of construction. Du Fu has a poem that goes: "I write good sentences for the sake of human nature, and I will never stop if my words are not surprising." He always consciously creates new words, especially in the language of poetry, which is "unique". For this reason, Lu Shiyong of the Ming Dynasty once criticized Du Fu in his "General Theory of Poetry and Mirrors": "It is curiosity, and the intention to be curious will naturally reach far... Looking at it carefully, I feel uncomfortable several times." In fact, "the intention to be curious" is Du Fu Conscious pursuit and "uneasiness" are exactly the effects of the defamiliarization of Du Fu's poetry. Poets often use various transformation methods such as contraction and omission, inversion and intricacy, reverse description, verb conjugation, etc. to make the word order "based on meaning" and create novel and unique image forms, showing a new aesthetic pursuit and aesthetic appreciation. feature. This kind of deformation seems "abnormal" and "unreasonable", but it shows the nature, essence and style of the things described more profoundly and powerfully, so it has the characteristics of "abnormal and consistent" and "unreasonable and wonderful" (Qinghe Shang) The characteristics of "Zou Shuixuan's Ci Quan" form the spiritual interest and curiosity of the aesthetic image. It seems to destroy the natural intimacy of the previous image, but it has a sense of novelty and strangeness, leaving readers with room for artistic imagination and re-creation, and enhancing the artistic charm of the poem. For example, "Bi Wa is outside in the early cold" ("Visiting the Emperor Xuanyuan Temple in the North of Luo City in Winter"). The air of "Early Cold" fills the universe, omnipresent and all-encompassing. How can Bi Wa live alone outside? But as long as we fully mobilize our aesthetic experience and imagination, and realize that the poet associates the green color of the tiles with the greenness of the grass and trees, and then use the life experience of "it is sad that autumn is the breath of life, and the grass and trees shake down and become decayed", then in our eyes, The green tiles indeed live alone outside the cold air; and looking up at the towering Xuanyuan Temple, one feels that the height of the green tiles is already transcending the cold air that fills the space between heaven and earth, so the word "outside" cannot be used. The poem uses the entity of green tiles to convey the poet's unique feelings towards the towering and magnificent Xuanyuan Temple and the reverence he feels when he pays homage to the readers. It is the so-called "acting with the image, feeling with the eyes, understanding with the heart" (Ye Xie's "Original Poetry" ) who. Another example is "The stars are moving in thousands of households, and the moon is near the sky." ("Chun Su Zuo Sheng"), the moon may have "round and missing, bright and dark."

He talks about rising and falling, high and low, but he doesn’t say how many.” “Today we say ‘many’, but I don’t know how many months there are in the first place? How much does it begin when you are leaning against the sky? I don’t know how many months there are? How many mirrors does the moon reflect? "Ye Xie further pointed out that the word "many" has the "indescribable" beauty: "Just imagine the scene at that time. It cannot be described clearly, high-level, or elevating, but only these many words can fully describe the current scene of this palace. Others first see it, but they cannot know it, and they cannot speak it; but they know it as soon as they see it, and they can speak it. "In fact, "many" is just a feeling. It is the poet's unique feeling when he was unable to sleep due to worrying about national affairs and looking at the moon when he was on duty. Among them, there is no lack of the poet's sweet feeling of happiness when he stayed in Zuosheng at night. Therefore, only the word "many" is enough to express his complex feelings. Mood. Another example is "The morning bell is cloudy and wet" ("The boat is under the boat in Guozhou, the rain is wet and the twelve judges are not allowed to go ashore"), how can we tell if the bell is invisible and wet? "Fall" ("Riding in the Maha Pond with Yan Zhenggong in Late Autumn"), how does "autumn" fall? Where does it fall? Ye Xie praised this: "The so-called words are connected and broken, and the way of thinking is broken." However, the principles within it are as illusory as they are real, as vague as they are close, and are as clear as a flying kite or a leaping fish. " (Ye Xie's "Original Poetry")

In a sense, poetry is a competition of imagination. Creating new images and achieving the most perfect combination of meaning and poetic form is the poet's Sacred mission. The novel images created by Du Fu may seem counterintuitive at first glance, but they actually use the so-called "resistance principle" and "defamiliarization" principle to defamiliarize things that have become habitual or unconscious; The details distilled from personal life experience are enlightened by the poet's subjective feelings, and he uses his own unique wording and image structure to form a personalized emotional image, creating a brand new world of feelings, such as in "Letting the Boat". "Green mountains pass by, yellow grapefruits come", from the first impression to the emotion that causes the feeling, to the rational judgment, it is orderly. Isn't it the effect pursued by "stream of consciousness"? Try "Careful Stone Mirror"? The moon, the snowy mountain wind in front of me" ("Five Poems on the Spring River Village") does not vividly depict the poet's thinking track that draws attention to things because of the intensity of his feelings? Du Fu is also good at using the visuality of Chinese characters, Combining some objectively disordered contemporary pictures into an orderly poetic grammar, it seems to be careless but in fact it accurately expresses one's own feelings and obtains a unique aesthetic effect, such as "The peach blossoms are falling slowly. "The yellow bird flies and the white bird flies at the same time" ("Wine in Qujiang"). In nature, peach blossoms and Yang flowers are scattered in various directions, and it doesn't matter who flies with whom, whether the yellow bird or the white bird. Once Du Fu organized it into the poem, "by and by" The word "Jian" suddenly changes from disorder to order, and human feelings are just like it. This novel image structure creates a materialized lyrical way of moving from images with realistic characteristics to surreal images, breaking through the old The aesthetic psychological norms have unique aesthetic value; this is undoubtedly a milestone in the development of the image form of Chinese classical poetry. Others such as "The sadness of the imperial hometown is outside, and the spring scenery is full of tears" ("Sent off the Eighteenth Wei Dynasty in a boat with Cao Cao back to the capital"). "For sending to Cen Zhongyun, Fan Langzhong Ji Ming") "The post building is on the side of the decaying willows, and there is light smoke outside the county outline" ("A Visit to Duke Yuan above") "The fragrant mist clouds wet the servant girl's arms, and the clear brilliance jade arms are cold" ("Moon Night") "Thousands of families The mountains and valleys are still and the sun shines, and the towers on the rivers sit on the sun-river towers" (Part 3 of "Qiu Xing"), "The fragrant rice pecks at parrot grains, and the green parasols perch on old phoenix branches" (Part 8 of "Qiu Xing"), etc., all fall into this category.

The artistic characteristics of Li Bai’s poetry

Like many great writers, all of Li Bai’s works also contain elements of romanticism and realism, but as far as his In terms of dominant tendencies, he is a master of positive romanticism. As a romantic, although he also accepted the influence of realism in "The Book of Songs", it was Qu Yuan's works in "Chu Ci" that had a deeper influence on him. Li Bai and Qu Yuan have similar political ideals and unfortunate experiences, and they also have a spirit of dissatisfaction with reality, and they also have comparable noble qualities and artistic genius. Based on these different characteristics, he will inevitably follow Qu Yuan's path. He opened up the path of positive romanticism and enriched and developed it based on his own life practice and artistic practice.

Li Bai inherited and developed Qu Yuan's tradition. He combined his political ideals of "securing the country" and "helping the common people" with the cynical spirit of Taoism and the spirit of resisting violence, rescuing the weak and supporting the weak in the knight's thoughts, and expressed his love for the motherland. ; Expressed sincere sympathy for the oppressed and harmed people; expressed deep hatred and anger for the dark phenomena fostered by the feudal system; expressed strong resistance and contempt for the powerful people in the ruling class - his positive The spirit of romanticism indeed has broader content than Qu Yuan. In terms of expression techniques, he also inherited Qu Yuan's romantic expression techniques and developed them. In particular, he absorbed the exaggeration technique in folk poetry and improved it through creative use, making this expression technique more and more perfect. In terms of description objects, the subjects he came into contact with were broader than Qu Yuan's, so his application of romantic techniques was broader. He not only adopted this technique when describing "self", seeking immortals, sleepwalking and other themes that are prone to romantic techniques, but also often adopted this technique when reflecting on themes of war and describing daily life and natural scenery. He has the imagination to "want to fall into the sky". He expresses his hatred for the enemy's cruelty and ugliness and his sympathy for the suffering of the people through this fantasy realm:

Going west to the Lotus Mountain, you will see the stars all the way. The hibiscus is held in plain hands, and the empty steps are too clear. The colorful clothes are trailing the wide belt, and they are floating up to the sky. Invite me to the cloud platform and bow to Wei Shuqing. Go with it in a daze, driving the dragon to Ling Ziming. Looking down at Luoyang River, you can see Hu soldiers walking in the vast distance. Blood smears the weeds, and the jackals are stripped of their crowns.

Comparison of Li and Du's Poems

It is believed that the rise and fall of Li and Du's status in the Tang Dynasty was due to the evolution of poetry style and the differences in the personal appreciation taste of critics. People in the Song Dynasty generally held the view that Du is superior and Li inferior, because the Song people believed that Du's poems had more practical and demonstrative significance. The common view in the Ming Dynasty was that Li and Du were both equally famous. This was because the Ming Dynasty focused on looking at issues from an artistic perspective. Learning from Li Du's ideas also became the common sense of most people in the Ming Dynasty. This view was basically inherited by the Qing people.