Twelve Antique Poems: The Way of the World is Today's Taihang Mountain is written by Li Bai, a poet in the Tang Dynasty. The full text of his ancient poems is as follows:
The world road is too big to get into the car.
All ethnic groups are withered, so there is no shortage of coke.
There are many bones in the wild, and ghosts sell them.
Honor should be timely, and Chunhua should burn.
People are not Kunshan jade, and they are long and wrong.
Immortal, glorious in the pavilion.
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Twelve Imitations is a set of poems by Li Bai, a great poet in the Tang Dynasty. This group of poems is not written in one place at a time, and the content is not uniform, and the thoughts reflected are also very complicated: there are pains of writing about travel, as well as difficulties of sighing and meeting each other; I hate that life is short, and I also advise everyone to eat, drink and be merry. The whole poem is full of charm in Nineteen Ancient Poems.
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[13] Enter: Return, turn back. He Tuo: There is nothing to rely on.
[14] Spring flowers: youth.
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The road to the world is as difficult as Taihang, and the road is not feasible. What is the purpose of returning the car? Everything has withered since ancient times, and there has never been a moment of happiness in the world. The wilderness is full of bones, and ghosts and lonely souls are also sinking. Prosperity should be timely, just like spring flowers bloom in time. Without that piece of Kunshan jade in the world, how can it shine forever like jade? I hope my reputation will not die, and I will write my name in Qilin Pavilion as soon as possible.
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Li Bai was once keen on seeking fame and profit. The seventh time in "The Twelve Imitations of Ancient Times" said: "Being immortal is glorious in the Lin Pavilion." However, after a series of setbacks such as "paying back the money" and exile Yelang, I deeply felt the illusion of prosperity, and sometimes I couldn't help showing a sentimental mood that life was fleeting. The ninth poem of Twelve Antique Poems is the expression of this emotion: "The living are passers-by, and the dead are the returnees. Heaven and earth go against each other, sharing the same sorrow and dust. " It means that the living are like passers-by who come and go in a hurry, and the dead are like repeat customers who have gone to their destination and never come back. Heaven and earth are like a welcoming hostel; Life is short, and countless people have sighed through the ages.
"The month is empty, and Fusang has become a salary. The bones are silent, and the pine trees know the spring. " According to ancient myths and legends, Hou Yi got the elixir of life from the Queen Mother of the West, and his wife Chang 'e stole it and flew into the Moon Palace. In the moon palace, only the big white rabbit worked for her. Although Chang 'e lived forever, she lived a lonely life without any joy. Fusang, according to legend, is a towering tree in the East China Sea. Where the sun rises, it has now become dead wood. The buried bones are gloomy and silent, and they can no longer understand the' reputation and honor' before their death. The lush pine trees are arrogant and ignorant, and it is impossible to feel the warmth of Yangchun. The poet looked up and down and imagined that everything in the universe is changing rapidly and there is no eternal prosperity. "It's better to sigh before than after. What's the honor?" At the end of the ninth chapter, the whole article ends with a warning. The long life is like this, and the glory of the moment is really not enough to cherish. After lamenting that life is short, some chapters in Nineteen Ancient Poems often reveal a decadent mood of eating, drinking and having fun. Although Li Bai also lamented that life is short in this manuscript, he did not preach negative and depressed thoughts, but profoundly exposed the illusion of feudal prosperity.
The antique imagination of the ninth part of Twelve Poems is particularly novel and mysterious, like a wild and unconstrained style, and its artistic expression is fantastic and unique. It's fascinating that the Moon Rabbit can't play with medicine, but in this sentence, the poet uses the word "empty", which contradicts the original touching content of the myth and gives people a fresh and strange feeling. For another example, Fusang is a sacred tree, 2000 feet high and more than 2000 meters high, but the poet imagined that Fusang was paid and swept away the traditional majestic image. Another example is sunny spring, which is shaded by trees. It was originally a vibrant scene in spring. In the poet's imagination, it turned out to be "how do pine trees know spring?" This artistic conception is extraordinary, unexpected, particularly impressive and full of innovative artistic charm.
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Li Bai (70 1 year-76,265,438+February), whose word is white, is also known as "violet laity" and "fallen fairy". He was a great romantic poet in Tang Dynasty, and was called "Poet Fairy" by later generations. He was also called "Du Li" with Du Fu. In order to become "Little Du Li" with two other poets, Li Shangyin and Du Mu. Old Tang Book records that Li Bai is from Shandong. According to the New Tang Book, Li Bai is the grandson of King Li Gui IX of Li Tang. He is cheerful and generous, loves to drink and write poems, and likes to make friends.
Li Baiyou's Collection of Li Taibai has been handed down from generation to generation, and most of his poems were written when he was drunk. His representative works include Looking at Lushan Waterfall, Difficult to Walk, Difficult to Pass the Road, Entering the Wine, Early Making Baidicheng and many others. There are biographies of Li Bai's Ci and Fu in the Song Dynasty (such as Wen Ying's Xiang Ji). As far as its pioneering significance and artistic achievements are concerned, Li Bai's Ci Fu enjoys a high status.