Chapter 89 Climbing to the Phoenix Terrace in Jinling/Li Bai

The fact that Li Bai stopped writing because of Cui Hao's poems in the Yellow Crane Tower is recorded in Xin Wenfang's "Biography of Tang Talents" in the Yuan Dynasty, and it may not be groundless.However, since Li Bai stopped writing, I am afraid that the most important thing is one word: "serve". Since he obeys it, it means that it is good, and it becomes the object of Li Bai's study and imitation.But Li Bai may not really be convinced, he is a great poet in the world, if he lost a trick this time, he still wants to get it back. He has two poems, and the influence of Cui Shi can be seen in both.One is "Parrot Island".The first four sentences of the poem say: "The parrot crosses the Wujiang River in the east, and the name of the parrot is passed down on the upper continent of the river. The parrot flies west to Longshan Mountain, and the tree of Fangzhou is He Qingqing." The traces of imitation are obvious.The other song is this "Climbing Jinling Phoenix Terrace".

The writing time of the poem is said to be after he was expelled from the imperial court by "Giving Gold to Return the Mountain", and another is said to be after Yelang was exiled and returned after being pardoned. Jinling was the capital of the Six Dynasties. After the Sui and Tang Dynasties, the royal spirit of the past was no longer there, so that visitors will think of the past when they come here.Li Bai is no exception.When he boarded the Phoenix Terrace facing the Yangtze River, looking at the picturesque scenery, he was full of thoughts.Maybe he suddenly thought of Cui Hao's "Yellow Crane Tower" "In the past, people have gone by the yellow crane, and the Yellow Crane Tower is empty here. The yellow crane will never return, and the white clouds will be empty for thousands of years." "Phoenix travels on the Phoenix platform, and the Phoenix goes to the platform to empty the river." Concentrate the four sentences of Cui's poem into two sentences.With such a position, the following poems are easy to write.

The maxillary couplet inherits the meaning of the first couplet, lamenting the past.This was the capital city during the Eastern Wu Dynasty of the Three Kingdoms. Now, the flowers and plants in the old land of the Wu Palace are buried in secluded paths where no one walks; scholar-bureaucrats) have become dead bones in Qiu's tomb.Things are different and people are different, which makes people feel emotional. When the neck joint is turned, it is very powerful. "Three mountains and a half fall outside the blue sky, and two waters divide Bailuzhou". The scene in front of me is very imaginative, sentimental, and extremely open. continent".It is estimated that Li Bai will feel a sigh of relief when he writes here, because the depression of Cui Shi's writing should be swept away.These two poems are indeed called the eternal swan song.

Li Bai was expelled and released. Although he said that he was "never far away from the Five Sacred Mountains in search of immortals, and a good man traveled to famous mountains all his life", he went to seek immortals and visit Taoism, but he was Li Bai after all, and he could not devote himself to serving Buddha like Wang Wei. Ask about political affairs; it is impossible to forget the landscape and countryside like Meng Haoran. His heart is always boiling with the blood of helping the world, killing the enemy and serving the country.Weilian has some expectations, but more is helplessness.The government is controlled by the small group (floating clouds), and Chang'an probably won't be able to go back.

This poem is one of Li Bai's few seven rhythms.Li Bai doesn't like to be restricted by rhythm, just like Su Shi's lyrics in Song Dynasty are not restricted by rhythm, he is "the one who can't be bound in the music" (Song Wangzhuo's "Biji Manzhi" commented on Su Shi's words).Li Bai's poem does not follow the rhythm completely. For example, the third and fifth sentences should be sticky but not sticky, but used correctly.The fourth and sixth sentences are still used correctly, which is equivalent to completely inverting the relationship between level and oblique, but this does not seem to affect the artistic charm of this poem.