李白海意象诗歌中的用典研究

Abstract

LiBai was educated by the traditional Confucians in the manner of “exam-oriented education” at that time. His early poetry creation was based on various principles and rules of poetry creation. Due to the sufficient foundation and nutrients from his childhood learning, he was skillful to master various creative materials. These rich materials and nutrients are called “allusions”. Significant differences existed among different poets in the selection and use of allusions, even for the same poet, the allusions used in different periods, genres, and content were also different. Li Bai's frontier poems and palace poems often contain allusions from the Han Dynasty; After the An Shi Rebellion, Li Bai often used allusions from the Warring States period and the conflict between Chu and Hand; When writing about the relationship between mountains and rivers and poetry and wine, Li Bai often used the classics of famous scholars from the Wei, Jin, Northern and Southern Dynasties periods; When writing about exile and setbacks, Li Bai often used allusions from Qu Yuan and Jia Yi. Li Bai's sea-imagery poems account for 24% of his total poems, covering most of his life experiences, and also involving many themes and content. This article targets and conducts a classification study on the allusions in Li Bai's sea-imagery poems. According to the sources of allusions, there are 27 poems that quote “Ji Bu” the most in “Jing, Shi, Zi, Ji”. On top of all, they are associated with “sea”, the most commonly used character allusions are related to myths, immortals, and legendary figures, followed by reclusive political figures. Based on the statistics, a total of 109 poems of Li Bai's 254 Sea-Imagery" poems use allusions. This article conducts a typological analysis of the allusions used, so as to explore their aesthetic role in poetry, as well as the cultural density and spiritual expression they represent.