Editing Li Bai (section)

==Themes==
Critics have focused on Li Bai's strong sense of the continuity of poetic tradition, his glorification of alcoholic beverages (and, indeed, frank celebration of drunkenness), his use of persona, the fantastic extremes of some of his imagery, his mastery of formal poetic rules—and his ability to combine all of these with a seemingly effortless virtuosity to produce inimitable poetry. Other themes in Li's poetry, noted especially in the 20th century, are sympathy for the common folk and antipathy towards needless wars (even when conducted by the emperor himself).<ref>Sun, 28–35</ref>

===Poetic tradition===
[[File:A Painting of Li Bai with his poetry.jpg|thumb|A painting of Li Bai with his poetry shown]]
Li Bai had a strong sense of himself as being part of a poetic tradition. The "genius" of Li Bai, says one recent account, "lies at once in his total command of the literary tradition before him and his ingenuity in bending (without breaking) it to discover a uniquely personal idiom..."<ref>Paul Kroll, "Poetry of the T'ang Dynasty," in [[Victor H. Mair]], ed., ''[[The Columbia History of Chinese Literature]].'' (New York: Columbia University Press,  2001;   {{ISBN|0-231-10984-9}}), p.  296.</ref> [[Burton Watson]], comparing him to Du Fu, says Li's poetry, "is essentially backward-looking, that it represents more a revival and fulfillment of past promises and glory than a foray into the future."<ref name="Watson, 141">Watson, 141</ref> Watson adds, as evidence, that of all the poems attributed to Li Bai, about one sixth are in the form of ''[[yuefu]]'', or, in other words, reworked lyrics from traditional folk ballads.<ref>Watson, 141–142</ref> As further evidence, Watson cites the existence of a fifty-nine poem collection by Li Bai entitled ''Gu Feng'', or ''In the Old Manner'', which is, in part, tribute to the poetry of the Han and Wei dynasties.<ref name="Watson, 142">Watson, 142</ref> His admiration for certain particular poets is also shown through specific allusions, for example to [[Qu Yuan]] or [[Tao Yuanming]], and occasionally by name, for example Du Fu.

A more general appreciation for history is shown on the part of Li Bai in his poems of the ''[[Huaigu (poetry)|huaigu]]'' genre,<ref>Watson, 145</ref> or meditations on the past, wherein following "one of the perennial themes of Chinese poetry", "the poet contemplates the ruins of past glory".<ref>Watson, 88</ref>

===Rapt with wine and moon===
[[File:Мініатюра з поезією Лі Бо.jpg|thumb|A painting depicting a drunken Li Bai with poetry illustrated]]
[[File:Painting of the Drunken Li Taibai, Su Liupeng, 1884.jpg|thumb|Painting of the ''Drunken Li Taibai'', painted by Qing dynasty painter Su Liupeng in 1884]]
John C. H. Wu observed that "while some may have drunk more wine than Li [Bai], no-one has written more poems about wine."<ref>Wu, 66</ref> Classical Chinese poets were often associated with drinking [[Chinese alcoholic beverages|wine]], and Li Bai was part of the group of Chinese scholars in Chang'an his fellow poet [[Du Fu]] called the "[[Eight Immortals of the Wine Cup]]." The Chinese generally did not find the moderate use of alcohol to be immoral or unhealthy. James J.&nbsp;Y Liu comments that ''zui'' in poetry "does not mean quite the same thing as 'drunk', 'intoxicated', or 'inebriated', but rather means being mentally carried away from one's normal preoccupations&nbsp;..." Liu translates ''zui'' as "rapt with wine".<ref>James J.Y. Liu. ''The Art of Chinese Poetry.'' (Chicago: University of Chicago Press,  1962;   {{ISBN|0-226-48686-9}}), p. 59.</ref> The "Eight Immortals", however, drank to an unusual degree, though they still were viewed as pleasant eccentrics.<ref>William Hung. ''Tu Fu: China's Greatest Poet''. (Cambridge,: Harvard University Press,  1952), p 22.</ref> Burton Watson concluded that "[n]early all Chinese poets celebrate the joys of wine, but none so tirelessly and with such a note of genuine conviction as Li [Bai]".<ref name="Watson, 143">Watson, 143</ref>

The following two poems, "Rising Drunk on a Spring Day, Telling My Intent" and "Drinking Alone by Moonlight", are among Li Bai's most famous and demonstrate different aspects of his use of wine and drunkenness.
{{Text and translation|Language=[[Chinese language|Chinese]]|
<poem>We are lodged in this world as in a great dream;
Then why cause our lives so much stress?
This is my reason to spend the day drunk
And collapse, sprawled against the front pillar.

When I wake, I peer out in the yard
Where a bird is singing among the flowers.
Now tell me, what season is this?—
The spring breeze speaks with [[Old World oriole|orioles]] warbling.

I am so touched that I almost sigh,
I turn to the wine, pour myself more,
Then sing wildly, waiting for the moon,
When the tune is done, I no longer care.</poem>
<poem>{{lang|zh|處世若大夢,
胡爲勞其生.
所以終日醉,
頹然臥前楹.}}

{{lang|zh|覺來盼庭前,
一鳥花間鳴.
借問此何時,
春風語流鶯.}}

{{lang|zh|感之欲嘆息,
對酒還自傾.
浩歌待明月,
曲盡已忘情.}}</poem>
|"Rising Drunk on a Spring Day, Telling My Intent" ({{transliteration|cmn|Chūnrì <br />zuìqǐ yánzhì}} {{lang|zh|春日醉起言志}}), translated by [[Stephen Owen (academic)|Stephen Owen]]{{sfnp|Owen|1996|p=404}}
}}
<br />
{{Text and translation|
<poem>Here among flowers one flask of wine,
With no close friends, I pour it alone.
I lift cup to bright moon, beg its company,
Then facing my shadow, we become three.

The moon has never known how to drink;
My shadow does nothing but follow me.
But with moon and shadow as companions the while,
This joy I find must catch spring while it's here.

I sing, and the moon just lingers on;
I dance, and my shadow flails wildly.
When still sober we share friendship and pleasure,
Then, utterly drunk, each goes his own way—
Let us join to roam beyond human cares
And plan to meet far in the river of stars.</poem>
|<poem>{{lang|zh|花間一壺酒。
獨酌無相親。}}
{{lang|zh|舉杯邀明月。
對影成三人。}}

{{lang|zh|月既不解飲。
影徒隨我身。}}
{{lang|zh|暫伴月將影。
行樂須及春。}}

{{lang|zh|我歌月徘徊。
我舞影零亂。}}
{{lang|zh|醒時同交歡。
醉後各分散。}}
{{lang|zh|永結無情遊。
相期邈雲漢。}}</poem>
|"Drinking Alone by Moonlight" (''Yuèxià dúzhuó'' {{lang|zh|月下獨酌}}), translated by Stephen Owen{{sfnp|Owen|1996|pp=403–04}}
}}

===Fantastic imagery===
An important characteristic of Li Bai's poetry "is the fantasy and note of childlike wonder and playfulness that pervade so much of it".<ref name="Watson, 142"/> Burton Watson attributes this to a fascination with the [[Taoist priest]], [[Taoist]] recluses who practiced alchemy and austerities in the mountains, in the aim of becoming [[Xian (Taoism)|xian]], or immortal beings.<ref name="Watson, 142"/> There is a strong element of Taoism in his works, both in the sentiments they express and in their spontaneous tone, and "many of his poems deal with mountains, often descriptions of ascents that midway modulate into journeys of the imagination, passing from actual mountain scenery to visions of nature deities, immortals, and 'jade maidens' of Taoist lore".<ref name="Watson, 142"/> Watson sees this as another affirmation of Li Bai's affinity with the past, and a continuity with the traditions of the [[Chuci]] and the early [[Fu (literature)|fu]].<ref name="Watson, 143"/> Watson finds this "element of fantasy" to be behind Li Bai's use of [[hyperbole]] and the "playful personifications" of mountains and celestial objects.<ref name="Watson, 143"/>

===Nostalgia===
Literary critic James J.Y. Liu notes "Chinese poets seem to be perpetually bewailing their exile and longing to return home. This may seem sentimental to Western readers, but one should remember the vastness of China, the difficulties of communication... the sharp contrast between the highly cultured life in the main cities and the harsh conditions in the remoter regions of the country, and the importance of family..." It is hardly surprising, he concludes, that nostalgia should have become a "constant, and hence conventional, theme in Chinese poetry."<ref>James J.Y. Liu. ''The Art of Chinese Poetry.'' (Chicago: University of Chicago Press,  1962; {{ISBN|0-226-48686-9}}) p. 55.</ref>

Liu gives as a prime example Li's poem "[[A Quiet Night Thought]]" (also translated as "Contemplating Moonlight"), which is often learned by schoolchildren in China. In a mere 20 words, the poem uses the vivid moonlight and frost imagery to convey the feeling of [[homesickness]]. This translation is by [[Yang Xianyi]] and [[Dai Naidie]]:<ref>{{cite web |title=Top 10 most influential Chinese classical poems |url=http://www.chinawhisper.com/top-10-most-influential-chinese-poems-in-history/ |website=chinawhisper.com |date=13 January 2013 |publisher=China whisper |access-date=7 June 2018}}</ref>

{{poemquote|'''Thoughts in the Silent Night''' (''Jìngyè Sī'' {{lang|zh|静夜思}})

{{lang|zh-Hant|床前明月光，}}{{Spaces|3}}Beside my bed a pool of light—
{{lang|zh-Hant|疑是地上霜，}}{{Spaces|3}}Is it hoarfrost on the ground?
{{lang|zh-Hant|舉頭望明月，}}{{Spaces|3}}I lift my eyes and see the moon,
{{lang|zh-Hant|低頭思故鄉。}}{{Spaces|3}}I lower my face and think of home.}}

===Use of persona===
Li Bai also wrote a number of poems from various viewpoints, including the [[persona]]e of women. For example, he wrote several poems in the [[Midnight Songs poetry|''Zi Ye'', or "Lady Midnight" style]], as well as Han folk-ballad style poems.

===Technical virtuosity===
Li Bai is well known for the technical virtuosity of his poetry and the mastery of his verses.<ref name="Watson, 141"/> In terms of poetic form, "critics generally agree that Li [Bai] produced no significant innovations&nbsp;... In theme and content also, his poetry is notable less for the new elements it introduces than for the skill with which he brightens the old ones."<ref name="Watson, 141"/>

Burton Watson comments on Li Bai's famous poem, which he translates "Bring the Wine": "like so much of Li [Bai]'s work, it has a grace and effortless dignity that somehow make it more compelling than earlier treatment of the same."<ref>Watson, 144</ref>

Li Bai's [[yuefu]] poems have been called the greatest of all time by [[Ming dynasty|Ming-dynasty]] scholar and writer [[Hu Yinglin]].<ref>Shisou(Thickets of Poetic Criticism)</ref>

Li Bai especially excelled in the [[gushi (poetry)|Gushi]] form, or "old style" poems, a type of poetry allowing a great deal of freedom in terms of the form and content of the work. An example is his poem "蜀道難", translated by Witter Bynner as "Hard Roads in Shu". Shu is a poetic term for Sichuan, the destination of refuge that Emperor Xuanzong considered fleeing to escape the approaching forces of the rebel General [[An Lushan]]. Watson comments that, this poem, "employs lines that range in length from four to eleven characters, the form of the lines suggesting by their irregularity the jagged peaks and bumpy mountain roads of Sichuan depicted in the poem."<ref name="Watson, 141"/>

Li Bai was also noted as a master of the [[jueju]], or cut-verse.<ref>Watson, 146</ref> Ming-dynasty poet Li Pan Long thought Li Bai was the greatest jueju master of the [[Tang dynasty]].<ref>Selections of Tang Poetry</ref>

Li Bai was noted for his mastery of the [[Lüshi (poetry)|lüshi]], or "regulated verse", the formally most demanding verse form of the times. Watson notes, however, that his poem "Seeing a Friend Off" was "unusual in that it violates the rule that the two middle couplets&nbsp;... must observe verbal parallelism", adding that Chinese critics excused this kind of violation in the case of a genius like Li.<ref>Watson, 147</ref>