Two Rhetoric Means With The Artistic Achievements In The Libai's Poems

Ahetoric is closely connected with the artistic achievements in the Tang-Dynasty poet Libai's poems. Through an detailed analysics of the two rhetoric means, allusion and hyperbole, in his poems, this thesis attempts to approach, the artistic charm of the well-known phrases in his famous literary poetic pieces, and to confirms his artistic achievements. The whole thesis consists of two chapters.The first chapter illustrates allusions in Libai's poems within four sections. First, it sorts the present research conditions of his poetic allusions and gives the thought train and the chapter frame. Second, it points that mostly allusion-diffracting and allusion-paralleling develop simultaneously in his poems, which not only makes allusions image signs inseparably relative to poetic images, but strengthens its emotion-expressing effect and enlarges either the ranges of time and space or the cultural contexts. Third, it expounds the allusive principle of Libai's poems: meaning-allusive, that is, the meanings, not just the sounds, of allusions are taken. In the poems, besides implying emotions and meanings, the allusions convey his feeling of life. Last, it explains that Libai's artistic skill of activating known allusions with form words gets him to have created many famous universally-apprecrated sayings.The second chapter, including three sections, discusses the hyperbolic skill in Libai's poems. First of all, it clarifies the four types of his poetic hyperbole: digntal, contrastive, metaphoric, and acting hyperbole, which Libai applies adepely anddistingaishingly, although they're not his orrginal creations. Next, it analyses the two kinds of aesthetic connotation in Libai's poetic hyperbolic skill梞agniflcance, which carries both the natural beauty of the imposing poetic images and Libai's forceful and expansive mood beauty, and sad generosity, which is from his inner feelings and life manner of modert sadness and lofty generosity. The last section displays the mental mechanism of Libai's poetic hyperbolic way, which is reflected in that the mental base he builds hyperboles on is his rich, peculiar associative thinking, that the affectional base he employs them on is strong, vigorous inner feelings, and that the aesthetic quality of magniflcance and sad generosity possessed by hyperbole appears and arouses resunance in the process of it accepting group circulation.