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这首诗用的是汉代乐府诗的题目，有意学习乐府诗的传统，但比汉代那首《战城南》写得更形象，更深刻。这首诗是抨击封建统治者穷兵黩武的。“桑干”、“葱河”、“条支”、“天山”都是边疆地名。整首诗大体可分为三段和一个结语。
第一段共八句，先从征伐的频繁和广远方面落笔。前四句写征伐的频繁。以两组对称的句式出现，不仅音韵铿锵，而且诗句复沓的重叠和鲜明的对举，给人以东征西讨、转旆不息的强烈印象，有力地表达了主题。“洗兵”二句写征行的广远。左思《魏都赋》描写曹操讨灭群雄、威震寰宇的气势时说：“洗兵海岛，刷马江洲。”此二句用其意。洗兵，洗去兵器上的污秽；放马，牧放战马，在条支海上洗兵，天山草中牧马，其征行之广远自见。由战伐频繁进至征行广远，境界扩大了，内容更深厚了，是善于铺排点染的笔墨。“万里”二句是此段的结语。“万里长征战”，是征伐频繁和广远的总括，“三军尽衰老”是长年远征的必然结果，广大士兵在无谓的战争中耗尽了青春的年华和壮盛的精力。有了前面的描写，这一声慨叹水到渠成，自然坚实，没有一点矫情的喧呶叫嚣之感。
“匈奴”以下六句是第二段，进一步从历史方面着墨。如果说第一段从横的方面写，那么，这一段便是从纵的方面写。西汉王褒《四子讲德论》说，匈奴“业在攻伐，事在射猎”，“其耒耜则弓矢鞍马，播种则扞弦掌拊，收秋则奔狐驰兔，获刈则颠倒殪仆。”以耕作为喻，生动地刻画出匈奴人的生活与习性。李白将这段妙文熔冶成“匈奴”两句诗。耕作的结果会是禾黍盈畴，杀戮的结果却只能是白骨黄沙。语浅意深，含蓄隽永。并且很自然地引出“秦家”二句。秦筑长城防御胡人的地方，汉时仍然烽火高举。二句背后含有深刻的历史教训和诗人深邃的观察与认识，成为诗中警策之句。没有正确的政策，争斗便不可能停息。“烽火燃不息，征战无已时！”这深沉的叹息是以丰富的历史事实为背景的。
“野战”以下六句为第三段，集中从战争的残酷性上揭露不义战争的罪恶。“野战”二句着重勾画战场的悲凉气氛，“乌鸢”二句着重描写战场的凄惨景象，二者相互映发，交织成一幅色彩强烈的画面。战马独存犹感不足，加以号鸣思主，更增强物在人亡的悲凄；乌啄人肠犹以不足，又加以衔挂枯枝，更见出情景的残酷，都是带有夸张色彩的浓重的笔墨。“士卒”二句以感叹结束此段。士卒作了无谓的牺牲，将军也只能一无所获。
《六韬》说：“圣人号兵为凶器，不得已而用之。”全诗以此语意作结，点明主题。这一断语属于理语的范围，而非形象的描写。运用不当，易生抽象之弊。这里不同。有了前三段的具体描写，这个断语是从历史和现实的惨痛经验中提炼出来，有画龙点睛之妙，使全诗意旨豁然。有人怀疑这一句是批注语误入正文，可备一说，实际未必然。
这是一首叙事诗，却带有浓厚的抒情性，事与情交织成一片。三段的末尾各以两句感叹语作结，每一段是叙事的一个自然段落，也是感情旋律的一个自然起伏。事和情配合得如此和谐，使全诗具有鲜明的节奏感，有“一唱三叹”之妙。
汉《战城南》古辞主要是写战争的残酷，相当于李白这首诗的第三段。李白不拘泥于古辞，从思想内容到艺术形式都表现出很大的创造性。内容上发展出一、二两段，使战争性质一目了然，又以全诗结语表明自己的主张。艺术上则揉合唐诗发展的成就，由质朴无华变为逸宕流美。如古辞“水深激激，蒲苇冥冥。枭骑战斗死，驽马徘徊鸣”和“野死不葬乌可食，为我谓乌，且为客豪，野死谅不葬，腐肉安能去子逃”，此诗锤炼为两组整齐的对称句，显得更加凝炼精工，更富有歌行奔放的气势，显示出李白的独特风格。
appreciate
This poem uses the title of Yuefu poetry in the Han Dynasty. It is intended to learn from the tradition of Yuefu poetry, but it is more vivid and profound than the Han Dynasty poem “Battle in the South of the City”. This poem is an attack on the militarism of the feudal rulers. “Sanggan”, “Conghe”, “Tiaozhi” and “Tianshan” are all border names. The whole poem can be roughly divided into three paragraphs and a conclusion.
The first paragraph consists of eight sentences, starting with the frequency and breadth of the expedition. The first four sentences describe the frequency of expeditions. It appears in two groups of symmetrical sentence patterns, which not only have sonorous sound, but also the overlapping and distinct antithesis of repeated poems, giving people a strong impression of going from place to place and turning the banners, effectively expressing the theme. The two sentences of “washing soldiers” describe the breadth of the levy. Zuo Si’s Ode to the Capital of Wei described Cao Cao’s momentum of destroying all the heroes and shaking the world, saying, “Washing the islands and brushing the Majiang Island.” These two sentences have their meanings. To wash soldiers is to wash away the filth on weapons; We can see how far we can go when we herd horses, herd horses, wash soldiers in Tiaozhi Sea, and herd horses in Tianshan Grass. From frequent wars to extensive campaigns, the realm has expanded, and the content has become more profound. It is good at laying and arranging ink and brush. “Wanli” is the conclusion of this paragraph. The “ten thousand mile long expedition” is the summary of frequent and extensive expeditions. “The three armies are aging” is the inevitable result of long expeditions. The vast number of soldiers have exhausted their youth and vigor in the senseless war. With the previous description, this sigh is natural and solid, without any pretentious noise.
The following six sentences of “Huns” are the second paragraph, which is further illustrated in terms of history. If the first paragraph is written horizontally, then this paragraph is written vertically. Wang Bao of the Western Han Dynasty said in The Four Sons’ Theory of Virtue that the Huns were “engaged in the attack and cutting, and shooting and hunting” Taking farming as a metaphor, it vividly depicts the life and habits of the Huns. Li Bai melted this wonderful article into two lines of “Huns”. The result of farming will be rice and millet, but the result of killing will only be white bone and yellow sand. The words are simple and meaningful. And it naturally leads to the “Qin Family”. In the Qin Dynasty, the Great Wall was built to defend the Hu people. In the Han Dynasty, the beacon fire was still high. The two sentences contain profound historical lessons and the poet’s profound observation and understanding, which become a warning sentence in the poem. Without the right policy, the struggle cannot stop. “The flames of war never stop, and there is no time to fight!” This deep sigh is based on rich historical facts.
The following six sentences of “field operations” are the third paragraph, focusing on exposing the evils of unjust wars from the cruelty of war. The two sentences of “field war” focus on the tragic atmosphere of the battlefield, and the two sentences of “black kite” focus on the tragic scene of the battlefield. The two reflect each other and interweave into a picture of strong color. The fact that the war horse is still alone is not enough, and it is called to think of the Lord, which further enhances the sadness of the death of things; The black pecking on people’s intestines is not enough, and the dead branches are also hung on their heads. It shows the cruelty of the scene, which is a thick ink with exaggerated colors. “Soldiers” ends the paragraph with an exclamation. The soldiers made unnecessary sacrifices, and the general could only get nothing.
The Six Towers said: “The saint’s bugle is a lethal weapon, which must be used as a last resort.” The whole poem ends with this meaning and points out the theme. This conclusion belongs to the scope of rational language, not the description of images. Improper use may lead to the disadvantage of abstraction. It’s different here. With the specific description of the first three paragraphs, this conclusion is extracted from the painful experience of history and reality. It has the beauty of finishing touch and makes the whole poem suddenly meaningful. Some people suspect that this sentence is a comment that was mistakenly put into the text, but it is not necessarily true.
This is a narrative poem, but it has a strong lyricism. Each of the three paragraphs ends with two exclamations. Each paragraph is a natural paragraph of the narrative and a natural fluctuation of the emotional melody. Things and feelings are so harmonious that the whole poem has a distinct sense of rhythm, which is wonderful.
The ancient words in Han Dynasty’s “Battle to the South of the City” mainly describe the cruelty of war, which is equivalent to the third paragraph of Li Bai’s poem. Li Bai did not stick to the ancient words, and showed great creativity from the ideological content to the artistic form. One or two paragraphs have been developed in the content, making the nature of war clear at a glance, and the conclusion of the whole poem shows his opinion. In terms of art, it combines the achievements of the development of Tang poetry, and changes from simple and unadorned to elegant. As the old saying goes, “The water is deep and exciting, and the reeds are dark. The owls ride to death in battle, and the horses wander and sing” and “The wild death does not bury the black, but it is called the black for me, and it is also the guest hero. The wild death does not bury the dead, and the rotten meat can escape from the son safely.” This poem is tempered into two groups of neat symmetrical sentences, which appear more refined and refined, more vigorous and unrestrained, showing Li Bai’s unique style.
