What are the genres of ancient poetry, such as pastoral poetry? What emotions did the poet express, such as leisure and elegance? (completed)

School of flourishing Tang poetry. Named for describing the landscape, pastoral and leisurely life; Wang Wei and Meng Haoran are their main writers, so they are also called "Wang Meng Poetry School". During the prosperous Tang Dynasty, with the prosperity of economy and social stability, some scholars and scholars expressed their love for mountains and rivers, which resulted in the school of pastoral poetry. Poetry school is mainly composed of five words, which mainly reflects the natural beauty of landscapes and pastoral areas, with fine body and objects, vivid description, exquisite skills and simple and fresh style. Elegant and quiet style, simple and natural. Some poems have infiltrated the author's subjective interest, unified the similarity of form and spirit, and are more developed than Xie Lingyun's landscape poetry school. Their poems have attracted generations of literati with their quiet artistic conception, peaceful and approachable style.

Other members of Wang Meng's poetry school generally think that there are Yun, Zuyong, Chu Guangxi, Chang Jian and so on. They show similar styles in poetry style and have the same ideal pursuit. Among them, Pei Di and Wang Wei have a very close relationship, and they often compose poems together. Pei Di has twenty poems of Wangchuan Collection, and Wang Wei also has many poems by Pei Di. Probably because of their close relationship in the past, I personally think that Pei Di's poems are full of the flavor of Wang Wei's poems, and sometimes there is a hermit style that transcends the world of mortals. Zuyong didn't read many poems, but what impressed me the most was seeing the snow peaks in Central South China:

Looking south, the northern mountain is beautiful and snowy, like a cloud. After the snow in Chu Qing, the afterglow of the sun shone from the forest. It was late, and Chang 'an was even more chilly.

Starting with the social and cultural background of the Tang Dynasty, this paper analyzes the causes of the unique style of the pastoral poetry school in the prosperous Tang Dynasty.

1. From the perspective of the development of literature itself, the aesthetic thought of advocating "clear water produces hibiscus and natural carving" in the prosperous Tang Dynasty is the internal aesthetic demand for forming the elegant and bleak style of landscape pastoral poetry.

Secondly, from the perspective of social thought, Taoism, Confucianism and Buddhism coexisted in the Tang Dynasty, and China's inherent traditional cultural thought was the emotional and social foundation of the pastoral poetry in the prosperous Tang Dynasty.

Thirdly, the seclusion in the Tang Dynasty is the internal motive force to form its diluted ethereal and elegant characteristics.

Fourthly, the economic prosperity in the Tang Dynasty provided sufficient material guarantee for literati to praise mountains and rivers.

Wang Wei was born in a feudal bureaucratic landlord family and had a natural tolerance for the feudal ruling class. And in his life, although there were times when his official career was frustrated, on the whole, his life was relatively leisurely and happy. Especially after he was about forty years old, he began to live a semi-official and semi-secluded life. He "associates with Taoist friends, is upright, plays the piano and writes poems", and serves Buddha with food. "After retiring from the DPRK, sit alone and burn incense and concentrate on meditation" (see also Old Tang Book). As he himself said, "with the passage of time, what he gave me was peace and freedom from 10 thousand things." So he basically has an indifferent attitude towards real life. In his later years, he even said that "there are many sad things in life, and we won't let them go anywhere" ("Sighing White Hair"), and he became a Buddhist who "takes meditation as a thing". It is for this reason that Wang Wei's poems are full of emptiness and nothingness. For example:

In the countryside where the sun is setting, cattle and sheep go home along the path. There is also a rough old man at the door of the thatched cottage, leaning against the Hou. Pheasants and wheat seedlings show, silkworms sleep, and mulberry leaves are peeled. God bless you, and you are as close as brothers. No wonder I long for a simple life and sigh the old song, oh, back to the past! . -"Weishui Farmhouse"

No one can be seen in the silent valley, only the voice is heard. The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant. -"Chai Lu"

I leaned alone in the dense bamboo, playing the piano and humming a song. It's too light. No one can hear it except my partner, the bright moon, the bamboo house.

The branches of the topmost hibiscus flowers are full of scarlet calyx in the mountains. The mouth of a stream is silent, without a trace. They open and fall. -"Wu Xinyi"

Su Shi said in "Clouds and Rain in Lantian": "There are pictures in the poem, which are fascinating; Look at the picture, there are poems in the picture. " This comment is mainly aimed at Wang Wei's pastoral poems. The greatest value of Wang Wei's pastoral poems lies in the artistic beauty of landscapes. In order to achieve the artistic effect of "painting in poetry", Wang Wei mobilized all his artistic means as a painter, musician and poet, and was good at composition and layout, rhetoric and color setting, and paid attention to the combination of dynamic and static.

Wang Wei once had a trip to the Great Wall and wrote a poem "Make it beyond the Great Wall": If a bicycle wants to ask about the border, it is a country that has lived for a long time. Pengpeng also floated out of Korea, and the geese heading north also flew into the sky. The vast desert is lonely, and the Yellow River sets the yen. When I arrived at the small pass, I met a spy waiting for the knight and told me that Dou Hu was in Yan.

The first two sentences of the poem describe that he was sent to the fortress, passing through the ancient country without pomp. Three or four sentences say that he is like grass in the wind and is stuck in a traffic jam. The geese know how to fly back to the north, but they left their hometown, implicitly expressing their homesickness. Writing five or six sentences about the scenery on the Great Wall can well show the advantages of his composition creation: the smoke from the kitchen in the vast desert and the round sunset on the vast Yellow River constitute a strange and magnificent landscape painting beyond the Great Wall, with a wide picture and bold artistic conception. No wonder Wang Guowei called it "the wonder of the ages". In the description of the scenery, the poet's heroic feelings of coming to the west are expressed. Moreover, the word "straight" here draws people's attention to the heights of Han Yun; The word "circle" is reminiscent of how the sun fell into the Yellow River. In terms of writing, the author's ingenuity can also be seen. The last two sentences explain the position of the frontline commander as the end of the whole poem. The Han River in the Pot is also a masterpiece in this respect:

Three branches in the south reach Chu territory, and nine branches flow to Jingmen. The river crosses heaven and earth, where the colors of the mountains are yes and no.

Human habitation seems to float on the ripples in the distant sky. These beautiful days in Xiangyang, stay in the mountains and get drunk.

"Chusai" refers to the border of ancient Chu. Boating on the river, from a distance, I saw that the surging river of Hunan "Sanxiang" is connected with the land of ancient Chu, which is a true story, while the meeting between the nine factions of the Yangtze River and Jingjiang River is a fictional story. These two sentences organically combine vision and vision, and write a vast water potential. In three or four words, the vast river seems to flow outside the world; Castle peak mist, just feel as if nothing had happened. The ink of these two sentences is extremely light, which creates a very broad space for people's vision and turns the real scene into a blank. Five or six sentences are written on the Zhouba River, feeling that the county town is floating in Qianpu; The waves on the river seem to shake the sky. Set off the vastness of the river. Wang Shizhen commented that "the river flows beyond the heaven and the earth, and there are both mountains and colors", saying: "It is the poet's handsome words, but the painting is ignorant". This poem is indeed a masterpiece of Wang Yi's painting.

Wang Wei's pastoral poems reflect the mutual infiltration and germination of rich poetic and picturesque meanings. His pastoral poems mainly describe the beauty of natural landscapes, pastoral scenery and feelings of seclusion. Zheng Zhenduo's Illustrated History of China Literature says that Wang Wei was directed directly by Tao Yuanming, which is true in showing his love for seclusion. As described by Wang Wei, rural scenery and human feelings are so beautiful:

The empty mountains are bathed in a new rain, and feel the early autumn at night. The bright moon shed clear light from the cracks and cleared the fountain on the rocks.

The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.

This poem named "An Autumn Night in the Mountain" describes the autumn night in the mountain village so clearly, fresh and pure: after a burst of autumn rain, the air is particularly refreshing, the moonlight shines on the ground through pine branches, the mountain springs jingle, and the underwater sand and stones are vivid. Suddenly there was ringing laughter in the green bamboo forest. It turns out that the girl who is washing wool is going home. The lotus leaf shook, and it turned out that the fishermen came home late. Such a fresh, quiet, energetic, peaceful and beautiful picture of a deep mountain autumn night deeply attracted the author. Finally, he sincerely said: Let spring pass, and I, the "prince and grandson", am determined to stay.

In addition to composition, Wang Wei pays great attention to the skills of color setting. Some of his poems, such as "Sending Prosperity to Guizhou", say that "the rivers and lakes are white at sunset and the sky is blue when the tide comes". The first sentence said that there was a white light reflected from the rivers and lakes at sunset, and the second sentence said that the blue waves rolled at high tide, and the world seemed to be dyed green by it. In "My Cabin in Wangchuan": "An egret flies in the silent swamp, and mango birds sing in the trees in midsummer", the rice fields in the desert and the shady summer trees are bright in color, while the latter are calm in color; Egrets and orioles are in sharp contrast. Bie Ye in Wangchuan: "The grass is green in the rain and the peach blossoms are burning on the water". "White Stone Beach": "White Stone Beach is shallow, and Qingpu is comparable. Live in the water, under the bright moon. " Coloring is more beautiful.

Wang Wei is an excellent musician with a keen sense of sound. Therefore, his landscape poems are good at blending sounds into paintings. For example, in Sitting Alone on an Autumn Night, the fruit falls in the rain and the grass flies under the lamp. Qingxi "is above the rocks, and the flowing water gurgles;" Among the pines and cypresses, the lights are dim. " "Moonlight in the pine forest, crystal stone in the stream" on an autumn night in the mountains, and so on.

Wang Wei was deeply influenced by Zen, so some of his landscape poems, "You don't need Zen, you get Zen." (Shen Deqian Shi Shuo ·Xi· Yu, Volume II). What is his "Zen"? It is in the process of gazing at things, conquering the troubles in the heart and reaching the realm of freedom without desire or desire. Therefore, his landscape poems like to pursue the realm of emptiness, which is more prominent in his famous Twenty Poems of Wangchuan, such as Zhuliguan:

I leaned alone in the dense bamboo, playing the piano and humming a song. It's too light for anyone to hear, except my partner, Mingyue.

These twenty words give people the impression that they are "quiet and unique". The bamboo forest scenery in the moonlit night is ethereal and clear, but the person who plays the piano and screams is so comfortable, and his manner, mentality and external material state are integrated into one. This "man" in the poem is undoubtedly a self-portrait of a carefree and freely pitching poet.

Another example is Wu Xinyi: hibiscus flowers with chopped red calyx in the mountains. The mouth of a stream is silent, without a trace. They open and fall.

The first two sentences of this poem describe the beauty of magnolia growing at the end of branches. When spring comes, it tries to bloom red flowers. But it grew up in a barren mountain stream, so its opening has never attracted people's attention, and its decline has not aroused people's sympathy. This is a state of idleness, reticence and never excitement. No wonder Amin poet Hu Yinglin said after reading these two poems, "I have forgotten my life experience and lost all my thoughts".

Although Wang Wei's poems often reveal an ethereal feeling, they are not Zen works, but contain Zen in landscape descriptions, which makes people chew and think deeply. When we appreciate this kind of poetry, of course, we must identify the negative elements, and we can't ignore the artistic beauty created and the artistic experience provided by the poet because of choking on food.

In a word, the reason why Wang Wei's pastoral poems have achieved outstanding and independent achievements is that he has effectively used the expressive forms of painting art such as color, line and composition, as well as the musicians' expressive skills of voice, poet's feelings and Zen.

Meng Haoran studied hard at home for the first half of his life and once lived in seclusion in Lumen Mountain. 40-year-old Chang 'an, seeking official disappointment, roamed wuyue and finally lived in seclusion. Although he has basically lived in seclusion all his life, his heart is quite contradictory: I hope my friends will introduce him and enter the official career; And extremely dissatisfied with the world, emotional rage. For example, in Homecoming, he wrote: "I was exiled by a wise ruler because of my mistakes. I was ill for so long that I couldn't see a friend." This shows his angry mood. Moreover, it was not until later years that the contradiction between "official" and "seclusion" was diluted.

Li Bai admired Meng Haoran very much. He visited Meng Haoran in Xiangyang and wrote a poem "To Meng Haoran": "Master, I sincerely salute you, and your fame has risen to the sky. In the rosy youth, you gave up the importance of hats and chariots and chose pine trees and clouds; Now whitehead. Drunk moon, sage of dreams, bewitched by flowers, you turned a deaf ear to the emperor. Mountain, how I long to reach you, it is a pure fragrance. " I sincerely praise Meng Haoran's indifferent attitude towards fame and fortune and his self-contained attitude towards landscape life. But in essence, Meng Haoran's last seclusion was a last resort.

From the poem "Dongting Lake to Prime Minister Zhang", we can see that Meng Haoran has a strong desire to join the WTO even in his later years:

The autumn water rises and almost blends with the shore, mixing water and sky with the sky. Ozawa's water vapor transpiration on the cloud soil is white, and the waves seem to shake the whole Yueyang.

I'm going to cross the water to find a boat and paddle. It's a shame to return home in the sacred age. Sitting and watching the angler is like a fish.

The poem "Clouds dream up and fog around Yueyang City" is magnificent and has a broad realm. Where is the hermit's inner peace of mind? No wonder Pan Deyu, a A Qing dynasty man, called some of his works "full of vitality, overlooking everything, but unspeakable". (Yang Shihua) Of these two poems describing Dongting Lake, only Du Fu's "The Story of Climbing Yueyang Tower" says that "there is Wu in the east and Chu in the south, and you can see the endless drifting of heaven and earth". And the last four sentences of the poem clearly reveal the meaning that I hope Zhang Jiuling can quote. Meng Haoran is most praised for his landscape travel notes and reclusive works. This kind of poems can best represent the style of Meng Haoran's poems. Among his techniques, the most prominent is line drawing. He often writes his intuitive feelings concisely in plain language, which seems casual, but also wonderful, such as "Sleeping on the Jiande River":

Move the ship, anchor in Zhu Ye, and the sunlight wanes, and old memories begin. The vastness of the wilderness is deeper than trees, and the moon is very close to the moon.

Through sketching, I can intuitively feel the sunset, wilderness, Qingjiang River, Yanzhu, "the sky is low" and "the moon is far away", showing the scene of Qiu Jiang sleeping at night and lingering. Another example is a friend from Yangzhou who came from a berth on Tonglu:

Monkeys whimper in the dark mountains, and the river rushes in the dark. The wind on both sides of the strait rustled the branches and leaves, and the moonlight reflected on the river, a boat on a river.

Truthfully write the scene of the ape crying at sunset, the swift river, the wind blowing the leaves, the moonlight shining on the lonely boat, filled with the poet's deep homesickness. In these poems, the pen and ink are light and beautiful, but the landscape images are very vivid. Unlike Wang Wei, he doesn't pay attention to the freshness of color and the truth of composition. He just wrote lightly, seemingly without effort, but with an evocative charm.

Meng Haoran's pastoral poems are intended to learn from Tao Yuanming, to write about his contacts with farmers, to write about the scenery and life in the countryside, and to write about his feelings of enjoying himself in nature and in his contacts with simple farmers. One of the most popular is "Passing the Old Village":

This old friend prepared a delicious meal and invited me to his hospitable farm. Green Woods surround the village and green hills are located outside the city.

Open the window facing the valley vegetable garden and pass the glass to talk about crops. Please come here to see chrysanthemums when the ninth festival comes.

This poem is about the immediate prospects, such as green trees, green hills and nurseries. It is about human feelings, such as chicken and millet, and Sang Ma. It uses spoken language, giving people a sense of tranquility, peace and beauty, a mellow feeling, which is refreshing.

Mr. Wen Yiduo said in "Miscellaneous Poems of Tang Poetry": "The real Meng Haoran is not to build the poem tightly in a couplet or a sentence, but to dilute it and disperse it evenly throughout the whole article. When I can't see the poem, it is really Meng Haoran's poem. " The pursuit of nature is indeed a distinctive feature of Meng Haoran's pastoral poems.

His poems, such as "The wind sends lotus fragrance and the bamboo leaves drip" ("Thinking in the South Pavilion in midsummer") and "Danhe is cold and the rain is sparse" (residual sentence), are all well-known famous sentences. As we all know, Spring Dawn, one of the five wonders, embodies the infinite vitality of nature in the early morning of spring and the author's love for life and beautiful things. The language is simple, but catchy and charming. You can say that you don't expect anything in return for your work.

Meng Haoran's poetic achievements can be said to be unique and self-contained. His achievements in pastoral poetry made him have a far-reaching influence on poetry creation after Tang and Song Dynasties. Meng Haoran's masterpiece is pastoral poetry. Some of these poems were written while roaming in places like Qin Zhong and wuyue. For example:

Going south is the wilderness, because the leaves are falling and the wind is cold. I remember my home; But the Xiangjiang River twists and turns, isolating Chu.

Tears of homesickness in the journey, see the back of the sail on the horizon. The smoke in the wind blurs where the ferry can be, and the vast river ripples in the sunset. -"Homecoming on the River"

Facing the white Yun Qi Fu Feifei on the mountain ridge, I can enjoy myself as a hermit. Try to climb the other side of the mountain, and new geese will fly out. Sadness is often the mood of dusk, and the mood is often the atmosphere of autumn. I looked down at the river bank, and the villagers were walking home, forming a ferry rest area. There are trees on the horizon like a row of grass and rivers like a moon. I hope you will pick me up, bring a basket of wine and get drunk on the Double Ninth Festival —— On Zhang's Autumn Mountain in Country-specific Regions

Among the pastoral poets in the prosperous Tang Dynasty, Chu Guangxi, Zuyong, Pei Di, Chang Jian and others also left some excellent poems. For example, Chu Guangxi's Fish Bay has beautiful scenery and perfect artistic conception, which can be regarded as the representative of Chu Guangxi's landscape poems: fishing in the green bay in spring and apricot blossoms in spring. The pool is clear and shallow, and the lotus knows the fish are scattered. Waiting for lovers at dusk, the boat is green and the shore is green. The phrase "the pond is shallow, and the lotus moves to know that the fish is scattered" describes the characteristics of the scenery from "suspicion is shallow", while the phrases "pond is clear" and "lotus moves" capture the subtle relationship between them from the dynamic and static state of the scenery, and also describe the happy mood of the viewer.

Zuyong's On Seeing the Snow Peak in Central South is said to be an exam-oriented work. According to the requirements of the test questions, it must be five words and eight sentences to finish the article, but Zuyong only arranged four sentences, thinking that "the meaning is exhausted" without gilding the lily, which is the masterpiece handed down from generation to generation: see how Zhongnanshan takes off and head over the clouds with its white. After the snow in Chu Qing, the afterglow of the sun shone from the forest. It was late, and Chang 'an was even more chilly.

He is like the "Hua Zi Gang" in Pei Di: the sunset is relaxing and the grass is dew at home. Cloud light invades shoes, and mountain green clothes brush people's clothes.

Chang Jian's Zen after the Broken Mountain Temple: My road twists and turns, passing through a valley covered by branches and flowers, leading to a Zen realm. Here, birds live in the mountain light, and people's hearts feel quiet in the pond. Are well-known masterpieces.

Li Bai was the most controversial poet in ancient China. He is the greatest romantic poet in the Tang Dynasty with a wide range of interests and brilliant literary talent. Du Fu once said that he "shook the wind and rain with a pen and wept with a poem". Li Bai is not a poet who "never leaves his clan". On the contrary, he seems to care about everything. He has experienced and shown a lot of life. Although he could not satisfy his life forever, his passionate feelings and strong personality left an indelible mark on various life poems, leaving a strong subjective color of self-expression everywhere. "Wandering for nine days, dreaming back to the eight wild places". For example, climbing Mount Tianmu in a dream and looking at Lushan Waterfall, we can see that what Li Bai likes is often not quiet mountains and valleys, elegant nymphs, but peaks in strange peaks and valleys, waterfalls falling from the sky and rivers in Bai Bo. These majestic and steep mountains and rivers are especially suitable for his rebellious and unruly character. It seems that he wants to climb these mountains and rivers, breathe with the stars of heaven and earth, and associate with ghosts and gods.

Du Fu is different from the above three. Born in a feudal bureaucratic family, he had a series of "strong travel" experiences since he was 20 years old. After the "An Shi Rebellion", due to the ups and downs of life and disillusionment of ideals, he also thought about retiring. However, his strong sense of responsibility and mission to the country and people made him embark on the road of realistic creation. "The great man of chivalry is for the country and the people." Du Fu is such a chivalrous poet. Even when he was down and out, he didn't forget the sufferings of the people. He said in the song "The Hut was Blown by Autumn Wind": "There are thousands of spacious buildings in Ande, which greatly protect the poor in the world. The wind and rain are calm as a mountain. Oh! Suddenly seeing the mountain in front of me, it is enough for me to freeze to death alone. " Therefore, Du Fu's landscape poems always naturally reveal a pity for people's livelihood. For example:

Good rain knows the season, when spring comes. Sneak into the night with the wind, moisten things silently.

How wide the world is, how close the trees are to heaven, and the boats on the river are full of fire. Look at the red and wet place, the flowers in Jinguancheng are heavy. -"Delighting in Rain on a Spring Night"

The water in front of the Yellow River flows eastward, giving people a sense of sleepiness and spring breeze in spring. The peach blossom is not dark red but light red. -one of the seven quatrains of finding fragrance one step along the river.

Huangsi Niangniang's home is full of flowers, and thousands of them are low. The butterflies in the flowers are dancing, and the soft yinger in freedom is just singing happily. -"Seven quatrains on finding incense by the river" (below)

In these poems, we can see that Du Fu's poems, even his landscape poems, can't forget his concern for the world and human feelings, and he is always a chivalrous heart that sympathizes with others. Therefore, his poetry creation is immersed in a gloomy and tragic atmosphere.

Features of Meng Haoran's landscape poems: lightness.

Analysis of Meng Haoran's Near Dongting: The lake here in August is in harmony with the sky. Ozawa's water vapor transpiration on the cloud soil is white, and the waves seem to shake the whole Yueyang. I'm going to cross the water to find a boat and paddle. It's a shame to return home in the sacred age. Sitting and watching the angler is like a fish. : virtual, refers to the sky; Too clear, referring to space; Letters mixed with spaces indicate that water and sky are the same color; Yunmengze, an ancient swamp name, is located in southern Hubei and northern Hunan. Anglers, compared to the then Governor Zhang Jiuling. The first four sentences of this poem describe the scenery, and the last four sentences are lyrical, full of metaphor, euphemism, implication and unconventional. The poet wrote this poem and gave it to the then Prime Minister Zhang (Zhang Jiuling), euphemistically hoping to get his appreciation and guidance.

A brief analysis of Du Fu's "Climbing Yueyang Tower": I have heard about Dongting Lake for a long time, and now I finally climb this building. The vast lake tore Wu Chu apart, as if the sun, moon and stars were floating in the water. There is no news from my friends or relatives. I am old and sick, drifting in a boat. The battle of the north gate began again, and I cried through the railing. Hey, split; Word refers to news; Lonely boat, metaphor for yourself; Xuan, a corridor with railings; Si, refers to snot. The first couplet of this poem is about the feeling of just boarding Yueyang Tower. The couplet is about the area and water potential of Dongting Lake, and the life experience of the transition from neck to self-injury. The tail couplet connects one's own misfortune with the war in the country, which has profound feelings.

Comparison between the two poems: the same point is that the structures of the two poems are neat, and the four poems are all composed of enlightenment, inheritance, transformation and combination; The difference is that the scenery written in the second couplet of Deng Yueyang Tower is more magnificent than that written in the second couplet of Lin Dongting, and the whole poem expresses higher feelings in ideological realm and personality than that in Lin Dongting.

Wang Wei's landscape poems are characterized by ethereal artistic conception, elegant interest, paintings in poems and poems in paintings.

A brief analysis of Mount Zhongnan: Its huge height near Paradise City connects Qian Shan to the corner of the sea. Cloud, when I looked back, it was behind me. I was too young to see anything. The central mountain peaks separate the southwest, and the valleys are also different. Want to find a house to live in the mountains, is it convenient for the water guide to ask the woodcutter? Taiyi, the name of the mountain; Tiandu refers to Chang 'an; Division, the ancients divided the stars in the sky and the States on the ground into several regions, and the "one peak dividing line" was a different division. This poem begins with a distant view, ends with a close view, and is set off and embellished with characters, with endless aftertaste.

A brief analysis of "Mountain Living in Autumn Night": The whole poem expresses the poet's carefree mood by describing Chu's quiet life after autumn rain and dusk, and expresses the poet's personality beauty with natural beauty. The last sentence is reversed with "Songs of the South". The poem "Wang Gui, can't stay in the mountains for a long time" in "Recruit a Hermit" expresses the intention of resolutely retiring. The whole poem is excellent in levelness, antithesis, rhyme and diction.

3. Li Bai's landscape poems

Features: majestic and unrestrained. From the object of description, Li Bai likes to choose tall, magnificent and flowing natural landscapes such as the Yellow River and Mount Tai as the object of description, which gives people the enjoyment of masculine beauty, such as "Into the Wine" and "Six Poems of Mount Tai". From the artistic point of view, Li Bai's landscape poems are full of unrestrained passion and positive romantic spirit, which are manifested in strange imagination, bold exaggeration and the extensive use of myths and legends, such as the poem "Difficult Road to Shu".

Comparison between Tangshan Water Poems and Landscape Poems in No.1 Middle School of the Tang Dynasty;

Prosperous Tang dynasty: fresh style, lofty charm, atmospheric pattern, vigorous personality and colorful appearance. Such as the poems of Wang Wei, Meng Haoran, Li Bai and Du Fu.

Mid-Tang dynasty: elegant and free and easy, and the strength of bones is gradually decreasing.

Liu Changqing, Wei, Meng Jiao, Liu Zongyuan, Liu Yuxi, Du Mu and Li Shangyin.

The characteristics of Liu Zongyuan's landscape poems are: he is good at pinning the feelings of suppressing resentment in the landscape, making the feelings and scenery fit well, and his style is rather sad.

Analysis of Jiang Xue: There are no birds in a hundred mountains and no footprints in a thousand miles. A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice. Draw a broad, quiet, cold and pure picture, showing the poet's melancholy, loneliness, loneliness and frankness, as well as his deep and dignified life mood. The whole poem is exquisite in material selection and profound in artistic conception.

A brief analysis of Fisherman: An old fisherman spent the night here, under the west cliff, Xiao Ji, burning bamboo poles in Chu. Then, at sunrise, he walked through the fog and saw a green landscape. Looking back, the fishing boat has drifted below the horizon, and white clouds are floating in the mountains, chasing each other. When Liu Yuan was relegated to Yongzhou, the poem wrote that the fisherman was lonely, revealing a feeling of narcissism, which included the poet's own situation. The whole poem is simple in language, pure in artistic conception, ingenious in artistic conception and quite interesting.

The characteristics of Liu Yuxi's landscape poems are: he is good at expressing optimism in his poems and has a distinctive style, such as Wang Dongting (such as Langtaosha).