Hubei Ziweishan Tianyuan

1. Tao Yuanming (365-427), born in Chaisang, Xunyang (now Jiujiang, Jiangxi), with a clear or hidden word. There is Tao Yuanming's collection. His great-grandfather Tao Kan was a great star in the early years of the Eastern Jin Dynasty. He put Qiang Bing in charge of the middle reaches of the Yangtze River, served as the military commander of eight states, and made Changsha a county magistrate, which made him famous for a while. Posthumously presented to Fu. Grandfather Tao Maoguan is a prefect and father is an official. As the founding father of the Eastern Jin Dynasty, the Dao family was not as noble as the famous family in the south, but also a big family in Xunyang. It's just that Tao Yuanming's family came down because his father died when he was young. At the age of 29, he became an official, offered drinks in Jiangzhou, and soon retired. Later, he served as a junior official in Zhenjun, Jianwei and other places, and lived a life of anonymity. In the first year of Yixi (405), Tao Yuanming was forty-one, and was once again appointed as Pengze County Magistrate. However, after more than eighty days, he left his post and officialdom. He has his own grange and servants in his hometown. At first, his life was calm and content. Sometimes he also takes part in some agricultural labor personally as the practice of his social outlook and philosophy of life. In this kind of working life, I am close to farmers. Later, due to the continuous disaster of farmland, houses were burned and the situation deteriorated. But he never wants to be an official again. The court once called him a writer, but he refused.

The reason why Tao Yuanming is so is not that he is not interested in politics. Tao Yuanming, born in the family of several generations of bureaucrats and a founding father, had expected to make progress in his official career and make a difference in politics. "Miscellaneous Poems" said: "When I was young, I was happy but not happy, eager to escape from the world and fell in love with Philip Burkart." You can see his thoughts. But at the same time, the literati in the Eastern Jin Dynasty generally advocated seclusion and pursued spiritual freedom, which also left a profound influence on him. "Returning to the Garden" says that "less should not be vulgar, and nature loves autumn mountains" and so on, which reflects another aspect of his thought. He embarked on the road of life with two contradictory wishes. At the beginning, the former desire dominated. But this is a turbulent era: the internal struggle of the imperial clan and the warlord's ambition for political power continue to cause bloody killings and even fierce fires. This kind of social unrest not only brings disaster to the people, but also causes serious insecurity in the upper class of society. This made Tao Yuanming's political ambition have to be reduced. On the other hand, in this power struggle, all dirty and bloody plots are under the guise of lofty morality, which makes Tao Yuanming, who is really pure in nature, unbearable. So in the end, the desire to "love Qiushan" overwhelmed the ambition to "escape from the four seas". When he joined the army as a town army, he wrote the poem "Song of Initiating the Town Army to Join the Army", saying, "My eyes are tired but I am different, and my heart is full of mountains and rivers. Chatting and chatting will move. After all, the class is going to be born. " Judging from Peng's farewell speech when he was dismissed from office, he even described being an official as a "deeply ashamed life", so his seclusion was actually the result that his ideal could not be reconciled with the reality at that time.

Tao Yuanming's literary creation has the greatest influence on later generations. Among Tao Yuanming's poems, pastoral poetry is the most representative. The artistic charm of this pastoral poem lies not so much in its true portrayal of rural life as in its sustenance of Tao Yuanming's ideal of life. The pastoral is highly purified and beautified by Tao Yuanming's poetic structure and becomes a spiritual refuge in the painful world.

Tao Yuanming's thought is a special "natural" philosophy, which is based on the philosophy of Laozi and Zhuangzi and harmonizes the thoughts of Confucianism and Taoism. His ideal society is a "natural" society. He often combines the simple and indisputable ancient world invented by Confucianism with the social model of small countries and few people advocated by Taoism and praises it as an ideal world. The poem "Returning to the Garden" enjoys a long reputation and has similar characteristics:

Few people do as the Romans do. Their nature is to love nature. I sneaked into the official career network and have been away from the game for more than ten years.

Birds in cages are often attached to the forests of the past, and fish in ponds yearn for the abyss of the past. I want to open up wasteland in Minamino and keep my humility to the fields.

The house is surrounded by about ten acres of land, thatched cottages. Willow trees cover the eaves, and peach trees cover Li Lieman in front of the hospital.

The neighboring village of the neighboring village is faintly visible, and there is smoke in the village. Several dogs barked in the alley, and the mulberry tree was barked by a rooster.

There is no dust and sundries in the yard, and the quiet room is comfortable and leisurely. Trapped in a cage without freedom for a long time, I finally returned to the forest today.

This poem is about a year after Peng was dismissed from his post and returned to his hometown, expressing his joy of returning home. In the middle of the scenery, the following four sentences of "Fang Zhai" outline the simplicity and beauty of their residence with simple pen and ink; "It's warm in a distant village, and there is smoke in a market in Iraq", and the sight turns to the distance, which makes the whole picture present a leisurely, empty, quiet and peaceful charm. The author takes this as the opposite of the dirty and noisy officialdom-the so-called "cage"-to express his social ideal and life concept. "Nature" ending with "return to nature" refers to both natural environment and natural life.

As a part of natural life, Tao Yuanming's pastoral poems also wrote about agricultural labor; During his retirement, he also participated in farming. What is the significance of his manual labor in his economic life? About is very limited, even, maybe it is dispensable. The practical significance of this farming is that it embodies a belief of Tao Yuanming. "Geng Xunian's September Harvest of Early Rice in Westfield" begins with: "Life belongs to the Tao, and food and clothing are solid. I don't want to camp, but I want to be safe! " Self-cultivation and self-reliance are ideal social and personal lifestyles. Although the poet can't actually do this, he tried, which is remarkable. At the same time, he said, "Isn't Tian Jia suffering? It is difficult to resign. Four-body sincerity is fatigue, and ordinary people are no different from doing it. Wash under the eaves and fight for wine. " Here, I wrote about the hardships of manual labor and the psychological peace and happiness it brought. In the same kind of poetry, the most beautiful artistic conception is "Return to the Garden" (3):

I planted beans at the foot of Nanshan, and the weeds in the field were covered with peas. Get up early in the morning to get rid of weeds, and come back with hoes in the moonlight at night.

The narrow path covered with vegetation, the night dew wet my clothes. It's not a pity to get wet, but I hope it won't be against my will.

The last two sentences once again show that Tao Yuanming's writing about rural life and physical labor is actually singing his own ideals and showing the joy of realizing them.

The above mainly analyzes the social ideal embodied in Tao Yuanming's pastoral poems, as well as his thoughts on personal life style in society. In addition, Tao Yuanming's pastoral poems also involve the question that literature has been focusing on since the end of the Eastern Han Dynasty: What is the meaning and value of life? How can life be liberated? In this regard, we first see that Tao Yuanming is more anxious about the fact that life is short than anyone in his contemporaries. There are only over a hundred of his poems, but dozens of them mention "old" and "dead". However, in philosophy, he has an open-minded explanation, which is most clearly expressed in the group poem "Form, Shadow and Spirit". The poet borrowed the dialogue style of ci and fu, which made Xing put forward the attitude of drinking and forgetting everything (which is close to 19 ancient poems), so that he should emphasize the pursuit of achievement and make a name for himself (which is close to Jian 'an literature). In fact, both of them are hard for Tao Yuanming to give up, but as the final philosophical conclusion, he denied them in the third book "Analysis of God", thinking that daily drunkenness hurts life, which is just an external pursuit and meaningless. It should be: "The waves are getting bigger and bigger. I don't like them and I'm not afraid." You should do your best, there is no need to worry about it. "That is, naturalization, without consciously pursuing something other than life, is liberation without seeking liberation.

This philosophical connotation of "nature" is very beautiful in landscape pastoral poems, such as the most famous "drinking" in Tao poetry:

Building a house is human, and there are no horses and chariots. What can you do? The heart is far from being self-centered.

Picking chrysanthemums under the east fence, you can see Nanshan leisurely. The mountains are getting better and better, and the birds are back.

This makes sense. I forgot to say it if I wanted to defend myself.

The first four sentences say that as long as you have foresight, you will not be disturbed by the world. Besides, picking chrysanthemums in Dongli, I accidentally met Nanshan (Lushan Mountain), felt the mystery of creation in the twilight and purple haze, and realized the true meaning of life. Although it is clearly stated in the poem that "I want to argue but forget what I said", the life truth implied by a series of images in this poem can still be explored if we examine it in connection with other works of Tao Yuanming. Don't the eternity of Nanshan, the atmospheric beauty of mountains and the freedom of birds reflect the greatness, perfection and richness of nature, especially self-sufficiency, and have no other essence? Then, in the short life of mankind, what else can we pursue except to return to nature, conform to nature and feel the meaning of our life in the eternity, beauty and freedom of nature? So this poem is still the sustenance of Tao Yuanming's life ideal, but it is different. Of course, this outlook on life in poetry is only a poetic and philosophical yearning. Because people can't get rid of the pursuit of self-realization on a certain object, nor can they get rid of the contradiction of real interests. But as a philosophical reflection on life, it is valuable; As the essence of poetry, it brings unique effects.

To sum up, Tao Yuanming's social outlook and outlook on life are all centered on "nature". The society he yearns for is a peaceful and peaceful society with self-cultivation, no competition, no hypocrisy, no mutual oppression and harm; The life he pursues is simple and sincere, indifferent to lofty ideals, entrusted with transportation, and has no external demand; His favorite living environment is also a quiet and natural country. Because of these pursuits, most of his pastoral poems present a diluted and peaceful appearance, which was called "silence" by predecessors, but behind it, they are full of hatred and anxiety about the real society and the short life. In other words, "silence" is an aesthetic realm constructed under the control of "natural" philosophy, and the internal motivation to arouse this pursuit is precisely a high degree of anxiety.

The most concentrated part of Tao's poems is writing about rural life. In addition, his masterpieces include Migration, The Master Book of the River Country, Ode to the Poor, Miscellaneous Poems, Poems of Complaint, Master Book of Pang Zhizhong, etc. However, Tao Yuanming is not the only one whose main feature is to downplay peace. He also wrote some poems directly related to real politics or directly expressing his strong inner feelings. For example, the poem "Talking about Wine" and "A Long History of Giving Sheep" reflect distinct national feelings. In addition, several articles in Ode to Jing Ke and Reading the Classic of Mountains and Seas expressed sympathy, admiration and praise for some heroic images in history and myths and legends who never gave up despite being defeated, and had a generous and tragic style.

The simplicity of Shi Tao's words is not random and unprocessed, but highly refined, and all the miscellaneous and sticky components have been washed away, showing a clear simplicity. There is no doubt that he has a keen sense of the beauty of nature, so he can recreate it into a poetic image with accurate and simple language. For example, "a warm and distant village, smoke on a field in Iraq" describes the tranquility of the countryside, "keeping one's ears open, keeping one's eyes clean" describes the lightness of snow, and "there is a south wind coming, and the wings are new seedlings" describes the traces of wind. Tao's poems are based on profound thoughts, feelings and philosophies, and never show off external beauty. Therefore, most of them are concise and the layout is less. Zhong Rong's poem is called "There are almost no long words". The artistic conception of poetry is always relatively complete, infecting readers as a whole, rather than attracting people with a word or a fragment.

2. Meng Haoran (689—740), a native of Xiangyang (now Hubei), mainly lived in the Kaiyuan period. He lived in Jiannan Garden near Xianshan in the south of Xiangyang for most of his life, and had traveled abroad before middle age. At the age of forty, I went to Chang 'an to study, and then I traveled in wuyue for many years and visited many places of interest. In the 25th year of Kaiyuan (737), Zhang Jiuling demoted Jingzhou to the secretariat, and Meng Haoran once entered the screen, and soon resigned and returned to his hometown until his death. There is Meng Haoran's collection. Meng Haoran was an early poet in the prosperous Tang Dynasty, and his character and poetic style won the admiration and admiration of people at that time. Li Bai's Letter to Meng Haoran said: "Master, I cheer you from my heart, and your reputation has risen to the sky. ..... Gaoshan, how I long to reach you. It's just a slap in the face. "You can see this here.

Meng Haoran was the first poet who devoted himself to writing landscape poems in Tang Dynasty. Today, there are more than 200 poems, most of which were written when he wandered, and some of which were written when he visited his hometown Wanshan, Xianshan and Lumen Mountain. There are also several poems describing rural life. The geographical scope of this poem is quite extensive.

Landscape is the most important theme of poetry in the Southern Dynasties, which has experienced long-term development and made remarkable achievements. By Meng Haoran, landscape poetry has been promoted to a new height, mainly in the following aspects: the relationship between emotion and scenery in poetry is not only a mutual foil, but also a close combination of water and milk; The artistic conception of poetry is more pure and clear because all unnecessary and uncoordinated elements are eliminated; The structure of the poem is also more perfect.

Meng Haoran prefers water rafting during his trip, as he himself said: "For many mountains and rivers, he often goes boating." ("Jing Tan") His poems often describe the beauty of Jiangnan water towns and the interest caused by roaming, such as:

The scenery is clear, bright and radiant. Clarify what is in the water of love. If you are in the pot, what can you do? Whitehead fisherman, Xinhua makeup artist. Look at each other like acquaintances, but you can't talk. (Rowing in the West Field)

Fishing and sitting on a rock, the water is clear and the heart is idle. Fish swam around in the shade of trees, and apes hung on the branches to fight. The story of the goddess Yu Pei is said to have happened on this mountain. Because I don't have such a chance to take risks, I will come back and sing oars in the moonlight. ("Wan Shan Tan Zuo")

Poetry not only plays a documentary role, but also combines the poet's fresh feelings and naive reverie. In his eyes, whether it is the figure bathed in the afterglow of the sunset or the fish and animals playing on the underwater shore, everything he sees seems to have turned into a knowing and kind smile. These poetic scenes do have a crystal clear feeling.

The artistic conception of Meng Haoran's landscape poems is full of vitality and tranquility. But he can also express his greatness with magnificent writing. For example, "Li Peng Lake sees Lushan Mountain": "The moon is dizzy in space, and the boat knows the wind. Hanging seats for the morning hair, in the lake. Mid-stream is KuangFu, potential pressure Jiujiang bear. Thick ink and heavy colors condense, and the sky is empty.

When the incense burner rises, the waterfall ejects the Chen Hong. Pan Deyu, a poet in the Tang Dynasty, took this poem and Fishing at the Beginning of Putan as examples, and thought that Meng's poem was "vigorous and overlooking everything" (talking about poetry), which showed its important characteristics of exuberance.

It is a common feature of Meng Haoran's poems to emphasize "looking to the stars". This can be seen more clearly by comparing several different works.

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 around watching other people's hard river fishing can only envy the fish caught in the fish. (Message from Dongting Lake to Premier Zhang)

The mountain was dark when it saw it, and the darkness of the mountain flowed eastward, day and night. 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. Jiande's scenery is good, but it's not my hometown. I still miss my old friends in Yangzhou. Recalling those two lines of tears that I couldn't restrain, I looked at the west side of the west bank and sent sadness to Yangzhou. (From a berth on Tonglu to a friend in Yangzhou)

Stop the boat in a foggy small state, when new worries come to the guest's heart. The vastness of the wilderness is deeper than trees, and the moon is very close to the moon. (Night parking on Jiande River)

These three poems are all about rivers and lakes, but their personalities are different. The first song was written by Meng when he applied for the Zhang Jiuling shogunate. He was excited to have a chance to try his ambition. He once wrote "Grateful to Play the Crown, Keep Peace and Stay Poor" (Shu Huai Yi Jing Yi Hao Tong) and "It's not too late for an old friend to die now" (Send Ding Dafeng Jinshi to Zhang Jiuling). It is this high-spirited emotion that made him write such a magnificent famous sentence as "Clouds, dreams and fog around Yueyang". The second and third songs were written on the day when I traveled to southern wuyue after I was down and out. The former wrote his own sad inner turmoil with the turbulent scenery of the wind and the river, while the latter wrote the feelings of lonely wanderers with the quiet scenery of the wild Qingjiang River. Their spirits are very different. Taking "Xing" as the essence and "Image" as the essence, highlighting the subject's emotional feelings, unifying the two and constructing a complete artistic conception are the important contributions of Meng Haoran's landscape poems.

The language of Meng Haoran's poetry is "light language but not light taste" (Shen Deqian's Poems), which does not communicate the strange and the different, but avoids the common. Some of his poems are often refined in simple descriptions, but the dense latitude and longitude seem to be inadvertently displayed, showing high artistic skill. For example, his masterpiece "Passing through 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.

Throughout the narrative, it seems to be homely, which is similar to Tao Yuanming's "Drinking" and other poems, but Tao wrote ancient style, but this poem is close to it. The couplet "We see green trees around your village, and the mountains in the distance are light blue" makes the finishing point to outline the typical environment of a village surrounded by green mountains and trees. There is also a five-line poem "Spring Dawn" that women and children can recite, which is also a subtle feeling of cherishing spring in natural language.

In addition, Meng Haoran often breaks through the limitation of the inherent formula in the use of poetic style, which makes him have a different interest. For example, in the poem "Looking at the boat in the middle", the flat and parallel tones are all in pentatonic format, but China's couplets are not parallel prose, which is full of ancient charm. Hu Yinglin's "Poems for Poetry" holds that such poems are "naturally short and ancient in the Six Dynasties, and if they rhyme, they will feel detached." Another example is going back to Mount Lumeng at night:

In the evening, the bell of the temple echoed in the valley, and a noisy voice sounded at Yulu Ferry. People walked along the shore to Jiangcun village, and I also returned to Lumen by boat. The moonlight at the deer gate made the mountain tree appear, and I suddenly came to the seclusion of exile. Thatched doors, pine paths, loneliness and silence, only you come and go at night.

This is a poetic poem, but it only writes down the journey all the way home at night, without extravagance. The scale of his writing system is similar to that of modern poetry, which absorbs the concise language of modern poetry and highlights the sentence structure of chorus, which is quite exciting to read.

These are different from the ancient body and full of free and easy feelings, which is also one of the manifestations of Meng's creation.

3. Wei Wang (700? The word -76 1), a native of Qi Taiyuan (now Qixian County, Shanxi Province), was a versatile person under the historical conditions of the all-round rise of Tang culture. He was proficient in music and was a great musician in his early years. In calligraphy, he is both a long grass and a servant; His talent for painting is particularly outstanding. He once boasted that "a long-term poet should be a painter" (Accidental Works, sixth), and later people even recommended him as the ancestor of Nanzong School of Painting. His literary creation is based on such comprehensive artistic accomplishment, and he has made great achievements. This is Wang Youcheng.

The style and artistic conception of Wang Wei's poems are obviously different in the early and late stages. This change has an important relationship with the political situation in Kaiyuan and Tianbao years. In the early stage, he had a positive attitude towards life and wrote many poems full of high spirits and lofty sentiments. He described his ambition in "Don't meet the brave to win": "Help others and then brush clothes to be a man." In the first and second chapters of "Youth Journey", the spirit of young people was warmly praised:

A barrel of Xinfeng wine is worth 10,000 yuan, and the ranger with five spirits is a teenager. When we met, people drank to the spirit of the king, and the horse was tied under the weeping willow in the restaurant.

This army later became the "general" of the Han Dynasty and began a battle with the general Yu Yang. Who knows the pain of not going to the border, even if you are killed, you still have a chivalrous fragrance.

Even the hero in "The Old General" is a hero in his prime. Once there is something on the border, "it is still worthy of the merits of World War I." He also repeatedly expressed the political demands of civilians. For example, Yi Men Ge enthusiastically praised the elegant demeanor of corporal Li Xian in Xinling County during the Warring States Period, and the generosity of Hou Ying and Zhu Haile who took life as their confidants. Xi Shi Yong and Galand in Luoyang express the injustice of those who have no ambition through metaphor. At the end of Kaiyuan, Zhang Jiuling, who had the reputation of "wise man", was replaced by Li. This personnel change lurks a political crisis. As a poet, Wang Wei was sensitive to this, so he turned to a semi-official and semi-secluded lifestyle as his spiritual escape, and became increasingly interested in Zen silence, a Buddhist theory. Therefore, Wang Wei's later poems did not develop in the direction of "making a gentleman sit on the stage and discuss the chivalrous heart" ("Ode to the Four Saints on Economy"), but sang more about the feelings between mountains and rivers, and the interest of "I heard that I can shoot birds" (ibid.) was getting farther and farther away from social politics. But even so, Wang Wei's poems are consistent with the overall cultural atmosphere with romantic temperament in the prosperous Tang Dynasty. In the landscape, the poet's life ideal of being noble and not integrating with the secular world was entrusted, and his heartfelt love for the beauty of nature was also devoted. Including those poems that embody Zen philosophy and give people a sense of extreme seclusion, there is also a lively, fresh and lively artistic conception. Such as Wu Xinyi:

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.

Until the Anshi Rebellion, Wang Wei was forced to assume a false post and was later punished by the court. He was disheartened and devoted himself to burning incense and chanting, and his poetry creation declined.

Poetry has been fully prepared in the prosperous Tang Dynasty, and Wang Wei is an all-rounder in all kinds of poetic styles. He is known as the "five-character master" and is the person who deposits the most today. Among them, five ancient books, such as Zhi Qian and Wei Shui Nong Jia, five decrees, such as Autumn Night in the Deep Mountain, Hunting, Stepping on the Frontier, Mount Zhongnan and Overlooking the Hanshui River, and five unique books, such as Twenty Poems Collected in Wangchuan and Bird-singing Creek, are all impressive.

Among the seven-character metrical poems, seven lines, such as "Make Two Ambassadors Anxi" and "Song of Yizhou", were widely sung by musicians in Liyuan at that time, while "I stayed in Wangchuan after a long rain" was praised by later generations as "the essence of the mountains" and "the past is empty, and the present is accurate", which was regarded as a famous poem in the Tang Dynasty (Wang Youcheng Collection quoted "Lian Zhai Weng Yu"), and so was the seven-character metrical poem. For example, the whole poem "Say Good Brothers to Cui Fu" (Collection of Poems of Tang and Song Dynasties) is full of momentum and indomitable youth. In the Collection of Tang Poems in the Ming Dynasty, Gao Yun thinks that Wang Wei is a famous figure in the Five Dynasties and Seven Dynasties, an authentic figure in the Five Dynasties with seven methods and five unique skills, and Wang Wei is the wing of the seven unique skills. In fact, Wang Wei's six-character poems, miscellaneous poems, Yuefu style and Chu ci style all have deep attainments. In this respect, Wang Wei can be said to be a comprehensive model representing the achievements of various poetic styles in the prosperous Tang Dynasty.

The same is true of Wang Wei's mastery and grasp of various themes. There are more than 30 existing frontier poems, which often show a high degree of generalization in artistic treatment, such as Longxi:

The troops of the emergency unit galloped away on horseback. Ten miles on a horse, five miles on a whip, and travel with lightning. This is the army of the Northwest Military Command. He came to report that the Xiongnu army has surrounded Jiuquan in the western regions of China. It snowed in Guanshan, and there was no smoke in the lookout.

Just behind, a little dangerous military situation will come to an abrupt end, and fierce fighting scenes will be hidden together and put into the reader's imagination. The whole poem begins with a brisk ballad rhythm and ends with a crowd cut off. The abrupt knot creates a full tension, with few words and strong effect. Another example is tap drinking:

The young man of the Great Wall was a chivalrous man. He committed suicide and boarded the garrison at night to see the white soldiers. The bright moon hangs high on the border of the long mountain, and pedestrians play flutes at night. In the Kansai area, the veterans are sad, and the horse can't help but shed tears when listening to the flute. After more than a hundred battles, his men will be crowned as millions. Su is a typical country, and the festival falls on Haixi.

In the poem, "Guan", "Yue" and "Land" are used to find typical frontier fortress, which skillfully combines the strong feelings of young people and the sadness of veterans, and writes the experiences of generations of people with lofty ideals who keep repeating the same mistakes from a historical depth, with clear thinking and profound implications. Wang Wei's lovesickness poems are also excellent. He is good at using the simple language and natural tone of folk songs to express a simple and meaningful charm, such as:

Red bean shrubs grow in the south. In spring, they sprout many branches. People who miss them hope to collect more. Mix red bean has attracted people's attention. (Acacia)

You have just come from our hometown, and we must understand the world. Did the plum blossom when you came to the carved window of my house? (Part II of Miscellaneous Poems)

As the language of daily life, it is bright and lively, but it is so fresh and vigorous, conveying the universal feelings of life, so it has been told for thousands of years.

Wang Wei had the greatest influence on later generations. His creativity and amazing talent in this field even covered up his achievements in frontier poems. 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. " Wang Wei's creation has enriched and developed the lyric art of China's classical poetry in the mutual infiltration and germination of poetry and artistic conception.

The same is the pursuit of a seamless artistic conception. Both Tao Yuanming and Meng Haoran like to use simple pen and ink in their landscape poems, while Wang Wei pays attention to composition and layout, and often conveys a beautiful and rich aesthetic feeling with vivid brushstrokes. For example, the famous "Zhong Nanshan":

Its huge height is close to the city of heaven, from the mountain to the corner of the sea. The white clouds merged behind, and the blue mist melted into the mountains and disappeared. 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?

The perspective in the poem has been changing: the first two sentences outline the general appearance of the mountains;

Three or four sentences changed from overlooking before entering the mountain to looking around in the mountain; Five or six sentences are condescending overlooking; The last two sentences go down to the valley in the forest, and the stream winds. Through observation from different angles, the face of this mountain standing in the Central Plains is vividly displayed. This method, which is not fixed in one viewpoint but strives to grasp the overall state of the scenery, is a unique composition method of China's landscape paintings. For example, Shen Kuo, a poet in the Song Dynasty, said, "Most landscapes are covered with grand views, just like a person watching a rockery.

If the method is the same as the real mountain, if you look up from below, you can only see a heavy mountain. How can you see it? Should not see its valley. "("Meng Qian Bi Tan ")

In order to get the beauty of the picture in the poem, Wang Wei mobilized various means. He is good at expressing the spatial sense of scenery, and often writes a patchwork sense of depth and three-dimensional sense through some finishing touches, such as "lonely village under the mountain, plateau on the horizon" ("pastoral song") and "thousands of miles across the sky, several peaks emerge" ("Brother Cui Puyang is heavy in season, flourishing in front of the mountain"). The former outlines the distance between scenes with the details of "lonely smoke" and "lonely tree" that he is also good at painting. These colors are not simply passive finishing, but actively smudge the whole picture, fresh and moist, giving people a sense of pleasure. Such as "Grass is green in the rain, peach blossoms are burning on the water" (Wangchuan Bie Ye), "Light rain in Weicheng, green willow color in the guest house" (send Yuan 20 An Xi) and so on. Wang Wei also intends to capture the changeable combination of light and color in the dynamics, such as "The setting sun is white, and the tide is coming all over the sky" ("Xing Guizhou"), "The water in Nanchuan is winding, and the green forest is completely destroyed" ("Beiwa"), "The waterfall is always raining, and the sunset is blue" (The predecessor of Send Fang said that Wang Wei's poem is "The Pearl in Spring, the Painting on the Wall"

Of course, poetry and painting are different arts after all, which can neither replace painting nor stay in the depiction of visual images. Wang Wei's poems depict scenery, which are not only meticulous and sensitive, but also good at expressing subtle psychological feelings and conveying special effects that painting can't achieve, such as the following two poems:

It's raining in Mao Mao in the light shade pavilion, and the deep courtyard opens in the daytime. Sitting watching the color of moss, I want to put on my clothes. (The Story of the Book)

The stream of the river has been flowing for less than a day, and white stones are exposed on the riverbed. The weather is getting colder and the red leaves on the branches are becoming scarce. There is no rain on the winding mountain road, the smoke is misty in the dense pine trees, and the water vapor is heavy, as if to flow, and then the clothes of passers-by. ("In the Mountains")

In the drizzle, moss and moist green hills are green and dripping in the poet's dreamland, as if blue waves are rippling and filled with a green breath. This kind of writing in the air, if there is nothing to write, is particularly verve, which is far from those poets who only know clever configuration. His Overlooking the Hanshui River is an imaginative work from another angle:

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 have fascinated my old mountain! .

In the combination of foresight and foresight, the first two sentences link the three Hunan and nine schools; Couplets extend the spatial span of mountains and rivers to infinity, from real scene to virtual white; With the illusion that the county floats and the sky shakes, the neck couplet describes the vastness of the water potential. Such an open and vast realm, such a shocking sense of movement and momentum, is the realm that can be created by giving full play to the specialties of poetry art, combining reality with reality, "witnessing" and "wandering"

Wang Wei often seems to pay attention to the movement, life and stillness of all things in nature, dive into the depths of nature and realize the existence of some unspeakable inner life. The poem written from this, although it does not need reasonable words, makes people feel that it contains philosophy and is a very distinctive work. Such as "Birding Creek":

People are idle, osmanthus flowers fall, and the night is quiet and empty. When the moon comes out, the birds are startled, and the sound enters the spring stream.

Here, people are idle, the night is still, the mountains are empty, and the flowers are falling and the moon is rising, and the birds are singing. A word "Jing" awakens a closely connected world. Another example is Chai Lu:

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.

Some seemingly illusory voices and shadows are floating, making the mountain forest quieter, but still alive. There is also the aforementioned "Wu Xinyi", which has similar characteristics.

Most of the examples mentioned above are landscape poems. Among Wang Wei's pastoral poems, the most famous one is Wei Shui Nong Jia:

In the countryside where the sun is setting, cattle and sheep go home along the path. A rugged old man in a thatched door leaned against a cane and thought about his son, the shepherd boy. There are whistling pheasants? Full ears of wheat, sleeping silkworms and peeled mulberry leaves. The farmers who came back with hoes greeted each other cordially. No wonder I long for a simple life and sigh the old song, oh, back to the past! .

This poem is light and natural, and the scenery and characters are shrouded in a harmonious and cordial atmosphere, which is fascinating. The style of poetry is very close to that of Tao Yuanming, but it is more refined than Tao's poetry when read carefully.

In Wang Wei's hands, pastoral poetry has been summarized and significantly improved. His poems not only have detailed descriptions, but also pay attention to complete artistic conception; There are both bright and beautiful colors and profound and meaningful feelings; It not only contains philosophy, but also avoids dull expression, with changeable style and full of artistic creativity. His achievements had a far-reaching impact on later generations.

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