Fifth of the Drinking Poems *Tao Yuanming
The house is in a human environment, without the noise of carriages and horses.
How can you do this? The mind is far away from itself.
Picking chrysanthemums under the eastern fence, you can see the Nanshan Mountain leisurely.
The mountain air is getting better day by day, and the birds are flying back and forth.
There is a true meaning in this, but I have forgotten to explain it.
One of the five poems of "Returning to the Garden and Living in the Fields" *Tao Yuanming
Seldom has no popular rhyme, and his nature is to love hills and mountains.
I accidentally fell into the dust net and passed away for thirty years.
The birds in the pond are nostalgic for the old forest, and the fish in the pond are thinking about their old abyss.
Open up the wilderness in the south, stay humble and return to the garden.
The square house covers more than ten acres and has eight or nine thatched houses.
The elms and willows shade the back eaves, and the peach and plum trees in front of the hall.
The distant village is warm and the smoke is lingering in the ruins.
Dogs bark in the deep alleys, and roosters crow on top of the mulberry trees.
The courtyard is clean of dust and clutter, and the empty room has plenty of leisure.
After being in a cage for a long time, you can return to nature.
Reward Zhang Shaofu*Wang Wei
In his later years, he was very quiet and did not care about anything.
There is no long-term strategy for self-care, and there is no hope of returning to the old forest.
The pine wind blows the belt, and the mountain moon shines on the piano.
When you ask about the poor understanding, the fisherman's song goes deep into Pu Shen.
Ambition*Wang Ji
Donggao is looking forward to the evening, where can I rely on?
The trees are all in autumn colors, and the mountains are only covered with sunset.
Herdsmen drive calves back, hunting horses return with poultry.
We look at each other but have no acquaintance, and we sing and pick up the flowers for a long time.
Wangchuan Residence Presented to Pei Xiu Caidi
The cold mountains turn green, and the autumn water gurgls.
Leaning on a stick outside the firewood door, listening to the evening cicadas in the wind.
The sun is still setting over the ferry, and the lonely smoke is rising in the ruins.
On the summer day, when the father-in-law was drunk, he sang wildly in front of the five willow trees.
Reward Zhang Shaofu
In his later years, he was very quiet and did not care about anything.
There is no long-term strategy for self-care, and there is no hope of returning to the old forest.
The pine wind blows the belt, and the mountain moon shines on the piano.
The group asked the poor generals, and the fishermen's songs went deep into the Pu Shen.
Return to Songshan to work
The Qingchuan belt is long and thin, and the carriages and horses go leisurely.
The water flows as intended, and the birds return at dusk.
The deserted city is near the ancient ferry, and the setting sun fills the autumn mountains.
After a long journey, I came back and went into seclusion.
Zhongnan Mountain
Taiyi is close to Tiandu, with mountains and seas.
The white clouds look back and merge, and the blue mist comes in to see nothing.
The peaks in the field change, and there are many valleys and clouds.
If you want to stay somewhere, ask the woodcutter across the water.
Passing through Xiangji Temple
I didn’t know Xiangji Temple, but I entered Yunfeng several miles away.
Where is the bell in the deep mountains where there are no people walking on the ancient trees?
The sound of the spring is swallowed by dangerous rocks, and the sun is cold and green.
In the dusk, there is a song in the empty pond, and Zen is used to control the poisonous dragon.
Looking towards the Han River
Chu Sai is connected to three Xiang provinces, and Jingmen is connected to nine factions.
The river flows beyond the sky and the earth, and the mountains are beautiful.
In the county town of Bucheonpo, waves are moving in the distance.
It’s a nice windy day in Xiangyang, but I’m left drunk with the mountain man.
Qingxi
When you enter Huanghuachuan, you chase the water of Qingxi.
There will be thousands of twists and turns along the mountain, and the journey will be endless.
The sound is noisy in the rocks, but the color is quiet deep in the pines.
The ripples of water chestnuts and water chestnuts are reflected in the clear water.
My mind is already idle, and the clear river is so peaceful.
Please stay on the rock, fishing will be over.
Repaying Guo for doing things
The afterglow of the cave gate and high pavilion is shining, and the peach and plum trees are overcast and the catkins are flying.
There are few bells and official residences in the forbidden area, and there are few people singing birds in the province.
In the morning, I shake my jade pendant and go to the golden palace, and in the evening, I worship Suo Wei with a book from heaven.
The old man who has a strong desire to obey the emperor will take off his court clothes due to illness.
Looking at the Xinqingye (One night)
The Xinqingyuan is vast. Extremely untainted.
Guomen faces the crossing. The village trees are connected to the mouth of the stream.
Outside Baishui Mingtian. After Bifeng comes out of the mountain.
There is no idle person in the farming month. The whole family is in trouble.
The Book of Songs·Bin Feng - "July"
"July" was called "China's oldest pastoral poem of the four seasons" by Qian Zhongshu. The hard work and hard life are hard to come by. However, this poem does not serve as a model; the pastoral poems of later generations, as expressed in Jiang Yan's "Miscellaneous Poems", all come from Tao Qian's example.
” ("Selected Notes on Song Poems")
The fire flows in the seventh month, and the clothes are given in the ninth month.
On the first day, the eyes are hairy, and on the second day, the chestnuts are fierce.
None The clothes are not brown, how can I die?
On the third day, I raise my toes.
I am enjoying the southern land with my wife. < /p>
The fire flows in the seventh month, and the clothes are given in the ninth month.
In the spring, there is a sun, and there is a sound of Cang Geng.
The woman is holding a Yi basket, and she is walking in love. Soft mulberry?
The spring is late, and the woman is sad, and she is almost dead with the son.
The fire is flowing in the seventh month. Reed.
The silkworms and mulberries are harvested from the moon.
They are used to cut down the mulberry trees far away.
In the seventh month, they sing the mulberry tree, and in the eighth month they record their achievements. .
I, Zhu Kongyang, am the son of a prince.
The flowers bloom in April and the flowers bloom in May.
The flowers fall in October. /p>
On the first day, I took the fox's fur and made it into the son's fur.
On the second day, I went to the raccoon dog to show off his martial arts. 蜜[7] In public.
In May, the kata moves its legs, in June, the pheasant flutters.
In July it is in the wild, in August it is in the house, and in September it is at home. /p>
In October, crickets entered under my bed.
The sky suffocated the rats and stuffed them into my house.
My wife said she came here to change the year. In the room.
In June, we eat eucalyptus and bean sprouts, in July we cook sunflower seeds and bean sprouts.
In August, we harvest rice. Spring wine is to promote longevity.
In the seventh month, we eat melons. In August, we cut off the pots. In September, we pick tea and mulberry trees.
< p>In the ninth month, we will build the fields, and in the tenth month, we will harvest the crops. Gonggong.In the daytime, you are in the grass.
It is urgent to take advantage of the house.
On the second day, you will dig out the ice. On the third day, it will be collected in Lingyin. On the fourth day, the flea will be sacrificed.
In September, it will be washed away. p>Wine and drink, saying, "Slay a lamb."
Go to that court, call him a drinker, live forever!
Note:
"Bin Feng" is There are seven poems in the Bindi area. Bin, also written as Pi, is the place where Gong Liu, the ancestor of the Zhou Dynasty, moved to and developed. In today's Xunyi and Pi County of Shaanxi Province, many old customs of the Zhou people remain. , "Their people have the legacy of the previous kings, they are good at farming, and they are engaged in their own business. Therefore, Bin's poem said that the foundation of farming, mulberry, clothing and food is well prepared. "("Hanshu Geography") The poetic style is generous, joyful and unsophisticated ("Zuo Zhuan" notes in the 29th year of Duke Xiang)
Liuhuo: Mars has already set in the west at dusk in July< /p>
觱发: The wind and cold are strong. Li Lie: Bittern
The day of the first, the day of the second: the eleventh and twelfth months of the lunar calendar
The day of the third. The fourth day: the first month of the lunar calendar, February
Yu Chu: Repair farm tools. Lift the toes: Lift the feet for plowing
馌: Sound night, give people food
Zhen: Yinjun, a housekeeper in charge of farming
Canggeng: Huangying
Yi basket: a deep basket for picking mulberry
Female: woman, female slave. : fear
萑 reed: a grown reed
樨: sound gun, axe, the hole of the handle is square
鵵: sound bureau, shrike. Bird. Recorded achievements: spinning hemp
Kong Yang: very clear
载: the name of the grass is polygala. ：The leaves of grass and trees fall. 稨音 saliva
Same as: Gathering
豵: Yi豜: Yinjian, a three-year-old pig
Qiongzhi: Block up the wall hole. Yi: Yin is exhausted, Tu
Yu: Name of the tree. Qingma. Ju Yinju
Tu: Yintu, a kind of bitter vegetable. Ao: Yinchu, Ailanthus tree
穋: Yinlu, a late-growing and early-maturing cereal.
綯: sound pottery, rope
Lingyin: ice cellar
姕觥: sound Sigong, wine set
Appreciation:
"July" describes the productive labor and life of farmers throughout the year, reflecting the rich content of productive labor and strong solar terms and customs. It should be said to be a rare life style painting.
The poem uses chronological order as the main clue, describing it by month, and also categorizing it. It opens and closes vertically and horizontally, with each section containing empty space and one picture. From the beginning of farming to the end of the harvest with wine and sacrifices, there are women delivering food, girls picking mulberries, farmers going to the fields, knights hunting, and nobles in the office. There are many characters, each with their own appearance, and they are represented by things. The timing constitutes the unity of the overall style, avoids the dullness of the narrative, enhances the image of the poem, and especially highlights the characteristics of genre paintings.
Collection of Tao Yuan's poems in the Ming Dynasty
Five poems about returning to the garden and living in the fields
One of them
There is no suitable vulgar rhyme, and my nature is to love hills and mountains. I accidentally fell into the dust net and was gone for thirteen years.
The tame birds miss the old forest, and the fish in the pond miss their old abyss. Open up the wilderness in the south, and return to the garden with a humble heart.
The square house covers more than ten acres and has eight or nine thatched houses. The elms and willows shade the back eaves, and the peach and plum trees in front of the hall.
The distant village is warm and the smoke is lingering in the ruins. Dogs bark in the deep alleys, cocks crow in the mulberry trees.
The courtyard is clean of dust and clutter, and there is plenty of leisure in the empty room. After being in a cage for a long time, you can return to nature.
Second
There are few people and things in the wild, and there are few martingale in the back streets. In the daytime, the leaves are covered with thorns, and the empty room is empty of dust.
At that time, in the middle of the ruins, people were walking around wearing grass. When we meet, there are no words, but the road is long.
The days of mulberry and maize have been long, and the days of my soil have been broad. They are often afraid of frost and sleet, and they are scattered like grass.
Third
At the foot of the southern mountain where beans are planted, there are few bean seedlings in the grass. I wake up in the morning to sort out the wasteland and filth, and return with a hoe in the moonlight.
The road is narrow, the grass and trees are long, and the evening dew touches my clothes. It's not enough to regret the stain on your clothes, but your wishes are fulfilled.
Fourth
Go to the mountains and swamps for a long time, and have fun in the wild woods. Try taking your children and nephews with you and walking in the deserted ruins.
Walking among the hills and mountains, people still live there. There are remains of well stoves and decaying mulberry and bamboo trees.
I would like to ask the firewood collectors, what are these people like? The salaryman said to me: "There will be no survivors after death."
“A lifetime is like a city in a different dynasty”, this saying is true! Life seems to be an illusion, and it will eventually become nothing.
Fiveth part
Return to grief and hatred alone, and experience the twists and turns. The mountain stream is clear and shallow, and I can wash my feet when I encounter it.
I am drinking new wine, and the two chickens are close to the game. When the sun enters the room, it is dark, and the thorn bushes replace the bright candles.
The joy comes but the evening is short, and it has returned to the sky.
Tao Yuanming was the first person in the history of Chinese poetry to use pastoral life as an important creative theme. The poet lived in an extremely dark society but persisted in lofty ideals and interests, which forced him to finally be different from the ruling class. The upper class completely broke away and returned to the countryside. During his twenty years of pastoral life, he wrote a large number of pastoral poems. Among the 120 existing Tao poems, works describing rural scenery and farmers' life account for a large proportion. This makes him the founder of our country's pastoral poetry.
Tao Yuanming's pastoral poems include five poems "Returning to the Garden and Living in the Fields", five poems "Migrating", two poems "He Guo Zhubo", "Getting the First Rice in Xitian in the Mid-September of the Gengcheng Year", "Drinking" twenty poems, etc. These poems "describe the beautiful scenery of the countryside and the simple life of farmers, and praise the meaning of labor and the joy of participating in labor." (History of Chinese Literature, Institute of Literature, Chinese Academy of Sciences).
During the Kaiyuan and Tianbao years of the Tang Dynasty, social stability and economic prosperity provided poets with the material conditions for a leisurely life. The ruling class promoted Buddhism and Laoism, which also created a special political situation: those literati who had family difficulties , from hiding to being an official is often a "shortcut to the south"; for those literati who have high-ranking officials and generous salaries, changing from being an official to being a hidden person will not affect their livelihood, and they can even be in hiding while working, and gain both fame and fortune. In addition, the development of contradictions within the ruling class also contributed to the popularity of hermit ideas. Therefore, following Tao Yuanming, some poets took pastoral life as their theme and wrote a large number of pastoral poems, thus forming the Pastoral Poetry School.
The main writers of the Pastoral Poetry School are Meng Haoran and Wang Wei, as well as Chu Guangxi, Chang Jian, Zu Yong, Pei Di and others. Their writing tendencies are different from Tao Yuanming's. They "got inspiration from him and wrote some pastoral poems, but they all removed the content of Tao Yuanming's praise of labor. They just unrealistically described some farmers who were happy and contented with their fate and settled and leisurely." Life, as a foil to the natural scenery, beautifies their own reclusive taste" ("History of Chinese Literature", Institute of Literature, Chinese Academy of Sciences)
Meng Haoran (689--740), whose courtesy name is Haoran, whose name is unknown. A native of Xiangyang, Xiangzhou (now Xiangyang, Hubei Province), he lived in seclusion in his hometown of Lumen Mountain in his early years. When he was 40 years old, he went to Chang'an to take the Jinshi examination, but failed and returned home, living in civilian clothes for the rest of his life.
Meng Haoran was the first person to write a large number of landscape and pastoral poems in the Tang Dynasty. He has more than 260 poems in existence, most of which are five-character rhymed poems. Most of Meng Haoran's landscape poems are about the famous places in his hometown of Xiangyang, such as "Ascend Orchid Mountain in Autumn and Send Zhang Wu", "Returning to Lumen at Night", "Returning to Jiangshan", etc., which combine Xiangyang's landscape, smoke trees, crescent moon, The boat is described as ordinary and friendly. His pastoral poems are not many in number, but they have a strong flavor of life, such as "Passing an Old Friend's Village" and "Wandering Spirits Reflecting on Po Yun Behind", etc. The simplicity of farm life, the deep friendship with old friends, and the harmony of the rural atmosphere all left a lasting impression on people. An unforgettable impression. Some of his short poems, such as "Spring Dawn", are also written with subtle, clear and long charm. The style of Meng's poetry is mainly clear and diluted, but there is also a majestic and elegant atmosphere in the dilution. His poems have a high artistic level, and he has always been regarded as one of the representative writers of the landscape pastoral poetry school in the Tang Dynasty along with Wang Wei. However, the subject matter of the poem is relatively narrow and lacks deep and broad social content.
He is "the pioneer of the Tang landscape pastoral style" ("Tang Poetry Collection"). There are not many pastoral poems among them, and famous ones like "Passing the Old Friend's Village", "Spring Dawn", "Suzhou" "Building the Qingjiang River" and so on, the artistic conception is tranquil and distant.
An old friend invited me to Tian’s house with chicken and millet.
The green trees are adjacent to the village, and the green mountains are sloping outside.
Open a dining room and chat over wine.
On the Double Ninth Festival, I will come to see chrysanthemums.
——"Passing Through My Old Friend's Village"
This is a representative work of pastoral poetry with a tranquil and distant artistic conception. The poem combines the quiet and beautiful rural scenery with simple and sincere friendship. "An ordinary village, an ordinary treat of chicken, millet and rice, is presented so poetically. The description is from the perspective of the eyes, using spoken language, and the level of description is completely natural. The pen, ink and ink appear very relaxed, even The form of rhymed poetry also seems to have become freer and more flexible." ("Tang Shi Jian Dang Dictionary").
“I sleep in spring without waking up, and I hear birds singing everywhere. The sound of wind and rain comes at night, and I know how many flowers have fallen.” ("Spring Dawn"). Many people have interpreted the theme of this poem as "cherishing spring". In fact, it expresses a transcendent pastoral world. The lyrical protagonist is a person who is placed outside of glory and wealth, based on the transcendent world and melting into nature. The "Climax Man" who roars proudly (please refer to the "Dictionary of Appreciation of Famous Chinese Ancient Poems" compiled by [Japan] Naohin Maeno and Tadahisa Ishikawa), this little poem is so popular that even people with a little education can pour it out casually. .
From the analysis of these two poems, we can already see that the poet beautified the rural pastoral life. This is no longer the real pastoral life of farmers. Most of the chickens, dogs, cattle and sheep are Borrowing poetic materials to embellish it cannot be said to truly and profoundly reflect the lives of farmers. This is especially true for his contemporary Wang Wei.
Wang Wei (701-761, 698-759), also known as Mojie, was originally from Qi, Taiyuan (now Qi County, Shanxi). Later he moved to Puzhou (now Yongji, Shanxi) and became a native of Hedong. He was good at poetry and calligraphy, and was especially famous for his paintings. He was a Jinshi in Kaiyuan, and he was promoted to Shangshu Youcheng, so he was called "Wang Youcheng". There are more than 400 poems preserved. His landscape pastoral poems mainly describe his leisure life and landscape scenery in Zhongnan and Wangchuan.
Wang Shi’s artistic achievements are very high. Whether it is a majestic and magnificent scene, such as "the solitary smoke is straight in the desert, the sun sets over the long river", or the meticulous natural objects, such as "the bright moon shines among the pines, and the clear spring flows up the rocks", he can use his keen sense of nature to Capture the natural colors, sounds and dynamics, sketch or depict with ease and unique artistic conception. The ancients summarized the artistic characteristics of Wang's poetry and said: There is painting in the poem, and there is poetry in the painting. The scenery of his poems is quite ingenious as a painter, and the colors of the pictures are often in suitable shades, which is concentratedly reflected in his "Wangchuan Collection". The language of Wang's poems is fresh and concise, and there is beauty in simplicity.
After the age of 37, Wang Wei's thoughts gradually became negative, and he basically lived a semi-official and semi-hidden life. He wrote a large number of pastoral poems. His famous works include "Autumn Twilight Behind the Mountain" and "Zhongnan Mountain". ", "Wangchuan Leisure Residence Presented to Pei Xiu Caidi", "Wangchuan Collection", "Seven Pastoral Poems", "Passing Xiangji Temple", "Jiyu Chuanzhuang", "Pastoral Works in Spring", "Speaking of the Kawada Family" Waiting for poetry.
The slanting light shines on the village, and the cattle and sheep return to the back alleys.
The old man in the wild misses the shepherd boy and relies on his stick to hold firewood.
The pheasants are enough to show off the wheat seedlings, and the silkworms are sleeping on the mulberry leaves.
Tian's father arrived with a hoe, and they met each other and talked to each other.
This envy of leisure and relaxation fades away with sadness.
——"Speaking of the Kawada Family"
As the sun sets and night approaches, the poet feels envious when faced with pictures of the Tian family returning home at night, enjoying themselves. feeling.
The core of the poem is the word "return". All life on this land is yearning for home: cattle and sheep coming down the mountain, shepherd boys returning, pheasants calling affectionately, silkworms carefully building their own nests, and field men returning from hoeing. In the end, the poet sighed with emotion and said: "I am more than envious of my leisure, but I am sad that I am declining." In fact, farmers are not idle. The word "return" mentioned above is actually a contrast. It means that everyone has returned to something, which means that he has nothing to return to. As well as the loneliness and depression of being in the officialdom.
In terms of ideological content, the pastoral poems of Wang Wei and Meng Haoran are "a big step backwards compared to Tao Yuanming" ("History of Chinese Literature", Institute of Literature, Chinese Academy of Sciences). But from an aesthetic point of view, they not only deepened human beings' feeling for the natural beauty of landscapes and pastoral beauty, but also improved the performance skills of pastoral poetry.
For example, Meng Haoran's "Passing an Old Friend's Village", the whole poem is in order of the time of visiting the old friend, and completely describes the whole process from attending the appointment to saying goodbye, with clear layers, mutual care, and complete structure. In addition, he is also very particular about the refinement of words. The two words "合" and "Xie" in the couplet describe the relationship between the village and the distant mountains as if they are right in front of you. The word "Jiu" in the last sentence expresses nostalgia for the old friend and gives people a cordial feeling.
Wang Wei's "Mountain Dwelling in the Twilight of Autumn" combines poetry, painting and music. This poem contains both the painter's unique grasp of color and line and the musician's sensitivity to sound and rhythm. The author uses his talents as a poet, painter and musician at the same time, making this poem a "picture within a poem" with sound. When it comes to refining words, "Wang Wei is particularly outstanding. He often uses implicit and simple words to paint a picture without any trace of elaboration."
Pastoral poetry developed into the middle and late Tang Dynasty, and then appeared again. "Liu Zongyuan, Wu Zhen, Zhang Ji and Nie Yizhong all exposed the exploitation of peasants by the ruling class under the title "Tian Jia"" ("History of Chinese Literature" by the Chinese Institute of Science), which is not to describe rural scenes. This type of poetry is most representative of "Shang Tian Jia" written by Nie Yizhong in the late Tang Dynasty. In the late Tang Dynasty, pastoral poems turned into poems of sympathy for farmers.
Nie Yizhong (837-884), courtesy name Tanzhi, was born in Hedong, Tang Dynasty (now Yongji County, Shanxi Province). In the second year of Xiantong (861), he was a Jinshi. Due to the war and his poor family, he was unable to bribe the powerful. Therefore, he stayed in Chang'an for a long time before being appointed as the county captain of Huayin (southeast of today's Huayin County, Shaanxi Province).
Because he was born in poverty and lived in the countryside for a long time, he "worked hard in the grass and was ready to taste the hardships". He was closer to the working people and "understood the difficulties of farming." Therefore, most of his poems reflect the painful life of farmers suffering from cruel exploitation. "Shang Tian Jia" and "Two Poems of Gongzi Xing" are all famous poems that have been passed down through the ages.
Let's take a look at "Shangtian Family":
New silk is sold in February, and new rice is sold in May.
It heals the sores in front of the eyes, but cuts out the flesh in the heart.
I hope your heart will turn into a candle of light.
Not the Qiluo Banquet, just the escape house.
This is an ancient five-character poem. It reflects the miserable life of the peasants under cruel exploitation in the late Tang Dynasty, and the author also issues an urgent appeal for them. Some people compare it with Liu Zongyuan's "Snake Catcher's Theory" and think that "it is as concise and meaningful as Liu Wen" ("Collection of Tang Poems").
The beginning of the poem reveals a typical "strange thing" in the countryside at that time. Silkworm seeds begin to grow in February and rice seedlings are planted in May. Where can silk be sold? Where is the rice cake? This is actually true! It can be seen that this is "selling green" - mortgaging agricultural products that have not yet been produced at a low price in advance. What is cultivated and fed with blood and sweat is a year's food and clothing, and it is the flesh and blood of the heart, which has been gouged out. Therefore, there are three or four metaphors of "cutting out flesh to mend sores". This is a bloody metaphor! It is shocking, profound and typical, and has become a famous sentence that has been passed down through the ages.
The last four sentences are the poet's statement, expressing his desire to improve reality. Although there are limitations to the hope that the monarch will be enlightened here, the author's intention is mainly to satirize and admonish. The poet cleverly used counter-writing to reveal the emperor's ignorance and the injustice of the world. "Qi Luo Yan" and "Fugitive House" constitute a sharp contrast, reflecting the polarized social reality of sharp class opposition and enhancing criticality. It vividly hints at the reasons for the bankruptcy of peasant prostitutes, and the word "escape" points out that the result must be "losing their land, exhausting their huts, turning away when they shout, and stopping when they are hungry and thirsty", "I "Death in vain" ("The Snake Catcher") is full of the author's sympathy for the Tian family.
Du Xunhe's "Widow in the Mountains" is also an outstanding poem in this regard. Du Xunhe (846-904), a poet of the Tang Dynasty. The courtesy name is Yanzhi and the name is from Jiuhuashan. A native of Chizhou Shidai (now Shitai, Anhui). Born into a humble family. He went to Chang'an several times to take the exam, but he returned home after failing to pass. When Huang Chao's uprising army swept across Shandong and Henan, he returned home from Chang'an. From then on, he "entered the tobacco industry for fifteen years" ("Coming out of the mountains after the chaos and met with high-ranking officials"), and lived a life of "the world is poor in writing, and the mountains are rich in farming" ("Zhongshuo in the mountains after the chaos"). Later, he traveled to Daliang (now Kaifeng, Henan Province) and presented 10 poems of "Shi Shi Xing" to Zhu Wen, hoping that he would save himself from corvee and pay too little for his work, which was not to Wen's liking. When he was staying in a monk's temple, Zhu Wen's subordinate Jingxiang persuaded him to "cut off the ancient style a little, and then he can enter the body", so he wrote thirty chapters of poems in praise of virtue to please Wen. Wen gave him a name from the Ministry of Rites, and he won the eighth Jinshi in the second year of Zhong Dashun (891) ("Jian Jie Lu"). The next year after he got the title, due to the political turmoil, he returned to his old mountain. His fields were in Xuanzhou, and he was valued and used for work. In the third year of Tianfu (903), Tian □ rebelled against Yang Xingmi and sent him to Daliang to contact Zhu Wen. Tian □ was defeated and died. Zhu Wen recommended him and awarded him a bachelor's degree in the Hanlin Academy and a title of foreign minister. He died of a serious illness in ten days. The full poem of "Widow in the Mountains" is as follows:
The soldiers of my husband's country cling to Peng Mao, and their hemp clothes and temples are burnt.
After the mulberry trees are abandoned, they still pay taxes, and after the fields are deserted, they still collect seedlings.
At the same time, pick wild vegetables and roots to cook, and spin the firewood with leaves to cook.
No matter how deep the mountain is, there should be no way to avoid the rumors.
The Song Dynasty was the peak period of pastoral poetry.
The theme of describing pastoral life was discovered by the Jin people and developed by the Tang people. By the Song Dynasty, it had become a common theme described by poets. Many poets in the Song Dynasty used their poems to describe pastoral life. They were either Wang Mengxian, Liu Zongyuan or Nie Yizhong. Among them, Fan Chengda of the Southern Song Dynasty can be called the master of pastoral poetry. His "Pastoral Miscellanies in Four Seasons" and "Le Yue Village Tian Yue Fu" written by him in his later years are the masterpieces of pastoral poetry. This pushed the history of pastoral poetry to its peak.
"Neither Tao Yuanming nor the Crown Prince exposed the feudal system of exploitation in pastoral poems." ("History of Chinese Literature" by the Institute of Literature, Chinese Academy of Sciences). The poems of Nie Yizhong and others of the Tang Dynasty "none describe the natural scenery of the countryside. According to traditional habits, they do not belong to the system of pastoral poetry" ("History of Chinese Literature" by the Institute of Literature). Fan Chengda "combines these two systems together, giving pastoral poetry richer and deeper ideological content and giving it new life." ("History of Chinese Literature" by the Institute of Literature), making pastoral poetry that is divorced from reality more meaningful. The smell of earth and blood and sweat.
Fan Chengda (1126~1193), also known as Zhineng, also known as Shihu Jushi. A native of Wujun (now Suzhou, Jiangsu). His father, Fan Yu, was a Jinshi in the fifth year of Xuanhe. In the eleventh year of Shaoxing in the Southern Song Dynasty (1141), he was the secretary of Shengzhengzi and finally secretarylang. His mother, Cai, was the granddaughter of Cai Xiang, the famous calligrapher of the Northern Song Dynasty.
Fan Chengda received a good education in his childhood, read classics and history, and was good at writing articles. In the twenty-fourth year of Shaoxing (1154), he became a Jinshi. In the 26th year of Shaoxing, he served as Huizhou Sihu and joined the army. Since then, he has been ups and downs in the officialdom. Chunxi resigned due to illness in ten years, at the age of 58. He lived in seclusion in Shihu for the next 10 years.
Fan Chengda was a scholar-official who cared about state affairs, was diligent in government affairs, and sympathized with the people's sufferings. His basic political ideal is the Confucian thought of "benevolent government" and "people-oriented". He believes that "the people are the foundation of the country, and the foundation is solid and the country is peaceful." Its suffering" ("Lunbang Benshu"). In some memorials, he urged Xiaozong to save manpower and national power, cherish time, rectify military discipline, train soldiers, use punishments carefully, crack down on corrupt officials, and have the ambition to strengthen the army and restore the country. When he was a local official, he either tried his best to eliminate defects, reorganize armaments, provide disaster relief, build water conservancy projects, and made efforts to reduce the burden on farmers and relieve the suffering of soldiers. Correspondingly, his consistent thought of caring for the country and the people has been fully reflected in his poetry creation.
Fan Chengda entered the world very early and had a deep understanding of the hardships of rural life. In his 20s, he wrote some poems describing rural life scenes, such as "A Boat Trip on the Hanshan Road in the Great Summer" In the poem, he expressed the emotion of "pitying the suffering of the old farmers"; in "Le Shenqu", he wrote about the farmers who felt lucky to have enough food to pay rent and avoid being whipped in a good year; in "Silk Journey", he wrote about his sister-in-law cooking cocoons. The busy work of spinning, spinning and selling silk; "Rent Collection" describes the scene of officials coming to blackmail the farmers after they have paid the rent.
When he was an official in Huizhou, he wrote the famous "Hour of Rent Collection". The poem vividly depicts the heavy tax collection, the cruelty of officials and the suffering of the people in the Southern Song Dynasty. Later, in Hangzhou, Guilin, Chengdu and other places and in his hometown, he wrote a large number of rural-themed poems, such as "Cutting Wheat", "Planting Rice Rice", "Sun-drying Cocoons", "Cleaning Households of Watermelon", "Accumulating Rain after Ear Planting" "Three Wonders of Sudden Cold", "Sigh of Surrounding the Fields", etc. Among them, "Huang Ling" describes the inhumane situation of farmers living in the mountains, and calls out "Pull them out in peace"; "Laoshe Farming" is about "Xia farmers" slash-and-burn farming, barely able to eat, and "Wu farmers" because of The official rent and private debts forced him to "escape from the house without smoke"; the thought of sympathy for the people's sufferings ran through Fan Chengda's poems from beginning to end. In works such as "Sigh" and "Singers of the River City", they show deep sympathy for the miserable lives of the lower class poor. In "Three Unforgettable Thoughts on Hearing the Sounds of People Selling Fish and Vegetables Outside the Wall in the Snow", the poet declares: "You can't write poems for you!" He truly expresses his creative intention of crying out for the suffering of the people's livelihood.
The poem "Pastoral Miscellany in Four Seasons" written by Fan Chengda in his later years is his representative work of pastoral poetry. The sixty poems of "Pastoral Miscellany in Four Seasons" are divided into five groups: "Spring", "Late Spring", "Summer", "Autumn" and "Winter", with twelve poems in each group, with an even layout. Like a long scroll of rural folk painting, each group of quatrains is a fragment, and each poem is an integral part of the scroll. The main content of this group of poems is: "Depicts the beautiful scenery of the countryside, praises labor and the simplicity of farmers, and exposes the feudal system of exploitation." In terms of art, "it deeply draws on the charm of Liu Yuxi's Zhuzhi Ci, which is fresh and light, and has the flavor of folk songs." " ("Song Poetry Appreciation Dictionary" Shanghai Dictionary Publishing House)
Let's first look at a poem describing rural scenery:
Butterflies enter the cauliflower in pairs, and no guests come to Tian's house for a long time. .
The chickens flew over the fence and the dogs barked, and a merchant came to buy tea.
This poem describes the quiet scenery of the countryside in late spring and expresses the author's love for rural life. /p>
The first two sentences of the poem describe the quiet scenes of daily life in the countryside. Butterflies are flying around in the cauliflower fields; the days are getting longer, and there are no guests coming to the households, so the village is very quiet. It describes the daily rural scenery from the front. The first sentence also shows that it is late spring. The last two sentences of the poem describe the scene when the tea merchants came to purchase tea, but even the chickens and dogs were shocked. This reflects the scene. Usually few outsiders come, but when strangers come, everyone pays great attention. This is a moving scene, but it further illustrates the tranquility of the countryside.
The biggest feature of this poem is that it uses movement to contrast the tranquility. The first sentence describes a moving scene, but it deepens the tranquility of "no guests arrive at Tian's house". The third and fourth sentences describe a moving scene, but contrasts with the tranquility described in the whole poem. Secondly, "Butterflies enter the cauliflower in pairs". It captures the details and characteristics of the quiet rural scene.
Let’s look at a poem that reflects the working life of farmers:
Plowing the fields in the day and working on the fields at night, the children of the village are responsible for their own affairs. .
Children and grandchildren are still working for farming and weaving, and they are also learning to grow melons.
This poem describes the rural summer scene, expresses the working life of rural men, women and children, and praises it. It reflects the diligence of farmers.
The first sentence describes the working life of adults. During the day, they go out to do field work such as plowing, and at night they work indoors spinning linen. Cooking, cleaning, etc. Write three or four sentences about children and grandchildren's games. Although "Learning to Plant Melons" is a game, its content is to imitate labor. In such an environment, even children are full of love for labor. This poem describes the diligence of farmers from different aspects.
This poem describes the levels of the people first, then the children aged fifteen or sixteen, and then the children and grandchildren. In fact, it summarizes all the people in the farmer's family. It also summarizes the entire life of the farmer. The detailed description is very clever. The detail of "learning to grow melons by mulberry trees" makes the whole poem very interesting.
Once again, let’s take a look at a poem that exposes the feudal system of exploitation:
It’s hard work to collect water chestnuts and use pears to hoe, and the fingers are bloody and the pills are dry.
I can’t talk about farming. Planting water, the water surface has also been collecting rent recently.
This poem describes the scene of farmers collecting water chestnuts in autumn, exposing the cruel exploitation of farmers by feudal rulers.
The first two sentences are about collecting water chestnuts. Ling works hard. The first sentence summarizes "hard work", the second sentence describes the whole person, and the last two sentences describe the part. The sentence describes the cruelty of exploitation suffered by farmers.
"Powerless" indicates that farmers collect water chestnuts as a last resort due to poverty. The sentence "recently" shows that even if farmers are so poor, they still have to pay rent, and the exploitation they suffer can be imagined. This is easily reminiscent of the last couplet of "Widow of the Mountain".
There are two points worth noting artistically in this poem: First, it combines general explanation with specific description, which makes readers understand the image deeply. The second is to write in layers. The first two sentences are the first level, the third sentence is the second level, and the fourth sentence is the third level. It goes deep layer by layer, thus writing the cruelty of exploitation very profoundly.
Through the above analysis, we can already see that Fan Chengda’s pastoral poems are a masterpiece that extensively absorbs the advantages of previous pastoral poems. They are creative from content to form, and their achievements can be said to exceed than any pastoral poet before him. Because of this, this group of poems of his "has always been called a model of Chinese pastoral poetry." (Literary Research Institute "History of Chinese Literature"). At this point, pastoral poetry has matured and become the pinnacle of the development history of pastoral poetry.