Keywords: Liu Zongyuan; Landscape poetry; Form; Image; mood
As a representative figure of the ancient prose movement in the Tang Dynasty, Liu Zongyuan did not write many poems in his life. There are only 164 existing poems, most of which were works in Yongzhou and Liuzhou periods. Liu Zongyuan was regarded as the representative writer of water poems in Tang Dynasty by later generations, and was also called "Liu Wei" with Wei. And he is considered to be an outstanding writer who inherited Xie Lingyun and Tao Yuanming in the Tang Dynasty. Su Dongpo said: "Liu Zihou's poems in his later years are very similar to those of Tao Yuanming." [1](P447) Later generations also called it "Shende Sao Xue" [2](P 186). During his stay in Yongzhou and Liuzhou, Liu Zongyuan traveled around the local landscape. In his communication with friends, he often climbed mountains and traveled far away, imitated mountains and rivers, and wrote many landscape poems. Due to the different creation time and the different mentality of the authors, there are obvious differences in the performance of these landscape poems, and this difference also reflects the change of Liu Zongyuan's mental journey from Yongzhou to Liuzhou.
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Judging from Liu Zongyuan's 164 poems, there is an obvious change in Liu Zongyuan's poetic creation form from Yongzhou to Liuzhou, that is, in Yongzhou, his poems are mainly five-character poems, especially five-character poems, while in Liuzhou, his poems are mainly seven-character poems, which are similar. This is also an objective fact in landscape poetry.
Kasper? Lingyun began in the Six Dynasties, and landscape poetry experienced the efforts of Wang Ji, Wang Wei and others, and became an important school of poetry in Liu Zongyuan period. But after careful investigation, we will find that since Xie Lingyun, most landscape poets have used five words to express landscapes. Needless to say, Xie Lingyun in the Six Dynasties, even Xie Tiao, Wang Wei, Meng Haoran and others who followed were mainly five-character poems, and the fine works in their landscape poems were basically five-character poems-of course, in the Xie Tiao era, they were mainly five-character poems. "Seven-character poems didn't really mature until Du Fu. It became popular only after the Song Dynasty [3](P 138). However, in the era of Wang Wei, seven-character poems should be said to have become an important form for literati to express their feelings. Prior to this, Shen Song and Zhang, four outstanding poets in the early Tang Dynasty, all had excellent seven-character poems handed down from generation to generation. But in Wang Wei's poems, we still see that five-character poems occupy a dominant position, which can be seen from Wang Wei's failure to write seven-character poems. On the contrary, there are many excellent seven-character poems in his poetry collection, such as Farewell to Yuan Er's Ambassador Anxi, and Thinking of My Shandong Brothers in Mountain Holiday, but his landscape poems handed down from generation to generation are still five-character poems. Liu Xizai said, "Five words of affection, seven words of respect." [4](P69) What they want to show is their "affinity" with the landscape, so the landscape poems are more than five words.
Liu Zongyuan is different. From Yongzhou to Liuzhou, his poems obviously have an evolutionary track. In Yongzhou, his poems are mainly five-character poems, and so are landscape poems. Political frustration makes him urgently need to show his "affinity" with mountains and rivers as opposed to his official career. For example, Jiang Xue, his masterpiece in Yongzhou period, is called "Five Words and Four Sentences in Tang Dynasty, and there are few masterpieces except Liu Zihou's poems about fishing for snow" [5](P 148 1-874). He is like "looking at the Qingjiang River from the high rock and diving into the secluded cave to cover jiaozi". Open up sunny scenery, return to sparse forest tops "("Twenty Rhymes of Traveling to Chaoyang Rock and Ascending to the West Pavilion ")," Return to Maoshu, and the scenery is cold and clear. When there are few pedestrians, you can hear the storks singing in the field ("You Shi Jiao Crossing the Small Ridge to wucun"), "The sunrise is quiet and the crystal is boundless. The floating light turns the bird, and the heavy scene shines on the scales. Two rivers flow to the west, grotesque treasures ("Dengpuzhou Shijie Looking at Hengjiangkou Beach Island, Leaning against Xiangling Mountain") and so on. They are all five-character poems about mountains and rivers. It should be said that Liu Zongyuan's five-character landscape poems in Yongzhou inherited the basic formal characteristics of landscape poems since Xie Lingyun, and the syntax is mainly five words. In fact, in form, Liu Zongyuan's five-character poems in Yongzhou period have the flavor of imitating and inheriting Xie Lingyun, Wang Wei and others. Such as "Climbing the Western Hills with Cui Ce":
He Mingchu, Qiu Jiangxiao, Bai Lu. Crossing the dangerous bridge, wandering outside the forest. Xicen is far-sighted and omnipotent. The overlapping nine suspects are tall and the tiny caves are small. Poverty is two meters away, and mountains are all over the world. Relax, the scene is full of waves, and the wind is cold in the distance. What did you learn in Juan? A little tired of being distracted. Born with, lived with Peng Keng and Yao. Even if you stumble, you will be ignorant and timid. Who makes the heart sad unless it makes the dear sparse? I avoided mountains and rivers and could see fish and birds. My son was lucky enough to live for a long time, which eased my worries.
Poetry first describes the scenery of the Western Hills, then describes the exile situation, the change of time, and the prospect of close shot. It first describes the scenery, then expresses feelings, and pays attention to the change of the scenery, which is very Xie Lingyun's style-although Su Dongpo said that this poem is "far above the spiritual destiny" [1](P 177), it is the same as Jiang Xue's poem.
In fact, when Liu Zongyuan was in Yongzhou, he had written some seven-character poems. For example, his poem "From Rain to River Crossing" says: "Jiang Yu is in Philip Burkart, Chu Qing, and he crosses Yuxi alone at sunrise. The water in the ferry fell into the village and it floated on the tall tree. " But it was not until Liuzhou that Liu Zongyuan really wrote a seven-character poem.
Ten years after Yongzhou's relegation, in 8 15, Liu Zongyuan went to Liuzhou to be the secretariat of Liuzhou. Due to the change of emotion, Liu Zongyuan's poetry in Liuzhou is mainly composed of seven words, because "on the one hand, it needs accurate form, on the other hand, it needs the poet to get as much space as possible in this form." This contradiction makes the seven-character rhyme the most suitable form of lyricism. Because the lyrical leap is precisely integrated by the precision of that form, the form actually enhances the possibility of emotional leap. [6] During the Yongzhou period, Liu Zongyuan still had a little illusion, hoping to be reused by the court and then demoted Liuzhou. His hopes were dashed, so he took lyricism as the main content of his poems, and his landscape poems also revolved around this theme. Formally, since he set foot in Lingnan, his landscape poems mainly consist of seven words-one is Mount Emei in Liuzhou, and the other seven words are Jiang Xing in Lingnan, You Ting, You Feng, You Lian in Liuzhou Tower, You Shan and Hao Chu, a master seeing his relatives off in Beijing. , accounting for the vast majority, large-scale landscape poems in Yongzhou period also disappeared during this period. The change of syntactic length itself is a message and a sign that Liu Zongyuan's poetry creation is becoming more and more mature. "Seven-character rhyme is the first difficulty in practicing. The method of integrating various bodies, all kinds of meanings, are in eight sentences "[7](P75)," It is difficult to get close to the body, and it is difficult to have seven words. Among the 56 words, the meaning is like a pearl and the words are like a combination. Its pearl penetration is also like a night light, without losing its twists and turns. Its combination is also like a jade box with a cover, without uneven traces of peristalsis "[8](P 1482-533)," Rhyme is difficult for ancient poems, quatrains are difficult for eight, and seven-character poems are difficult for five "[2](P 127). Liu Zongyuan's seven-character poems in Liuzhou have made great achievements.
You are in the hot air, and there is no sigh in the hot south. When autumn comes, several rows of wild geese come to your habitat. The real south, like towns-settlements, zigzag mountains are as high as halberds; Like Cang Kejia, the water in Nanxi is as hot as boiling water. It is the falling reeds that contain the autumn fog, and it is the delicate orange pomelo that reveals the sunset glow. Although I am not a tourist in the south of the Yangtze River, I still send you this poem to express your wishes for Xiaoxiang Water from afar.
This poem describes the scenery of Liuzhou, using swords and halberds to compare the steepness of Liuzhou Mountain, and using soup to compare the boiling of Liujiang River. It is indeed "without twists and turns" because its meter is rigorous and the confrontation is meticulous. And "going to Liuzhou Tower to send letters to Zhangzhou, Tingzhou, Fengzhou and Lianzhou" has always been called a model of seven-character poetry.
From Yongzhou to Liuzhou, Liu Zongyuan's landscape poems have undergone obvious changes in form, and thus completed the transformation from "literati Liu Zongyuan" to "poet Liu Zongyuan" and became a "relatively pure poet" [6].
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From Yongzhou to Liuzhou, geographically speaking, it is from mountainous hills to karst areas. Although the distance is not very far today, it was also a long distance at that time. In Yongzhou, after all, this is the land of Xiaoxiang, the land of Chu in those days, and there are still some contacts with the Central Plains, while Liuzhou in Lingnan was only developed during the Qin Shihuang period. In the eyes of literati, this is an uncivilized place. Liu Zongyuan's landscape poems created in these two places are also influenced by the region in the choice of images, each with its own characteristics. Moreover, the characteristics of these images have also been endowed with different emotional colors by Liu Zongyuan.
In the first year of Yuanhe (8 15), Liu Zongyuan was demoted to Yongzhou Sima. Yongzhou at that time was located in the southern part of Hunan today, belonging to mountainous and hilly areas. According to what I saw in Yongzhou, most of the local mountains are earth mountains. Although there are some rocky mountains, the surface is still covered with mud, the altitude is not very high, and the water is mostly streams. Yuxi, where Liu Zongyuan lives, is actually a stream. In the summer of 2002, when the author attended the "Yongzhou International Liu Zongyuan Academic Seminar", it happened that Yongzhou was rainy and the stupid stream was large, but it could not be said that the water surface was very wide. The scene described by Liu Zongyuan in The Story of Little Stone Pond makes people feel that beautiful scenery and that quiet and cold. Yongzhou landscape poems also show us this coldness. Although Liu Zongyuan often describes the relatively open images in Yongzhou's landscape poems, such as "nine doubts running, the source Committee lingering." The tryst is empty, and the wind and thunder stop ("Xiangkou Pavilion Xiaoxiang Second Water Club"), "West Cenyuan, look closely. The overlapping of nine doubts is high, and the micro-cave is small "("Climbing the Western Hills with Cui Ce ")," The apes are a little sparse, and climbing the stone is entertaining. Hideshima is quiet, and the crystal is boundless "(The altar road of Hengjiangkou, the century king of Dempuzhou, leans to Xiangling Mountain). However, if you dig carefully, you will find that Liu Zongyuan often shows in these poems that he has not been freed from the beauty of mountains and rivers. Although he said in his poem that "the altar road of Hengjiangkou, the century king of Dempuzhou, is inclined to Xiangling Mountain", he is therefore "tangled and easy to understand. It is necessary to analyze the particularity of Liu Zongyuan's poetic image of Yongzhou landscape, such as "paying attention" (building Huokeji Xiting), "nourishing desire and relaxing" (Xiangkouge Xiaoxiang No.2 Water Club), "swimming in the soul, with his heart in tears" (special topic of Nanliu) and "being prepared for danger in times of peace, but a little annoying" (following Cui Ce to the western hills). Similar to Yongzhou travel notes, Liu Zongyuan's landscape poems in Yongzhou period pursue quietness in image, but it seems that there are more water and more silent mountains. It should be said that Liu Zongyuan's heart is not calm, from an all-powerful foreign minister of does to an idle Sima official. In China, mountains and rivers are often the first way for poets to seek relief when they are frustrated in politics, and this is also the difference between Confucianism and Taoism. The description of quiet mountains and rivers shows psychological anxiety. For Liu Zongyuan, he had to show the depressed psychology of being excluded and show his heart for the country again. Therefore, he used clear water to describe his innocence, abandoned soil to describe his status, balanced his psychology with tranquility, and compared himself with Qu Yuan. This is the characteristic of his Yongzhou landscape poems. Therefore, in terms of images, he often uses Xiaoxiang, Qingjiang, Wanqing, Qingchi, Qingban, Ji Cheng, Chengtan, Chengming, Jimo, Ji Min, Ji Min and Ji Min. Try "Building Hawke's West Pavilion";
Escape to the south pole of Chu, and the mountains and rivers are poor and dangerous. Stepping on the highest hall, Xiaosan is reluctant to part. Fighting in the west, I want to see the world. On the contrary, like being in a valley, hazel trees are unattainable. The children were ordered to cross the headland and build Hengduan Mountain. Cut it, it will be clear and turbid, and floating will be like a cloud. Far from the cave, there are many tops, and Chengjiang embraces Wan Qing. The sunset shone on the porch, and the birds were still alive when I came back. Han Han overflowed with beautiful colors, but the spots were clear. God relaxed the screen and locked it, but he was determined to forget peace. Abandoned for a long time, withered, and began to bloom today. It is difficult to stay for a long time, which is related to thinking. Look at the north, dear, and look at the south, which is mixed and barbaric. Never mind, send it for a while.
From the content point of view, this poem is very similar to Eight Chapters of Yongzhou, and the images of valley, river, bay, sunset, birds, waves, waves, spots and locks in it.
In the tenth year of Yuanhe (8 15), Liu Zongyuan became the secretariat of Liuzhou. Liuzhou, located in the middle of Guangxi, is a typical karst terrain area. The mountains here are high and steep, and most of them are rocky mountains. The stone is blue, and the Liujiang River runs through the city like a pot. The river is big and clear. These are obviously different from Yongzhou. At the same time, Liu Zongyuan was sent back to Beijing by imperial edict in the first ten years of Yuan Dynasty, thinking that it could be reused. But who would have thought that he was put in a more remote Liuzhou. It is "Qin Jing languishes for ten years, but the mountain turns into a layman" ("A Farewell to Hengyang Dream"), so the psychology has changed again, so the structure of landscape poems in Liuzhou period has also changed greatly compared with that in Yongzhou period. In Liuzhou's landscape poems, Liu Zongyuan often regards the landscape as a kind of spiritual burden, so the landscape images are varied, such as "Here is a towering tower, the town begins with the wild, and the sea and the sky are seen" ("Going to Liuzhou Tower to see Zhang, Pavilion, Phoenix and Lian"), and the word "wild" gives people a sense of desolation, "The poor trees are thousands of miles away, and the river is surrounded by nine rings, which is in our intestines. "The barren hills are desolate in autumn afternoon" ("Mount Emei in Liuzhou"), and "the barren hills" make people feel desolate. The best embodiment of Liu Zongyuan's landscape poetry style in Liuzhou should be said to be "seeing the mountains and rivers with Master Hao Chu to send relatives and friends to Beijing";
Ying Chao on the sea is like a sword, cutting people's sadness in autumn everywhere. How can we turn this body into tens of millions, scattered to the heads of state's homes to see!
Although the image of "sword shape" is used to describe Jianshan Mountain, it describes the characteristics of Liuzhou Shishan Mountain very accurately. But combined with the next sentence, Qiu Fu was originally written in a poet's poem, and the poet cut "sadness" with the sharpness of "sword", giving people a feeling of danger and sadness. The mountain in Liuzhou has the metaphor of sharp weapon, which has been used more than once in Liuzhou poetry. From Yongzhou to Liuzhou, although the scenery has changed a lot, the most crucial thing is the psychological change of the poet. In Yongzhou, Liu Zongyuan may still be eager to get the court's forgiveness and get a chance to make a comeback. However, after ten years of struggle in Yongzhou, Liuzhou is more remote than Yongzhou, which is undoubtedly a great blow to a person who has the ambition to help the world. After arriving in Liuzhou, Liu Zongyuan felt the great pressure of Liuzhou's geographical customs and environment. Therefore, in the face of this strange landscape of Liuzhou, Liu Zongyuan did not feel the beauty of the landscape, but felt more painful. Another example is A Passage to Lingnan, in which Liu Zongyuan expresses his feelings about Lingnan with the images of rivers, the Yellow River, landmarks, dumplings, shooters and hurricane mothers. These images all have a common feature, that is, they make people feel terrible and horrible. In the eyes of the ancients, the word "evil" should not be a good thing. They believe that Lingnan area is full of dysentery, which is the pathogen of infectious diseases such as malaria and is almost associated with death. There is a cloud in "Lianzhou Yuanhe Lingzhi South Road": "Lijiang River, with a famous state boundary, is Hepu River. ..... Since it has reached this point, what's more, the winners have died a lot and their bodies are like ink. Going to Qiu Lai in spring is flourishing, and spring is called grass. Autumn is called yellow. " [1] (P302) At the same time, Han Yu and Liu Zongyuan also said that "it is good to gather my bones by the river" in "Moving Left to Languan to Show Grandchildren". In the landscape poems written by Cha Liu Zongyuan after he was relegated to Liuzhou again, the word "You" appeared many times, saying "You go to the south of the Yangtze River to see the Yellow Sea" (A trip to Lingnan), "The mountain near the forest is connected with the sea and autumn, and the water flows to the forward county" (Huang Maogan lingers in the cave (a perfect story of the southern province moving its capital to establish a country), from which we can see that Liu Zongyuan's landscape poems in Liuzhou period are not only
The scenery is the same for everyone, but under different psychological conditions, everyone has different feelings about mountains and rivers. There are differences in landscape between Yongzhou and Liuzhou, but the most important thing is that Liu Zongyuan's psychology in Yongzhou and Liuzhou has changed greatly. Therefore, in Liu Zongyuan's Yongzhou landscape poems, the images he uses are often full of tranquility, because he is still looking forward to the call of the court. He deliberately made an elegant gesture in Yongzhou and wrote poems as a scholar. In Liuzhou, although Liu Zongyuan is still studying writing, it should be said that he is basically completely disappointed. At this time, he has to face the reality more, and he can no longer ignore the influence of the environment. Facing the landscape and new environment different from Yongzhou, Liu Zongyuan finally couldn't stand it. Therefore, even the beautiful scenery that people think today, Liu Zongyuan looks at it with the sad mood of a relegated pure poet. The images in his poems are no longer the beauty of mountains and rivers, but sad and unique, which is a strange rise and danger.
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China's ancient poems are good at expressing emotion, and "Poetry is based on emotion" has been the knowledge of poets since the Six Dynasties. It has been a tradition of landscape poetry since Xie Lingyun and Xie Tiao in the Six Dynasties, and Liu Zongyuan's landscape poetry has also inherited this tradition. The difference is that Liu Zongyuan's landscape poems are profound and sincere, especially in Liuzhou period.
During Yongzhou period, Liu Zongyuan lived in the local area as a "foreign official of Yongzhou Sima", and his political frustration was a sign that his psychological ambition was stifled. He indulged in mountains and rivers, imitated Xie Lingyun and Xie Tiao in those days, and assumed a posture close to Qu Yuan's near-re-embodiment. This is naturally the most ideal life, which can not only reassure those opponents about their works, but also make people understand their hearts as poets. So, Liu Zongyuan is here. Similar to the metaphor of "abandoning soil" in landscape travel prose, Liu Zongyuan's Yongzhou landscape poems often express his disappointment and indignation with the help of landscapes. In these landscape poems, Liu Zongyuan often narrates the landscape first, and then expresses his thoughts. Such as "Spring in Lingling":
On the flat and open Ye Yuan, the grass is green in spring, and the nightingale strikes the time in the distant Woods. Xiaoxiang bamboo is fine, and the clouds are broken. Fairy driving is beyond my reach, and my career is beyond my reach. Meditation, only empty self-admiration, and beyond Wan Li, died in the wild of Cangwu.
After describing the spring scenery in Yongzhou, the poet ended up with the hardships of his official career and complicated feelings, feeling quite lost. However, Twenty Rhymes of Traveling to Chaoyang Rock and Climbing to the West Pavilion is interspersed with his "coquetry" complex of "abandoning guests": "Gao Yan overlooks the Qingjiang River, and the caves are hidden. ..... cherish the homeland, so as to enjoy the cool. ..... Prison is where it belongs, which has been a shame for a long time. ..... "South Zhong Jian Ti" also said:
The cold of late autumn gathered in Nanjian, and I went alone at noon. The autumn wind hovers in the stream, and the shadow of braintree is like a horn blowing. When I first arrived here, I didn't feel it. Walking into the deep gorge a little bit seemed to forget to dissipate. In the deep valley, it sounds like a low bird song, and the cold stream echoes in the ripples. I have been to the soul of China, and my tears are empty. It is easy to feel lonely, but it is better to get lost. What happened to Moso? Wandering is only known to oneself. People who will be demoted to Yongzhou in the future will definitely like my poems.
From the feeling of the scenery to going to the countryside to cherish people, the bleak autumn wind seems to make the poet forget his fatigue, but he can't get rid of that loneliness and grief. After all, the bleak autumn wind, the singing of birds, and a person who goes to the countryside for a wedding trip can't solve the sadness. Emotionally, naturally, he can't jump out of the sad atmosphere. After arriving in Yongzhou, Liu Zongyuan deeply realized Qu Yuan's exile psychology. He said in "Seventy Rhymes of Night Walking in Nanting": "Go to the mountains and rivers to sing" Li Sao "." He indulged in mountains and rivers, in fact, just to express his restless psychology. Although he is sentimental, he is more sad and angry. As Hu Yinglin said in the poem "Jiang Xue", "A hundred mountains are strong without birds, and every sentence is natural. However, the law and Wang Chuan's works are too noisy. " [1] (p268) is a direct expression of inner unwillingness to be lonely.
However, this situation changed after he relegated Liuzhou again. The landscape of Liuzhou gave Liu Zongyuan a unique feeling in the external form. The towering peaks and winding rivers have given Liu Zongyuan a shocking power. The most important thing is that Liu Zongyuan was demoted for the second time, which caused a huge psychological blow to him. He can't bear such a blow. Plus, after he arrived in Liuzhou, his parents' younger brother died of illness 20 days later. In Liuzhou, Liu Zongyuan no longer expressed his grand ambition too much-although he also wrote letters to learn from others, he did his duty as a governor and managed local government affairs with peace of mind. However, in his poems, he fully expressed his helplessness and sadness, and the clarity in landscape poems turned into desolation. For example, his trip to Lingnan:
When you go south of the Yangtze River, you can see the Yellow Sea. Rain and sunshine on the hillside increase the image, and the heart of the pool becomes warmer and longer. Archers skillfully waited for the wandering figure, and mother hurricane surprised the passenger ship. Since then, it is no longer a worry, so I can't wait for the fleeting time.
This is a poem written by Liu Zongyuan when he entered Guangxi as the secretariat of Liuzhou in the tenth year (8 15). Although he has not yet arrived in Liuzhou, Liu Zongyuan has foreseen his "worry about coming to Lingnan" through the scenery on the road, which is full of sadness. However, "Reward Cao Xiang County to See and Send" once again shows his feelings as a poet: "Before the jade flow broke the mountain, the poet was far away on the Mulan boat. The spring breeze is infinitely fragrant, and picking apples is not free. " According to Mr. Xie's research, Poshan is located in Baisha Township, Liujiang County, Liuzhou City, not far from Maping County, which ruled Liuzhou at that time [10](P87), but friends who are close at hand can't meet each other, and the anguish can be imagined. Therefore, in Liuzhou, although Liu Zongyuan also visited the landscape of Liuzhou, he also wrote landscape essays such as Traveler of Landscape Near Liuzhou, Dongting in Liuzhou, and Pavilion of Pizhong City in Guizhou. However, in his poems, Liu Zongyuan never deliberately painted water in the mountains, and landscape became a lyric tool in his poems. Such as "seeing Zhangzhou, Ting, Feng and Lian off at Liuzhou Tower":
On the tower at the end of this town, the wilderness began, and our desire reached as far as the ocean or the sky. The hibiscus flowers beside the moat are swaying in the sudden wind, and the oblique rain is beating the vines on the wall. Mountains and rivers and trees are thousands of miles poor, and the meanders are nine ileums. * * * Come to Baiyue tattoo, don't even want a letter, let's keep in touch with home.
The close-range and distant view are all summarized by representative scenery, but what stands out is his "melancholy", which is his loneliness and loneliness of "music and books stuck in one hometown". In Liuzhou, in addition to managing local government affairs, Liu Zongyuan left behind a yearning for his hometown. When he was in Yongzhou, he already showed such feelings, but after he arrived in Liuzhou, this kind of mood was even more sad and moving, such as "How to look at his hometown, the northwest is Rongzhou" ("Climbing Mount Emei in Liuzhou"), "If you want to turn it into billions, you can look at your hometown on the peak" ("Watching with the people of Haochu") and that kind of homesickness, only those who are in a foreign land can feel this way. Fang Hui once said that Liu Zongyuan "died in Liuzhou at the age of 47, almost sad" [9](P 1366-53), which is not unreasonable.
Liu Zongyuan lived in two relegated periods, Yongzhou and Liuzhou, which was different from Guanzhong and Zhongyuan. As a landscape poet in the middle Tang Dynasty, Liu Zongyuan wrote six beautiful poems in these two places. However, Yongzhou landscape is different from Liuzhou landscape, and so are Yongzhou landscape poems and Liuzhou landscape poems. But this difference is not only because of the mountains and rivers, but also because of Liu Zongyuan's psychology, which is a new change in his life experience and understanding. During his stay in Liuzhou, Liu Zongyuan wrote a letter to Du with Yuanhe 14th (8 19), in which he said, "Although I am a writer, I can't carve my own calligraphy. I am full of joy and can stop at what I want." I never asked for anything. "This is obviously different from Liu Zongyuan's previous views. What he emphasizes here is "full of joy" and "stop at the end". Moreover, he has no utilitarian heart and "never strives for perfection", which is obviously different from the viewpoint that ancient China literati always pursued "companionship with Ming Dow", which is probably the reason for the change of Liu Zongyuan's poetic style. From this point of view, Liu Zongyuan undoubtedly grasped the root of literary creation, so Chen Changfang's evaluation of Liu Zongyuan is undoubtedly correct: "I used three words to evaluate Zi Hou's article: he generally raised cockfighting in China and South Korea, but he relied on arrogance. After Yongzhou, I still listened to the influence. He looks like a wooden chicken after Liuzhou. " [11] (p1039-405) Of course, the wooden chicken here is not the "wooden chicken" in today's "stunning chicken", but the "wooden chicken" in Zhuangzi, which means maturity. The same is true of landscape poems. "The wandering feeling of life and yearning for settlement undoubtedly constitute an extremely important spiritual source of landscape poetry" [12](P4). Liu Zongyuan was relegated to Liuzhou after being relegated to Yongzhou for ten years. His wandering life undoubtedly drove him to seek a stable life, which can make his landscape poems in Liuzhou contain that kind of life consciousness more than those in Yongzhou.