Keywords: frustrated Meng Haoran landscape pastoral sustenance
Meng Haoran was an outstanding poet in the prosperous Tang Dynasty and Kaiyuan period. It not only enriches the theme of poetry by creating a large number of pastoral poems. And it shines with dazzling brilliance in a light and broad-minded style. His thoughts and pastoral poems have made great contributions to the prosperity of Tang poetry. In the construction of socialist material civilization and spiritual civilization today. Critically inheriting this ancient literary heritage plays an important role in enhancing our nation's self-esteem and self-confidence and prospering the development of new socialist literature.
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The so-called frustrated literati refer to those who pursue life, their ideals and ambitions fail to achieve their expected goals or suffer setbacks in their life. Throughout the ages, there have been many frustrated people in the long river of history, such as Sima Qian, Cao Zhi and Lu You in ancient times. Modern Lu Xun, Lao She and Zhu Ziqing all belong to this category. They either pin their grievances on masterpieces, their ambitions on poetry, or their feelings on prose. Meng Haoran is just such a person, so why should Meng Haoran pin his feelings on the landscape and countryside?
First of all, in the poet's eyes, nature and people live in harmony without alienation. People, mountains and rivers, vegetation, sun, moon and stars are all part of nature, and they are all interrelated. They all have different levels of spirit, and even have their own emotions. They are not only interrelated, but even interrelated, understood and transformed. Hard rocks, precious stones, butterflies and foxes in nature can become people as long as they are beautiful. For example, Meng Haoran's poems contain many descriptions of life in Nanyuan and feasting and entertainment outside Nanguo. When he was building the South Garden, he described the environment around his home like this: "The disadvantages are outside, and the vegetarian industry is only in the countryside, and the forest is wide and not heard of the city." Fishing rods hang down the north stream, and firewood sings into the south porch. "Visible, the empty woods around his home and vilen are entrusted with the poet's deep affection, so pastoral landscape is the best way for poets to express their feelings.
Secondly, the sun, moon, stars, mountains and vegetation are the continuation of the poet's life and the object of emotional communication. Nature is not a matter of mechanical death, nor is it an object dominated and conquered by poets, nor is it a friend who is independent of others and lives in harmony and intimate communication in western romantic literature. She is not only the mother who nourishes life and nurtures the growth of poets, but also the dependence of poets' lives. She is also a medium to enrich the poet's life, entrust his feelings, increase his aesthetic feeling, cultivate his temperament and realize the nature of heaven and Taoism, and is the poet's eternal life. For example, Meng Haoran's work Wanshantan said: "The wandering girl gave up her old admiration and was rumored in this mountain. If you can't get it, sing along with the moon. " "Climbing to the top of Chushan" also said: "I am still riding, and the moon is reflected in the deep stream." All these reflect Meng Haoran's love for landscape and countryside. In the eyes of other poets, "the mountains and rivers are clear and bright, and the clear and bright can entertain people" (Xie Lingyun's Graceful Building on the Cliff Returning to the Lake). In fact, there is a relationship between "the knower enjoys water and the benevolent enjoys Leshan", that is, "the person who enjoys water is wise and Leshan enjoys longevity", which can fully show the nourishing function of mountains and rivers.
In addition, being close to the countryside can enrich knowledge, cultivate and improve aesthetic taste and the ability to shape mountains and rivers. "Birds fly high, and lonely clouds go alone. Seeing each other tirelessly, I only respect Tingshan. " (Sitting alone in Jingshan Pavilion), this is the impression of Li Bai's traveling in the mountains, and it is also the embodiment of his harmony with the mountains. He has reached the realm of transformation and climbed out of the dust, thus maintaining his own personality independence and perfection. When Li Bai was called into Beijing, the guests and the host got together and it was a smash hit. However, when he was excluded from Beijing and left out in the cold, he deeply realized the coldness of the world, so he became more aware of the amiable and respectable landscape. In Meng Haoran's works, this feeling is reflected more. For example, "Looking at the boat": "Looking at the southeast, the mountains and rivers are far away. Strive for profit, go back and forth to meet the trend. Ask me what I'm doing today. Visit the stone bridge from the roof. Sitting and watching the dawn, I suspect it is the Chicheng sign. " This poem describes the poet's early morning in autumn. When the ship set sail on the river near Dongyang, a morning scene of a water town full of human beings appeared in front of him. However, during the endless voyage, his ship was lonely. In the future journey, the excitement of crossing the map in the morning scene will be exhausted, and the rest is the poet's boat. Through the poet's solitary rhyme, the fairy illusion of Tiantai Mountain is also in the air. As for Chicheng Mountain mentioned in the poem, we can truly appreciate the poet's yearning for it, and Chicheng is as fantastic as a fairy, and readers can be fascinated by dreams without using more pen and ink to describe it, which also reflects the poet's love for landscapes and pastoral areas.
Generally speaking, landscape is also the crystallization of Meng Haoran's harmonious communication with nature, a way to deal with the relationship between man and nature, and contains rich and profound wisdom.
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Good pastoral poetry always contains the author's profound life experience, such as "but you can broaden your horizons by walking up a flight of stairs." (Wang Zhihuan's "In the Lodge of the Heron") Entering poetry with reason has two-way functions of enlightenment and aesthetics. Its realistic attitude and enterprising spirit are undoubtedly a powerful spur and encouragement to readers. Another example is "the quieter the cicada forest, the quieter the Tonamiyama." (Wang Ji's "Entering the Creek") not only vividly shows the unique quiet atmosphere of the mountain forest, but also reveals the contradictory relationship of unity of opposites, which obviously has the function of enlightening wisdom and expanding the soul. What kind of feelings does Meng Haoran's pastoral poetry place on the poet?
First of all, Meng Haoran's pastoral poems entrusted his ideal ambition.
Young Meng Haoran, although wandering among the beautiful mountains and rivers in his hometown, has positive ambitions in his heart. Before he was forty years old, he had been studying and writing to prepare for promotion. He himself said, "I came from Zou Lu first, and my family background values Confucianism." Poetry and rites attack the legacy and tend to bow to the court. Self-improvement day and night, good handwriting. "("Old Friends of Shu "), it can be seen that his reading was influenced by his family, and his early family wealth was relatively rich, so that he did not have to make a living as hard as some poor scholars after the middle and late Tang Dynasty; His enterprising spirit is the spiritual pursuit of being unwilling to be lonely and prosperous in the Ming Dynasty, and it also embodies the unique style of scholars in the prosperous Tang Dynasty, and has a profound experience in the poet's works. For example, "Dongting Lake presents Prime Minister Zhang": "The water here in August is in harmony with heaven. 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. When I sit here and watch a fisherman throw fish, I feel like a squid. "This poem describes the scenery of Dongting Lake, and then expresses his desire to be an official. In the first half, the scenery is written first, and the Wang Yang sea in Dongting Lake in August is boundless and magnificent. In the second half, I first expressed my willingness to be an official with Song Pen, and then euphemistically expressed my hope for recommendation. In this way, the wider the lake, the more it can set off the strong desire for economic assistance and the sadness of "no boat to board" The purpose of this poem is not to believe in mountains and rivers, but to express the anguish of "I want to cross, but I can't find a boat" through the vast lakes and mountains. Expressing the desire to be recommended and quoted, the poet claimed in this poem that he was "more idle than you politicians, how ashamed I am". This is because he is eager to make a difference in an enlightened era and does not want to waste his ambition and end up in mediocrity. His mind and tolerance are by no means comparable to those who are arrogant.
Secondly, Meng Haoran's pastoral poems entrusted his complex resentment of seeking official positions in Chang 'an.
Meng Haoran failed to seek an official position in Chang 'an and left Chang 'an sadly. Li Bai said he was a "beauty", but in fact he was not so handsome. In Chang 'an, a bustling place, he didn't find a way out. The main reason is the lack of recommendation from the authorities. He once sighed to Zhang Jiuling, "I regret that I have no money to help, and I will come back ten days later." ("Send Ding Dafeng Jinshi to Zhang Jiuling"). In the prosperous Tang Dynasty, although there was a strong atmosphere of recommending sages in the ruling and opposition parties, in the actual political reality, the phenomenon of cronyism and people-oriented was inevitable. The contradiction hidden under this prosperous appearance, the poet will not have such a real experience when he lives in seclusion. His works in Chang 'an began to reflect these unreasonable phenomena. At this time, his passion and ambition in his early years turned into a sense of injustice, and most of them expressed his generosity in getting lost. What he reflects in his critical customs is not narrowness and satire, but his inner wind and integrity, and his poems are more sharp. For example, "Return to Nanshan at the end of the year": "I will not petition at Beigongmen, and Nanshan will return to Lushan. I have no reason to decide to give up my point of view. My old and many sick friends have stopped practicing. The frequency of white hair is that people are getting more and more every day, and spring is coming to force them to die. So I lay awake and meditated, and the window was empty at night in the moonlight. " This is a difficult and frustrating job. In the poem, the poet lamented that he was abandoned by a wise master because of his "incompetence". In fact, poets never really lose confidence in their talents. He was not completely indifferent to the fate at that time. He once lamented: "If you have a life, you want to blame it" ("I am sick in late spring"). In fact, the poet's so-called "incompetence" is more of a satire, mocking the current affairs of the current dynasty in a self-deprecating way. No wonder Tang Xuanzong felt uneasy when he heard this rumor, which showed that it clearly expressed the injustice of the poet. For example, "There is a bosom on the early cold river": "The wood falls to the south, and the water is cold with the north wind. My home is wandering by the river, and the sea of clouds is far away. Tears of homesickness in the journey, see the back of the sail on the horizon. Where is the ferry? Can someone tell me? , more and more rough. It's getting dark. " The poem wrote, "The poet is experiencing the frustration of his official career at this time, unwilling to return to his hometown to live in seclusion, and still wandering in the wind and rain of the world. My hometown is so beautiful, but it is so far away. I'm in a boat, and I don't know where to go at dusk because of the smoke. In the first half of the poem, the vigorous movement is prominent, and in the second half, the poet's inner complex melody is written.
Thirdly, Meng Haoran's pastoral poems pinned his deep affection for his friends.
Li Bai, a great poet with wild genius, once praised a poet at the same time: "master, I cheer you from my heart, and your reputation has risen to the sky." Beautiful pass, you chose pine trees and clouds; Now whitehead. Drunk moon, sage of dreams, bewitched by flowers, you turned a deaf ear to the emperor. High mountain, how I long to reach you, and even breathe your sweetness here! "(A Word to Meng Haoran) The poet who made him desperate was Meng Haoran. Not only Li Bai, but also Meng Haoran won the respect of many poets of his time, and Wang Wei was his friend. The poet Du Fu wrote sincerely behind him: "I pity Meng Haoran, short brown is long night. You don't have to write poetry, but you often make Bao Xie. Qingjiang empty old museum, more sugar cane in spring rain. Every time I look at the southeast, it makes me sad. " ("Jixing"). In Meng Haoran's work "Leaving Wang Wei": "Slow and reluctant, I waited? Day after day, until now I have to leave. Old friend, how sweet the roadside flowers would be if they didn't mean goodbye. The Lord of the kingdom is hard on us? People who have affairs are different from us! As long as you keep silent, I will close the door of my old garden. " After spending a year in Chang 'an, Meng Haoran and Wang Wei, who is younger than himself, became friends. This time, the mood is undoubtedly very bleak. The feelings revealed in the whole poem are intriguing, and the melody of the whole poem is also very depressed. This depression also allows us to appreciate the deep friendship between Meng Haoran and Wang Wei. Meng Haoran has accomplished nothing in his official career, and his heart is very dim. However, this pain has not been revealed to anyone. In the almost unique work "The Master Wall of Chang 'an", he confessed his inner pain; However, in "Beijing Farewell to Xinfeng Friends", he showed the free and easy pain of "brushing his clothes and leaving, and going away from now on, dancing with high steps". Depression and freedom are both real in poets, but depression is a more fragile side, and you can only talk to friends other than the poet himself.
Fourthly, Meng Haoran's pastoral poems pinned his calm and indifferent state of mind after he retired.
Since leaving Chang 'an, green mountains and green waters have cultivated his mind. He has a deeper understanding of seclusion. He wrote "Return to Hannan Garden in midsummer to send the old city to Beijing", and the poem said: "Taste the legend of high fitness. I like country life. I call myself the emperor of Xi. Reply to what? I'm interested. Abandon the ravine in middle age and travel abroad. Loyal to know the Lord, filial piety to think of the old relatives. Returning to summer, farming crops is not as good as spring. Fan pillow under the north window, picking Nanjian shore. I admire Yang Yingzhen because of the voice of thanks. " Although there is still some disappointment in the poem, he said that he found a spiritual place to settle down, that is, to give up the temptation of fame and fortune and keep his personality pure in his secluded home.
Meng Haoran's seclusion is the spiritual sustenance of his life. His reclusive works all show a clear artistic conception and noble character, and he is especially good at depicting a hermit with elegant taste and romantic detachment. He adopts the method of Tao poetry, but it is different from Tao poetry. What he created in his poems is mainly a hermit who is "not pro-agriculture, lying high all day, leisurely and elegant". This is a certain distance from the simplicity and profundity of Tao's poems, but he is good at creating an open artistic conception in his description of rural life, reflecting elegant interest. Such as "Passing through the Old Village": "Prepare chicken rice for me, old friend, you entertain me on your 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. Wait until the mountain is on holiday, and I will come back in chrysanthemum time. " This well-known work can't be missed by almost all anthologies of Tang poetry. There is a deep affection in the poem, which describes the friendship between the poet and his friends and is full of clarity and elegance. The poet describes the scenery of Tianjia, and is very good at describing "we look at the pale blue of green trees around your village and remote mountains", describing the green trees around the village and the green hills in the outer suburbs surrounded by green hills, which makes people feel that the home of an old friend is so warm. The second half of the poem depicts the bright and elegant feelings of the host and guests. Although the poet and the old friend speak the peasant language of parallel bars, the hearty sentence "We open your window over the garden and fields" makes people feel that the daily necessities are insignificant in this happy picture of their homeland, and they only feel natural and happy. At the end, the Chongyang Chrysanthemum Appreciation Meeting further revealed the refined and elegant taste of the poet's friends, and also wrote the poet's love for chrysanthemums. It is a cordial feeling from the heart, not a celebrity's demeanor, which complements the quiet and harmonious pastoral style in the poem. In Wanshan Beach: "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. If you can't get it, sing along with the moon. " This poem describes the quiet interest of Wanshantan and the author's peace of mind, and shows the thought of being detached from things. The pool is clear, the fish is shallow, and the ape hangs among the vines, forming a harmonious whole with the quiet mind. Looking for the remains of the goddess is also intentional or unintentional. This is an elegant, natural and charming landscape poem.
In addition, Meng Haoran's landscape poems pinned his interest in Zen silence.
Poets from emotion to fame, from reason to reason, thus integrating Buddhism and Taoism into the indulgence of mountains and rivers. In "Boating in Wuling": "Wuling mountains and rivers are narrow and enter the flower forest in front. In the unpredictable source, the fairy family is convinced. Water turns green, clouds pass Qingxi. Sit and listen to the idle noise and clear the dust. " The author described Taoyuan as a fairyland, so the poem deliberately showed a deep, empty and confusing environment. Not only the water is clear and the clouds are idle, but even the ape, who has always been bleak and melancholy, sounds carefree and can purify the dust heart. These poems repose the poet's calm and indifferent state of mind. Another example is "Gong Yi Zen in Dayu Temple": "Gong Yi practiced Zen and became attached to the empty forest. There are beautiful peaks outside Shandong, and there are many deep valleys in front of the steps. The sunset is full of rain. The sky is green and the stadium is gloomy. You can see that you don't care when you look at Lotus Net. " This poem was written by the poet when he was wandering in Wu Yue. I started from the environment of Gong Yi Zen Hall, with "empty forest" as my neighbor, with lonely peaks and deep valleys, rainy nights, green pavilions and unpolluted violets, and wrote the orthography of "Don't dye your heart". There is no earthly noise and dirt here. It is really a clean Buddhist land without dust. The poem expresses the poet's Zen in a tortuous way, from praising the quietness of the meditation room to praising the immortal Zen mind of the righteous.
From the above aspects, we can know that the sustenance of frustrated literati is based on pastoral poems, and Meng Haoran, as one of frustrated literati, is no exception. Meng Haoran's pastoral poems made our descendants more aware of the darkness of society at that time, the corruption of rulers and the rise and fall of a dynasty.
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