Xie Lingyun was one of the most famous poets in the Song Dynasty during the Jin Dynasty. Later generations once called him and his younger brother "big and small thanks". This man is unrestrained and likes to travel everywhere. His poetry takes landscape realism as the core and creates a new genre of landscape poetry. It is precisely because of this that he occupies a place in the history of literature. Xie Lingyun's careful observation of mountains and rivers and his high artistic accomplishment make his poems truly reflect the natural beauty of mountains and rivers. He is good at casting words, and there are many beautiful sentences describing fine workmanship, bright colors and novel language in his poems. For example: "Spring grass grows in the pond, and garden willows turn into songbirds" ("Pond Upstairs"); "Green fields, high rocks and white clouds in the Spring Festival Evening" ("Entering Peng Li Hukou"); "The wild sand beach is clean, the sky is high and the autumn is bright" ("Going to the county for the first time"); "Clouds and the sun set each other off, and the empty water is clear" ("Island in the River"); "The dense forest is full of lingering sadness, and the far peak is full of charm" (You Nanting). These sentences are vivid, giving people a fresh and lovely feeling, showing the author's artistic ingenuity. Xie Lingyun often uses the artistic conception created by natural scenery to convey his emotions, such as "Years": "I can't sleep because of worry, and I can't bear depression because of the bitter night. The moon shines on the snow, and the north wind is strong and sad. If it is transported without flooding, the sense of death is easy to die. " Poems with such a close combination of lyricism and scenery writing and a relatively complete artistic style are the top grades in Daxie's landscape poems. Unfortunately, such works are rare in Xie Lingyun's poems.
The main problem of Xie Lingyun's landscape poems is that almost all of them have a mysterious tail, thus losing the unity of the overall style. For example, "The Graceful Building on the Cliff Returns to the Lake" describes the beautiful scenery seen by boating in the lake in the evening, just like a beautiful landscape travel note. Unfortunately, in the end, I just added, "It makes sense to take things lightly." Send a message to scare strangers, try this push. "Such a passage illustrates Hyunri's argument. Another example is "climbing the pond upstairs". Although there is a beautiful sentence in the middle, "Spring grass grows in the pond, and garden willows turn into songbirds", it is still obscure on the whole, and finally comes down to "whether to exercise alone or not, there is no trouble today", and it is still difficult to escape the metaphysical tone. This situation should account for at least 78% of Xie Lingyun's landscape poems, which is a hateful and regrettable thing. Reading landscape poems can give people beautiful enjoyment, but the mysterious tail in Daxie landscape poems greatly damages the aesthetic feeling people get in art appreciation, just like people eating a grain of sand at the end of a sumptuous meal. This may be unexpected when Xie Lingyun created it.
What caused this mysterious tail? Xie Lingyun could not get rid of the subtle influence for a while, except for the prevailing metaphysical poetry style objectively at that time, the most important reason was the poet's subjective reason. In Xie Lingyun's subjective understanding, landscape is only a means to realize Tao, not an independent aesthetic object. Therefore, starting from metaphysics, he always returned to Hyunri. This is an obstacle in Xie Lingyun's poetry creation, which makes it difficult for the poet's feelings to blend with nature. In other words, Xie Lingyun's landscape is only the object of hype, not an independent object of appreciation; It's just "my realm", not "the unity of things and me". It is this reason that influenced the artistic achievements of Daxie's landscape poems, which made him fail to reach the due height.