1. Pastoral poetry: Describe the natural and quiet pastoral scenery and natural and simple pastoral life. This is the poet's idealized artistic realm. It reflects the poet's quiet and carefree life interest and carefree and detached state of mind, and also denies the dark reality and ugliness of officialdom at that time. For example, Returning to the Garden [less and less vulgar rhyme], Being in the Wild], Drinking [Building a House in a Humanistic Environment], The Home Book of What Country, etc. He expressed his experience of farming life and his love for labor, which reflected the poet's deep friendship with farmers. Such as "Returning to the Garden" [Planting Beans in Nanshan] and "Harvest Early Rice in Xitian in September of Gengxu New Year". Describing the hardships of his own life and the depression in the countryside reflects the real world outside the poet's idealized realm. Such as "Complaining Poems and Chu Tunes to Show Pang Zhushu Deng Zhizhong", "Returning to the Garden" and "Begging for Food".
2. Poetry and epic: Tao Yuanming's poems are similar in content to epic, and epic is also a poem, which inherits the poetic traditions of Ruan Ji's epic and Zuo Si's epic. The main content of poetry is to express one's thoughts, feelings and ambitions. Some show the ideological contradiction between ideal and reality, joining the WTO and being born; Some worries about the realization of the value of life express the anguish of ambition that is hard to pay; Some reflect the noble character of not colluding with the dark reality and sticking to personal integrity; Others express their anger in the form of "King Kong glaring". Such as drinking, antique style, miscellaneous poems, singing about poverty, singing about Jing Ke, reading Shan Hai Jing, etc. Most of them fall into this category.
3. Others: Tao Yuanming's official poems are his works during his official period, mostly describing the hardships of being an official, his boredom with being an official and his longing for seclusion. Such as "The First Town Army Joins the Army" and so on. Most poems are about friendship between friends. If you answer Pang to join the army, bid farewell to Yin Jin. In addition, Tao Yuanming has some philosophical poems. Like "together"
Artistic achievements of Tao Yuanming s poems;
1. Plain and natural, mellow and meaningful artistic style. The theme and content of Tao Yuanming's poems are close to ordinary daily life, and the images of poems often take things that are often heard in self-study, express their feelings directly, sculpt them without falsehood, and use good words. The profound meaning of Tao Yuanming's pastoral poems is only to express the artistic image and artistic conception of the poems with faint sketches and true feelings, but it is magic in plain and beautiful in simplicity. Zhu said: "Yuan and Ming's poems are plain, out of nature." (Zhuzi School) Su Shi said that his poems are: "Quality and reality, but richness and reality." ("Book with Su Zhe") also said: "Dry outside and paste inside, which seems light and beautiful." (Comment on Liu Han's Poem on Dongpo Inscription and Postscript) Yuan Hao asked about his poem: "A word is natural and eternal, and luxury is exhausted." In addition to this basic style, there are some poems called "King Kong's Glaring Style" by Lu Xun ("Two Essays on Jie Ting", the title of which is undetermined). Zhu also talked about his uninhibited side: "Everyone says that Tao Yuanming's poems are unremarkable. According to some people, he is proud of it, but he is bold. " The person who shows his true colors is an essay "Jing Ke Fu". How can ordinary people say such a thing? "(Zhuzi school)
2. Sublime, unconventional and natural artistic realm. The images in Tao Yuanming's poems seem unremarkable, but they create a lofty and unconventional artistic realm. The main idea of his poems lies in freehand brushwork, in expressing his mind, interest and understanding of life, while the description and narration of scenery is only for meaning. Many of Tao's poems have reached the natural artistic realm of the unity of things and me, subject and object, emotion, scenery and reason.
3. The colors are natural and the language is concise and vivid. Tao Yuanming's poems are not just ornamentation, but use simple and natural language and sparse brushwork to concisely outline vivid images and convey profound meanings, so as to achieve the artistic effect of freehand brushwork and vivid expression. He is good at refining the spoken language in daily life into poetry, which is full of strong flavor of life. He often uses metaphors, symbols, sustenance and other techniques, even if he uses allusions, it is colloquial.
Regarding the style of Tao Yuanming's poems, Su Shi thinks that "the quality is vivid and rich", seemingly "dry", but the essence is beautiful (Dongpo Inscription and Comment on Poetry: "Liu Zihou's poems are below Tao Yuanming, but above Suzhou. Boldly and boldly return it, arts and sciences are not as profound as meaning. What is expensive is dry, which means that the outside is dry and the inside is medium, which seems to be dry and beautiful, and so is the flow of profound knowledge and thick children. If the middle side is dry, it is He Zudao! " Hui Hong's "Cold Zhai Night Talk": "Dongpo tastes: If Yuan and Ming poems are slow at first, those who are familiar are interesting." Qin Guan also said that "Tao Qian's poems are good at dilution" (on Han Yu: "In the past, Su Wu and Li Ling's poems were good at lofty, Cao Zhi and Liu Gonggan's poems were good at luxury, Tao Qian and Ruan Ji's poems were good at dilution, Xie Lingyun and Bao Zhao's poems were good at elegance, and Xu Ling and Yu Xin's poems were good at glamour." Shi Yang's "Quotations from Mr. Kameyama": "What Tao Yuanming can't achieve, dilute the essence, out of nature." Hong Zeng said: "My comments on Tao Gong's poems are plain and profound, but if they are dry outside and solid inside, they are also the crown of true poets." (Li Gonghuan's "Notes on Tao Yuanming", Volume 4) Ge Zai's rhyme: "The poems with Xie Tiao are both plain and thoughtful, and they are not the works of later poets." Wu Cheng's Preface to Sending Yuan Yong to Pengze to Teach Poetry: "It is also a poem, which is flashy but not gorgeous, such as? In the brocade, readers don't know its hidden beauty. " ("Wu Wenzheng Collection" Volume 21) Wang Shizhen's "Yi Yan Yuan Yan" Volume 3: "Deep and clear, its language is extremely clever, it is a big thought, and it is written without trace." Hu Yinglin's Poems Volume II: "lyna is an infantry." Ye Jiao Ran's "The First Collection of Poetry in Longxingtang": "Ruan and Tao Ergong are anti-worldly, and the gods are diluted, which is wonderful."
Tao Yuanming's poems have various styles and rich themes, but only the pastoral poems of mountains and rivers can surpass the ancient sages and it is difficult to continue. Therefore, talking about Tao Yuanming's works should be based on his pastoral poems. Works with other themes, such as chanting history, reading, traveling and giving answers, can enrich the connotation of Tao poetry, but they cannot represent the excellent quality of Tao poetry. The emotional expression of Tao Yuanming's pastoral poems is relaxed, and the lyric way is simple and natural. Its "insipid" taste is caused by stripping away the prosperity, originating from the truth and returning to nature. If it is popular on the water, it will be written naturally and unintentionally. The formation of this style should be closely related to his deep admiration for Laozi and Zhuangzi's aesthetic thoughts.
Starting from his Taoist theory, Laozi emphasized doing nothing and doing everything, and praised the aesthetic realm of "prosaic" (Chapter 35 of Laozi), so he would say: "Five colors make people blind, five tones make people deaf, five flavors make people cool, galloping and hunting makes people crazy, and strange goods can make people hinder." (Chapter 12 of Laozi) It is believed that flashy and gorgeous things often confuse people's minds and make people turn a blind eye to the beauty of the avenue. Therefore, Laozi advocated "Jane": "Jane is not simple, selfish and less desire." (Chapter 19 of Laozi) "Changde is enough, return to simplicity." (Chapter 28 of Laozi) Zhuangzi inherited Laozi's philosophical thoughts and advocated natural and simple aesthetic taste. For example, it says: "Simple and the world can't compete with it for beauty" ("Zhuangzi Heaven"), "indifferent and infinite, the beauty of all things will follow." (Zhuangzi Deliberately) Zhuangzi advocates the beauty of nature and simplicity, and opposes all artificial bondage, deliberate carving and hypocritical show-off. Uncut logs are simple, while undyed white silk is simple. Simplicity is the true nature and original state of things. Zhuangzi takes simplicity as beauty, which is its meaning. "Simplicity" means the natural beauty that is spotless. "Tian Yun" said: "The husband does not take a bath every day, and the black and white are plain, which is not enough to argue." Swan comes white because it doesn't bathe every day, crow is born black, and it is not the result of sunbathing every day. Both are natural. This is simplicity, and this is beauty. Therefore, Zhuangzi opposes "painting with feathers", and painting natural and beautiful feathers with colorful colors will only destroy simple beauty. "If you are plain, you mean you have nothing to do with it." ("Deliberately") Sue is not influenced by the outside world, but keeps her true colors, just like an undyed white silk.
In fact, Laozi and Zhuangzi's concept of "simplicity" is very rich, involving world outlook, social outlook, outlook on life, literature and art and many other aspects. So let's simply look at it from an aesthetic point of view. The aesthetic requirements of "Jane" are plain, natural, simple and true, and all unnecessary paving, decoration and carving are cancelled, so Lao Zi and Zhuang Zi criticized artificial language. Chapter 81 of Laozi says: "Good words are not beautiful, but good words are not believed." Wang Bi pointed out that "the essence is also true" and "the essence lies in simplicity". It can be seen that Laozi attaches importance to the substance, not the gorgeous form. Zhang Rusong said that Laozi pointed out: "Honest words are simple and straightforward, so they are not beautiful; Sweet words decorate Shang Hua, I don't believe it. " (Lao Tzu proofreads) Simple language can often convey concise and accurate content. "A loud voice is like a sound, but an elephant is invisible" (Chapter 41 of Laozi), the simpler the form, the richer the content, so Laozi advocates "simplicity", which is consistent with his true and natural thought. Zhuangzi also believes: "Tao is hidden in small achievements, and words are hidden in great glory." (Zhuangzi's Theory of Everything) Gorgeous and complicated language will only cover up the true face of words, and it is not enough to take the law. Based on this idea of attaching importance to content and neglecting form, Zhuangzi further formed the viewpoint of "forgetting words": "People who are full of food are trapped in fish and forget to eat; Hooves are such in rabbits, he got rabbits but forgot hooves; The speaker was so concerned that he forgot his words proudly. I am confident that my husband will forget what he said and talk to him! " (Zhuangzi) Words are just tools to convey meaning, so "satisfaction" is the goal, and there is no need to make a fuss about the tools used to achieve the goal. Language can be completely forgotten and discarded, so there is no need to modify and carve it.
To sum up, Lao Zi and Zhuang Zi conveyed to us the literary idea that perfection is the origin of nature in heaven and earth, unpretentious, and we disdain to cut the rope. Language should express the beauty of the avenue and the true meaning, so language should also have a true and simple style. If we can understand the meaning of the avenue, even the speech will become a burden.
Tao Yuanming undoubtedly accepted the aesthetic taste expounded by Laozi and Zhuangzi, so the discussion of pottery in ancient and modern times can not be separated from "simplicity". An Pan said that Tao poetry is "extensive and profound, out of nature" ("Poetry on the Mountain"); Xu Jun said that it was "indifferent to eternity, resurfaced as a popular custom, and covered up its perceptual essence." ("Poetry") Ye Song Meng De's "Meeting Miscellaneous Books" wrote: "Tao Yuanming really gave everything and borrowed books from him. He didn't know he was a language at first, so he was out of reach. " He expresses everything he has experienced in his heart, but he has no intention of playing with language skills, which makes the things he describes and expresses get the same color and taste as life itself. For example, "there are more than ten acres of square houses and eight or nine thatched cottages", "warm villages, a smoke market in Iraq" and "under the east fence of picking chrysanthemums, you can see Nanshan leisurely". The mountains are getting better and better, and the birds are back. ""There are long vegetation and trees around Xia Meng's house. Birds are happy to have a care, and I love my house. " All these descriptions have the original forms of life and nature, without any traces of artistic carving. They are original and fragrant, but they can bring readers a beautiful and unique reading experience.
Another example is: "Love the forest in front of the hall, and store shade in midsummer. Kaifeng, fly back and open my chest. Have a rest, lie down and play the pipa. There are a lot of gardens and vegetables here, and the ancient valley is still stored today. It is excellent to run your own business, but it is not admirable to go too far. Spring forest makes wine. I'll pour it when it's ripe Weak children play on my side, learning language is not perfect. Speaking of forgetting the hairpin, it's really a pleasure. Look at the white clouds in the distance and miss the past. " The poet describes ordinary rural scenery and life. The first four sentences vividly describe the summer scenery in the countryside and express the poet's comfortable mood. The middle sentence 12 is about quiet rural life, reading, playing the piano, drinking, working and playing with young sons. These trivial things brought great pleasure to the poet, which made him completely get rid of the confusion and anxiety of being an official and hiding, and found spiritual comfort and real relief. Tao Yuanming's pursuit of liberation is not fame and fortune, but to maintain his ideals and integrity in his daily seemingly dull pastoral life and gain freedom, peace and happiness in his mind. Therefore, the pastoral life described in Tao's poems has both a realistic side and a kind of life realm and tolerance pursued by the poet, which is also the mystery of Tao's poetry, which is plain but enduring. The last two sentences of the poem lead the reader's thoughts to the ancient society with pure customs, which greatly increases the connotation of the poem. The whole poem has formed a seamless and extraordinary artistic conception, which is never tired of reading.
Tao Yuanming lived in the era of conscious literature in China. Zong Baihua said: "The Wei, Jin and Six Dynasties were the key to a change ... Since then, China people's aesthetic outlook has taken a new direction, showing a new ideal of beauty. That is to say,' the first lotus' is a higher realm of beauty than' wrong gold'. " Aesthetic walking and the beauty of gold people. In the process of artistic creation, Tao Yuanming may not reject aesthetic processing, but just pass the boat through the water without a trace and the goose through the air without a trace. Ge Hong's "Cold Zhai Night Talk" explains the plain and simple style of Tao Yuanming's poetry: "A high rate means a wonderful meaning, and a fine word can be like a master without seeing the axe marks." The third volume of Wang Shizhen's Yi Yuan's Last Words in the Ming Dynasty said: "It is profound and clear, and its language is extremely clever, so it is for big thinking and no trace."
Once again, it needs to be emphasized that Tao's poems are by no means dull, but dull and disgusting. The beauty of Tao's poems lies in that they are dull and have the image of overseas, dull and interesting, but light. For example, one of the immigrant poems: "I wanted to live in Nancun, not for Butch's house. I'm glad to hear more people and enjoy the morning and evening. I have been pregnant with this for several years, and today I am our service. Why is it wide? Take up enough space in our bed. Neighboring songs come from time to time, and the word resistance is a thing of the past. Wonders are appreciated and doubts are analyzed. " This poem only describes the ordinary scene of moving to Nancun and interacting with neighbors, but it is full of deep and heavy human feelings. It is precisely because the meaning of Tao poetry is light and practical that the poetics of past dynasties believe that there are two basic conditions for understanding Tao poetry: First, one must have a certain interest in life and experience. Huang Tingjian's Postscript Poem of Yuan and Ming Dynasties said: "Reading this poem when blood is thick is like chewing dead wood. And knowing the world, knowing the decision is useless. " First, chew it repeatedly to understand its meaning. Wu Qin Han Fen's "Interesting Reading" wrote: "Tao Yuanming's poems are light and shy, and the essence is leisurely revealed, which is the most interesting. ..... when people first started reading, they didn't feel strange, but gradually they would have a taste. "
Jian 'an literature has brought sad beauty to China literary world. Poets in the Western Jin Dynasty contributed to beauty. Tao Yuanming, on the other hand, opened up a natural and plain world. Reciting Tao Yuanming's pastoral poems is like unfolding an interesting picture of pastoral life. I only feel that the scenery is beautiful and Xu Feng blows my face, but watching the smoke curling up and listening to the birds singing, it makes people worry and forget the machine, and they can't help but be fascinated.
[Reading works]
First, Tao Yuanming's Return to the Garden (less and less)
1. "Returning to the Garden" is a group of famous pastoral poems by Tao Yuanming, with a total of five poems, which describes the year after the poet left Peng Guitian (406). This is the first poem, which expresses the ambition to resign and retire, and through the description of the beautiful and quiet pastoral scenery, expresses the calm and relaxed happy mood after returning to the field.
2. The whole poem can be divided into three layers: the first eight sentences are the first layer, describing one's temperament and ambition, the regret of falling into the world by mistake, and finally retiring from the countryside. The following eight sentences are the second level, describing the quiet and beautiful rural scenery and the fun of rural life. The last four sentences are the third layer, expressing the pure and leisurely life interest and the joy of getting rid of the secular and returning to nature.
3. This poem typically embodies the artistic style of Tao Yuanming's pastoral poetry, which is plain, natural, quiet, beautiful, mellow and meaningful. The work adopts the expression method of combining scenery description with emotional expression, which embodies feelings and blends scenes. On the other hand, the description of the scenery adopts the method of line drawing, which concisely and vividly outlines a vivid artistic image, creates a quiet, simple and natural artistic realm, and permeates the author's thoughts and feelings, life interest and life ideal. Moreover, comparing the plain and natural pastoral life with the official life of "dust net" and "cage" highlights his feelings of love and hate. At the same time, "dust net" and "cage" are also the use of symbolic means. In addition, the sentences of "trapping birds" and "pond fish" are also the use of Bixing. The language of this poem is plain and natural, but it creates a vivid artistic image and a beautiful artistic realm with plain "Tianjia dialect", just right "quality and elegance, richness and reality" (Su Shi's Book with Su Zhe).