Seclusion, wandering, trouble. The poetic style is light and natural, and he is good at five-character ancient poems.
Meng Haoran was the first poet who devoted himself to writing landscape poems in Tang Dynasty. He mainly writes landscape poems, and he is one of the representatives of the pastoral school of landscape poems. In the early stage, he mainly wrote political poems and frontier fortress ranger poems, and in the later stage, he mainly wrote landscape poems. Today, there are more than 200 poems, most of which were written when he wandered, and some of which were written when he visited his hometown Wanshan, Xianshan and Lumen Mountain. There are also several poems describing rural life. The geographical scope of this poem is quite extensive.
Landscape is the most important theme of poetry in the Southern Dynasties, which has experienced long-term development and made remarkable achievements. By Meng Haoran, landscape poetry has been promoted to a new height, mainly in the following aspects: the relationship between emotion and scenery in poetry is not only a mutual foil, but also a close combination of water and milk; The artistic conception of poetry is more pure and clear because all unnecessary and uncoordinated elements are eliminated; The structure of the poem is also more perfect. Meng Haoran prefers water rafting during his trip, as he himself said: "For many mountains and rivers, he often goes boating." ("Jing Tan") His poems often describe the beauty of Jiangnan water towns and the interest caused by roaming, such as:
The scenery is clear, bright and radiant. Clarify what is in the water of love. If you are in the pot, what can you do? Whitehead fisherman, Xinhua makeup artist. Look at each other like acquaintances, but you can't talk. (Rowing in the West Field)
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. Because I don't have such a chance to take risks, I will come back and sing oars in the moonlight. ("Wan Shan Tan Zuo")
Poetry not only plays a documentary role, but also combines the poet's fresh feelings and naive reverie. In his eyes, whether it is the figure bathed in the afterglow of the sunset or the fish and animals playing on the underwater shore, everything he sees seems to have turned into a knowing and kind smile. These poetic scenes do have a crystal clear feeling.
The artistic conception of Meng Haoran's landscape poems is full of vitality and tranquility. But he can also express his greatness with magnificent writing. For example, "Li Peng Lake sees Lushan Mountain": "The moon is dizzy in space, and the boat knows the wind. Hanging seats for the morning hair, in the lake. Mid-stream is KuangFu, potential pressure Jiujiang bear. Thick ink and heavy colors condense, and the sky is empty. On the first day of the incense burner, the waterfall sprayed Chen Hong ... "Pan Deyu, a poet in the Tang Dynasty, took this poem and fishing in Putan in his early years as examples, calling Meng Zhi's poem" heroic and overlooking everything "("Yang Shi Hua "), which showed its important characteristics of exuberance.
Yin Kun, a famous poetry critic in the prosperous Tang Dynasty, likes to use the word "Xiang Xing" to talk about poetry. When commenting on Meng Haoran's two poems, he also said that "whatever the image, it is also true" (see He Ji Ling). The so-called "towards the star" means that the poet's emotion and spirit control the image, making it integrate with the vibration of the poet's mind, thus gaining life, personality and vitality. It is a common feature of Meng Haoran's poems to emphasize "looking to the stars". This can be seen more clearly by comparing several different works.
The autumn water rises and almost blends with the shore, mixing water and sky with the sky. 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. Sitting around watching other people's hard river fishing can only envy the fish caught in the fish. (Message from Dongting Lake to Premier Zhang)
The mountain was dark when it saw it, and the darkness of the mountain flowed eastward, day and night. The wind on both sides of the strait rustled the branches and leaves, and the moonlight reflected on the river, a boat on a river. Jiande's scenery is good, but it's not my hometown. I still miss my old friends in Yangzhou. Recalling those two lines of tears that I couldn't restrain, I looked at the west side of the west bank and sent sadness to Yangzhou. (From a berth on Tonglu to a friend in Yangzhou)
Stop the boat in a foggy small state, when new worries come to the guest's heart. The vastness of the wilderness is deeper than trees, and the moon is very close to the moon. (Night parking on Jiande River)
These three poems are all about rivers and lakes, but their personalities are different. The first song was written by Meng when he applied for the Zhang Jiuling shogunate. He was excited to have a chance to try his ambition. He once wrote "Grateful to Play the Crown, Safe and Poor" ("Shu Huai Yi Jing Yi Hao Tong") and "An old friend is in office now, so it is not too late to die" ("Send Ding Dafeng Jinshi to Zhang Jiuling"). It is this high-spirited emotion that made him write such a magnificent famous sentence as "Clouds, dreams and fog around Yueyang". The second and third songs were written on the day when I traveled to southern wuyue after I was down and out. The former wrote his own sad inner turmoil with the turbulent scenery of the wind and the river, while the latter wrote the feelings of lonely wanderers with the quiet scenery of the wild Qingjiang River. Their spirits are very different. Taking "Xing" as the essence and "Image" as the essence, highlighting the subject's emotional feelings, unifying the two and constructing a complete artistic conception are the important contributions of Meng Haoran's landscape poems.
The language of Meng Haoran's poetry is "light language but not light taste" (Shen Deqian's Poems), which does not communicate the strange and the different, but avoids the common. Some of his poems are often refined in simple descriptions, but the dense latitude and longitude seem to be inadvertently displayed, showing high artistic skill. For example, his famous work "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. Please come here to see chrysanthemums when the ninth festival comes.
Throughout the narrative, it seems to be homely, which is similar to Tao Yuanming's "Drinking" and other poems, but Tao wrote ancient style, but this poem is close to it. The couplet "We see green trees around your village, and the mountains in the distance are light blue" makes the finishing point to outline the typical environment of a village surrounded by green mountains and trees. There is also a five-line poem "Spring Dawn" that women and children can recite, which is also a subtle feeling of cherishing spring in natural language.
In addition, Meng Haoran often breaks through the limitation of the inherent formula in the use of poetic style, which makes him have a different interest. For example, in the poem "Looking at the boat in the middle", the flat and parallel tones are all in pentatonic format, but China's couplets are not parallel prose, which is full of ancient charm. Hu Yinglin's "Poems for Poetry" holds that such poems are "naturally short and ancient in the Six Dynasties, and if they rhyme, they will feel detached." Another example is going back to Lumen Mountain in the evening: the bell in the temple of the mountain rang the coming of night, and I heard people in the fishing city hobbling on the ferry. People walked along the shore to Jiangcun village, and I also returned to Lumen by boat. The moonlight at the deer gate made the mountain tree appear, and I suddenly came to the seclusion of exile. Thatched doors and pine paths are lonely and quiet, and only strangers come and go.
This is a poetic poem, but it only writes down the journey all the way home at night, without extravagance. The scale of his writing system is similar to that of modern poetry, which absorbs the concise language of modern poetry and highlights the sentence structure of chorus, which is quite exciting to read.
These are different from the ancient body and full of free and easy feelings, which is also one of the manifestations of Meng's creation.