In poetry creation, it is very important to integrate emotion, scenery and reason. Some of them express their carefree mood by describing the beauty of rural scenery and the simplicity of rural life. Or go for a spring outing, climb mountains, drink, read books, talk with friends, reunite with family, bathe under the eaves, pick chrysanthemums under the east fence and spread your wings in the south wind. Praise for the natural innocence of rural life, pour out the joy of friendly exchanges with farmers, and reflect the ideals and aspirations of the broad masses of people for a better life, fully expressing their extreme aversion to the darkness of officialdom and their yearning for a better rural life. Brand-new content and simple and natural style have opened up a new field for China's classical poetry-pastoral poetry, thus becoming the founder of the school of pastoral poetry. His pastoral style is simple and natural, cordial and sincere.
First, fresh brushwork. The contents of Tao Yuanming's poems are all his own personal experiences and feelings, and the life scenes in his poems are familiar to people, such as thatched cottage, chickens and dogs, Sang Ma, bean sprouts, farming, wind and rain, etc. His poems choose typical scenes and things, and express them frankly and naturally through simple language, which artistically reproduces his life and ideals and makes people feel that the poet is interested in the countryside and land. There is no trace of an axe chisel, which makes people understand at a glance and feels very kind. Tao Yuanming never pursues gorgeous language and superficial modeling, but casually touches it. The words are fresh and simple, just like the breeze blowing in Shan Ye, fresh and natural, but with endless charm. For example, "Return to the Garden" is a:
Without vulgar rhyme, I naturally love Qiushan. Thirty years passed carelessly.
Birds love the ancient forest, and the fish in the pond miss the ancient garden.
There are more than ten acres of square houses and eight or nine thatched houses. The eaves of Liu Yin are covered with elms, in front of which is Luotang, Li Tao.
This is a warm village, and there is smoke in the yiyi market. Dogs bark in deep alleys, and mulberry trees crow.
The house is free of dust and sundries, and the empty room is free. After staying in the cage for a long time, they returned to nature.
In the first two sentences of this poem, I said that I lacked the grace to adapt to the secular world since I was a teenager, and I was born to love the nature of mountains and rivers. "Falling into the dust net by mistake" refers to officialdom, and the whole officialdom is like a trap to catch birds and animals. When I entered the official position, I accidentally fell into the dust net and was "lost". Therefore, I am like a "captive bird" and a "pond fish", subtle and subtle. Finally, after seeing through the darkness of officialdom, I retired happily. The phrase "land reclamation" shows the victory of his thought of returning farmland and realizes his desire to work hard. The above eight sentences describe his first half life in the most concise and implicit language. In the second half of the poem, he wrote that he returned to the countryside, relived the natural scenery and life of the countryside, and expressed his inner comfort. Under the square house, there are many ups and downs. How many kinds of flowers are there, how far the village is, chickens crow and dogs bark, trivial and plain, language is becoming more and more popular, and artistic conception is becoming more and more elegant. These descriptions fully express the poet's busy, cheerful, free and cheerful mood after leaving the officialdom, as well as his understanding of the beauty of plain and natural pastoral life. Finally, he "stayed in the cage for a long time and returned to nature", which came to an abrupt end. Very comfortable. As the saying goes, "no official is light." It's just the poet's relaxed feeling, not only because he abandoned his official position and left the "cage"; Moreover, because he returned to the countryside, took part in labor, plowed and cultivated land, and realized his life ideal.
Second, plain language. Tao Yuanming's pastoral poems are not only ornamentation, but also concise and vivid images with simple and natural language and sparse brushwork. The language is exquisite, simple and true, and the brushwork is sparse and profound. This sketching skill reveals rich associations in the plain, and breeds the "light and eternal" artistic conception of poetry in the association. It can be described as "a very common scene, with different students." In the meantime, it is infinitely wonderful. It is "similar to the simple language and sketching techniques in Tian Jia Hua", thus forming a simple and natural style of pastoral poetry and achieving the artistic effect of "a word is natural and meaningful, and it is extravagant to see the truth", such as Planting beans in Nanshan, Today is sunny, Song Qing is in the East Garden, Autumn Chrysanthemum is a good color, and Hate Taiwan and Love Quiet Night.
In mid-spring, when it rains, it thunders in the east corner. People are lurking, and plants come into my house from the horizontal to the new.
The first nest is still there, and Xiang will return to his former residence. That door has been empty since we left. My heart is steadfast. What about your mood?
Spring has come, and the swallows have all returned to their huts. Over the past year, their families have become more and more deserted, but they still insist on poor seclusion. Some friends don't understand their attitude and persuade them to be officials again and again. But the swallows came here gracefully, and they didn't dislike their lair and their poor people at all. It seems that the swallow is asking the poet: My heart is firm, and your heart is as firm as mine? This poem is like a beautiful fairy tale, simple and plain, but interesting.
Look at the third song of Tao Yuanming's return to the garden.
At the foot of Nanshan, beans are planted, and the grass is full of beans.
The road is narrow and the vegetation is long, and the evening dew is stained with clothes.
The language of this poem is very plain and natural. "Planting beans in Shannan" and "Exposing clothes in the evening" came out casually without any embellishment. This natural and plain poem melts into the mellow artistic conception of the whole poem, which makes the spoken language become a poem, harmoniously unifies the plain spoken language with the mellow poetic beauty, and forms the artistic characteristics of Tao poetry. These two sentences are about Nanshan, where beans are planted and the grass is lush but sparse. It makes people feel very kind. In order not to make the bean field barren, the poet left the ground early in the morning and came back in the moonlight at night. Although it was very hard, he didn't complain, which can be seen from the beautiful scenery of "returning home with lotus hoes on the moon" The road is narrow and the grass is long, but the clothes are wet in the evening. What's the pity? This sentence seems dull, but it just reflects the ending sentence "but it works." But comparing this poem with other poems, the author's "wish" actually has its special connotation. The "wish" here is more integrated with the meaning of not losing yourself in the dirty real world.
Tao poetry is plain and interesting. The interest of Tao poetry comes from freehand brushwork. "The moon and the lotus return home", and the poet who comes back from work is accompanied by a bright moon. Under the moon, the poet walked through waist-deep grass with a hoe on his shoulder. Going home on a moonlit night, what a beautiful picture! Full of the poet's happy mood and seclusion. The plain words of "planting beans in Nanshan" and the beautiful sentence of "bringing the moon lotus home"; The first sentence is real, and the last sentence is empty. The whole poem is soft and perfect with the mutual complement of simplicity and reality.
There are many similar examples, such as: "Many birds are happy to be raised, and I love my family." (Reading the first part of Shan Hai Jing) "The wind is far from the flat ground, and the good seedlings are also nostalgic." (Tian She's "Spring of Guimao" Part II) The word "Yi" is intriguing. Another example is: "The mountain stream is shallow." Once these ordinary things are touched by the poet, they have the flavor of life, showing his kindness to his neighbors and simple customs in the countryside. "When you lean your ears, you have no hope, but your eyes are clear" ("In mid-December, you respect your brother"), and you write the gentle beauty of snow in ten plain words. Su Shi summarized this feature of Tao poetry as "quality and reality, wealth and reality"
The artistic realm of blending emotion, scenery and reason. In poetry creation, the blending of emotion, scenery and reason is very important, and emotion is the most important. Without emotion, there is no vitality, and without emotion, there is no empty reason. Without strong emotional infiltration, scenery and reason will lose the vitality of the work. In Tao Yuanming's pastoral poem Birds and Beasts, the poet is also good at expressing emotions in reason, visualizing his deep understanding of life and reality, and closely combining poetry with philosophy and scenery, giving people a fresh and natural feeling without boredom. Shi Tao's poetry is based on emotion, and rationality is the dominant factor. The new seedlings spreading their wings at the foot of Nanshan, the moon mowing the grass with him, and the smoke rising from the kitchen are not too much for him. The piano on the bed, the mud wine in the pot, and the pine trees, autumn chrysanthemums, lonely clouds and birds that often appear in his works are all unusual things. They are all objective, reflecting the poet's subjective feelings and personality, both figurative and conceptual.