1, which created the artistic conception beauty and unpretentious dilution beauty of poetry.
Tao poetry often evokes "nature" and the lives of ordinary people, but through the combination of poets, it presents a new artistic conception and gives people a sense of beauty. "Seeing the sun in the room, the golden candle is replaced by a golden salary" (Part V of Home to the Countryside) is just a common bunch of glowing thorns, but the poet wrote it to enhance the living atmosphere of gathering and laughing between relatives and neighbors. The formation of this atmosphere is also the result of the poet's willingness to retire and stick to his spiritual home. "There is no need to build a bed mat with enough disadvantages" ("Fire in June in Wushen"), and only the word "bed mat" is used to specifically write his poor and thrifty life. It seems dull, but it is dull, but it shows a kind of detachment and freedom.
Ordinary things rarely seen in previous poems, such as mulberry, hemp, chicken, dog and so on. Once Tao Yuanming wrote them into poems and integrated them with his life and interests, they were full of interesting poems. Anyone who has read Tao's poems will be deeply impressed by his pastoral scenery. The first part of "Birds play a new festival, and the cold wind sends more kindness" ("Spring Field House in Guimao Year") and "Good Miao also cherishes the new" ("Spring Field House in Guimao Year" Part II) also talk about the spring breeze, but they are all written in such a concise and rich way that I won't repeat them. Another example is "the wind is sad at the end of the year, and the snow is falling." There is no hope in the ear, but nothing in the eye. "("Gui Mao wrote in mid-December to respect his brother "), the poet seems to have inadvertently written down all the subtle feelings of people in winter and snow. The harmony embodied in this feeling is the result of the integration of man and nature. More importantly, these scenic words are skillfully integrated with the feelings described by the poet in each poem and become an organic part of expressing the poet's interest.
The dilution of beauty in Tao's poems is his most important artistic achievement. As Lu Xun said, Tao's poems are not all "silent", but also "jingwei holds the micro-wood and fills the sea." Xingtian United and danced together, and never wavered "(after reading Thirteen Poems of Three Seas (10)). Such poems are impassioned and full of lofty sentiments, showing the poet's heroic poetic style. In addition, Tao's poems also contain honest and frank's words of grief and indignation, "Abandon people and not hire them." . When I read this, I feel sad, but I can't be quiet "(the second part of Twelve Miscellaneous Poems), and there are also sad voices of hunger and cold." I am hungry in summer and sleepless in cold nights. In the evening, the cock crows, and in the morning, the birds move "("Pang Zhushu Deng Zhizhong "complains about the Chu tune of poetry). Therefore, Tao's poems "have the words of worrying, self-blaming, contentment, indignation, happiness and peace of mind, and I speak the same language with everything" ("Talking about Poetry").
Many people often use "simplicity" to summarize the style of Tao poetry. However, Tao poetry is not only plain, but also has the advantage of warning the world in plain. Tao poetry is not only simple, but also beautiful in simplicity. The objects described in Tao's poems are often ordinary things, such as cottages, chickens, dogs, bean sprouts, Sang Ma, mean streets, etc. But it's not surprising that everything is true. However, once the poet's brush strokes, there are often warnings. Tao's poems rarely use flowery rhetoric and exaggerated techniques, but are simple and simple. Such as "planting beans in the south of the mountain", "pine and cypress in the east garden", "autumn chrysanthemum has bright colors", "I hate Taiwan and love quiet nights" and "it is sunny in spring and autumn". However, beauty can also be seen in the plain.
2, unpretentious, not carved, the language is extremely beautiful.
Su Shi once said that Shi Tao's poems are "of high quality and rich in content" (Volume III of Dongpo Continuation). This means that there is infinite elegance in his poems, and there is a strong emotional appeal in simplicity. For example, "The weather is getting better every day, the birds return", "It's a waste in the morning, and the moon lotus takes it home" and "Meeting without miscellaneous words, the road is long in Sang Ma" (the second part of Guimuju), except for the nouns and verbs selected, we can hardly see any adjectives, but everyone can feel the vivid image of the poem. Zhong Rong said that in the Yuan and Ming Dynasties, "the style of writing was clean and there was almost no long language" (in the volume of Poetry), which accurately pointed out the characteristics of Tao poetry.
Tao's poems don't need exaggerated arrangement and colorful colors, and they don't need deliberately carved antithesis and abstruse allusions. The charm of his poems lies in all the words that naturally flow out of his temperament and inner emotional strength. The reason why he chose such pure language is because he yearns for a leisurely and indifferent life, and the feelings he wants to express are a pure heart, not a sentimental emotional world. The language of Tao's poems is plain and beautiful. The language of Tao poetry is not a rough and vulgar folk oral language, but a higher realm and level reached by language masters after stripping away glitz.
Tao Yuanming's Leisure Fu is beautifully written, which shows that he can't use colorful words and exquisite pictures. He washed away the lead in his poetry creation, and naturally created an artistic realm with deep feelings and light beauty with quality. Writing snow "turns ears into silence and eyes into purity" ("Respect from my brother in mid-December") does not need subtle metaphors such as "sprinkling salt" and "floating catkins", and just ten ordinary words write the gentle meaning of snowflakes falling silently. Write about the wind, "There is a south wind coming, and the wings are new" ("Times Poetry"). There are no allusions such as "qingping" and "HSBC", only the word "wing" is used to describe the state in which the south wind gently blows new seedlings, which is warm. The language of Tao's poems is highly artistic and vivid, and it is the perfection of the master's language skills, which is incomparable to ordinary people. Yuan Haowen said that Tao's poems are "natural and meaningful, and they are exhausted to see the truth" (the fourth of "On Thirty Poems"), which is hardly a hollow reputation.
3. Harmony of emotion, scenery and reason
In poetry creation, it is very important to integrate emotion, scenery and reason. Without love, the scenery is lifeless, and the reason is even more empty. Jing Heli's works will lose their vitality if there is no strong emotional infiltration. In Tao Yuanming's pastoral poems, birds, animals, flowers and mountains are full of strong thoughts and feelings. At the same time, the poet is good at combining emotion with 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. Tao's poems do not pursue the similarity of objects and the twists and turns of plots, but express his feelings about the world through ordinary things that everyone can see and write the truth that people may not understand. He doesn't care if he looks like it, but writes a world in his mind. And look at "drinking" article 5:
"Building a house in human feelings, no chariots and horses, ask what you can do, and your heart is far away. Picking chrysanthemums under the east fence, you can see Nanshan leisurely. The mountains are getting better and better, and the birds are back. There is a real meaning in this, and I have forgotten what I want to say. "
The first four sentences talk about the relationship between "mind" and "land", that is, the relationship between subjective spirit and objective environment. As long as the mind is far away, no matter where it is, it will not be disturbed by the noise of dust and customs. "Picking chrysanthemums under the east fence, you can see Nanshan leisurely." The first time I saw the mountain leisurely, my heart seemed to be integrated with Nanshan. The mountain breeze in the evening and the returning birds form a wonderful scenery in their hearts, which contains the true meaning of life. This instant induction between the heart and the environment, as well as the joy leading to infinity, can not be ignored. This poem can no longer be described as an idyllic poem, a poem dedicated to homesickness and a philosophical poem, because the emotion, scenery and reason in the poem are in perfect harmony, infiltrating each other and setting each other off into interest. No matter from which angle you appreciate it, you can appreciate different curiosity and endless beauty. This profound and pure artistic realm determines Tao Yuanming's irreplaceable position in the history of China literature.