The appearance of landscape poetry not only makes landscape an opposing aesthetic object, but also adds a theme to China's poetry and opens up a new style of poetry in the Southern Dynasties. Following Tao Yuanming's pastoral poetry, landscape poetry marks the further communication and harmony between man and nature, and marks the emergence of a new natural aesthetic concept and aesthetic interest. It was Xie Lingyun who really made great efforts to create landscape poems and had a great influence at that time and later generations. It was Xie Tiao who inherited and developed Xie Lingyun's poetic style and created a new poetic style. Historically, these two people were called "Dayu" and "Xiao Xie" together. Xie and Xiao are both representatives of landscape poetry and have made great contributions to landscape poetry. Although they are both landscape poets, their creative styles are different.
Look at their similarities first:
1, their language is fresh and delicate. Xie Lingyun's landscape poems vividly and meticulously describe the natural scenery of Yongjia and other places with rich and delicate language, and its main feature is fresh and refined. Famous sentences told many times in the poem Daxie, such as "The beach is clean in the wild, and Gao Yueming is in autumn", "The pond sounds like spring grass, the willows sing birds in the garden" and "The green rocks are high and the clouds are high in the Spring Festival Evening", vividly and meticulously depict the beauty of natural scenery. For example, the Biography of Southern History Yan Yanzhi records: "Yan Chang asked Bao Zhao about himself and his spiritual destiny, and he said,' Thank you like a lotus, naturally lovely; If your poem is embroidered with brocade, it will be full of eyes. In addition, Tang Huixiu said, "Xie Shi is like a lotus, but his face is like gold." Similarly, Xie Tiao inherited the meticulous and fresh features of Xie Lingyun's landscape poems and formed a fresh and beautiful style. For example, his masterpiece "Climbing Three Mountains Late to Wangjing Town": ... Xie Tiao said that "the beauty of a good poetry garden flows like a projectile"
2. Xie He has superb description skills and is good at interpreting epigrams.
The above are the similarities in the creation of two thanks. Although they are both landscape poets, there are always some differences in their creation. In Xie Lingyun's poems, landscape occupies a dominant position in his poems, and "writing things with extreme images" has become his main artistic pursuit. He tried his best to capture the objective beauty of the landscape, refused to let go of every detail, spared no effort to sketch and describe, and tried to reproduce it truly one by one. And take his masterpiece "Climbing the pool upstairs" as an example:
Hong Fei is potential and charming, which sounds far away. Clouds are ashamed of Yunfu, and rivers are deep. It is difficult to enter morality and wisdom, but it is difficult to return to the field. Loyal to the poor sea, lie down? Yes, an empty forest. I was lying on the pillow, ignorant of the season and climate, and I took a temporary peek. Listen to the sound of the waves and look up at the distance? At the beginning of the scene, the wind direction changed, and the new sun became old and cloudy. Spring grass grows in the pond and garden willows become songbirds. Pray for a sad song, and you will feel the songs of Chu. It is easier to live forever than to live alone. Holding exercises is not unique to ancient times, and there is no sign of boredom today.
In the first six sentences of this poem, the poet quoted the meaning of Yijing, and gradually expressed his contradictory and painful feelings when he was demoted to Yongjia, which became deeper and deeper. According to Fang, it is "the first two sentences are suddenly written in the air, competing with each other." Three or four is by introducing yourself. On May 6th, I applied again, so I was embarrassed to do it. Every six sentences, three layers of transmission, is the first paragraph. How nice! "In seven or eight sentences, the poet said," Lie down? For the empty forest, I explained my physical and mental state. Then, I entered the writing scene, because I opened my eyes for a while, I had the opportunity to "look up and overlook", and I felt the spring breath of "a scene changes into the wind, and the new yang changes into the old yin", and then I realized the vigorous vitality of "spring grass grows in the pond, and the garden willows become songbirds". This lively and high-spirited Spring Festival atmosphere made the poet express his anguish and eliminate his pain, but it also touched Xie Ke's homesickness and nostalgia for his friends, resulting in lingering sadness. Finally, the poet can only laugh at himself and say, "Did you practice alone in the past, and now you are not bored?".
As a whole, this poem describes the process of the poet's mood gradually dissolving from the frustration of his official career, and the medium of the dissolution is the natural scenery in early spring. It can also be seen that the scenery in the poem is not a simple scenery, nor is it just the poet's impression of a certain scenery, but a symbol of Xie Ke's inner state after "silently observing the natural scenery".
In other words, the relationship between things and me in Xie Ke's landscape poems is separated, not integrated. Lu Zhenghui has an incisive analysis of this:
There are two layers of things that Xie Lingyun wants to capture in his literary works. The first layer is the nature he observed, and the second layer is the "I" who is observing nature. Only by going deep into the second floor can we really understand Xie Lingyun.
Xie Tiao is the opposite of Xie Lingyun. Although he inherited the meticulous and fresh features of Xie Lingyun's landscape poems, he was different from Xie Lingyun's objective description of landscape scenery. Instead, the description of landscapes is used to express one's feelings and interests, so as to achieve the point of blending scenes, thus avoiding the disadvantages of obscurity, dullness and division in Xie Lingyun's landscape poems, and at the same time getting rid of metaphysical elements and forming a fresh and beautiful style.
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Xie Lingyun was born in a famous family and was brilliant, but his career was bumpy. In order to get rid of his political troubles, Xie Lingyun often makes waves and creates miracles. Depicting natural scenery from different angles gives people beautiful enjoyment.
In addition to the Book of Jin, the Annals of Sui Shu Classics also recorded 14 kinds of Xie Lingyun's works. The collected works of Xie Lingyun (Volume 19) (Liang Volume 20, Volume 1) have been lost since the Northern Song Dynasty. In the Ming Dynasty, Li Xianji and others sorted out Xie Lingyun's works from Selected Works, Yuefu Poems and similar books, which were printed and engraved by Jiao Hong as Xie Lekang Collection.
Poems such as "Climbing the Pool upstairs" are written under different names.
In addition to poetry, Xie Lingyun has written more than 65,438+00 poems, among which "Poem of Mountain Residence", "Poem of Mountain Table" and "Poem of Jiang Fei" are famous. His description of scenery is quite clever, but his achievements are far less than those of poetry. In his early years, Xie Lingyun believed in Buddhism and Taoism, and annotated the King Kong Prajna Sutra and revised the Great Nirvana Sutra. There is a philosophical masterpiece about demonstrating his epiphany. Xie Lingyun also wrote the Book of Jin between Yuanjia and recorded 36 volumes of Annals of Classics, which has been lost. Sui Shu Jing Ji Zhi also recorded Xie Lingyun's book collection (19), which has been lost. In the Ming Dynasty, Zhang Qian compiled two volumes of Xie Kanggong Collection, which was included in 103 collections of Han, Wei and Six Dynasties. In addition, Xie Ji compiled by Ming Dynasty and others. Near the Yellow Festival, there are also notes about Xie Shi.
Although there are many famous sentences in Xie Lingyun's poems, most of them are metaphysical words of mountains and rivers, and there are still the ends of metaphysical poems. Nevertheless, Xie Lingyun's creation greatly enriched and developed the realm of poetry, making the description of landscape independent from metaphysical poetry, thus reversing the style of metaphysical poetry since the Eastern Jin Dynasty and establishing the status of landscape poetry. Since then, landscape poetry has become a genre in the history of China's poetry development.
Regarding his talent, Xie Lingyun once said a wild saying: There is only one stone in the world (that is, ten fights), and Zi Jian (that is, Cao Zhi) monopolizes eight fights. We occupy one fight and the world only divides one fight.
Xie Lingyun is a famous landscape poet in the history of China literature. He is good at describing the experience of sightseeing and natural scenery in rich and delicate language, and has many vivid and beautiful quatrains, which have a certain influence on the development of poetry in Tang Dynasty.