Among Tao Yuanming's many poems, He Liu Chai Sang has always been regarded as an important work to explore the relationship between Tao Yuanming and Buddhism, but some people think that it is a misunderstanding to associate it with Tao Yuanming's "elegance does not want to be a lotus society". In the Qing Dynasty, Wu Zhantai's Notes on Shi Tao said that "this poem was written for Lushan Mountain without wine", Zhang Yu _ regarded it as "farewell to Liu's hometown and Liu Zuo" (appreciation of ancient poems), while Fang Zhao Wei said it was "singing with Liu Tong". Opinions vary, but it reflects the potential capacity and tension of this poem. Thematically, this poem is an idyll, which combines pastoral poetry and friends' poems. The first four sentences and the last eight sentences are about friends, and the middle eight sentences are pastoral.
The first four sentences of this poem constitute an independent whole. "Shan Ze has seen the move for a long time, but Hu Shi is hesitant" is Liu Chai-sang's question, and "being old and not forbearing to live" is Tao Yuanming's answer, and the two are integrated. Introducing other people's questions into poetry, asking and answering questions, is a new creation of Tao's poetry. Shi Tao's Twenty Drinking Poems (Part 9) "Under the roof of rags, it is too cold to live at heights. I have been in Shang Tong all my life, and I wish you a muddy body. " Directly insert the language of Tianfu into poetry; "Nine Days of Leisure" "How to learn, and watch the time in the air! Chen Jue is ashamed _, and the cold man is proud of himself. "He directly quoted the advice of others into the poem, not Tao Yuanming's self-report. "The first two sentences are' How to learn and look at the fortune in the air', and the last two sentences are' Dust Jue is ashamed of the air _, and those who are poor are proud'. Tao Yuanming compared himself to "absolute" and "virtual _", indicating that he didn't want to be polluted by dirt; "Chinese dialect" is a metaphor for those who are employed as officials, and "being proud of oneself" shows that Tao Yuanming is unwilling to follow their example and everyone does his own thing. Judging from the way of answering these four sentences, it may be that Tao Yuanming was persuaded to be an official before this (for example, in the preface of "Gui Xi Ci", "Many relatives advised me to be an officer"), and Tao Yuanming wrote this poem to show his long-term seclusion and count it as an answer. This question-and-answer writing paradigm has a great influence on Du Fu's later creation of "Three Officials and Three Farewells".
"Yamazawa has seen the move for a long time, and Hu Shi is hesitant" is a stroke from the sky; "I am old, so I can't bear to say it." Suddenly, the first sentence is indifferent, and the second sentence is urgent, which lays the tone of the whole poem. The following sentences "good times" and "strange feeling" are closely related to "staying at home without bearing it" and are the foothold of "bearing"; "Zhang" and "West Foothill" show the comfort and leisure of hermits and their surrounding environment. The whole construction is a picture of tranquility woven by people and things. This quietness, with an "advance" and a "retreat", suddenly seems to be full of movement, slightly ups and downs, rippling. This kind of "advance" and "retreat" has a distinct sense of direction, as if extending from the edge of a small corner of the picture to the center. The lightness and agility of "advance" and the slowness and stumbling of "retreat" form a sharp contrast in the same dynamic picture. Whether it is urgent or slow, the goal is to convey the same strong sense of belonging, a natural, warm and spiritual home. "Moment" gives people natural spring scenery, and the pastoral scenery of the following sentences "New Territory", "Gu Feng" and "Chunlao" all revolves around "Moment". "Beauty" has become the "poetic eye" of eight sentences in pastoral scenery writing. "Strange feelings" are profound and intriguing. Tao Yuanming is curious, loves to read strange books, and likes to use the word "strange" into poetry. Images such as whimsical wings, whimsical prose, whimsical songs, whimsical light, whimsical posture and whimsical traces emerge one after another, creating a fantastic world.
If it is said that "the beauty is in the strange bosom, and the staff is still in the west", it is even more elegant and leisurely, then "people will always see the ruins when they go to the empty building" will suddenly decline. "Wild Road", "People Don't Return", "All the Time" and "Ruins" are hard words and heavy ink. These two sets of shots are obviously very different, but they are all true depictions, and they are all true portraiture of what the poet saw on his way back to the West. Jiangzhou, where the poet lived, was a military center in the Eastern Jin Dynasty, and was repeatedly ravaged and plundered by rebels from Huan Xuan and Lu Xun. The poet described this decline more than once: "Try to take your sons and nephews to the wilderness. Wandering among the mountains, unwilling to live in the past. There are remnants in the well, and the mulberry and bamboo rot. Ask people who get paid, this person is different. The wage earners told me that I can't rest in peace after death "(Return to the Garden, Part IV) and" If the building is not old, the house will be untimely. The former residence of Fuzhou, the neighborhood is old and sparse ("Returning to the Old Residence"). Looking back at these poems, the tone seems dull, but the power to penetrate the back of the paper is by no means inferior to "white bones are exposed in the wild, and there is no chicken crow in a thousand miles" and "the wine in Zhumen stinks, and the bones on the road freeze to death". Plain, but enough to penetrate time and space, spread from ancient times to modern times. This kind of writing of "poetry and history" shows that the poet did not forget the reality when enjoying the comfort and floating of "its moments of beauty into the strange bosom" He is still answering the reason of "forbearance" in "forbearance". Pro-aging is always on the one hand, "good times" is on the other hand, but the "forbearance" that he can't forget most is probably the shocking ruins. These "barren roads" and "ruins" that can be seen from time to time in finishing have become the biggest reason why he can't see "movement" in the mountains. "Maoci has been ruled, and Xinjiang should be returned to She", which clearly shows the new scene of the poet's arrangement; "Gu Feng turns bitterness into thinness, and spring mash relieves hunger", a kind of exhaustion and joy after finishing is beyond words and vividly on the paper. The four sentences are not only a description of natural pastoral scenery, but also a symbolic portrayal of social scenery. Tao Yuanming didn't really forget the world. In the era when Pepsi is dying and Confucianism is lost, he keeps in mind the legacy of "former teacher": don't worry about poverty, but do your best. After he abandoned his official position and retired to seclusion, he engaged in the cause of giving lectures (preface to "Feeling a Scholar Never Meets Fu") and taught his disciples. Therefore, "Maoci" and "New Field" in the poem are not simple natural images, while "Yu" in Qu Yuan's Lisao is not only a nine-flowered orchid, but also a hundred-acre tree. Like the streetcar, Za Du Di, Lan, Hui,, Streetcar, is not only the name of herbs, but also synonymous with the poet's cultivation of talents. Therefore, in these four sentences, there is a comparative dark body.
In the following six sentences of "Habitat", the author exhorts people from a general point of view to recall earthly things and busy things, but now years have made people farther and farther apart. Farming and weaving, as long as it is enough, the requirements are not high. After a hundred years, the body and reputation will be submerged! This idea that life is short naturally has negative elements, but the view that the floating clouds in the works make me famous is like a refreshing agent, and it is also an excellent warning article for those who are keen on licking blood on the knife edge.
The language of the whole poem is simple, plain, inspiring, cordial and touching, giving people a sincere and easy-going feeling.