Abstract: The most prominent feature of Tao Yuanming's poems is the unity of simplicity and nature and profound and mellow beauty. His pastoral poems describe simple rural scenery and daily rural life, reflecting his dull mood and interest after retirement. In terms of expression, most of these poems are sketches, and the language is simple and natural, which is rare and gorgeous, but this does not mean dull. In the plain description of pastoral poetry, Tao Yuanming's love for life and nature is contained. Shows his beautiful personality and lofty ideals. At the same time, Tao Yuanming's pastoral poems are rich in artistic conception, and the selected scenery is distinctive, full of poet's feelings, reflecting the poet's personality characteristics. Tao Yuanming is also good at integrating profound philosophy into the images of poetry, making ordinary materials show extraordinary artistic conception, which is very harmonious and often fascinating.
Keywords: fresh, simple, scene fusion
Tao Yuanming was the most outstanding poet in the Wei, Jin, Southern and Northern Dynasties in China, and one of the great poets in the ancient poetry history of China. Influenced by Confucian orthodoxy since childhood, he has the ambition of "helping the poor". But he was also influenced by Laozi and Zhuangzi's thoughts and the prevailing seclusion atmosphere at that time. He loved nature and envied seclusion. The corrupt, dark and dirty social reality not only made his ambition to help the world impossible, but when he was appointed as Peng at the age of 41, he resolutely ended his seclusion for more than ten years, resigned and retired, and resolutely embarked on the road of returning to the fields to be self-sufficient. After returning to the field, the poet devoted himself to friendly exchanges with farmers, and praised the natural and pure pastoral life by depicting infinitely beautiful pastoral scenery, reflecting the ideals and yearning of the broad masses of people for a better life. At that time, metaphysical poetry enveloped the poetic world which was divorced from reality and boring, and created first-class poetry for China. His poems opened up a new field for China's classical poetry with brand-new content and simple and natural style, and became the founder of the school of pastoral poetry. There are more than 120 poems by Tao Yuanming, most of which are attributed to writing. The artistic conception is harmonious and complete, high and far; And full of real and meaningful interest; Language is refined and natural, not carved. These characteristics fully reflect his unique aesthetic taste, artistic pursuit and aesthetic point of view, as well as the life realm of integrating things with me and heart. It has laid the artistic style characteristics of later-generation pastoral poems, and exerted a wide and far-reaching influence on the development of later-generation poems from content to form.
Some of Tao Yuanming's pastoral poems express his carefree mood by describing the quiet beauty of rural scenery and the simplicity of rural life. Sang Ma, which is getting stronger every day, goes for a spring outing, climbs mountains, drinks, reads books, talks with friends, reunites with family members, bathes under the eaves, picks chrysanthemums in the east and spreads its wings in the south wind. He poured out his joy in friendly exchanges with farmers, reflected the ideals and aspirations of the broad masses of the people in pursuit of a better life, and vividly expressed his extreme aversion to the darkness of officialdom and his yearning for a better pastoral 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 plain and natural, cordial and sincere, but it contains a high degree of ingenuity and brushwork.
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 said that "they are all very common scenes, each with its own 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 pure" ("When you respect your brother in mid-December"), 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"
No matter from which angle, Tao Yuanming undoubtedly has a keen sense of the beauty of nature, so he can recreate those simple words into poetic images, clear and natural. For example, "the mountains wash away the mist, and the weather is warm and foggy" (the first part of Fortune) leisurely writes about the early morning situation in the suburbs in spring; "There is wind in the south, and wings are new seedlings" (the first part of Fortune) writes the trace of wind and reveals the wonder of natural creation. "Leaning without hope, the eyes are bright and the eyes are white" ("Guimao listens to his brother in February") writes that the snow is light and implies happiness. "Yuan Ming's poems are rambling at first glance, but when you are familiar with them, there are strange sentences." Su Dongpo does have his unique and keen insights, which can be said to be Tao Gong's bosom friend.
Third, 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 life, without emotion, there is no reason. Without strong emotional infiltration, scenery and reason will lose the vitality of the work. In Tao Yuanming's pastoral poems, birds and beasts. At the same time, poets are good at expressing emotions in reason, visualizing their 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 concrete and conceptual. Look at the fifth part of drinking:
Building a house is under the condition of people, and there are no horses and chariots. When you ask him what he can do, you are far from self-centered.
Picking chrysanthemums under the east fence, you can see Nanshan leisurely. The weather is getting better and better, and the birds are back.
This makes sense. I forgot to say it if I wanted to defend myself.
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 heart is in the distance", no matter where you are, you will not be disturbed by the noise of dust and customs. "Picking chrysanthemums under the east fence and seeing Nanshan leisurely", my heart meets Nanshan leisurely, as if it were integrated with Nanshan itself. The smell of Shan Ye in the evening and the returning birds constitute a wonderful scenery in my heart. And the joy that leads to infinity cannot be ignored. Just like "The Golden Daughter of Ancient Learning" said: "There are chrysanthemums in the fence, so I will pick them, and there will be no chrysanthemums in my heart. See the beauty of the mountain in the evening, and return to the bird. The flowers and birds in the mountains are occasionally opposite, and innocence has its own. They are nameless and innocent.
The third part of Quasi-Elegy is also a masterpiece of four things:
How vast the weeds are and the poplars rustle. In mid-September, severe frost sent me out of the outer suburbs. No one lives around, and the high grave is dying.
The horse crows to the sky, and the wind is depressed. Once the secluded room is closed, you will not go to the DPRK for a thousand years. If you don't go to the DPRK for a thousand years, there is nothing a saint can do.
Everyone who keeps sending each other away has gone home. Relatives or others are sad, others have already sung. What's the way to die? We are all on the same mountain.
This poem first describes the funeral of relatives and friends, and "weeds" and "poplars" set off a sad atmosphere. Then everyone will die, no one can avoid it, and the death of one person has no great influence on the living, so there is no need to be too persistent. The last two sentences end with logical words and control the whole poem. Death is a great puzzle of human beings, which was discovered by Tao Yuanming.
Tao Yuanming doesn't pay attention to the description of the real situation, and most of the shots are unremarkable, and he doesn't stick to the reality in front of him, but only takes the scene that suits his mood, that is, the one he wants; We don't seek similarity, we just sketch the scenery. Natural scenery is just the externalization of the poet's inner feelings. This kind of intentional landscaping method makes natural scenery in a specific environment and integrate with people's life and feelings. It makes the poet's subjective intention and objective situation integrated, noble and charming. It harmonizes natural beauty and emotional beauty, thus creating a high-level intentional landscape. For example,
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, which is not regrettable, but it is not against my will.
Simple fragments in daily life make the whole poem look real and beautiful, affectionate and meaningful. Tao Yuanming loves seclusion, takes part in labor in person, is unrestrained and enjoys it. The feeling of working life and the quiet night view of the mountain village are integrated in a sketch painting. The poet is plain and light, hoes away the filth, and goes home leisurely in the bright moonlight. An open-minded and noble image is presented to us.
The "reason" in Tao's poems is not an abstract philosophical sermon, but a life experience, which contains the interest of life. For example, in the fourth part of "Returning to the Garden", I first said that I traveled far and took my sons and nephews to visit my old friends, but I only saw a "desolate market" and "a place where I once lived", and I also saw "there are remnants of a well stove, mulberry and bamboo". Finally understand that life is illusory and in the end it is nothing. In just 80 words, emotion, scenery, things and reason blend together, which can be said to have reached the natural realm of the unity of things and me and the integration of subject and object.
Tao Yuanming had a great influence on later generations. His bright and majestic mind, upright personality, straightforward attitude towards life, enthusiasm for labor and rural life, and persistent spirit of exploring the true meaning of life and constantly pursuing beautiful ideals have become examples for countless writers and intellectuals with progressive ideas in past dynasties, which has produced great spiritual strength. His plain and natural artistic style and lofty artistic realm, and his rich pastoral poems can be called the treasure house of ancient culture and art in China, which has become the source for people to enrich and develop their literary creation, study and learn from. Successful poets in all previous dynasties drew nutrition from his works and were influenced by his art. Li Bai said, "When shall I go to Pengze and sing a wild poem in Liu Xia? ? "Du Fu said," How can I think like Xie Tao? " Shen Deqian said, "Tao's poems are awesome. Among them, there is a profound friendship that cannot be found everywhere. " The founder of the Tang Dynasty said, "With his innocence, Mengshan people have their leisure, Chu Taizu has his simplicity, Wei has his conflicts, and Liu has his refined virtue, which are all close to his nature." It can be seen that his influence is extensive and far-reaching. He pioneered the pastoral poetry and opened up a new realm of classical poetry. Finally, the school of pastoral poetry was formed, which made it one of the most striking mainstream in the field of classical poetry in China. "Imitation of pottery" and "harmony with pottery" have become a habit throughout the ages, with outstanding works constantly emerging and famous artists coming forth in large numbers. Tao Yuanming deserves to be an outstanding poet in China.
References:
(1) Zhong Rong's Preface to Poetry, Selected Literary Theories of China in Past Dynasties, edited by Zhang Shaokang, Peking University Publishing House, 1st edition, 2003.8.
(2) Tao Yuanming's Collection of Appreciation of Tao Yuanming's Poetry and Prose edited by Li Hua Bashu Bookstore (1988 edition)
(3) Twelve Miscellaneous Poems by Tao Yuanming, and Appreciation Collection of Tao Yuanming's Poems in the fifth series, edited by Li Hua, Bashu Bookstore, 1988 edition.
(4) Tao Yuanming's seclusion and the artistic style of his poems; Capital Normal University newspaper 1995.05 written by Li Hua.
⑤ Appreciation of Tao Yuanming's Poems, edited by Li Hua, Bashu Bookstore, 1988 edition.
⑥ Tao Yuanming and his pastoral poems; Sun Jing wrote Scholars in China +0998+02. 39998.88888888986