Abstract: In the history of poetry, Tao Yuanming and Xie Lingyun are often regarded as two bright pearls in the Song Dynasty. Tao Yuanming is a master of poetic style in Wei and Jin Dynasties, and he is the first person to create pastoral poems in the history of literature. Xie Lingyun created a new style in the Southern Dynasties. Tao's "pastoral poetry" and Xie's "pastoral poetry" occupy a decisive position in the history of ancient China literature, and later generations will call them both pastoral poetry. This paper will analyze the differences and reasons of Xie Tao's poems from two aspects: poetic style and language.
Key words: metaphysical poetry, rhetoric, interest, structural characteristics, family background.
Tao Yuanming and Xie Lingyun are outstanding representatives of China ancient pastoral poetry school. They lived in almost the same era and were ideologically influenced by Confucianism and Taoism: they all had persistent consciousness of saving the world, loved nature and wandered among the mountains; They have similar life experiences of being an official and hiding, hiding and being an official, and finally living in seclusion. Their pastoral poems show obvious differences in artistic conception and artistic structure, which is not only related to pastoral poems as artistic objects, but also the natural manifestation of poets' aesthetic psychology.
First, compare the characteristics of their poems.
(A), the inheritance and development of metaphysical poetry
Tao Yuanming inherited and developed metaphysical poems and integrated them into daily life. Metaphysics emphasizes that the ontology of the universe is a metaphysical "Tao", and the ups and downs of the four seasons and everything are the external manifestations of "Tao". Starting from this concept, we can guide people's understanding and pursuit of nature and the concept of harmonious unity between man and nature. With the mountains and rivers in the south of the Yangtze River, the beauty is lovely, which is full of fresh excitement for the northern literati and arouses their interest in the nature of mountains and rivers. Metaphysical poetry in the Eastern Jin Dynasty is therefore brewing a new and important thing, which is the bud of landscape poetry. Tao Yuanming's pastoral poetry, in a sense, is also a branch of landscape poetry, which has the same direct relationship with metaphysical poetry. For example, there is a sentence in Drinking (Chapter 5): "There is a real meaning in it, but I forgot what I said when I tried to distinguish it." The relationship between "speech" and "meaning" can be found in his life. He picked chrysanthemums under the east fence and happened to see Nanshan, the birds returning from Nanshan, and realized the true meaning of life.
Xie Lingyun, on the other hand, swept away the dullness of metaphysical poetry, turned landscape description into the main body of poetry, turned metaphysical poetry into landscape poetry and gained new life. His poems first describe the scenery, and then summarize metaphysics. Mountains and rivers are his means to realize morality. For example, the first six sentences of "Stone House Returning to the Lake" are "The climate has changed suddenly, and the mountains and rivers are full of splendor. The lightness of the mountains and rivers makes people feel relaxed and happy, making people wander in the mountains and rivers and linger. It's still early from the valley, and it's too late when the boat gets on board. The Woods and valleys gather in the evening scenery, and the sunset clouds float in the night sky. Water chestnuts and lotus flowers echo in the blue river, and reed mats grow with wheat. I am going to the south, and I am happy to suppress the east. " First, I have been writing about my impressions of visiting the stone wall all day, and then I have written about the night scene in the lake in detail. The last two sentences are "something I care about, but I don't mind." Send a message and bring a visitor to try this push. "Hyunri, who was enlightened after swimming, conveyed his natural pursuit of seclusion between mountains and rivers, so as to achieve equality between life and death, forget all the honors and disgrace, and achieve everything.
(2), in the use of language and rhetoric.
In his description of nature, Xie Lingyun likes to use unfamiliar words to describe things that are rare or difficult for ordinary people to see, so as to show off his erudition and talent. Xie Lingyun is a poet and a famous fu writer. Although the style of editing and distributing in Han Fu has been weakened in his hands, it has not disappeared. Xie Lingyun applies the technique of writing fu to poetry, and the artistic conception structure of poetry is characterized by giving consideration to everything. In poetic language, it is the use of all kinds of strange words, such as "crouching". "Lu Zhen is fresher" and "Kun". Xie Lingyun's ideological foundation of Confucianism, Buddhism and Taoism, and his long-term contact with many famous monks and wizards, not only made him prefer seclusion and seclusion, but also prompted him to use a lot of Zen poems and Buddhist allusions in human poems, such as "Resting the Heart", "Pure Land", "Three Realms" and "Fa Cang", namely "Eating Monks in Quxi Mountain" and "Ode to Pure Land"
Contrary to Xie Shi, Tao Shi uses a lot of slang, vernacular and spoken language, and the language is pure, natural and plain. In Tao poetry, it is difficult for us to find gorgeous words, gorgeous colors and unfamiliar words. Shi Tao's words are mostly simple and common, such as "eighty-nine huts", "grass full of bean sprouts", "knocking at the door in the morning" and "the storm is coming". These words, which are plain to others, give people a fresh feeling as soon as the poet writes them, and make people feel cordial and natural when reading them.
From Xie Shi's complicated language and Shi Tao's concise and beautiful language, we can also understand why Xie Shi is not as widely read as Shi Tao.
(C), the difference between aesthetic taste and structural characteristics
Compared with pastoral poetry, it is not difficult to see that Xie pays more attention to the delicate description and description of local landscapes, while Tao pays more attention to the contrast and transmission of the harmonious atmosphere of the whole pastoral poetry.
Xie Lingyun is good at discovering and describing the characteristics and nuances of landscapes. For example, "the dense forest is full of clear water, the distant peaks are hidden", "spring grass grows in a long pool, willow turns into a songbird" and so on, but he has no intention of completely describing the scenery. Dynamic trips often make his brush strokes jump quickly from one scene to another, so Xie Shi is a little thin. Although many landscape scenes are described exquisitely and vividly, sometimes the transition rhythm between scenes is too fast, which seems to lack the internal organic connection and harmonious transition. Compared with Tao poetry, Xie poetry pays more attention to the order of landscape in the dynamic process, but ignores the simplicity and order of space. He is good at describing the dynamic process of natural scenery, refining and concentrating the emotional scenery of different times and places in a poem. His landscape poems often change shape with the progress of the tour, reviving feelings and understanding in the description of various landscape scenery.
Tao Yuanming pays more attention to the harmony and perfection of the whole realm, trying to convey a certain atmosphere and artistic conception. Tao's poems are not as rich and dense in descriptions of scenery and emotions as Xie's. The transformation of scenery and poet's nature makes the emotional evolution slow and natural, without abrupt disharmony. There is a harmonious vitality and charm between scenery, pastoral scenery and poet's emotion, which has become a perfect artistic realm. For example, the second sentence "He San Quan" in the Book of the Republic of China, as the introduction and foil of the "Mid-Mid-Cool Autumn Festival", wrote: "There is no air in the dew, and the sky is high and clear. Yi Feng, in the distance is the amazing Ling Censong. Fragrant chrysanthemums are in full bloom in Lin Yao, pine trees and Guanyan line. With this beauty, it is outstanding for the cream. " The scenery written has a lofty and pure meaning, just like the "Cool Autumn Festival". These words draw a pure and elegant realm, like a wonderful idea written in a dull autumn. In a word, in Tao's poems, not only the pastoral scenery is integrated with the poet's feelings and thoughts, but also the scenery itself is rich in internal harmonious organic connection and concentrated charm.
Second, the comparison of their family background and experience.
From the above aspects, we know that the poems of Xie Tao and Xie Xie are both landscapes and pastoral landscapes, but their styles are quite different. I think the formation of their poetic style is closely related to their family background. Tao Yuanming and Xie Lingyun were born in very different families, and their growing environment had a very important influence on their character formation and later poetry creation style and concept. Next, I will simply analyze the reasons for their different poetic styles from this aspect.
Tao Yuanming was born in a declining scholar-bureaucrat family. Great-grandfather Tao Kan, though prominent, had lost his former glory in Tao Yuanming's father's generation. Therefore, Tao Yuanming lived in poverty since childhood, that is, before Taiyuan became an official in the eighteenth year. In "The Fifth of Twelve Miscellaneous Poems", he wrote: "When he was young, he didn't like happiness", indicating that he didn't have any experience of traveling and enjoying himself when he was young, and he was immersed in reading most of the time. As the saying goes, "Young people are poor, but they can swim well in the Six Classics" (twenty drinks and sixteen drinks). He doesn't like making friends either. "When he was young, he was entrusted to play the piano" (Qua, a classic that initiated the town army to join the army), indicating that he had no interest in interpersonal communication, and his only hobbies were playing the piano and reading. This poor, simple and temperate life had a very important influence on the formation of Tao Yuanming's personality. His poems are also easily understood and appreciated by people.
Compared with Tao Yuanming, Xie Lingyun's adolescence is very different. Like Jia Baoyu in A Dream of Red Mansions, Xie Lingyun enjoyed all the splendor in the world when he was young. Xie Jia was a big family in the Eastern Jin Dynasty, and Xie Jia's children were all important people in the DPRK, who loved them all their lives. Although Xie Jing, Xie Lingyun's father, died early, he was not very clever and had no reputation, but under the umbrella of his family, Xie Lingyun was still influenced by aristocratic culture, education and lifestyle. From this, we can also think of Xie Lingyun's aristocratic hobby: eclectic and full of mountains and rivers. His interest in scenic tourism was cultivated in his family. According to this legend, he "has a rich career because of his father's ancestors", so he led hundreds of followers. "Digging mountains and lakes has no merit." After being demoted, I enjoyed myself everywhere I went. When he was in Yongjia, he traveled all over the famous mountains and rivers in various counties. After going to sharping, he redecorated his father's old house, and built a business of "relying on mountains and rivers" to "make the beauty of seclusion". He said, "If you look for mountains and mountains, you will build steep mountains, with thousands of rocks, so everything is ready" and "March out of the country, or travel for 60 or 70 miles a day, and never return for 10 days", and his travel can be said to be selfless. He also personally participated in the repair and improvement of the garden. "Planting bamboo trees and violets across the pond" shows the love for the garden cause. This laid a solid foundation for Xie Lingyun's landscape poetry creation. His extensive travel and profound knowledge can also be seen in his gorgeous poetic style.
In a word, the artistic differences between Tao Yuanming and Xie Lingyun are inseparable from their personal differences. It is these differences that promote and promote the development of ancient poetry. If Tao Yuanming is a master of ending a generation of poetic style, then Xie Lingyun is the initiator of opening a new generation of poetic style. In the process of Xie Lingyun's vigorous creation of landscape poems, in order to adapt to the new theme content and the expression of new aesthetic interests, new characteristics such as "feelings must be extremely beautiful to write things, words must be exhausted to seek novelty" and "temperament gradually fades and emotions are wide open" have appeared. This new feature is an innovative phenomenon in the development of landscape poetry. This new feature became the key factor of "poetry operation", which profoundly influenced the poetry style in the Southern Dynasties and became the mainstream of the poetry style in the Southern Dynasties. Moreover, this poetic style has a very positive significance to the formation of poetic style in the prosperous Tang Dynasty.
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