Wang Wei's poems depicting pastoral scenery include "Gift to Pei Shidi", "Pastoral Works in Spring", "New Sunny Ambition", "Weichuan Tianjia", "Tianjia", "Qishang Pastoral Event" More than 10 songs, including "Pastoral Music" and "Pastoral Music", outline the ordinary and beautiful daily scenery of the countryside. Wang Wei wrote very peaceful and tranquil farm life, and made Mr. Tian Fuye a leisurely and contented hermit-like character. He expressed his love for leisurely life through these poems.
The slanting light shines on the village, and the cattle and sheep return to the back alleys.
The old man in the wild misses the shepherd boy and leans on his stick to wait for the thorn tree.
The pheasants and wheat seedlings are beautiful, and the silkworms are dormant and the mulberry leaves are sparse.
Tian Fuhe is hoeing and standing, talking to each other.
This envy of leisure and relaxation fades away with sadness.
This poem describes the leisurely life of the Tian family. Facing the setting sun and nightfall, the poet suddenly felt envious at the scene of the Tian family's peaceful return home at night. The first four sentences describe a leisurely scene in the Tian family at dusk. Five or six sentences are about farming. Seven or eight sentences describe farmers’ leisure time. The last two sentences describe envy due to leisure. The whole poem uses line drawing to describe the dusk scenery of the early summer countryside in the Weihe River Basin, which is fresh, natural and full of poetry. Everywhere in the village is covered with the afterglow of the setting sun, and cattle and sheep return one after another along the deep lanes. The old man misses his grandson who is grazing, and his stick is waiting for him at the firewood gate of his house. The pheasants are crowing, the wheat is about to ear, the silkworms are sleeping, and the mulberry leaves are already thin. The farmers returned to the village with their hoes behind their hands, laughing and loving each other. Why don't I envy you for being so comfortable? I couldn't help but chant "The Decline" sadly.
The spring doves sing on the house.
The apricot blossoms beside the village are white.
Carry an ax to cut down the distant mountains.
The lotus picks up the spring veins.
Return (one is new) Yan recognizes the old (one is old) nest.
Old (one trick) people look at the new calendar.
When I came to the table, I suddenly couldn’t control it.
Melancholy (a way to see off) guests who are traveling far away.
Explanation of the poem
A dove was chirping on the house, and large white apricot flowers were blooming beside the village. He held the ax to straighten the long branches of the mulberry tree, and picked up the hoe to inspect the path of the spring. Last year's swallow flew back, as if it knew its old nest. The old owner of the house was looking through the New Year's calendar. He raised his glass to drink, but stopped again. Thinking of leaving his homeland to be a guest, he couldn't help but feel melancholy and regretful.
Meng Haoran’s pastoral poems are not many in number, but they have a strong sense of life, such as "Passing the Old Friend's Village", "Wandering and Thinking Back, with Wang Baiyun Behind", etc. The simplicity of farm life, the deep friendship with old friends, and the rural atmosphere The harmony leaves an unforgettable impression on people.
Passing through my old friend’s village
Meng Haoran
My old friend brought chicken and millet and invited me to Tian’s house.
The green trees are adjacent to the village, and the green mountains and hills are sloping outside.
Open a dining room and chat over wine.
On the Double Ninth Festival, I will come to see chrysanthemums.
Translated poem: This is a pastoral poem that describes the quiet and leisurely life of a farmhouse and the friendship between old friends. The poem flows naturally and smoothly from "invite" to "to" to "look" and then to "appointment". The language is simple and unpretentious, and the artistic conception is fresh and timeless.
My old friend prepared yellow rice and roast chicken and invited me to be his guest in his simple Tian family. Outside the village is a circle of green trees, and on the outskirts are green hills. I opened the window and faced the fields. I drank wine and chatted about cultivating mulberry and hemp. Wait until the Double Ninth Festival in September to taste chrysanthemum wine again!
"Wandering and thinking about the return, Wang Baiyun is behind" Meng Haoran
It was noon when he left the valley, and it was already midnight when he got home. Looking back at the road down the mountain, I saw cattle and sheep.
The woodcutter is secretly missing each other, and the grass and insects are cold and unheard. The Hengmen is still open, and I stand looking at my husband.
Translated poem: The poem is about traveling with my friend Wang Jiong to reflect on the scenery. When I came back, I found that I was missing my companion, showing the feeling of waiting and expectation. The first couplet goes from "noon at the end of the pavilion" to "after midnight", which indicates that the tour time is very long, which shows that the scenery is charming, which has laid the groundwork for wandering around and getting lost. The chin couplet writes that I have lost my companion, and when I look back, I see only cattle and sheep, which means I don't see Wang Jiong, which already contains a feeling of hope. The neck couplet describes what was seen and heard at dusk, and the loss of shadows of people and the loss of voices of insects are metaphors for the lost mood. The tail couplet is about feeling the scenery and environment through unexpected loss of companions while waiting, and takes photos of the scenery in a unique mood. The expression is natural and the scenery follows the emotion.