In spring, as long as you sow a seed, you can harvest a lot of food in autumn.

There are no idle fields in the four seas, and farmers starve to death!

At noon in summer, the sun is very hot, farmers are still working, and beads are dripping into the soil.

Who knows that every grain of Chinese food is hard?

Shen Yuan Lee's 20 new Yuefu poems have not been handed down. And two poems of sympathy for farmers with the same idea and theme (also known as two ancient poems) can make up for this shortcoming.

The first two sentences of the first poem, in the form of dialogues, depict a picture of farmers' working life for readers. The words "spring" and "autumn" are used to refer to farmers' working time for one year. The cage of "planting" and "harvesting" contains farmers' hard work for one year, and the harvest scene is described by changing "one millet" into "ten thousand seeds". The poet wrote this way, although there is no exaggeration, but he went to the rough and got to the point, thinking that the harvest of grain came from the labor of farmers. The third sentence goes further, from the horizontal direction of space. The word "nothing" connects "four seas" and "idle fields", which means that there is no barren land under the whole world; Sow ten million seeds, harvest one trillion Jin of grain, and return to the warehouse. What a magnificent view! This sentence is the pivot of the whole poem. It connects one or two sentences, from point to surface, from micro-analysis to macro-investigation, which makes the whole poem have the typical significance of seeing the big from the small. After reading this poem, it seems that the poet will describe the prosperity of "rice flow is fat and white, public and private warehouses are rich" during Kaiyuan and Tianbao years. However, at the end of the poem, it is not a scene to celebrate the harvest, but a tragic picture: farmers who have created such great wealth will starve to death. Because the third sentence has completely written the fruits of spring planting and autumn harvest, it seems that a beautiful picture of life is in front of us, and the fourth sentence suddenly falls into a deep valley, which is more dignified and painful. The unexpected ending of the fourth sentence gives another explanation to the meaning of the third sentence. The sharp contrast and huge gap will naturally make readers have a puzzling and thought-provoking question: why do farmers starve to death after making great contributions? The author did not give a positive answer, but left it to the readers to think for themselves. Here, everything is so sudden, everything is so casual, everything is so subtle, everything is so clear.

The second poem is a supplement and explanation to the previous poem. A sentence or two shows a realistic picture with a three-dimensional sense; At noon in the scorching sun, farmers are weeding and loosening the soil in the field, and sweat drops on the scorching land. It is precisely because of the sweat of thousands of farmers in Qian Qian, Qian Qian that "a grain of millet" has been cultivated into "10,000 seeds" and "there are no idle fields in the four seas". And these hard-won fruits of labor have entered the pockets of the rich and become a good meal in their plate. This is a strong contrast, a huge contrast: farmers have worked hard all their lives and eventually starved to death in the streets; On the contrary, wealthy families enjoy it, but they don't cherish food and don't know it's hard to come by.

The contents of these two poems are both relatively independent and closely related. Its greatest feature is that it touched the disadvantages of the society at that time and was incisive and incisive. The poet described the life and fate of farmers in the Tang Dynasty and even the whole feudal society from a macro perspective, as well as those unreasonable social realities, and put forward problems of universal social significance that everyone cares about in a simple way. It is not a simple preaching of "people are the foundation of the country, and foundation is the foundation of the country", but a highly summarized artistic crystallization that embodies the author's feelings and hard work. The language of the two poems is popular, concise and profound, both like ballads and proverbs, which also enhances the artistic appeal of the poems.

At the beginning, Gong Li went to recommend him, trying to use "antique" to ask Lu Hua for light and warmth. He said that it was warm outside Qiyuan, and his brother Gong Gong said, "I see Li's Twelfth Bachelor, and I am sure that I am an outstanding minister. "As he said. (Wang Shu's Tang Yulin, Volume 4)

"Poetry has other interests and has nothing to do with reason." However, the truth is not enough to hinder the beauty of poetry, such as Yuan Cishan's A Trip to the Spring Mausoleum, Meng Dongye's Ode to a Wanderer, Han Tui's Detention of Youcao, Li Gongtui's Compassion for Farmers, etc., which are all really advocated by the Six Classics. Lotte's "Wei Shu" said: "Articles are written in time, and songs and poems are written in things." But what he lost in his life, such as the poem "Cry a Hole", is not in harmony with the public. This is also called "keeping promises is not far away." Therefore, it is necessary to supplement the words with reason, to benefit the ear, and to be unreasonable. ("Poetry of Heshang Wine Garden", Volume 1)

This poem is written by the public, so it should be written frequently. The word "people" in this issue must be pointed out; If the word "bitterness" is made clear, then the word "sadness" is also among them. (Xu Zeng's Talk about Tang Poetry, Volume 9)

Poetry is unintentional, intentional and wordless. For example, Nie Zhongyi (Li Shen) said, "The day of weeding was noon, and sweat dripped down the soil. Who knows that the Chinese food on the plate is hard. " Poetry is rare. (Wu Qiao's Poems Around the Furnace, Volume 1)

This kind of poem wins with pure meaning, not with words. The change of the wind in Sui Dynasty. (Li Zhi's "A Brief Record of Poetry Change")