1. Thought To understand the connections and differences between their poems, we must start with their thoughts. Their different thoughts and life experiences determine the theme of their poems, and have a more profound impact on their poetic art and expression skills. Tao Yuanming was born in a declining official family and had a great revenge for helping ordinary people. He worked as a few small officials. He is high-definition in Geng Jieqing, free and easy, simple and kind, and hates political corruption and officialdom struggle. Because he didn't bow to the children in the village for the sake of fighting rice, his arrogant personal nature in Geng Jie was incompatible with the habit of catering to officialdom, which was the inevitable result of his return to nature when he could not adapt to officialdom. Xie Lingyun was born in the gentry class, and Liu Song adopted the policy of suppressing the gentry. In order to avoid political persecution and balance fierce inner conflicts, he had to adopt the philosophy of seclusion, staying in officialdom and seclusion in mountains and rivers, which not only achieved temporary peace of mind, but also achieved the purpose of causing far-reaching harm to the whole body. It can be seen that Xie Lingyun is obsessed with officialdom. There is an essential difference between Tao Yuanming and his complete break. In his poems, Tao Yuanming blends into the countryside as a hermit to show his pleasure, while Xie Lingyun amuses himself by traveling around the mountains. Secondly, it is difficult to understand the similarities and differences of Xie Tao's poems only from the ideological point of view, and also from their actions, namely seclusion. During the Eastern Jin Dynasty and Liu Song Dynasty, there were many hermits in China. Most of them joined the ranks of seclusion because they were unable to serve the country because of avoiding war, political darkness and bureaucratic strife. They tried to take seclusion as a "shortcut to the south" to get the opportunity to be an official. This kind, one is an official, the other is a hermit, hoping to make a comeback through appropriate opportunities. This is inevitably related to the content and expression of their poems. When he was a teenager, Tao Yuanming lived in his hometown, personally experienced rural life and had a deep understanding of the countryside. As he himself described it, "a teenager is poor, but he can swim well after six classics." At first, he worked as a policeman under the warlord and careerist Huan Xuan. I deeply feel that my ambition and revenge have not been put to good use, and I have no face to work for ambitious people. Later, when he became a county magistrate, he resigned from his official position because he refused to kneel for the children in the village, and became the spiritual home of frustrated literati in later generations. Whenever he is frustrated in politics, he comforts himself with Tao Yuanming's deeds. He kept making painful choices in his career and seclusion. He finally got rid of all his troubles, resolutely returned home and began to live in seclusion. It can be seen from here that Tao Yuanming's seclusion is a real seclusion, a conscious act after seeing through the officialdom, and there is absolutely nothing false in it. In his poems, he repeatedly expressed the happiness of going home. The fish returned to the sea. The smell of birds entering the mountains. From those poems, we seem to hear hearty laughter and brisk steps. The feeling of detachment, such as unloading a heavy burden, pervades the poet's spiritual world. Mentally speaking, Tao Yuanming's seclusion is happier than Xie Lingyun's and his mental burden is much less. His poem is written like this: "I read when I am cultivated." It can be said that among the ancient literati, only Tao Yuanming is really hidden. It is inseparable from Tao Yuanming's love for nature. He was a real peasant hermit, which was unimaginable in the Jin and Song Dynasties when the feudal hierarchy was strict. Moreover, Tao Yuanming also personally participated in rural labor, and praised the valuable qualities of ordinary farmers and the deep friendship between neighboring villagers in his poems. At that time, it was popular among literati to despise labor production, and Tao Yuanming set an example. Even if he was hungry and cold, he did not erase his firm belief. Therefore, in Tao Yuanming's poems, we can see the real scenes of rural life everywhere. We can clearly appreciate the strong local flavor, close to rural life, without any far-fetched and artificial, and natural innocence has almost become his special term. Xie Lingyun lived in seclusion to avoid political persecution. Because he is a descendant of the clan and a legacy of the previous dynasty, he lived a miserable life in the policy of suppressing gentry in Liu and Song Dynasties. He is rich in material resources. So, I can travel and have fun. Xie Lingyun is keen on officialdom and hopes to make contributions as an official. His seclusion reflects his position in the political struggle from another angle. When the political struggle was fierce, he lived in seclusion to avoid disaster, but when everything was calm, he was eager to be an official. This painful mood has been with him all his life, and it was impossible for him to give him a chance to give full play to his talents at that time. Therefore, he can only amuse himself and relieve his depressed mood by sightseeing. These conditions have led to poverty and emptiness in his poems, and there are not many themes, so his evaluation by later generations is very pertinent. The different life experiences, thoughts and feelings of Tao Yuanming and Xie Lingyun are fully reflected in their respective poems. Tao Yuanming, who is in a desperate situation, can finally blend into the countryside calmly and complete his aesthetic pursuit in the idealized countryside, so his poems are plain and natural, reaching a realm of unity of things and me. Rich and difficult, Xie Lingyun never got rid of the temptation of worldly fame and fortune, and always put himself out of the landscape. His poems often reveal a contradictory and painful emotion, and the figure of the author always appears in his poems. Tao Yuanming's thought of advocating nature has always occupied a dominant position. He retired from his official position many times and finally lived in the countryside for a long time. If Xie Lingyun's retirement is the result of the pressure from the real society and the upper rulers, and it is a passive acceptance, then most of Tao Yuanming's pastoral seclusion is the inevitable reflection and active pursuit of his life ideal. Every retirement is a contradiction between his ideal and ugly reality, not obvious external pressure. Although both Tao Yuanming and Xie Lingyun had contacts with Hui Yun, a monk at that time, Tao didn't accept Buddhist thoughts like Xie, and Tao's thoughts also lacked various Buddhist concepts of reincarnation and reporting good and evil. It is precisely because Tao Yuanming loved nature since he was a child that he has always held the Taoist thought of quietness. Therefore, during his retirement, he can calmly accept the pastoral life as his living environment. Therefore, in his pastoral poems, he not only expressed his love for the countryside, but also endowed it with new life and aesthetic value. The first song of his "Return to the Garden": No rhyme, naturally love the hills and fall into the dust net by mistake. Thirty years later, birds love the old forest, pond fish miss the old source, and open up wasteland and return to the garden. There are more than ten acres of square houses, eight or nine thatched houses, the eaves behind the elm Liu Yin, the warm and distant villages in front of Luotang, Li Tao, the smoke from the yiyi market, the barking of dogs and the crowing of mulberry trees. There is no dust and sundries in the yard, and the quiet room is comfortable and leisurely. Trapped in a cage without freedom for a long time, I finally returned to the forest today. The first four sentences of the poem describe their unfortunate fall into the net, and the last two sentences illustrate their inner pain in a comparative way. The middle eight sentences try to describe the environment of rural life, from near to far, and then to the edge. The last two sentences directly express the happy mood of returning to nature. Combined with the whole poem, it is not difficult to see that the author loves rural life and hates officialdom. On the contrary, although Xie Lingyun's landscape poems can also express landscapes, the author's attachment to the world often weakens his love for landscapes, while Tao's leisurely feelings come from his real experience of life. Xie Lingyun's good family background, superior family conditions and good personal talent have given him endless talent and wisdom, and also brought him endless confusion and contradictions. Throughout Xie Lingyun's life, although there have been brilliant and high-ranking officials, it has always been accompanied by pain, frustration and loneliness. The contradiction between being an official and living in seclusion has been bothering him. Xie Lingyun's family background and life experience made him deeply influenced by Confucianism. The sinister reality and the disappointment of his official career forced him to get close to Buddhism and get rid of the suffering of reality by returning to nature. Xie Lingyun's yearning for seclusion in the mountains and forests is very complicated, including his dissatisfaction with Liu Song's political treatment to show his unwillingness to cooperate with the new regime, and his own envy of that secluded and carefree life. Whether working in Beijing or indulging in other counties, I have never forgotten the mountains and rivers and never given up my plan to live in seclusion in the future. "I have never wasted the hills and valleys of the past; I don't return to the mountains and rivers, and my heart is lonely. " In short, Xie Lingyun did have a plan to live in seclusion all his life, but this feeling was sometimes strong and sometimes weak. It is precisely because of this that the feelings in his landscape poems not only enthusiastically praise the natural landscape, but also talk about the world of life. The lyrical (reasoning) form of his landscape poems is also the true expression of his inner feelings. Third, the content of poetry In terms of poetry content, Tao Yuanming naturally writes about rural scenery, but his main description objects are rural life, farmers and farming. Xie Lingyun's poems are dominated by mountains and rivers. He mainly writes about poets' aesthetic feelings about landscapes, and his poems are often associated with Ji Xing. Tao Yuanming advocates and loves nature subjectively, but objective conditions also force him to do so! So, he experienced everything that an ordinary farmer experienced, even begging for food! Spring ploughing, autumn harvest and winter storage, beans are planted in the ground, and the stars carry the moon. As a poor and happy man, he cultivated the land and took part in agricultural production and labor. Only the social life experienced by the writer can become the material of the writer's writing, and the reader can understand the writer's mood more truly. After a thousand years, readers can still appreciate the true meaning contained in Tao's poems! In Xie Lingyun's poems, it is no wonder that he died young, with beautiful lakes and mountains, and traveled in a Range Rover. In his works, we seem to follow the poet to visit one wonderful world after another, as if it were a neat prose of landscape travel. The poet looked at all this from a bystander's point of view, and it was inextricably linked with the scholar-officials' concept of being ashamed of agriculture. Farm work, cock crowing and dog barking are hard to find in Xie's poems. In many pastoral poems written by Tao Yuanming, it can be clearly found that the purpose of Tao Yuanming's writing is not to objectively describe rural life, but to reflect the feelings and interests of the combination of nature and various images in life. In selecting materials, Tao Yuanming often intercepts pastoral images such as square houses, grass houses, elms, peaches and plums, villages, barking dogs and chrysanthemums, and almost all of them are absorbed in his works. These images are the things that can arouse the poet's thoughts and feelings most. To achieve the sound of images and feelings. Tao Yuanming's poems are natural and plain, and he does not pursue the extreme similarity between artistic truth and real life. In the description, he does not pursue the twists and turns of the plot. What Tao Yuanming describes is what everyone can see, ordinary farmhouse music. He used these household items to express his superior philosophy. Tao Yuanming often compares himself to: pine trees, returning birds, chrysanthemums and so on. , especially. Loyal and detached personality and love for freedom are similar to the vanilla beauty of the great poet Qu Yuan. Chrysanthemum has also become synonymous with Tao Yuanming. After the opening of Tao Yuanming, there were more and more works of chanting chrysanthemums by literati in past dynasties. Such as the third cloud in Tao's poem "Returning to the Garden": "Beans are planted at the foot of Nanshan, and the grass is full of bean seedlings. Get up early in the morning to get rid of weeds, and come back with hoes in the moonlight at night. The narrow path covered with vegetation, the night dew wet my clothes. The clothes are not covered, but the wish is not violated. " Here, the poet intercepts daily farming activities as creative materials, speaks naturally and truly, and chooses his favorite pastoral life and labor scenes. We can imagine a farmer, dressed simply, plowing with a hoe and planting beans in Nanshan. The poet has been locked in a cage for a long time, and the happiness of finding nature is between the lines. Even the dew soaked the clothes. Xie Lingyun's poems pay more attention to the description of mountains and rivers. These landscapes are often independent of the poet's temperament and are the object of the poet's description. In Xie's poems, the landscape posture has occupied a dominant position, and poverty has become the main artistic pursuit. The situation of scene blending in Tao Yuanming's poems has been seriously separated in Xie's poems. Xie Lingyun tried to sketch and describe the scenery, trying to make four o'clock faint. The changes of rain and shine reappeared one by one, reaching the point of coincidence. He didn't enter the flawless realm of Tao poetry, but he broke down the landscape into one shot after another and showed it to readers like a movie shot. In this way, the artistic styles of Shi Tao and Xie Shi are completely different. Tao Yuanming's writing is not loose, and writing chrysanthemum is not chrysanthemum, which is intended to be implicit; Xie Lingyun wrote that the wind is the wind, the moon is the moon, the mountain describes the state of the mountain, and the water describes the posture of the water, just like China's meticulous painting. Xie Tao's different purposes, ways and roles of seclusion naturally formed their own different poetic arts.