Pastoral poetry and landscape poetry are often referred to as the same category, and later researchers often put them together to study, but they are two different themes.
Pastoral poetry is a new theme developed by Tao Yuanming, which mainly describes rural life, farmers and farming. Rural life, unpretentious, gives the poet a beautiful enjoyment: "There are more than ten acres of square houses and eight or nine thatched houses. Willow trees cover the eaves, and peach trees cover Li Lieman in front of the hospital. It's far from home, and there is smoke in Yiyi market ... "Tao Yuanming has lived in the countryside for a long time and is familiar with farmers. In the second part of Return to the Garden, he said: "There is no miscellaneous words when we meet, and Sang Ma has a long way to go. My field is growing higher and higher, and my cultivated land is expanding day by day. I am always afraid that the frost will come, and so will the grass. " Meet no longer greet, but directly into the topic of concern for crops in Sang Ma. On the one hand, it is to replace greetings with specific questions, on the other hand, it is also a unique emotion of farmers. Shi Tao took rural life as the content, and truly wrote the pain of farming. The third part of "Returning to the Garden": "Beans are planted in 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. " Although this poem is about hard work and life, its theme is not about its suffering. "It is a picture with great aesthetic significance to get up in the morning to treat garbage and take the lotus home." . Landscape poems mainly describe natural scenery, and poets' aesthetic appreciation of landscape images is often associated with travel.
Xie Lingyun is the originator of landscape poetry. In "Leser", "The lonely traveler dies of grief, and the journey is hard and steep. Stones gurgling in shallow water? The sunset mountain shines. If the wild forest is crowded, the birds will sing. " Write lonely guests, mountains and rivers, sunset, barren forest, and tell stories directly here. Climbing the Pool Upstairs describes what you saw and did when you climbed the stairs: the sunshine in early spring drove away the residual wind in autumn and winter, Chi Pan was overgrown with spring grass, and the songbirds in the willow garden had changed. Wait a minute.
Second, production.
In the decades after the establishment of the Eastern Jin Dynasty, the poetic world was almost occupied by metaphysical poetry, and the excessive expansion of metaphysical poetry made poetry deviate from art and become the annotation of Lao Zi and Zhuang Zi's thoughts. Tao Yuanming's pastoral poetry broke through the haze of metaphysical poetry, successfully promoted "nature" to a beautiful realm, changed metaphysical poetry into philosophy in daily life, combined poetry with daily life, blew a fresh and natural wind into the poetry world, opened up a new realm of people returning to nature, and created the tradition of China's pastoral poetry, which was praised as "the ancestor of pastoral poetry" and "the ancestor of pastoral poetry" by later generations.
As early as the times of The Book of Songs and Songs of the South, there were landscapes in poems. For example, "White dew is frost" in the Book of Songs; The description of the scenery in Shejiang is "the forest is deep and hidden, and the apes live in it." The high mountain slopes cover the sun steeply, and it is rainy and cloudy. The snow is boundless and the clouds are raining. I'm sad. My life is boring. I'm alone in the mountains. I can't change my mind and do as the Romans do, but I will die of sorrow and poverty. When he met Qiu Yu's head, Sanghu walked naked. You don't need loyalty, and you don't need virtue. Wuzi, if you are in trouble, it is better to do it. It's different from previous lives, so why should I complain about people today? I'm not worried about Dong Dao, but I'm going to faint for the rest of my life! Chaos said: Luan bird phoenix emperor, the sky is far away. Swallows and blackbirds, nests and altars. Xinyi, Shen Lu, is sparsely populated. If you stink and resist it, you will not be thin. Translocation of yin and yang is not appropriate. I believed it, and suddenly I did it! "Mrs. Xiang": "The autumn wind is curling and the waves in Dongting are under the leaves" are all beautiful landscape paintings. But they are only scenes on the poetry stage, not independent aesthetic objects, and have no independent aesthetic significance. It was not until the end of the Han Dynasty that Cao Cao's View of the Sea became the first landscape poem in the history of China's poetry. The appearance of landscape poetry is closely related to seclusion after Wei and Jin Dynasties. Liu Xie's Wen Xin Diao Long? There is a famous exposition in Ming poetry: in the early Song Dynasty, the wind changed, the village retired, and the mountains and rivers were graceful. Take a few hundred words and fight for a strange price; Love must be extremely beautiful to write something, and words must be completely new. This competition is also. " It can be said that the imagery and art of the artificial art thought in the Six Dynasties are generalized, and the opportunity for this phenomenon to last forever is precisely because of the "beauty of mountains and rivers", which is closely related to the rise of landscape poetry. The so-called "emotions must be extremely beautiful to write things" is the truth that "words must be exhausted and innovative"
Third, the art of poetry.
His poems are very different in art, and the heterogeneity of Fang's evaluation holds that "Tao Gong doesn't bother with cutting, but Xie is cut by cutting." A day's work, a person's work is completed "("Poetry Taste Zhan Yan ").
On the one hand, Tao Yuanming is good at freehand brushwork, his life is poetic, his feelings are poetic, and writing poetry is just a natural expression. He has no intention of shaping mountains and rivers, nor does he care about shapes. He just wrote a sky on his chest. Shi Tao's poems are based on things, landscapes, emotions and rationality. The images in his poems, such as new seedlings, the moon, kitchen smoke, Chun Yan, pine and cypress, autumn chrysanthemum, are not simple things, but the embodiment of the poet's personal subjective feelings and personality, which often reach the realm of scene blending. For example, famous sentences such as "The weather is getting better every day, and birds are coming back" all reflect the characteristics of Tao poetry. Tao Yuanming controls the landscape with "meaning" in landscape writing. His scenery is daily, ordinary and disrespectful, and his thoughts are integrated and inseparable with these ordinary lives and scenery. Xie Lingyun pays attention to the description of landscape state. Liu Xie's Wen Xin Diao Long and Zhong Rong's Shi Pin evaluate that the artistic pursuit of Xie Lingyun's poetry is "very similar to writing" and "ingenious". For example, "going to the county for the first time": wading in the stream and climbing the mountain. The sand banks of wild mines are clean, and it's Gao Yueming. Rest on a stone, fly over a spring, climb a forest and fall into the hands of the British. This poem describes the silence of autumn night and moonlight night, the journey of wading through mountains and rivers, and the poet's intoxication of nature is vivid. Nature becomes an object with independent aesthetic significance, which is appreciated and tasted by poets. There are many such famous sentences: the nearby stream is full of dense stones, and the distant mountains reflect sparse trees. Cross the Bai Causeway Pavilion.
Birds sing at night. The wind blows when the wood falls.
Different sounds are the same as listening. The voice is clear and clear. Sleep on Shimen rock
The Spring Festival Evening is a green show with high eyes and light clouds. Stay in Peng Li and so on.
On the other hand, Tao Yuanming's poems pay attention to the implication, give full play to the publicity of language, fully mobilize readers' association and imagination, and experience information that can only be understood but not expressed. Of course, it is also the author who realizes that many truths cannot be described in words. He often encounters the distress of language expression, but he solves this difficulty by arguing without arguing. Tao Yuanming seldom uses flowery language and exaggerated techniques, and only uses stick figures, which is simple and clear. Such as "Reading Shan Hai Jing":
Xia Meng is lush in this season, and my home is surrounded by green trees.
Birds seem to be satisfied with their food. I love my thatched cottage.
After farm work, I often come back to read my favorite books.
Live in a secluded village lane, away from the noise, even if old friends drive back.
Busy spring wine, picking vegetables in the garden.
The drizzle blows from the east, accompanied by a fresh breeze.
Pan-browse "Biography of Zhou Wang", flowing all over the mountains and seas.
Pitching to the end of the universe, what if you are unhappy?
This kind of poetry, the whole article is not a beautiful word, not a gorgeous rhetoric, nor a word with tempering power, just feel the leisurely interest, leisurely life fascinates readers. If you add body odor, it will feel more delicious.
Su Shi commented in The Book with Su Zhe: "Although the quality is beautiful, the quality is rich." Simple on the surface, but gorgeous in fact; Superficially simple, actually rich. Xie Lingyun's poems pay attention to realism. He gave full play to the expressive force of language, enhanced the effect of describing objects in language, tried to explore new ways of expression, created new vocabulary, used various techniques to describe or describe the scenery he wrote, and reproduced the beauty of nature from different angles, which showed his high mastery of language. In "Going out to the West and Shooting the Hall at Night", it is written that "companies overlap." Green and deep. Xiao Shuang von Ye Dan. Just like a landscape painting with brighter colors.
Finally, the combination with Hyunri is different. Yuan Xingpei once said: "Xie Lingyun's landscape poems ... often drag a tail up." Xie Shi is usually a combination of scenery and philosophy. For example, there is a famous saying in "Stone House Returning to Lake" that "the climate changes suddenly, and the mountains and rivers contain clear brightness". Finally, there is a sentence called "it is reasonable to care about light things." Send a message to bring a stranger, try this way to push "dry preaching." In Xie Lingyun's aesthetic activities, the natural scenery of mountains and rivers gave him mainly philosophical thoughts and Hyunri's evidence, rather than aesthetic pleasure and emotional excitement. " Therefore, it is difficult for his poems to achieve the realm of blending scenes and scenes. "In Tao Yuanming's poems, the natural landscape is no longer the medium of Hyunri's speculation, but a conscious aesthetic object, which is highly harmonious with the poet's subjective feelings. For example, "when the sun moves, birds return to the forest." "I am proud of Dong Xuan and talk about this life." ("Drinking" Part VII) "Try to think about all kinds of feelings and forget the sky. Damn it. Ren is really unprecedented. " In these poems, it is difficult for us to point out which one is rational and which one is scenic or sentimental. As Zhu Guangqian said, "He focused on foreign things to make their lives more active and interesting; At the same time, it also absorbs the life and interest of foreign objects to expand its mind and charm. " Natural scenery appears as "the author's overall personality" in his works.
In a word, Tao Yuanming and Xie Lingyun's pastoral landscape poems both outlined two periods. Tao Yuanming's pastoral poems are characterized by simple and natural style. Push natural art to the extreme. Xie Lingyun's landscape poems opened the curtain of a new era.