Abstract: Tao Yuanming's pastoral poems and Xie Lingyun's landscape poems occupy an important position in the history of China literature. There are many similarities and differences in their poems. This paper attempts to analyze the artistic features of Xie Tao's poems from the comparison of similarities and differences.
Keywords: Tao Yuanming and Xie Lingyun: Comparison of Similarities and Differences
Tao Yuanming and Xie Lingyun were both important poets in Wei, Jin, Southern and Northern Dynasties. Tao Yuanming is a master of the poetic style in Wei and Jin Dynasties, and Xie Lingyun initiated the poetic style in the Southern Dynasties. Tao's pastoral poems and Xie's pastoral poems play an important role in the history of China literature. Later people called it pastoral poetry. Xie Lingyun's "Landscape Poetry" has developed and innovated on the basis of inheriting Tao Yuanming's pastoral poems.
First, the similarity of Xie Tao's poems
(1) Xie Tao inherited the characteristics of metaphysical poems and talked about metaphysics in his poems. In many of Tao Yuanming's pastoral poems, Hyunri is integrated into daily life. For example, the fifth poem "Drinking" "has a real meaning in it, and I have forgotten what I said when I tried to argue". Tao answered the question of the relationship between "speech" and "meaning" in daily life. When he was picking chrysanthemums under the east hedge, he happened to see Nanshan, the birds returning from Nanshan, and realized the true meaning of life. In Xie Lingyun's poems, landscape description became the main body of poetry, which made metaphysical poetry turn into landscape poetry and gained a new life. Landscape has become a means for him to realize Tao, so his landscape poems often write about landscape in the first half and metaphysics in the second half. For example, there is a sentence at the end of "Returning a Stone House to a Lake": "It is reasonable to worry about things lightly." Fable brings strangers, try this push. "Generally, they use the meaning of Zhuangzi to convey their pursuit of the natural realm between mountains and rivers in seclusion, in order to achieve equality between life and death, forget about honor and disgrace, and achieve the concept of everything.
(2) Xie Tao's poems have strong self-emotion color. Although there are many differences in content and style between Tao Yuanming and Xie Lingyun's poems, they are all expressions of self-emotion.
Tao Yuanming's poetry creation based on freehand brushwork. The pastoral scenery he described clearly endowed the poet with his own symbolic significance. "Bird" is the most common image in Tao Yuanming's pastoral poems. The "birds" in the poem "Returning to Birds" in Siyan set off for the forest in the morning, and once they found that the wind outside was wrong, they turned over to seek their hearts and never returned for a long time. "caring for each other", "speaking with one voice" and "happily" all show the freedom of the birds after returning to the forest. The bird image is only a symbol of the poet's seclusion after he became an official, and the happy state of the bird after returning to the forest is also a true reflection of the poet's initial state of mind in seclusion. In addition, pine trees and chrysanthemums are also images that often appear in Tao's poems, and also have the meaning of the poet's own situation. Tao Yuanming's poems often describe refreshing, lofty and clear scenery, which is the externalization of the poet's clear and clean inner world.
Xie Lingyun's description of landscape scenery is also full of subjective feelings. In the poem "Stone Wall Scenery Returning to the Lake", we can vaguely find the poet's emotional context. At first, the description of scenery was subjective. The focus of his expression is not to reproduce the unique style, but to express the poet's love for mountains and rivers and his wandering mood. Then, the objective representation of the scenery in the mountains: "The forest and valley gather together, and the dusk clouds gather." At this time, the subject's love is hidden in the description of the scenery. When it reappears, it becomes a pleasure to realize Hyunri. Most of the emotions expressed in this kind of poems have such a looming process. Therefore, Xie Lingyun hides the poet's subjective feelings behind the objective scenery description.
Second, the differences between Xie Tao's poems
(1) Poetry changed from subjective freehand brushwork to objective description.
Tao Yuanming is an expert in freehand brushwork, and the dominant position of "I" in his poems is very distinct. Tao Yuanming's "Life is poetic and feelings are poetic, so he has no intention of imitating mountains and rivers, but only writes a state of mind that is integrated with the scenery" 1. For example: Returning to the Garden, Part I:
Few people do as the Romans do. Their nature is to love nature. I sneaked into the official career network and have been away from the game for more than ten years. The birds fell in love with the ancient forest, but the fish in the pond were lost. I want to open up wasteland in Minamino and keep my humility to the fields. The house is surrounded by about ten acres of land, thatched cottages. Under the eaves of elm willow, Li Tao Luo tang qian. A warm and distant village, the smog in the Yi market. Several dogs barked in the alley, and the mulberry tree was barked by a rooster. There is no dust and sundries in the yard, and the quiet room is comfortable and leisurely. It is unnatural to be locked in a cage for a long time.
The narrative angle of this poem is the first person "I". And "there are more than ten acres of square houses and eight or nine straw houses. Under the eaves of elm willow, Li Tao Luo tang qian. A warm and distant village, the smog in the Yi market. Several dogs barked in the alley, and the mulberry tree was barked by a rooster. The home is clean and messy, and the virtual room is more idle. " Not only wrote the beauty of rural scenery, but also wrote the happiness and satisfaction of living in a leisurely rural life. Affection and scenery, scene blending.
The natural landscape described in Xie Lingyun's poems is not contaminated with the author's subjective feelings. In Xie Lingyun's poems, things and I are separated. He tries to describe the natural landscape vividly, but he can't see the shadow of the subject "I" in specific poems. The author "watches" the natural landscape with an objective attitude, so his description of the natural landscape becomes a pure description of the natural landscape. For example, "when it rains, it will clear up and the clouds will return to the west." The dense forest contains Childe Xu, and the far peak is hidden. "(You Nan Ting) As can be seen from the above poem, Xie Lingyun is trying to sketch and describe, trying to reproduce the changes of the landscape and the ups and downs of the four seasons one by one. To the point of perfection, there is no shadow of" I "between the lines. This is due to the separation of things and me in Xie Shi's poems, which leads to the loss of the poet's subject, the loss of the poet's emotional observation in the natural landscape, and the complete disappearance of freehand brushwork, replaced by objective and cold description.
(2) Xie Lingyun's landscape poems broke through the limitation of Tao Yuanming's "one poem ends in a flash". Tao Yuanming's pastoral poems evoke infinite feelings from the scene of one thing and one scene. Xie Lingyun is good at describing the dynamic process of natural scenery, refining and concentrating the emotional scenery of different times in a poem. Most of his landscape poems adopt the method of deformation and step change, such as "First Arriving at the County": "Going upstream to the river and finally wading, climbing the mountain and starting". Xie Lingyun's later poems can contain a journey in one poem, showing another style. Entering Hukou, Peng Li, a poem written on the way to Linchuan, completely broke through the narrative mode limited to one event at a time.
(3) From Enlightenment to Realism
The language of Tao Yuanming's poems is full of philosophy, which requires readers to associate and understand what can only be understood but not expressed. Under the plain description, there is infinite "eternity". This linguistic feature of Tao's poetry is related to the metaphysical trend of thought in Wei and Jin Dynasties, but he is never as mysterious as a metaphysician in language, but embodies profound meaning and purport from the depiction of images and the construction of poetic context. For example, in the fifth part of Drinking, only a few sentences show readers the realm of the poet's "complacency and forgetting his words" and inspire readers.
Xie Lingyun is different. His poetic language is realistic. Xie Lingyun exerts the expressive force of language, enhances the effect of describing objects in language, and uses various techniques to describe them. Language realism also developed under his efforts. In his First Visit to the County, he wrote: "The wild sand beach is clean, and Gao Yueming is in autumn", and four adjectives are used to describe the fields, sand beach, sky and moon in autumn, which reproduces the characteristics of autumn. As for "spring grass grows in the pond and willow becomes a songbird". The moon shines on the snow and the north wind mourns. It is also a beautiful sentence that has been passed down through the ages. These poems give full play to the realism of language, and tell the impression that others want to say but may not be able to say it, giving people a refreshing feeling.
From Tao Yuanming to Xie Lingyun, it is no accident that pastoral poetry developed into landscape poetry. Both Xie Lingyun and Tao Yuanming inherited metaphysical poems and their expressive features. Moreover, Xie Lingyun opened up and developed the realm of poetry on the basis of Tao Yuanming's poetry, became the pioneer of pastoral landscape poetry, and laid the foundation for the formation of pastoral landscape poetry school in later generations.
References:
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