Problem description:

detailed

Analysis:

Meng Haoran (689-740), a native of Xiangyang, studied hard at home for the first half of his life, irrigated vegetables and bamboo, and settled disputes for the village. He once lived in seclusion in Lumen Mountain. I was disappointed when I arrived in Chang 'an at the age of forty. Wandering in Jianghuai wuyue for several years, I returned to my hometown. Zhang Jiuling, the long history of Jingzhou, once cited him as a short-term worker, and finally retired and died at home.

Meng Haoran's life experience is relatively simple. He never entered the official career, lived completely in the era of Kaiyuan and Chengping, and did not experience many storms in life, which determined that his poetic thoughts were not rich enough, but his thoughts did not develop to a cold level.

Although he has basically lived in seclusion all his life, his heart is still quite contradictory. His poem, "It's good to be pregnant with Gyeonggi", says: "Standing at thirty can't make people live. Kindness to the elderly, joy and fear in deep care. Crisp is not enough, the evening is empty. Hold the whip and respect the teacher, and hold the Mao Gong. Grateful to play the crown, can you keep poor? " This clearly shows his desire for career and his expectation of friends to quote him. However, at the age of forty, he went north to Chang 'an. In addition to winning fame in the poetry world, his hope of seeking an official was completely shattered, and his mood began to turn to resentment:

I waited slowly and reluctantly, day after day, until now I had to leave. Old friend, how sweet the roadside flowers would be if they didn't mean goodbye. The lords of the kingdom are very hard on us, and the people who handle affairs are not our own kind. You should only be lonely. I will close the door of my old garden.

-Farewell to Wang Wei

Don't write to the North Yard again, let me go back to the old hut in the old Nanshan. I have no reason to decide to give up my point of view. My old and many sick friends have stopped practicing. The frequency of white hair is that people are getting more and more every day, and spring is coming to force them to die. Full of sadness, tossing and turning, the pine forest is empty under the moon.

-"Returning Home"

Because he was disappointed in seeking an official, he turned to express his deep dissatisfaction with the powerful people in the current dynasty. The Book of the New Tang Dynasty said that he was reprimanded for reciting the last poem of Xuanzong. It may be unreliable, but it is very true in explaining the anger of this poem. Probably in his later years, the contradiction between being an official and hiding gradually faded.

Meng Haoran's masterpiece is pastoral poetry. Meng Haoran's poems have always been famous for their lightness, which is absolutely different from those pseudo-pastoral poems imitated by later generations. Some of these poems were written wandering in Qin Zhong, wuyue and other places. For example:

The south is a wilderness, because leaves are falling, and the wind from the north makes the water cold. My home is wandering by the river, and the sea of clouds is far away. Tears of homesickness in the journey, see the back of the sail on the horizon. The smoke in the wind blurs where the ferry can be, and the vast river ripples in the sunset.

-"Homecoming on the River"

I stopped playing when I heard Lei Zhen in One Hundred Miles. Even riding out, the river is waiting for the high tide. The sun, the moon and the autumn clouds are shining, and the sea is vast. The stormy waves come like snow. If you sit still, you will feel cold.

-"Watching the Tide with Yan Gantang"

In the previous poem, the homesickness in the journey and the cold scenery on the river in early winter naturally blend together, and in disappointment and confusion, there is a sense of loneliness in life experience. The latter poem, written like thunder and snow, is also quite spectacular. Other works, such as Sleeping in Jiande, From a berth in Tonglu to a friend in Yangzhou, Xunyang Night Looking at Lushan Mountain, are also excellent works in roaming.

Most of his landscape poems are about places of interest in Xiangyang, his hometown, such as Lumen Mountain, Wanshan Mountain, Xianshan Mountain, Zhou Yuliang and Levinchi. For example:

Facing the white Yun Qi Fu Feifei on the mountain ridge, I can enjoy myself as a hermit. I tried to climb the mountain and look ahead, and this mood disappeared with the departure of the swan song. Sadness is often the mood of dusk, and the mood is often the atmosphere of autumn. I looked down at the river bank, and the villagers were going home, forming a ferry rest area. There are trees on the horizon like a row of grass and rivers like a moon. I hope you will pick me up with a basket of wine, which is drunk on the Double Ninth Festival.

-"Qiu Lai Denglanshan" to Zhang.

The bell of the mountain temple is already dark, and the fish beam is crossing the river. People walked along the shore to Jiangcun village, and I also returned to Lumen by boat. The moonlight at the deer gate made the mountain tree appear, and I suddenly came to the seclusion of exile. Lonely mountain road and quiet forest road, only hermits come and go gracefully here.

-"Deer Gate Nightsong"

The nostalgia for the past revealed in the poem is very distant from us. The scenery around Xiangyang: Pingsha is dotted with the figure of Guicun, such as a boat on the crescent river, the smoke trees on the Lumen Mountain and the moonlight under Pang Gong's pine path, all of which are inadvertently described by the poet who is familiar with his hometown, but vividly described, which makes us feel ordinary and cordial.

Although he wrote the poem "I was a strong official when I was a teenager, I worried about agriculture before I got rich", he may have lived in the countryside for half his life without taking part in labor himself. Although his pastoral poems are few, his life is quite intense:

This old friend prepared a delicious meal and invited me to his hospitable farm. Green Woods surround the village and green hills are located outside the city. Open the window facing the valley vegetable garden and pass the glass to talk about crops. Please come here to see chrysanthemums when the ninth festival comes.

-"Passing the Old Village"

It's not noon yet, so it's time to go home. Looking back along the mountain road, I saw cattle and sheep. The woodcutter is obsessed with darkness, and the grass is cold. The horizontal door is still open, standing my husband.

-"You Jingsi Guan Hui Wang Baiyun is behind"

Although these poems lack the ideal realm of Tao poetry and the experience of working life, the previous one is simple and cordial to the peasant life; Writing about the friendship between old friends is simple and profound. Can leave a lasting impression on people. The latter is as the saying goes, "it's too light to see poetry", but the scenery and atmosphere in the countryside at dusk are very real. Another example is his poem "Spring Dawn":

Sleeping sickness in spring unconsciously broke the morning, and the chirping of birds disturbed my sleep. But now I remember that night, that storm, I wonder how many flowers were broken?

The artistic conception is also very fresh and widely read by people.

Su Shi once said that Meng Haoran's poems are "high in rhyme and short in talent, such as drinking them in the interior without material" (quoted from Houshan Poetry). When he said "talent" and "material", he mainly meant learning by talent and learning idioms and allusions in poems. Strictly speaking, this cannot be Meng Haoran's shortcoming. If according to our understanding, "no material" is interpreted as simple life experience and not rich in ideological content, then Su Shi's comments hit Meng Haoran's soft spot. Meng Haoran's good poems are not only few in number, but also short in length. The poetic styles he is good at are mainly ancient poems and five laws. Meng Haoran's poems got rid of the narrow realm of chanting things in Lu and Tang Dynasties, expressed more personal hugs, brought fresh breath to Kaiyuan poetry circle and won the admiration of people at that time. Li Bai called him "the mountain, how I long to reach you" and "each other" with praise. Wang Wei once painted himself in Yunzhou Cishi Pavilion, which was later called "Meng Pavilion". Meng Haoran was famous both before and after his death.

Meng Haoran was the first poet who wrote landscape poems in the Tang Dynasty and the forerunner of Wang Wei. Meng Haoran's poems are light and his personality is light. Meng Haoran lived in seclusion outside Xiangyang City in his early years, not far from Lumen Mountain where Pang Degong, a famous hermit in Han Dynasty (anyone who has seen the Three Kingdoms knows that Zhuge Liang and Pang Tong both respected him as their teachers) lived in seclusion. Perhaps influenced by the local seclusion atmosphere handed down from Pang Degong, Meng Haoran also appreciates and enjoys the life of a hermit. There are many such poems in Meng's poems, such as "On the North Peak among the white clouds, you have found your peaceful seclusion"; Another example: "Now the cold of the moon and night passes through pine trees, and my ears feel the sound of wind and water is pure." But he can keep pace with Wang Wei in the integrity and exquisiteness of art. Du Fu said, "Why bother to write poetry? It is often a thank you. " Pi Rixiu said, "It's impossible to think about things strangely, and it's impossible to neglect one's duty" (Meng Tingji in Yunzhou). Completely in line with the facts. Among the poets in the prosperous Tang Dynasty, he was older, twelve years older than Li Bai and Wang Wei. In his poems, there are still traces of the transition from the early Tang Dynasty to the prosperous Tang Dynasty. For example, poems such as "Beauty Divides Fragrance" and "Gift from Bixi in Zhang Mingfu" also have the influence of palace style. Some of his poems have also been adapted from Bao Zhao, Xie Tiao, Yinkeng and Xue Daoheng. But when he adapted his predecessors' poems, he often shone on you without a trace. He made great contributions to the creation of poetic style in the prosperous Tang Dynasty. Therefore, Li Bai, Du Fu, Wang Wei and other poets in the prosperous Tang Dynasty all paid deep respect to him and spoke highly of him.