What pastoral poems are there? shorter

July is called "the oldest four-season idyll in China" by Qian Zhongshu, and it "describes the hard work and hard life of farmers. However, this poem did not play an exemplary role; The pastoral poems of later generations, such as Jiang Yan's Miscellaneous Poems, are all examples of Tao Qian. " (Notes on Selected Poems of Song Dynasty)

Fire is full in July, and clothes are delivered in September.

The first day I was fat, the next day I was fierce.

No clothes, no brown, why did you die?

On the third and fourth day, I stood on tiptoe.

With my daughter-in-law, I'm glad to see you in the south!

Fire is full in July, and clothes are delivered in September.

In spring, the sun shines and Amin is in the sky.

The woman followed behind with a basket, begging for soft mulberry?

Spring came and Qi Qi was adopted.

The woman was so sad that she almost took her son home.

Fire is full in July and reeds are full in August.

Silkworm, moon, mulberry, pick up the axe,

I'm afraid of mulberry if I want to cut far and wide.

Singing in July, achievement in August.

I'm Zhu Kongyang. I'm a son.

Beautiful in April, singing in May.

Harvest in August and fall in October.

A day to raccoon, fox, for the child.

The next day, they were still the same, carrying martial arts.

Privately, publicly available [7].

In May, geese move, and in June, pheasants vibrate.

July in the wild, August in the rest, September at home,

October cricket, come down to my bed.

The dome suffocated the mice and stuffed them into the door.

Hey, my wife, she said she wanted to change her age and entered this room.

In June, the food is bitter, and in July, the sunflower and glutinous rice are cooked.

Peel dates in August and get rice in October.

To this end, spring wine, with the help of eyebrows.

Eat melons in July, break pots in August, and uncle in September.

Pay for picking tea and eat my farmer.

Nursery will be built in September and crops will be harvested in October.

The millet is heavy, and the grass is shelled.

Well, I am a farmer. Because I have the same crops, I went to work in the palace.

The day is in the grass and the night is in the rope.

I was so anxious to hitch a ride in the house that I began to broadcast Baigu.

The next day, I cut the ice and rushed, and on the third day, Lingyin was satisfied.

On the fourth day, its flea sacrificed the lamb to the leek.

First frost in September, washing the floor in October.

Friends drink and say they killed the lamb.

When you are in court, you can call him a man with great courage and infinite longevity!

Precautions:

The Wind is a poem in this area, with seven articles. Gong Liu, the ancestor of Zhou Dynasty, moved to the place where he developed. He is located in Xunyi County, Shaanxi Province today. There are many old customs of Zhou people in this area. "Its people have the heritage of their ancestors. They are good at farming and doing their work. Therefore, it is said that farming and mulberry have food and clothing, and they are prepared. " ("History of Han Dynasty Geography") Poetry is broad in style and full of joy (Note of "xianggong" for twenty-nine years in Zuo Zhuan)

Flame: At dusk in July, Mars sets in the west.

Hair: strong wind and cold. Li Lie: Cold.

One day, two days: November and December in the summer calendar.

Grade three, grade four: the first month and February of the summer calendar.

Yu Ji: Renovating farm tools. Tiptoe: Tiptoe, practice.

At night, give people food.

You: Yin Jun, the housekeeper in charge of the farm.

Cang Geng: Huang Li.

Basket: A deep basket for picking mulberries.

Female: female, female slave. Almost: fear

Weed: A mature reed.

Bi: Sound gun, axe, square hole with handle.

Yun: Sound Bureau, Shrike. Achievements: spinning marijuana

Kong Yang: Very vivid.

Na 'an: The name of grass is Polygalae. Dipper: Speak up, cicada.

Meteorite: Leaves of vegetation fall off. saliva

Same: Party. Go ahead.

Tapir: tapir: sound room, three-year-old pig.

Dome suffocation: blocking the hole in the wall. Yan: when the sound is exhausted, the painting is exhausted.

Y: The name of the tree. Zhi: Plum.

Broken pot: picking gourd. Uncle: Clean up the green hemp. Juyinju

Tea: silver soil, a bitter vegetable. Zun: at the beginning of the sound, Ailanthus altissima

Yao: Yinlu, a late-growing and early-maturing cereal.

Man: Yin Tao, the rope.

Lingyin: Icehouse.

Tune four, use wine.

Appreciate:

"July" describes the production, labor and life of farmers all year round, reflecting the rich content of production and labor and the strong customs of solar terms. It should be said that it is a rare genre painting of life. Poems are mainly in chronological order, described by month, classified, vertically opened and closed, and each section has an empty space and a picture. From the beginning of farming to the end of harvesting and offering wine, the women who delivered rice, the girls who picked mulberry, the farmers who went to the fields, the knights who hunted, and the nobles who served in public offices all had their own characteristics. During this period, the overall style was unified in chronological order, which avoided the rigidity of narrative, enhanced the image of poetry, and especially highlighted the characteristics of genre painting.

Tao Yuanming's poems

Five poems by Gui Yuantian Ju

one

Few people do as the Romans do. Their nature is to love nature. Fall into the dust net by mistake, thirteen years.

Birds in cages are often attached to the forests of the past, and fish in ponds yearn for the abyss of the past. Open up wasteland in the south and return to the garden.

There are more than ten acres of square houses and eight or nine straw houses. Willow trees cover the eaves, and peach trees cover Li Lieman in front of the hospital.

The neighboring village of the neighboring village is faintly visible, and there is smoke in the village. Several dogs barked in the alley, and the mulberry tree was barked by a rooster.

The house is clean and miscellaneous, and the virtual room is idle. Trapped in a cage without freedom for a long time, I finally returned to the forest today.

Secondly,

There are few chariots and horses in the secluded places when the countryside makes friends with the secular world. This day is still Chai Men closed, and the pure mind blocks the vulgar thoughts.

When complex market music, grass * * *. When we meet, we don't talk about worldly affairs, only that the garden is long in Sang Ma.

My field is growing higher and higher, and my cultivated land is expanding day by day. Often worried about sudden frost, crops wither like shrubs.

third

I planted beans at the foot of Nanshan, and the weeds in the field were covered with peas. 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. It's not a pity to get wet, but I hope it won't be against my will.

Fourth.

Long-term tourism mountain ze, wild forest entertainment. Try to take your son and nephew and put them in the wild market.

Yiyi wandered between mountains and dragons, living in the past. There are remnants in the well, and the mulberry and bamboo rot.

Excuse me, what is this person like? The wage earners told me that "there is no rest after death".

"A lifetime in a foreign land" is really true! Life seems illusory, and eventually it will be empty.

Fifth.

Alone in a sense of loss, I returned to my hometown with a staff member. The road was bumpy and in shock. The mountain stream is shallow and meets my feet.

I'm drinking my newly cooked wine, and two chickens attract the latest game. When the sun sets, the candle is lit instead.

The height is high and the height is short, and the east is getting white.

Tao Yuanming is the first person in the history of China's poetry to take rural life as an important creative theme. The poet lived in an extremely dark society but insisted on lofty ideals and interests, which finally forced him to completely break away from the ruling class and upper class and return to the countryside. In twenty years' pastoral life, I have created a lot of pastoral poems. Among the existing 120 pottery poems, works describing rural scenery and farmers' lives account for a large proportion. This made him the founder of China's pastoral poetry.

Tao Yuanming's pastoral poems include five "Returning to the Garden", five "Migration", two "Hebo" and twenty "Drinking". These poems "describe the beautiful scenery of the countryside and simple living of the peasants, and praise the significance of labor and the happiness of participating in labor." History of China Literature, Institute of Literature, China Academy of Sciences.

During the reign of Kaiyuan and Tianbao in the Tang Dynasty, social stability and economic prosperity provided poets with material conditions for a leisurely life. The ruling class advocated Buddhism and aging, which also created a special political situation: for those literati who were beset by family affairs, it was often a "shortcut to the south"; For those literati with high officials and high salaries, avoiding official positions does not affect their livelihood, and they can even get fame and fortune by avoiding official positions. In addition, the development of contradictions within the ruling class also contributed to the popularity of hermit thought. Therefore, after Tao Yuanming, some poets created a large number of pastoral poems with pastoral life as the theme, thus forming the pastoral school.

The main writers of the pastoral school are Meng Haoran and Wang Wei, as well as Chu Guangxi, Chang Jian, Zuyong, Pei Di and others. Their writing tendency is different from that of Tao Yuanming. They "got inspiration from him and wrote some pastoral poems, but they all took out Tao Yuanming's praise for labor." It just inaccurately describes the happy life and stable and leisurely life of some farmers in order to set off the natural scenery to beautify their seclusion. " (History of China Literature, Institute of Literature, China Academy of Sciences)

Meng Haoran (689-740), whose real name is Haoran and whose name is unknown, was born in Xiangyang, Xiangzhou (now Xiangyang, Hubei). In his early years, he lived in seclusion in his hometown of Lumen Mountain. At the age of 40, he went to Chang 'an to take an examination of Jinshi, came back from the bottom, and made a living by cloth. Meng Haoran was the first person to write a large number of pastoral poems in Tang Dynasty, with more than 260 poems, most of which were five-character poems. Meng Haoran's landscape poems mostly describe the scenic spots and historical sites in his hometown Xiangyang, such as Zhang Qiulai's Climbing the Country-specific Mountains, The Song of Returning to the Deer Gate at Night, The Scenery of Jiangshan, etc., and describe Xiangyang's landscapes, smoke trees, crescent moons, boats, etc. flatly and cordially. His pastoral poems are few in number, but they have a strong flavor of life, such as Passing by the Old People's Village, Wandering and Looking Back at the Pearl Clouds, etc. The simplicity of farm life, the deep friendship of the elderly and the harmony of the rural atmosphere all leave an unforgettable impression. Some of his short poems, such as "Spring Dawn", are also subtle and beautiful, with a long lasting appeal. The style of Meng's poems is mainly open and diluted, but there is also a strong and free atmosphere in dilution. His poetry has a high artistic level and has always been called Wang Wei. He is one of the representative writers of the pastoral school in Tang Dynasty. However, the theme of poetry is relatively narrow and lacks profound social content.

He was the first person of the pastoral school in the prosperous Tang Dynasty. Their pastoral poems, such as Passing through the Old Village, Xiao Chun and Su Jian Qingjiang, are few in number, and their artistic conception is far away.

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"

This is a masterpiece of an idyllic poem with a remote artistic conception. Poetry combines quiet and beautiful rural scenery with simple and sincere friendship. "An ordinary village, ordinary chicken and millet rice hospitality, is so poetic. It describes the prospect of the eyes, and the level of description is completely natural in spoken language. Pen and ink are very relaxed, and even the form of metrical poems is free and flexible. " A Dictionary of Tang Poems serves as the Party's guide.

"In the spring morning, I woke up easily, and birds were singing everywhere. But now I remember that night, that storm, and I want to know how many flowers were broken. " (Chunxiao). Many people interpret the theme of this poem as "cherishing spring". In fact, it shows an extraordinary pastoral world. The lyric hero is an "orgasm man" who stands proudly outside the splendor, stands aloof from the outside world and dissolves in nature (see Naoki Maeno, Chu Ishikawa's Dictionary of Appreciation of Ancient Famous Poems in China). This little poem is very popular.

From the analysis of these two short poems, we can already see that the poet beautified the rural pastoral life, which is no longer the real peasant's pastoral life. Most of the chickens, dogs, cattle and sheep are borrowed and embellished, which cannot be said to be a true and profound reflection of the peasant's life. This is especially true of Wang Wei, his contemporary.

Wang Wei (70 1-76 1, 698-759) was born in Taiyuan Qi (now Qixian County, Shanxi Province). Later, he moved to Zhou Pu (now Yongji) and became a native of Hedong. Poetry and prose works are good books, especially painting titles, so they are called "Wang Youcheng" because they are scholars in Kaiyuan and ministers in the right position. More than 400 poems have been preserved. His pastoral poems mainly describe his leisurely life and landscape scenery in seclusion in the south and Wangchuan.

Wang Shi's artistic achievements are very high. Whether it is the magnificent scene of "the desert is lonely and the long river is setting the yen" or the exquisite natural state of "the moonlight in the pine forest and the crystal stone in the stream", he can grasp the colors, sounds and dynamics of nature, or sketch or depict it with ease and unique artistic conception. The ancients summed up the artistic characteristics of Wang's poems: there are paintings in poems and poems in paintings. The framing of his poems is quite clever, and the colors of the pictures are often set off by shades, which is reflected in his collection of Wangchuan. The language of Wang's poems is fresh and concise.

After the age of 37, Wang Wei's thoughts gradually became negative, and he basically lived a semi-official and semi-secluded life, and wrote a lot of pastoral poems. His representative works include Autumn behind the Mountain, Zhong Nanshan, A Letter from Wangchuan's Other Business to Pei Di, Wangchuan Collection, Seven Pastoral Poems, Crossing Ji Xiang Temple, Yuchuan Village and Pastoral Works in Spring.

In the countryside where the sun is setting, cattle and sheep go home along the path.

At the door of a thatched house with a rough old man, leaning on a stick and waiting for Chai Fei.

Pheasant performance, sleeping silkworm, peeled mulberry leaves.

God bless you, and you are as close as brothers.

No wonder I long for a simple life and sigh the old song, oh, back to the past! .

-"Kawatani"

As the sun sets and night falls, the poet is faced with a picture of a family coming home late, full of envy. The core of poetry is the word "return". All life in this land is homesick: cattle and sheep go down the mountain, the shepherd boy returns, the pheasant calls affectionately, the silkworm carefully builds its comfortable nest, and the Fu Tian lotus hoe returns. Finally, the poet's emotional department said, "that's the leisure I admire, and I'm lamenting that old song, oh, I'm going back!" " . In fact, farmers are not idle, and the word "back" above is actually a contrast. Everyone returns, reflecting that there is no return; Everyone returned home in time, cordial and comfortable, in stark contrast to his late retirement and loneliness and depression in officialdom.

In terms of ideological content, Wang Wei and Meng Haoran's Pastoral Poetry said that it was "a big step backwards than Tao Yuanming" (The History of China Literature by the Institute of Literature of China Academy of Sciences). However, from the aesthetic point of view, on the one hand, they deepen people's feelings about the natural beauty of pastoral poetry, on the other hand, they improve the expressive skills of pastoral poetry.

For example, Meng Haoran's Passing the Village of the Elderly, the whole poem takes the time of visiting the elderly as the order, and completely writes the whole process from meeting to farewell, with distinct levels, mutual care and complete structure. In addition, the tempering of words is also very particular. The words "He" and "Xie" in couplets describe the relationship between villages and distant mountains. The "JIU" in the last sentence shows the nostalgia for the old friend and gives people a cordial feeling.

Wang Wei's Autumn Night in the Deep Mountains integrates poetry, painting and pleasure. In this poem, there are both the painter's unique grasp of colors and lines and the musician's sensitivity to sound and rhythm. At the same time, the author gives full play to the talents of poets, painters and musicians, making this poem a "painting in poetry" with sound. In terms of tempering words, "Wang Wei is particularly prominent, and often draws a picture with subtle and concise words without any traces of carving."

Landscape pastoral poetry developed to the middle and late Tang Dynasty, and presented another look. "Liu Zongyuan, Zhen Wu, Nie all exposed the exploitation of farmers by the ruling class with the title of Tian Jia (History of China Literature by China Institute of Science) and did not describe the rural scenery. In this kind of poetry, the late Tang poet Nie's "Regret for the Past Family" is the most representative. In the late Tang Dynasty, pastoral poems became poems for farmers.

Nie (837 ~ 884) was born in Hedong (now Yongji County, Shaanxi Province) in the Tang Dynasty. Xian Tong stayed in Chang 'an for two years (86 1) because of the poverty caused by the war, and was later appointed as the county commandant of Huayin (now southeast of Huayin County, Shaanxi Province).

Because he was born in poverty and lived in the countryside for a long time, he was closer to the working people and knew the hardships of farming. Therefore, most of his poems reflect the cruel exploitation and painful life of farmers. "Hurting Tian Jia" and "Two Poems of Childe's Travel" are masterpieces that have been passed down through the ages.

Let's take a look at The Wounded Family:

Sell new silk in February and harvest new rice in May.

Cured the sore in front of me, but dug out my heart.

I hope the monarch's heart will become a bright candle.

Not according to the resumption of the front banquet, but according to the escape room.

This is a five-character ancient poem. It reflects the miserable life of farmers in the late Tang Dynasty under cruel exploitation, and the author issued an urgent appeal for them. Some people compare it with Liu Zongyuan's The Snake Catcher, and think that "short words can reach Liu Wen" (A Collection of Tang Poems).

The beginning of the poem reveals a typical "strange thing" in the countryside at that time. Silkworm eggs began to grow in February and transplanting began in May. Where can I buy silk? Where can I find rice? This is actually a fact! It can be seen that this is "selling green"-mortgage the agricultural products that have not yet been produced at a low price in advance. This thing cultivated with blood and sweat is a year's food and clothing, a heart, and it was gouged out. Therefore, there are three or four metaphors of "gouging out the flesh and patching up the sores", which are bloody metaphors! Shocking and typical, it has become a famous sentence that has been passed down through the ages.

The last four sentences are the poet's feelings, expressing his desire to improve reality. It is limited to hope that the monarch will be enlightened here, but the author's intention is mainly irony and exhortation. The poet skillfully reveals the fatuity of the emperor and the injustice of the world with a rebellious pen. There is a sharp contrast between The Banquet at the Continuing Frontier and Escape from Home, which reflects the sharp class opposition in the polarized social reality and enhances their criticism. It vividly implies the reasons for the bankruptcy of farmers selling green vegetables. From the word "escape", it is pointed out that the result must be "leaving the ground, exhausting the land, calling disciples, and being hungry" and "I die to be a disciple" (the snake catcher said), which is full of the author's sympathy for Tian Jia.

Du Xunhe's Widow in the Mountain is also a masterpiece in this respect. Du Xunhe (846 ~ 904) was a poet in the Tang Dynasty. The word Yan Zhi,No. Jiuhuashan. Chizhou era (now Shitai, Anhui) was born. Born in poverty. I took several exams in Chang 'an and never went back to the mountain. He came home from Chang 'an when Huang Chao's army swept across Shandong and Henan. Since then, I have lived a life of "I have been in the smoke for fifteen years" ("Going out to see senior officials after the chaos") and "I am willing to learn from the world and I am happy to climb mountains" ("Working in the mountains after the chaos"). After going to Daliang (now Kaifeng, Henan Province), I presented the song "A Journey to the World" 10 to Zhu Wen, hoping that he would save the corvee and save it. When Zhu Wen became a monk, his subordinates respected Xiang, and advised him to "cut the ancient style and get into the body", so he went to Ode for the thirtieth time to please him. Wen gave him the title of rites department, and in the second year of Zhongshun (89 1), he was the eighth scholar ("Lessons"). The following year, due to the political turmoil, he returned to the old mountain and his field was in Xuanzhou. He paid great attention to him and took it as his career. Three years later (903), Tian rebelled against Yang Xingmi and sent him to contact Zhu Wen in Daliang. Tian-defeated, Zhu Wen recommended him and awarded him a bachelor's degree in Hanlin, who was seriously ill and died ten days later. The whole poem of Widow in the Mountain is as follows:

Husband and national soldiers insisted on Mao Peng, and linen clothes were burned.

Mulberry and philosopher still pay taxes, but they still want seedlings after rural famine.

When picking wild vegetables and roots for cooking, spin raw wood and burn leaves.

If you are deep in the mountains, you should also avoid rumors.

The Song Dynasty was the peak of pastoral poetry.

The theme of describing rural life was once discovered by Jin people, and later developed by Tang people, which became a common theme for poets in Song Dynasty. Many poets in Song Dynasty used their own poems to describe rural life. They are either Wang Meng or Liu Zongyuan and Nie. Fan Chengda, one of the most famous pastoral poets, pioneered the Southern Song Dynasty. In his later years, he wrote "Four Seasons of Pastoral Fun" and "Yuefu Village in the twelfth lunar month", which are representative works of pastoral poetry. Thus, the history of pastoral poetry reached its peak.

"Neither Tao Yuanming nor the Crown Prince exposed the feudal exploitation system in his pastoral poems." (History of China Literature, Institute of Literature, China Academy of Sciences). In the Tang Dynasty, Nie et al.' s poems "don't describe the rural natural scenery, and traditionally don't belong to the pastoral poetry system" (The History of China Literature in the Institute of Literature). Fan Chengda "combined these two systems, giving pastoral poetry richer and deeper ideological content and giving it new life." (History of China Literature, College of Literature), which makes the pastoral poetry divorced from reality have a smell of dirt and sweat.

Fan Chengda (1126 ~1193), whose real name is Zhi, is a Shi Hu layman. Wu Jun (now Suzhou, Jiangsu) was born. Father, a scholar in Xuanhe for five years, served as a provincial book in Shaoxing for eleven years in the Southern Song Dynasty (11), and finally became a doctor; Cai Mu is the granddaughter of Cai Xiang, a famous calligrapher in the Northern Song Dynasty.

When Fan Chengda was a child, he received a good education, read the history of classics and was good at writing articles. Shaoxing twenty-four years (1 154), a scholar. Shaoxing began to be the secretary of Huizhou in 26 years, and the officialdom has been ups and downs since then. Xichun died of illness for ten years at the age of 58. After that, he lived in seclusion in Shihu 10 years.

Fan Chengda is a scholar-bureaucrat who cares about state affairs, is diligent in government affairs and sympathizes with people's sufferings. His basic political ideal is the Confucian thought of "benevolent government" and "people-oriented", which holds that "people are the foundation of the country and foundation is the foundation of the country". If you want to be rich and powerful, you must first reassure the people, "save the corvee, save taxes, and help the people suffer" ("On the Founding of the People"). In some plays, he urged Xiaozong to save manpower and national strength, cherish time, rectify military discipline, train foot soldiers, use punishment with caution, and crack down on corrupt officials, aiming at the revival of Qiang Bing. When he was an official in a local area, he tried his best to eradicate abuses, rectify armaments, or provide disaster relief to build water conservancy projects, in an effort to reduce the burden on farmers and relieve the suffering of soldiers. Accordingly, his consistent thought of worrying about the country and the people has been fully reflected in his poetry creation.

Fan Chengda dabbled in the world very early, and had a profound understanding of the hardships of rural life. When he was in his twenties, he wrote some poems describing rural life scenes. For example, in the poem "Sailing on the Mountain Road in Summer", he showed the emotion of "pitying the old peasants from afar"; In the musical "Divine Comedy", it is written that farmers feel very lucky, and they have food to pay rent in good years and are free from whipping; Reeling describes my aunt's busy work of cooking cocoons, reeling silk and selling silk. "Dunning Bank" describes the scene where farmers come to extort money after losing rent. When he was an official in Huizhou, he wrote the famous Post-Rent Collection, which vividly described the importance of collecting taxes in the Southern Song Dynasty, the coolness of official speculation and the deep suffering of the people. Later, in Hangzhou, Guangxi, Chengdu and his hometown, he wrote a large number of local poems, such as "Cutting Wheat, Transplanting, Drying Cocoons and Picking Ling Hu", "Three Musts of Rice Seeds" and "Weeping Fields". Among them, Huang Yiling wrote about the inhuman situation of nesting in Shan Nong and issued the voice of "Andrew pulled you out"; "Lao She Geng" was plowed by "Xia Nong" and barely ate enough. It is written that "Wu Nong" was forced to "escape from the house without smoke" because of official rent and private debt; The idea of sympathy for people's sufferings runs through Fan Chengda's poems. Until he retired to Shihu in his later years, he deeply sympathized with the miserable life of the lower class in his works such as Winter Journey, Sigh of Autumn Thunder and Song of River City. In the snow, the poet declared: "You can't use poetry song for you!" "Truly tell his creative intention of calling for people's livelihood sufferings.

Fan Chengda's group poem "Four Seasons Pastoral Music" written in his later years is his masterpiece of pastoral poetry. There are sixty songs about the four seasons, which are divided into five groups: spring, late spring, summer, autumn and winter, with twelve songs in each group, which are evenly distributed. Like a picture scroll of rural genre painting, each group of quatrains is a fragment, and each poem is an integral part of the picture scroll. The main content of this group of poems is: "It depicts the beautiful scenery of the countryside, praises the simplicity of labor and farmers, and exposes the feudal exploitation system. Artistic "won the charm of Liu Yuxi's Zhi Zhu Ci, fresh and light, full of folk songs. "(Song Poetry Appreciation Dictionary, Shanghai Dictionary Publishing House)

Let's first look at a poem depicting rural scenery:

Butterfly has entered cauliflower, and no guests have come to Tianjia for a long time.

The chicken flew over the fence and the dog barked until it knew that a businessman had come to buy tea.

This poem describes the quiet scenery of the countryside in late spring and shows the author's love for rural life.

The first two sentences of this poem describe the quiet scenery of the countryside. Butterflies fly around in the cauliflower field; The days are getting longer and longer, and no guests come to Tiandu's house. This village is very quiet. This is a positive description of the daily pastoral scenery. The first sentence also shows that it is late spring, and the last two sentences of the poem describe the dynamic scenery when the tea merchants arrive. When tea merchants come to buy tea, even chickens and dogs are amazed, reflecting that few outsiders come and many strangers come, and everyone attaches great importance to it. This is a vibrant scene, but it further illustrates the tranquility of the countryside.

The greatest feature of this poem is the contrast between silence and movement. The first sentence is a moving landscape, but it deepens the silence of "no guests come to Tianjia for a long time". Three or four sentences are moving scenery, but they set off the silence described in the whole poem. Secondly, "butterflies both enter cauliflower" is described by grasping the details of rural static scenery.

Let's look at a poem that reflects farmers' working life:

Farming during the day, good performance at night, the children in the village mind their own business.

Although the children don't plow and weave, they also learn a kind of melon in the shade of mulberry trees.

This poem describes the scene of rural summer, shows the working life of rural men, women and children, and praises the hard work of farmers.

The first sentence is about the working life of adults. I go out to work in fields such as ploughing during the day, and I also work indoors with flax spinning lines at home at night. The second sentence is about children's housework, such as cooking and cleaning. Write three or four sentences about children's games. Although "learning to grow melons" is a game, its content is to imitate labor. In such an environment, even children are full of love for labor. This poem describes the hard work of farmers from different aspects.

This poem is very organized, first for adults, then for children of fifteen or sixteen, and then for children and grandchildren of several years old. These people actually sum up everyone in the peasant family. At the same time, it also summarizes the life of farmers. The details are skillfully used, and the details of "learning melons and mulberry trees" make the whole poem very interesting.

Third, let's look at a poem that exposes the feudal exploitation system:

It's hard to waste a pear hoe when picking pears. Blood is flowing and ghosts are doing it.

Can't farm, talk about what kind of water, and recently the water surface has also received rent.

This poem describes the scene of farmers picking pears in autumn and exposes the cruel exploitation of farmers by feudal rulers.

The first two sentences say that it is difficult to pick. The first sentence generally explains "bitterness", and the second sentence is a concrete description of "bitterness". "Ghost withered" describes the whole person, while "blood refers to blood flow" describes part, not close-up. The last two sentences describe the cruelty of farmers being exploited. "powerlessness" shows that farmers are forced to pick ling because of poverty. The phrase "recently" shows that even if farmers are so poor, they still have to pay rent. Their exploitation can be imagined. This is easily reminiscent of the ending of Widow in the Mountain.

There are two points worthy of attention in the art of this poem: first, the combination of general explanation and specific description makes readers understand the image deeply. The second is the writing method of entering the layer. The first two sentences are the first layer, three sentences are the second layer and four sentences are the third layer. Layers of depth, thus writing the cruelty of exploitation very deeply.

From the above analysis, we can already see that Fan Chengda's pastoral poetry is a masterpiece that widely absorbs the advantages of predecessors' pastoral poetry. It is creative in content and form, and its achievements can be said to be higher than any pastoral poet before him. Because of this, his poems "have always been called the model of China's pastoral poetry". China Institute of Literature History and Literature. At this point, pastoral poetry has matured and become the peak in its development history.