What are the idyllic poems

Shi Jing - Bin Feng - "July"

The "July", which Qian Zhongshu called "China's oldest idyllic poem of the four seasons," "recounts the hard work and painstaking life of the peasantry. But this poem did not serve as a model; later idyllic poems, as indicated by Jiang Yan's Miscellaneous Poems, all took their example from Tao Qian." (Selected Poems of the Song Dynasty)

Fire flows in July, and clothes are awarded in September.

The day of the first zurna, the day of the second, chestnut strong.

Without clothes or brown, how can I die?

The third day of the year is the day of the plow, and the fourth day of the year is the day of the toe.

With my wife and son, I carry food to the southern acres of the fields!

July is the month of fire, September is the month of clothing.

Spring is the day of the sun, and there is a sounding of the Canggeng.

A woman with a basket of silk will follow her on her way, and I will seek the soft mulberry.

Spring is late, and Artemisia stellarum is picked.

The woman's heart was sad, and she did not want to go back to her husband.

July fire, August reeds.

The shrike is heard in July, and the shrike is carried in August.

I Zhu Kongyang, for the Duke's clothes.

Polygala in April, and products in May.

August its harvest, October fall culm sheaths.

One of the days of the raccoon, to take their fox, for the Duke fur.

The second day of the same, carry on Wugong.

Speaking of his little pig, he offered a 3-year old pig[7] to the Duke.

May, the katydid moves its stock, June, the cockerel vibrates its feathers.

July in the field, August in the Yu, September in the house,

October crickets, enter under my bed.

The rats and the mice are plastering the house with mud.

Contempt my woman and son, said for the change of the year, into this room.

June food Yu and azulene, July cooking sunflower and beans.

August peeling dates, October rice.

This spring wine, in order to intermediate eyebrow life.

July eating melon, August broken pot, September Shu Tho,

Collecting tea fuel simarouba, food my farmers.

September builds the field and garden, October nabs the crop.

Millet and grain, wheat and hemp, beans and wheat.

Contempt my farmer, my crops are the same, the upper into the Palace Gong Gong.

During the day, the rope borders are used in the night.

It is urgent for them to ride in the house, so that they can start sowing the grains.

The second day of the year is the day when the ice is chiseled, and the third day of the year is the day when it is brought to Lingyin.

The fourth day of its fleas, offering lambs and leeks.

September is the month of frost, October is the month of cleansing.

People drink wine to entertain, said to kill the lamb.

This is the first time that I have ever been in a position to say, "I'm not going to be able to do this, but I'm going to be able to do it"!

Notes:

The Bin Feng (豳风) is a poem written in the area of Bin Di (豳地), and consists of seven verses. Bin, also written as Duke, is the place where Gong Liu, an ancestor of the Zhou Dynasty, moved and developed, in the area of Xunyi, Duke County in today's Shaanxi Province. Most of the old customs of the Zhou people remain in this industrial area, "its people have the legacy of the former kings, they are good at harvesting and doing their own work, so the Bin poems talk about agriculture, mulberry, clothing and food in a very complete way." (Han Shu - Geography Zhi) The poetic style is generous and joyful (Zuo Zhuan, note on the 29th year of Xiang Gong)

Streaming fire: the sparks sank in the west at dusk in July

Zurna: the wind and cold were in full bloom. Li Lie: bitter cold

Yi Zhi Day, Er Zhi Day: November and December of the summer calendar

San Zhi Day, Si Zhi Day: the first month of the summer calendar, February

Yu ?ê: to refurbish farming tools. Lift the toes: to lift the feet for plowing

Carrying food to the laborers: yin night, to give food to people

Steppe: yin shun, steward in charge of agriculture

Canggeng: a yellow warbler

Yi Basket: a deep basket used for picking mulberry

Woman: a woman, a female slave. Critical: fear

Reeds: long grown ogi reeds.

斨: sound gun, axe, receive handle of the hole square

shrike: sound bureau, Burrowing bird. Jieji: spinning hemp

Kongyang: very sharp

Polygala: the name of a grass, i.e., Yuanzhi. Product: sound strip, cicada

Culm sheaths: the leaves of grass and trees fall. Culm sheath sound spit

The same: will gather. Pig: continue

Pig: plastering 3-year old pig: sound between the three-year-old pig

Dome suffocation: plug the hole in the wall. Plaster: sound exhaustion, Tu

Yu: the name of the tree. azulene: sound jade, plum genus

broken pot: picking gourds. Uncle Tho: packing green hemp. Tho Yinju

Tan: Yin Tu, a kind of bitter vegetables. Simaroubaceae: yinchu, a stinking toon tree

Penryl: yinlu, a late-sown and early-maturing cereal

Rope Rope: yintao, a rope

Lingyin: an ice cellar

Robin Drums: yin sigong, a wine vessel

Appreciation:

The July Months recounts the year-round productive labor and life of farmers, reflecting the rich content of productive labor and the rich customs of the festival, which should be regarded as a rare life of the farmers. It should be said that it is a rare painting of life and customs. The poem takes the chronological order as the main clue, describing and categorizing by month, opening and closing vertically and horizontally, with one inner space and one picture in each section. From the beginning of farming to the end of harvesting and offering, the woman who delivers food, the woman who picks mulberry, the farmer who goes to the field, the knight who hunts, and the nobleman who goes to the office, there are many characters, each with their own appearance, and in between, they also use the objects to indicate the chronological order, which constitutes the unity of the overall style, and avoids the dullness of the narration, which strengthens the image of the poem, and highlights the characteristics of the customary paintings in particular.

Tao Yuanming's Poems

Five Poems on Dwelling in the Garden

One of them

It was not my fault that I did not have the taste for the common people, but my nature was to love the hills and the mountains. I have been away for thirteen years, and I have fallen into the net of dust by mistake.

The birds are in love with the old forests, and the fish miss the old ponds. I'm not sure if I'll be able to do that, but I'm sure I'll be able to do it, and I'll be able to do it.

The square house is more than ten acres in size, with eight or nine grass houses. The willow and elm shade the back of the eaves, and the peaches and plums are in front of the hall.

Ambiguous and distant villages, and smoke in the marketplace. The dogs barked in the deep alleys and the chickens crowed in the mulberry trees.

There is no dust in the house and court, and there is spare time in the empty room. I've been in a cage for a long time, but I've come back to nature.

The second

There are few people in the field, and there are not many wheelchairs in the poor alleys. I'm not sure what I'm talking about, but I'm not sure what I'm talking about," he said.

Sometimes, in the marketplace, they would come and go in the grass. The first time I saw you, I didn't say anything, but I said, "I'm sorry, I'm sorry, I'm sorry.

The day of the mulberry tree is long, the day of my land is wide. I'm always afraid that the frost and snow will come, and I'll be scattered with the grass.

The third

The beans were planted under the south mountain, and the grass was full of bean seedlings. I'm not sure if I'm going to be able to do that, but I'm going to be able to do it.

The road is narrow, the grass is long, and the evening dew stains my clothes. I'm not sure what I'm talking about, but I want to make sure that I don't lose my mind.

Fourth

It has been a long time since I traveled to the mountains, and I have been entertained by the forests. I'm not sure if I'm going to be able to do that, but I'm sure I'll be able to do it," he said.

Wandering between the hills and the mountains, I was living in the past. The first thing you need to do is to get your hands on some of the most popular products and services in the world.

I asked the payroll collector, "Where are all these people? The man who picked it said to me, "There is nothing left of the dead and the dying.

The phrase "one life is different from the market" is true! The life of the world is like an illusion, but in the end it is nothing.

The fifth

Disappointment and hatred of the sole strategy to return, rugged through the hazelnut curve. The mountain streams are clear and shallow, so I can wash my feet.

Liquefying my new wine, the two chickens invited me to a meeting. I'm not sure if I'm going to be able to do this, but I'm sure I'll be able to do it," he said.

The night is short, and the day has come to an end.

Tao Yuanming is the first person in the history of Chinese poetry to take idyllic life as an important subject of creation, the poet lived in the extreme darkness of society but insisted on lofty ideals and interests, which made him finally had to break with the ruling class of the upper class completely, back to the idyllic. During his twenty years of idyllic life, he wrote a large number of idyllic poems, and among the one hundred and twenty surviving Tao poems, those describing the rural scenery and the life of peasants account for a large proportion. This makes him the founding father of China's idyllic poetry.

Tao Yuanming's idyllic poems include Five Poems on Dwelling in the Garden, Five Poems on Moving to a New Home, Two Poems on Harmony with Lord Guo, A Rice in the West Field in the Middle of September in the Year of Gengcheng, Twenty Poems on Drinking Wine, and so on. These poems "describe the beautiful scenery of the countryside and the simple life of the peasants, and celebrate the significance of labor and the joy of one's participation in it. (History of Chinese Literature, Institute of Literature, Chinese Academy of Sciences).

Tang Kaiyuan, Tianbao years, social stability, economic prosperity to the poet to provide the material conditions of leisure life, the ruling class to promote the Buddha, but also created a special political situation: for those who have difficulty in the family service of the literati, from the hidden to the service, often a "shortcut to the south of the world"; for those who have a high-ranking official salary, from the service and hidden, neither affects the livelihood, but also to the public, and the public, and the public, and the private sector. In addition, the development of internal conflicts within the ruling class also contributed to the popularity of the idea of seclusion. Therefore, inheriting Tao Yuanming, some poets wrote a large number of idyllic poems based on the theme of idyllic life, thus forming the idyllic poetry school.

The main writers of the idyllic poetry school were Meng Haoran and Wang Wei, as well as Chu Guangxi, Chang Jian, Zu Yong, and Pei Di. Their writing tendency was different from that of Tao Yuanming, from whom they "took inspiration and wrote some idyllic poems, but they all took away Tao Yuanming's glorification of labor. They only unrealistically depicted some peasants' happy and stable lives as an accompaniment to the natural scenery to glorify their own seclusion." (History of Chinese Literature, Institute of Literature, Chinese Academy of Sciences)

Meng Haoran (689---740), the word Haoran, the name is unknown, Xiangzhou Xiangyang (present-day Xiangyang, Hubei Province), early years of seclusion in his hometown of Lumenshan, at the age of 40 years old, had gone to Chang'an to apply for the examination of the scholar, and failed to return to a life of a man of cloth. Meng Haoran was the first person in the Tang Dynasty to write a large number of landscape and idyllic poems, with more than 260 poems surviving, most of them in five-character meter. Most of Meng Haoran's landscape poems are about the scenic spots in his hometown Xiangyang, such as "Autumn Ascent to Orchid Hill and Sending Zhang Wu", "Night Return to Lumen Song", and "Thinking of Returning to the River and Mountains", which depict the landscape, smoke and trees, the crescent moon, and the boats of Xiangyang in a normal and friendly way. His idyllic poems are not many in number, but they have a strong flavor of life, such as "Passing by the Old Man's Manor" and "Traveling to the Jing Si Guan Back to the Peer Cloud in the Back", etc. The simplicity of farm life, the deep friendship with the deceased, and the harmony of the countryside atmosphere leave an unforgettable impression on the people. Some of his small poems, such as "Spring Dawn", are also written in a subtle and elegant style with a long flavor. Meng's poetic style is mainly clear and open and light, but there is also a strong and elegant atmosphere in the light. His poems are of high artistic standard, and he has always been recognized as one of the representative writers of the Tang Dynasty's landscape and idyllic poetry school, along with Wang Wei. However, the subject matter of his poems was relatively narrow and lacked deep and broad social content.

He was the first person who "started the style of landscape and idyllic poems of the Tang Dynasty" (Tang Poetry Series). There are not many of his idyllic poems, but some of them are famous, such as "Passing the Old Man's Manor", "Spring Dawn", and "Staying at the Jianqing River", which have a quiet and faraway mood.

The old man has chickens and millet, and invites me to the field house.

The village is surrounded by green trees, and the green hills are slanting outside.

It's a good thing that I've been invited to this house for a long time.

When the sun comes up, I will come back to the chrysanthemum flower.

This is a masterpiece of idyllic poetry with a quiet and distant mood. The poem blends the quiet and beautiful rural scenery with simple and sincere friendship. "An ordinary village, an ordinary hospitality of chicken and millet rice is expressed in such a poetic way. The description is in the foreground of the eye, the verbal language is used, and the level of description is completely left to nature; the pen and ink seem to be very relaxed, and even the form of the stanzas seems to have become free and handy." (Dictionary of Tang Poetry Appreciation Party).

"Spring sleeps without realizing the dawn, and crowing birds are heard everywhere. The night comes with the sound of wind and rain, and the flowers fall to know how much." ("Spring Dawn"). Many people have interpreted the theme of this poem as "cherishing spring," but in fact it expresses a transcendent idyllic world in which the main character is a "climax scholar" who is free from honor and wealth, who is based on the transcendent world and who dissolves in nature ([see also] Spring Dawn). (see [Japan] Maeno Naobin, Ishikawa Tadahisa's "Dictionary of Appreciation of Famous Ancient Chinese Poems"), this little poem is so popular that people with a little bit of literacy can just spit it out.

From the analysis of these two small poems, we can already see that the poet has glorified the idyllic life in the countryside, which is no longer a real farmer's idyllic life, in which chickens, dogs, cows and sheep are mostly borrowed to embellish the material of the poem, which can not be said to truly and profoundly reflect the life of peasants. The same as his contemporaries, Wang Wei is especially so.

Wang Wei (701-761, a 698-759) word Moqi, originally from Taiyuan Qi (now Shanxi Qixian realm) people. Later, he moved to Puzhou (present-day Yongji, Shanxi) and became a native of Hedong. He was a poet and a good writer, especially famous for his paintings. He was a graduate of the Kaiyuan School of Poetry, and served as the right minister of the Shangshu School, so he was called "Right Minister Wang". There are more than 400 poems preserved. His landscape poems are mainly about the leisurely life and landscape scenery of his secluded residence in Zhongnan and Rim River.

Wang's poems are of high artistic achievement. Whether it is the majestic scenery, such as "The Desert is Lonely and Smoke is Straight, and the Long River is Full of Falling Sun", or the detailed natural objects, such as "The Bright Moon Shines among the Pines, and the Clear Spring Flows over the Stones", he was able to capture the colors, sounds, and dynamics of the nature with his keen sense of nature, either by sketching or engraving, or by waving his hand in the air and painting. He was able to capture the colors, sounds, and dynamics of nature with a keen sense of nature, either by sketching or by painting, with a free hand and a unique mood. The ancients summarized the artistic characteristics of Wang's poems by saying: there is a painting in the poem, and there is a poem in the painting. His poems have a painter's touch, and the colors of the pictures are often contrasted in a suitable shade, which is reflected in his Rim River Collection. The language of Wang's poems is fresh and condensed, and the simplicity of the poems is magnificent.

After he turned 37, Wang Wei's thinking became more and more negative, and he basically lived a semi-official and semi-hidden life, writing a large number of idyllic poems. His famous works include Autumn All Night After the Mountain, The End of the South Mountain, The Rims of Rim River, Gift to Pei Xiu Cai Di, Rims of Rims Collection, The Field and Garden in Seven Songs, Passing through the Temple of the Heung Jik, Jiyu Chuanzhuang, The Garden and Garden in the Spring, and The Field and Garden in the Chuan Dynasty, and other poems.

Slanting light shines on the marketplace, and cows and sheep return to the poor alleys.

The wild old man remembers the shepherd boy and leans on his staff.

Pheasant enough to show wheat seedlings, silkworms sleep in mulberry leaves.

The father of the field has arrived with his hoe, and he says, "I'm glad to see you.

This is how I envied the idleness of the world, and how I despaired of the style of the world.

The poet was envious of the sunset and the approaching nightfall when he was faced with a picture of a happy family returning home in the evening. The core of the poem is the word "return". All life on this land is thinking of returning: the cows and goats come down from the mountain, the shepherd boy returns, the pheasant calls affectionately, the silkworms carefully create their own nests of peace, and the farmer returns with his hoe. Finally, the poet said with emotion: "that is more than the envy of idleness, disappointed in the chanting style". In fact, the farmers are not idle, the above "return" word is actually a counterpoint to all return, counterpoint to their own unique no return; to all return to the timely, friendly, cozy, counterpoint to their own return to the hidden too late, as well as their own mix of officialdom, lonely, bitter.

Wang Wei's and Meng Haoran's poems of idyllic gardens are, in terms of their ideological content, "a big step backwards from Tao Yuanming" (History of Chinese Literature, Institute of Literature, Chinese Academy of Sciences). But aesthetically speaking, they deepened the human feeling for the natural beauty of landscape and idyllic beauty on the one hand, and improved the expressive skills of idyllic poetry on the other.

For example, in Meng Haoran's "Passing by the Old Man's Village", the whole poem takes the time of visiting the old man as the order, and writes out the whole process from going to the appointment to bidding farewell, with distinct levels, mutual illumination, and complete structure. In addition, the refinement of words is also very elaborate. The two words "together" and "slanting" in the last line of the poem depict the relationship between the village and the distant mountains as if they were right in front of us. The word "on" in the last line expresses the attachment to the deceased, and gives people a kindly feeling.

Wang Wei's "Autumn Night in a Mountain Dwelling" combines poetry, painting and music. The poem contains both the painter's unique grasp of color and line and the musician's sensitivity to sound and rhythm. The author utilizes the talents of the poet, painter and musician at the same time, making the poem a "painting in a poem" with sound. In terms of refining words, "Wang Wei is especially outstanding, often using subtle and concise words to paint a picture without any traces of carving."

The development of idyllic poetry in the Middle and Late Tang dynasties saw another face, "Liu Zongyuan, Wu Zhen, Zhang Ji, and Nie Yizhong all exposed the exploitation of the peasants by the ruling class under the title of Tianjia" (History of Chinese Literature, Institute of Chinese Studies), and did not depict the rural landscape. This type of poetry is best represented by Nie Yizhong's "Wounded Field House" in the Late Tang Dynasty. In the Late Tang Dynasty, all idyllic poems became poems of compassion for farmers.

Nie Yizhong (837-884), with the character Tanzhi, was a native of Hedong (present-day Yongji County, Shanxi Province) in the Tang Dynasty. Because of the war and the poverty of his family, he could not afford to bribe the rich and powerful, so he stayed in Chang'an for a long time after his success before he was appointed as a county lieutenant of Huayin (present-day southeastern Huayin County, Shaanxi Province).

Because he was born in poverty, he lived in the countryside for a long time, and he was close to the laboring people, and he "knew the difficulties of harvesting". Therefore, most of his poems reflect the agonizing life of peasants who suffer from cruel exploitation. He wrote many famous poems, such as "The Hurt Field House" and "Two Songs of the Duke's Journey", which have been passed down through the ages.

Let's take a look at "The Hurt Farmer":

Selling new silk in February, selling new rice in May.

To heal the sores in front of me, I pluck out the flesh from my heart.

I wish that the heart of the monarch would be turned into a bright candle.

It will not illuminate the banquet, but only the house of the fugitive.

This is a five-character poem. It reflects the miserable life of the peasants under the cruel exploitation in the late Tang Dynasty, and the author makes an urgent appeal for them. It has been compared with Liu Zongyuan's "The Snake Catcher's Sayings", which is "as simple and meaningful as Liu's" (Tang Poetry Collection).

The poem opens with a revelation of a typical rural "oddity" at that time, when silkworms began to grow in February and seedlings were planted in May, where is the silk for sale? Where to sell rice? This is actually a fact! It is known that this is "selling green" - the agricultural products that have not yet been produced in advance at a low price collateral. This with blood and sweat to feed the cultivation of things is a year's food and clothing, is the flesh of the heart ah, that is, was plucked out. This is why there are three or four metaphors of "plucking out flesh to mend a sore", which are bloody metaphors! It is shocking, profound and typical, and has become a famous line that has been recited throughout the ages.

The last four lines are the poet's statement, expressing the desire to improve the reality. The hope for the enlightenment of the monarch has its limitations, but the author's intention is mainly satirical and treacherous advice. The poet skillfully uses the opposite brush to reveal the emperor's stupidity and the injustice of the world. The contrast between the "feast of beautiful flowers" and the "house of escape" reflects the social reality of polarized and sharp class antagonism, and enhances the critical nature of the poem. It implies the reason for the bankruptcy of the peasant family, and the word "fleeing" points out that the result is inevitable: "exhausting the land, exhausting the hut, hooting and hollering, hungry and thirsty," "I'll die in vain! " ("The Snake Catcher Says"), full of the author's sympathy for the Tianjia.

Du Xunhe's The Widow in the Mountain is also an outstanding poem in this regard. Du Xunhe (846-904) was a poet of the Tang Dynasty. He was known as Jiu Hua Shan Ren (九华山人). Du Xunhe was a native of Shidai, Chizhou (present-day Shitai, Anhui). He came from a humble background. He went to Chang'an several times to take the examination, but failed to return to the mountain. When Huang Chao's army swept through Shandong and Henan, he returned home from Chang'an. From then on, he lived a life of "fifteen years in smoke and roses" (After the Troubles, I came out of the mountain and met Mr. Gao), and lived a life of "writing articles, enjoying the thinness of the world, and plowing and planting, enjoying the fatness of the mountains" (After the Troubles, I Wrote in the Mountain). He traveled to Daliang (Kaifeng, present-day Henan Province), and presented 10 songs of "Times and Seasons" to Zhu Wen, hoping that he would save labor and reduce the amount of taxes, but it was not to Wen's liking. When he traveled to a monastery, Jingxiang, one of Zhu Wen's subordinates, advised him to "cut down a little on the ancient style, so that he could advance in his career", and therefore he pleased Wen by presenting him with 30 chapters of poems in praise of virtue. Wen sent his name to the Ministry of Rites, and he was awarded the eighth grade in the second year of Dashun (891) ("Record of Appreciation"). The next year after he was awarded the title, he returned to the old mountain because of the political turmoil, and Tian Yu, who was in Xuanzhou, attached great importance to him and used him as an engaged man. In the third year of Tianfu (903), Tian Mu rebelled against Yang Xingmi and sent him to Daliang to liaise with Zhu Wen. When Tian Mu was defeated and died, Zhu Wen recommended him and authorized him to be a scholar of Hanlin and a minister of the hosts and guests, but he died of a serious illness in a few days. The poem "The Widow in the Mountain" is as follows:

The soldiers of my country died defending Pengmao, and my sideburns were burnt in hemp ramie clothes.

When the mulberry and the cudgel were abandoned, I still paid taxes, and when the fields were deserted, I still collected seedlings.

When I picked wild vegetables, I cooked them with their roots, and when I chopped raw firewood, I burned it with its leaves.

When the mountains are deeper and deeper, there is no way to avoid the rumor of a levy.

The Song Dynasty was the peak of idyllic poetry.

The theme of describing idyllic life was discovered by the Jin and developed by the Tang, and became a common theme for poets in the Song Dynasty. Many poets in the Song Dynasty used their own poems to describe idyllic life, either in the line of Wang Meng, or in the line of Liu Zongyuan and Nie Yizhong. Among them, Fan Chengda of the Southern Song Dynasty is one of the most famous idyllic poets, and his "Miscellany of the Four Seasons in the Field" and "Lunar New Year's Village and Field Music" are the most comprehensive works of idyllic poems in his later years. The history of idyllic poetry was thus brought to its peak.

"Neither Tao Yuanming nor the two Wang Crown Princes exposed the feudal exploitation system in their idyllic poems." (History of Chinese Literature, Institute of Literature, Chinese Academy of Sciences). The poems of Nie Yizhong of the Tang Dynasty "do not describe the natural scenery of the countryside, and in traditional custom they do not belong to the system of idyllic poetry" (Institute of Literature of the Chinese Academy of Sciences, History of Chinese Literature). Fan Chengda, however, "combined these two systems together, gave idyllic poetry a richer and deeper intellectual content, and gave it a new life." (Institute of Literature, A History of Chinese Literature), giving the idyllic poems, which were detached from reality, the scent of earth and blood and sweat.

Fan Chengda (1126-1193), with the character Zhineng, was known as Shihu Jushi. He was a native of Wu County (present-day Suzhou, Jiangsu Province). Father Fan summer, Xuanhe five years into the bachelor's degree, the Southern Song Dynasty Shaoxing eleven years (1141) for the Secretary of the Province of the word, the end of the Secretary Lang; mother Cai's is the famous calligrapher of the Northern Song Dynasty Cai Xiang's granddaughter.

Fan Chengda was well educated in his early years, and was good at reading history and the classics. In the 24th year of Shaoxing (1154), he was awarded a bachelor's degree. From the 26th year of Shaoxing, he served as a household counselor in Huizhou, and since then, he has been in the officialdom. In the tenth year of Chunxi, he resigned due to illness at the age of 58. He lived in seclusion at Shihu for the next 10 years.

Fan Chengda was a scholar who cared about the affairs of the state, was diligent in political affairs, and sympathized with the plight of the people. His basic political ideals are the Confucian "benevolent government" and "people-oriented" ideas, that "the people are the foundation of the state, the foundation of the state peace", in order to enrich the country and strengthen the army, must first secure the people, "save the corvée, the people's labor, the people's labor, the people's labor, the people's labor, the people's labor, the people's labor, the people's labor. He believed that "the people are the foundation of the state", and that in order to make the state rich and strong, the people must be pacified first, and that "save corvée, thin the endowment, and alleviate their hardships" ("On the Foundation of the State"). In some zhangzhi, he urged Emperor Xiaozong to save manpower and national resources, cherish time, rectify military discipline, train soldiers, use penalties cautiously, crack down on corrupt officials, and strengthen the army and restore the country as a great ambition. When he was a local official, he tried his best to eliminate the malpractices and reorganize the armaments, or to provide disaster relief and water conservancy, and made efforts to alleviate the burden of peasants and relieve the sufferings of soldiers. Accordingly, his consistent thought of worrying about the country and sympathizing with the people was fully reflected in his poems.

Fan Chengda was very early in his life, and had a deep understanding of the hardships of rural life. He wrote some poems depicting rural life in his twenties, for example, in the poem "Boat Ride on the Henshan Road in the Summer", he expressed the emotion of "pitying the old farmers for their sufferings"; and in the poem "The Song of the God of Music", he wrote about how the farmers felt lucky that they could pay their rents with grain in the year of harvest, and were free from being whipped; and in "The Song of the God of Music", he wrote that the peasants were lucky that they had grain in the year of harvest, and were free from being whipped. In the poem "Reeling Silk Row", he wrote about the busy labor of his aunt and sister-in-law in boiling cocoons, reeling silk, and selling silk; and in "Rent Collection Row", he depicted the scene of the officials coming to the door to extort money from the peasants after they had finished losing their rents. When he was an official in Huizhou, he wrote the famous "Rent-collecting Row", which portrayed the heavy taxation, the cruelty of the officials and the suffering of the people in the Southern Song Dynasty. Later in Hangzhou, Guilin, Chengdu and other places and his hometown, he wrote a large number of poems on rural subjects, such as "mowing the wheat", "rice-planting", "sun cocoon", "picking diamonds", "after the rain after the Mangsui sudden cold three", "paddy sighs" and so on. Among them, such as the "yellow warrior ridge" write nesting in the inhuman situation of mountain farmers, issued a "can pull you out" of the call; "labor she plow" by "xia farmers" slash-and-burn farming, barely able to eat, written to "wu farmers" The idea of sympathizing with the people's suffering has been in Fan Chengda's poems from the beginning to the end, until he retired to Shihu in his later years, he still sympathized with the miserable life of the poor in his works such as "Winter Pounding", "Autumn Thunder Sighs", and "Singing in the River Market", etc. In "Wearing a Wall in the Snow", he heard that the poor were living outside the wall. In "In the snow, I heard fish and vegetable sellers outside the wall begging for sale sound very bitter and have a feeling of three", the poet declared: "You can't poem for you to chant!" The poet declared: "You can't chant for you!", which truly expressed his intention of calling for the people's suffering.

Fan Chengda in his later years composed a group of poems, "Four Times in the Field", is a representative work of his idyllic poetry. The Sixty Poems of "Miscellany in the Field and Garden in Four Seasons" are divided into "Spring", "Late Spring", "Summer", "Autumn" and "Winter", "Winter" five groups, each group of twelve songs, the layout is uniform. The layout is even, like a long scroll of rural custom paintings, each group of stanzas is a fragment, and each poem is an integral part of the long scroll. The main content of this group of poems is: "depicting the beautiful scenery of the countryside, glorifying labor and the simplicity of the peasants, and exposing the feudal system of exploitation. Artistically, the poems are "y inspired by Liu Yuxi's Bamboo Branch Lyrics, which are fresh and light, and have the flavor of folk songs." (Song Poetry Appreciation Dictionary, Shanghai Rhetoric Book Publishing House)

Let's look at a poem depicting a rural scene:

Butterflies enter the cauliflower in pairs, and the day grows long without a guest arriving at the field house.

The chickens fly over the hedge and the dogs bark at the sinuses, knowing that there are traders coming to buy tea.

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

The first two lines of the poem are about a quiet scene in the countryside. Butterflies are flying in pairs in the cauliflower fields; the days slowly seem longer, no guests come to the houses in the fields, and the village is very quiet. This is a positive description of the daily rural scene, the first line also indicates that it is late spring, the second two lines of the poem write about the dynamic scene when the tea merchants came. The tea merchant comes to purchase tea, but even the dogs and chickens are shaken, which reflects that usually very few outsiders come, and when a stranger comes, everyone pays close attention. This is a moving scene, but it further illustrates the tranquility of the countryside.

The most important feature of this poem is that it uses movement to contrast with silence. The first line is about the moving scene, but it deepens the quietness of "the day is long and no guest comes to the field house". The third and fourth lines of the poem are about a moving scene, but it contrasts with the static described in the whole poem. Secondly, the phrase "butterflies are in the cauliflower" captures the details of the rural scene.

Take a look at another poem reflecting the working life of farmers:

The children of the villages are each in charge of their own families, and the fields are ploughed by day and the hemp is harvested by night.

The children and grandchildren have yet to learn how to plow and weave, and they learn to plant melons in the shade of the mulberry tree.

This poem describes the summer scene in the countryside, expresses the labor life of rural men, women and children, and praises the hard work of farmers.

The first line describes the working life of adults, who go out during the day to engage in field work such as plowing, and come home at night to the indoor labor of spinning hemp. The second sentence is about the children's domestic tasks, such as cooking, cleaning and so on. The third and fourth sentences are about the games of children and grandchildren. Although "learning to grow melons" is a game, its content is imitation labor. In such an environment, even children are full of love for labor. This poem describes the hard work of farmers from different aspects.

The poem describes a hierarchy, firstly the adults, secondly the children of 15 or 16 years old, and then the children and grandchildren of a few years old. These people, in fact, summarize all the people in the farmer's family. At the same time, it also summarizes the whole life of the farmer. The use of details is very skillful, and the detail of "learning to grow melons in the shade of the mulberry tree" makes the whole poem very interesting.

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

It is hard work to pick diamonds and waste pear hoes.

It is impossible to plant a field, but the water is a source of rent.

This poem is about the scene of peasants picking diamonds in autumn, exposing the cruel exploitation of peasants by the feudal rulers.

The first two lines are about the hard work of picking diamonds. The first line summarizes the "hard work", while the second line is a specific depiction of the "hard work". The first sentence is a general description of the "hard work", while the second sentence is a specific depiction of the "hard work". "Ghost quality withered" is written about the whole person, "blood finger flow Dan" is written about the localization, is a close-up shot. The last two lines describe the cruelty of the exploitation of the peasants. The word "powerless" indicates that the peasants are forced to pick diamonds because of poverty. The phrase "recently" shows that even though the peasants were poor, they still had to pay rent, and the exploitation they suffered can be imagined. This is very reminiscent of the last line of The Widow in the Mountain.

There are two points worth noting in the art of this poem: one is the combination of generalization and specific description, which makes the reader's understanding of the image and profound. Secondly, it is written in layers, the first two lines are the first layer, the third line is the second layer, and the fourth line is the third layer. The first two sentences are the first layer, the third sentence is the second layer, and the fourth sentence is the third layer.

Through the above analysis, we can already see that Fan Chengda's idyllic poem is a masterpiece that widely absorbs the advantages of previous idyllic poems, and it is creative from content to form, and its high achievement can be said to be more than that of any other idyllic poet before him. It is for this reason that this group of poems of his "has always been called a model of idyllic poetry in China". (History of Chinese Literature, Institute of Literature). At this point, the idyllic poem has matured into the pinnacle of the history of idyllic poetry.