A piece of appreciation paper for ancient poets' literary masterpieces, which can hold two stationery, is also acceptable.

China's pastoral poems have a long history, and realism has always been the main creative technique. Artistic truth and historical truth truly reflect the reality of China ancient society for more than 2,000 years. Many of these works, even more concrete and profound than the official history, reflect the profound disasters caused to the people by the militarism and extortion of the rulers. For example, in the first year of Kangding, Song Renzong (1040), Xixia sent troops to attack the Song Dynasty, and the court ordered the recruitment of rural soldiers because of the shortage of regular troops. In order to get credit, local officials collected points indiscriminately, which coincided with the summer rain disaster. Mei's two poems in Xiangcheng County, Tianjiayu and Rufen Poor Girl, vividly reflect the sufferings brought by the archers to the people. Some pastoral poems can also confirm the official history: Ming history records that when Qian was the governor of Shanxi, he rehabilitated unjust imprisonment, provided disaster relief to build water conservancy projects, and the people lived and worked in peace and contentment. In Pingyang Road, Yu Qian himself truly reflected this fact. He said: "Good years should meet, and the price of rice in Pingyang is low in April." Many excellent works in ancient pastoral poetry are treasures in the realistic literary garden of our country, and they still have certain cognitive significance and aesthetic value.

Pastoral poetry is closely related to folk songs. It goes without saying that the Book of Songs and the pastoral poems in the early Han Yuefu are inseparable from the folk songs since the Tang and Song Dynasties. The connection between them is highlighted in two aspects: First, the pastoral poems of mountains and rivers appear in a large number of Yuefu poems of Zhang Ji, Wang Jian, Bai Juyi and other new Yuefu poets. These "masterpieces, no one can rely on" pastoral Yuefu poems obviously gave birth to folk songs. The second is the idyllic poems created by imitating folk songs. The most typical is Zhi Zhu Ci created by Liu Yuxi and Bai Juyi in the middle Tang Dynasty, which is adapted from the folk songs in eastern Sichuan. In addition, Yang Liuzhi is also the product of learning from folk songs. Folk songs belong to the oral creation of the lower classes (mainly farmers), so most of these pastoral poems created under the influence of folk songs can reflect the reality, criticize the current disadvantages and sympathize with the unfortunate experiences of working people. Art is also mostly unique, novel and unique.

In the history of literature, pastoral poetry and landscape poetry have always been compared, but the appearance of landscape poetry is much later than pastoral poetry. There is no landscape theme in The Book of Songs and Chinese poetry. There are elements of landscape in metaphysical poems in Jin Dynasty, but landscape poems flourished in Song and Qi Dynasties. The authors of landscape poems and pastoral poems are mostly the same kind of people. They are either politically frustrated, or live in seclusion in the mountains waiting for their once-in-a-lifetime friendship, or retire from the officialdom to support their lives. The cross-development of landscape poetry and pastoral poetry, like Beijiang and Xijiang, tributaries of the Pearl River, come from different sources, meet near Sanshui and then separate. However, it is impossible to tell which water comes from Beijiang River and which from Xijiang River. There is no strict boundary between pastoral poetry and landscape poetry about rural natural scenery after the prosperous Tang Dynasty, and even these two themes are involved in some works. During the Ming and Qing Dynasties, such works were considerable. Another part of pastoral poetry, which reflects reality, has been developing in parallel with landscape poetry, and has not merged with each other. Fusion and divergence are two ways of literary theme and form development, and so is the relationship between landscape poetry and pastoral poetry. But artistically speaking, pastoral poetry is more abundant than landscape poetry, which is consistent with the diversity of its subject matter.

In a word, China's pastoral poems of past dynasties are a mirror of ancient society, and some works that truly reflect social reality can become history textbooks of literary genre. Reading these pastoral poems enables us to know more about ancient society, study the economic system and class relations in ancient rural areas, and even make up for the shortcomings of history in some aspects. A large number of poems describing rural pastoral scenery in pastoral poetry have high aesthetic value and can give people beautiful enjoyment. We should pay more attention to China's pastoral poems.

It seems full.