What is the connotation of the pastoral complex of ancient literati?

Connotation of pastoral complex of ancient poets in China.

Indian poet Tagore wrote a poem: "I will abandon all my sadness and doubts and chase the tide of homelessness, because the eternal stranger is waiting for me and he is coming to me." In fact, once the spirit of China's poet was established, he became a stranger in his hometown. The poet's life is a life of wandering and wandering. Combined with unique image expression, it has become an important form for poets to express their feelings, solve their troubles, and then settle down. The bamboo temples are built by thin smoke separated by water, the paths are rainy, the mountains and rivers are audible, and the silent sunset of the peaks conveys a sense of universal life that everything is in my heart and endless, as well as the poet's sense of the past and the present. Mountaineering is all mountains, wading is all water, and the mountains and rivers touched the poets for no reason.

1, a mental refuge for wanderers who study in the world.

Generally speaking, the traditional literati's enlightenment thought is to cultivate one's morality, be harmonious but different, and aspire to study thousands of books and follow Wan Li Road. Therefore, the imperial court and the rivers and lakes are the two major situations in their lives. However, regardless of opposition or opposition, the hometown complex rooted in their bones will last for a lifetime. Then, all landscape descriptions have a reference in the subconscious, and this reference is the mountains and rivers in my hometown. Zhang Yong of the Song Dynasty said, "Don't look back in surprise. Facing every scenery in the journey, the poet has his hometown and relatives in his heart. It is his ideal of Shi Kuang and his ambition to serve the country in his hometown and childhood that makes him trudge on. There is also "Zhongshan talks about poetry": I am far away from home, and I am worried about the old mountains and green waters. Therefore, the poet's pastoral complex is actually the refuge of wandering mentality.

Li Bai grew up in Sichuan. "But the water in Sichuan is always green and the mountains are always blue." The beautiful scenery of Bashu cultivated his magnificent mind. Li Bai was twenty-five years old, leaving his hometown and wandering around the world, leaving his sword to the countryside and his relatives to travel far away (History of Shang 'an Peichang). During his long travel career, the scenery became his refuge for wandering.

Li Bai's poem "Returning to Laoshan in Winter" and anxious to return left in a hurry without washing the dust, that is, knocking at the mountain gate. Long-lost distant mountains and waters seem to be interested in him, and everything in his hometown seems to be affectionate to him. On the way back, he used the poet's keen eyes to capture:

……

A vine path is green and snowy. The cold leaves are exhausted first, but the Leng Yun in the valley is not exhausted. The tender invades the secret room, and the old tree falls across the river.

……

In the poem, there are green "a vine path", high "Wan Xuefeng", dense dead branches and cold leaves all over the ground, a heavy and stagnant Leng Yun in a valley, tender life in winter, and deep mountains and old trees crossing the river. In this poem, there is a bright green rattan trail in front of Wan Xuefeng, and there is no one in nature. But there is still the call of distant mountains in silence, and there is still tenacious life in the ashes, which is the eternal beacon of human nature. It is in this nature, in this landscape, that Li Bai truly feels that his heart belongs to sunshine, snow peaks, tender bamboo, white clouds and nature. Only in natural landscapes can his heart be the freest. Man loves the natural landscape, and his heart is balanced in it.

The strong flute and plum blossom are introduced, the water in Wuxi is clear, the autumn in the cold mountain is full of flowers, and the heartbroken jade is turned off —— Qingxi smells the flute at midnight.

Love is deep, elegant and ethereal, and the voice of love is lingering. Qiangdi is long, and it blows out impressive plum blossom music. The stream is full of infinite affection. Clear Wuxi, lingering dragon water, sparkling, once welcomed Li Bai. Today, it seems particularly close. Ran Ran, the bright moon in Qiupu, has risen, like a silvery moonlight covering distant mountains and near water with a hazy white gauze. The flute is affectionate, the water is affectionate and the moon is affectionate.

In the poem "Thinking about a Quiet Night", which is well known to all women and children, Li Bai looks forward to the moon and starts to miss home when he sees it. On a cold and frosty moonlit night, he missed his unforgettable hometown. Homesickness, affection and human feelings, time, space and soul are completely integrated, but plain language tells us a common thinking mode of orientals for thousands of years. It can be said that homesickness under the moon itself is a beautiful pain.

At the age of 20, Du Fu began to wander. His life is also in trouble. Everything Du Fu did made him feel physically and mentally exhausted. When he went into battle, his mind slowly calmed down and let nature take its course, washing his tired body and mind in the water and mountains of nature. At this time, depressed and sad Du Fu gradually left us, while optimistic and happy Du Fu approached us.

After Du Fu entered Shu, he chanted in Two Poems One:

It is beautiful in the evening, and the flowers and plants in the spring breeze are very fragrant. Swallows fly in the mud and Yuanyang sleeps in the warm sand.

The beautiful mountains and rivers in spring, fragrant flowers and plants in spring, swallows flying in spring and Yuanyang taking a nap in spring are naturally lovely and beautiful. The distant and clear artistic conception and unique and fresh style all reflect the poet's leisurely mood of staying in the thatched cottage after "four tours at one year old" and "three years of hunger and idleness". It is also a manifestation of his love for nature.

Jiangcun village

Qingjiang river surrounds the village, and everything in changxiajiang village is quiet. Since I left, I have come to Liang, and I am very close to seagulls in the water.

Old wives draw paper as chess, while young children knock needles as hooks. But what more can I ask for from an old friend?

In early summer, the river flowers are like fire, the sky is blue and the wind is blowing. You see: by the Huanhua River, the Mao Mu River is clear; The village is full of flowing water, elegant and quiet. Du Fu came to the first poem named "Jiangcun", forgot the hard work and honor, and freely told the music in his heart. As you can imagine, the feeling of peace is. The second sentence of this poem, "Everything is quiet", is a description of the poet's tranquil mood. Swallows under the blue sky come and go, free; Gull birds in the south wind, suddenly far away and suddenly near, like a shadow. In Du Fu's eyes, both swallows and gulls have an interest in forgetting their planes, which is suitable for music groups. Things are so quiet, and the indifference of personnel makes him happy: his wife's infatuation and naive drawing paper for chess look amiable; The childlike innocence of children knocking on needles and making hooks makes him feel cute. Chess is most suitable for summer, and Qingjiang is just fishing, and everything goes well. After a long separation, the poet regained the joy of his family and children. How can he not feel happy and satisfied? "Besides, what else do you want?" It is related to "all is silent", fully grasping the theme of the poem, simple and steady.

If the love of mountains and rivers can be seen as a simple "childlike innocence", then the pastoral poetry of mountains and rivers also carries a simple "homesickness". In the pastoral poems, all the water flows around the trees, and bloom flies in the clouds. Brilliant machine interest and spirit are always looming in the background of hometown, showing tacit joy and affectionate lingering, cutting constantly and confusing. Therefore, China's pastoral poems are chaotic.

2. Self-treatment of political and professional setbacks.

There have been many famous poets since ancient times, and many poets were angry with the people when they were young: "Go out and laugh, my generation is Artemisia!" " (Li Bai's "Nanling children go to Beijing"), "After ten years of grinding a sword, the frost blade has not tried, and now it shows you, who is unjust" (Jia Dao's "the legendary swordsman"). However, most of these arrogant people are scarred in reality. But even if the poet's pride is repeatedly hit, it will not become flattering. Therefore, the poet. "Less should not be vulgar rhyme, naturally love Qiushan" (one of Tao Yuanming's return gardens). The poverty of official career is not the end of life. "If you lead to water poverty, you will sit and watch Yun Qi" (Wang Wei's My Retreat in Zhongnanshan). Here, the poet found another window. "Since the world can't satisfy our desire, I will let go of my hair tomorrow and board a fishing boat" (Xie Tiao Tower in Xuanzhou by Li Bai), and the lotus leaf gave in before the fishing boat (Autumn Night in the Deep Mountains by Wang Wei). The poet plunged into nature, balanced the fate of weightlessness with landscape and pastoral, and comforted his traumatized soul with landscape and pastoral.

Lu You has always been determined to serve the country, but in the end he was accused of "mocking romantics". In the poem Rain in Early Spring in Lin 'an, he once lamented the darkness of officialdom, the sinister world and the warmth and coldness of human feelings:

For years, the taste of this world was as thin as gauze. Who will be the rider in Beijing? The small building listens to the spring rain all night, and the deep alley sells apricot flowers.

Short paper line idle grass, fine milk play window tea. Plain clothes won't sigh until Tomb-Sweeping Day.

The spring rain in the small building, the apricot flowers in the deep lane, the dust on earth, and the insights in my heart. What you want is always out of reach; What you don't want to lose always flows out of the flowers like water. At this time, Lu you, who has no official, no post and no long-term possessions, is meditating: where is the road to life? Extremely depressed, Lu You thought of his old friend-the steep mountains and beautiful water in his hometown. His hometown has his unforgettable dreams, and he can't let go of his feelings for his old friend. Therefore, he wrote another magnificent movement in his life journey.

After returning to his hometown Yinshan, the quiet and carefree life in his hometown temporarily soothed Lu You's injured heart.

Jinghu

Don't complain about your fame and fortune, you will return to your death.

A basket of arrows is full of white flowers, and plum cranes fall from the eaves.

Yuci

Every year, Yuci Temple is very lively, and embroidered hubs compete to draw boats. There are ten miles of smoke and waves on a moonlit night, and thousands of people sing early warblers.

Flowers are as common as gardens, but wine is as worthless as Xinfeng. I don't need to be sad about my white hair, but Huang Gong has fallen asleep.

In this way, the natural scenery of his hometown was skillfully cut into poems by him. In his spare time of more than 20 years, Lu You made friendly contacts with fellow villagers, was fascinated by mountains and rivers, wrote poems and lyrics, and pinned his feelings on natural mountains and rivers to dispel his troubles.

3. The ideal pursuit of conscious personality.

"Wise people enjoy water, while benevolent people enjoy Leshan" (The Analects of Confucius, Yongye). Landscape is the ideal pursuit of the poet's conscious personality. Pastoral poems convey the personality spirit of literati.

The Wei, Jin and Six Dynasties were extremely glorious times in China's ideological and artistic history. Because the rulers were arrogant and extravagant, and the officialdom was dark and lawless, many literati fled fame and fortune, sought their own personality and pursued their own life value. Naturally, they found Laozi's "inaction" and Zhuangzi's carefree view. It became the main theme of "metaphysics" in Wei and Jin Dynasties. Literati in real life are often lonely, and their hearts are even more lonely. One person can never exhaust another person's psychological world. Lonely hearts always hope to find an external world, which is the poet's natural landscape. When the literati regard the natural landscape as their confidants, their personality has been properly recognized in the natural landscape. In the face of a trickle, you will feel a feminine taste. The grandeur, loftiness, broadness and femininity of nature have gradually become a personality phenomenon, and "sublimity" and "beauty" have become symbols of personality.

Later, with the gradual introduction of Buddhism, the main vein of China's cultural personality was formed with Sakyamuni's "emptiness, clumsiness, lightness, remoteness and brightness" as the core. The pursuit of personality with feminine water as its representation and connotation has become the noblest symbol of personality. Therefore, the literati put their minds on the landscape, looking for spiritual freedom, in order to obtain a perfect personality in the landscape.

Lu You loves natural landscapes and has deep feelings for them. He is very good at blending Li Zhuo's personality into natural landscapes, which makes his natural landscapes have distinct personality beauty. "Mei" is a common natural tree, and Lu You likes to use it as a metaphor for his own personality beauty. From the perspective of botany, the meaning of "Mei" is single and clear, but as a metaphor to describe the beauty of personality, "Mei" has many internal meanings, and this internal fuzziness is related to certain social and historical content and national aesthetic psychology. "Mei" is cold-resistant, tough, tall and straight, tough and noble, which is related to China's traditional virtues and national character. Other metaphors, such as landscape, sun and moon, bird and spring.

4. Externalization of aesthetic taste.

The ancients thought that things "inspired" feelings, which actually showed that mountains and rivers were the externalization of the poet's inner spirit.

"Wen Xin Diao Long Shi Fu": "The original purpose of climbing mountains was to cover things and be passionate. Love is based on things, so righteousness must be elegant; Things are viewed with emotion, so words must be beautiful. " Although what Liu Xie said here is the creation of Fu, it inadvertently reveals the emotional communication between everything in nature and people. The pastoral scenery not only "invigorates" the poet's emotion, but also bears the imprint of this emotion.

"Harmony between man and nature" is the highest realm of China's classical philosophy and the highest spiritual pursuit of China's classical poets. The so-called heaven is Tao, nature and sometimes life. In their minds, man is the son of nature who is equal to all things. Only by conforming to nature and rising and falling with the Tao can he achieve harmony between mind and life, so as to achieve "neither joy nor fear in the process of longitudinal waves" Everything rises and falls naturally "is the concentrated expression of this idea. It is precisely because of this idea that China classical poets always regard pastoral poetry as their best aesthetic object and ultimate spiritual destination. Poets understand the laws of nature and the true meaning of life in the sounds of mountains and rivers and the rise and fall of vegetation, so everything in nature has gained vitality and life consciousness corresponding to human beings. Similarly, the poet's understanding of life is also demonstrated through pastoral poems. Landscape pastoral poetry not only becomes the poet's best aesthetic object, but also the external support of the poet's inner spirit. Sometimes, even the inner spirit disappears, leaving only the external landscape. Tao Yuanming's "Looking at Nanshan leisurely under the hedge of picking chrysanthemums", when the object of Nanshan meets the subject's "I" at the moment of life, the subjective consciousness of "I" disappears, and only Nanshan is leisurely.

Thirdly, the causes of the pastoral complex of China ancient poets.

1, valleys, streams, cottages-the influence of Confucianism.

Scholars who are deeply influenced by Confucianism can always lead an honest and clean life, keep a warm attitude towards life and never lose their faith in life, no matter whether they are in a "rich" or "poor" situation. These people are all Confucian scholars, and they are very bookish. The images in their landscape poems: valleys, streams and cottages, natural, pure and lovely, all show the life of Confucian philosophy.

Lu You was deeply influenced by the Confucian philosopher "If you are poor, you will be immune, and if you are able, you will help the world". After he retired to Yin Shan, he was also influenced by the Lianxi School. When he was sure that he could not get in touch with society, he simply hid in his hometown and fell in love with his old friend, the natural landscape, in order to free and liberate his mind. The scenery in his poems is the expression of his heart.

Birds are still silent, and the meaning of wood has taken on a new look. -two pieces of residual wax.

Today, the clouds suddenly return, and the ditch water is clear and alive.

Swallows fight for mud, and floating fish swim against the current. -morning rain

The residual rain is still dripping, and the low clouds go and stay.

The mountain tastes beautiful and the stream tastes clear.

In these natural materials, such as mountains and rivers, birds' songs, trees and swallows, Lu You has integrated his rich feelings and devoted his silent love to the mountains and rivers in his hometown. In this way, the birds are silent and the wood is fresh. Living water, flying clouds, rain and dew; Chun Yan flying low, lively fish; The mountain light that can be eaten and the stream that can be drunk have become the spiritual destination of Lu You. Just as the rushing water of nature will calm the river, the landscape poems written by Lu You in his hometown contain the excitement and roaring depth of life.

2. The sunshine of rivers and mountains-influenced by Taoist thought.

Such a poet is deeply influenced by Taoist thought. They use the elegance and openness of Taoism to preserve the feelings between man and nature. Taoism's thought of being born is reflected in their landscape and poetic images. The mountains and rivers are free from sunshine, and everything is the embodiment of the elegant and broad personality spirit of the people born. Such people, like heroes in martial arts novels, have a kind of heroism. In fact, they are enjoying the world and fully enjoying the sounds of nature in the green mountains and green waters. Like the literati deeply polluted by Buddhism and Zen, they don't pay attention to real life. But they have taken a big step forward in fully enjoying nature. Different from many Confucian scholars, they always pay attention to the attitude of real life, try their best to compromise, care too much about personal gains and losses, and passively accept natural scenery. They fully enjoy life in the natural landscape. Taking the initiative to seek pleasure in the mountains and rivers seems to be innate, but it is addicted to the nature of mountains and rivers as an official spirit. The vastness and eternity of the universe are often used to set off people's smallness and transience, showing a free and willful life realm. They realized the life of "Heaven and earth coexist with me, and everything is one with me" in Zhuangzi and The Theory of Everything, and looked down on the lights of the world. I deeply realized the infinite generosity and freedom. They describe the beauty of natural scenery, which lies in lightness and elegance. Whether it's the mountains and plains in spring or the interesting travel notes in summer, whether it's the gleaning in autumn or the roaming in winter, the endless changes of nature in Qian Shan reflect the rich emotional world. It is a kind of magnanimity and freedom of personality to discover natural life, appreciate life philosophy and learn from Taoist spirit. In the works of Zhang, Zhu Xizhen and others,

3. Bamboo grove, wild flowers and moonlit night-the influence of Buddhist thought.

Influenced by Zen Buddhism, the scholar-officials held a numb and indifferent attitude towards secular life. The landscape images such as bamboo forest, wild flowers and moonlit night in the poem are a little more distant and indifferent, and all show a world-weary personality spirit advocated by Buddhists to "get rid of troubles and pains" and enter the realm of freedom.

This kind of person is a hermit (there is a difference between true and false, of course), and he has a strong sense of coldness and pride all over. Buddhism and Zen were directly injected into their landscape poems. In the depths of bamboo forests, in wild flowers, or in the cold moonlight, they strongly advocate abstinence, abandon secularism, and their world-weariness is beyond words.

In this kind of literati, it can be divided into the following two types. One is that some people have become authentic Buddhist believers, and the wine and meat have passed through the intestines, leaving the Buddha in their hearts. The other is that some people often empty their guns and secretly dream of returning to the imperial court under the banner of believing in Buddha and respecting Buddha, that is, taking the so-called "shortcut to the south." There are obvious differences between these two kinds of people's mentality, but what they pursue is "not empty and not false"

In their poems, they are not full of passion, but very light. After reading the poems of Xie Lingyun, Wang Wei, Pei Di and others, we can find that the once restless and confused emotional life finally comes down to loneliness and tranquility. They are full of poetic context of meditation, or show the interest of the world away from fireworks, or show the ethereal and bright feeling gained by the silence of wisdom, or show vague hints and implications. Talk about emptiness and pain.