What are some other poems or lyrics about idyllic landscapes?

Drinking Poem No.5*Tao Yuanming

Jie hut in the people's realm, without the noise of carriages and horses.

What can you do? The most important thing to remember is that you have to be able to get the best out of your life.

Picking chrysanthemums under the East Fence, seeing the South Mountain.

The mountain air is beautiful day and night, the birds fly together and return.

There is a true meaning in this, which I want to argue, but I have forgotten the words.

One of the Five Songs of "Returning to the Garden and Dwelling in the Field"

Tao Yuanming

Without being a young man, he was always in love with mountains and hills.

It was a mistake to fall into the net of dust, and I have been gone for thirty years.

The birds are in love with the old forest, and the fish miss the old pond.

It is a great honor for me to be the first to be able to do so.

The square house is more than ten acres in size, with eight or nine straw huts.

Elm and willow shade the back of the house, and peaches and plums cover the front of the hall.

The village is far away, and there is smoke in the marketplace.

The dog barks in the deep alleys, and the rooster crows on the top of the mulberry tree.

The house is free of dust, and the room is free.

It's been a long time since I was in a cage, but now I'm back to nature.

For Zhang Shaofu*Wang Wei

The only thing I like in my old age is quietness, and I don't care about anything.

There is nothing I can do for myself but return to the old forest.

The pine wind blows to undo my belt, and the mountain moon shines on my qin.

If you ask me, I'm a fisherman's song.

All the trees are in autumn color, and the mountains are in sunset.

The herdsman drives his calf back, the hunter returns with his bird.

It is a long time ago that I sang a song to my wife.

Leisurely residence in Rim River for Pei Xiu Cai Di

The cold mountains turn verdant, and the water gurgles in autumn.

Leaning on my staff, I listen to the cicadas in the wind.

The sun sets over the ferry, and the smoke rises above the marketplace.

Drunk in the summer, I sang a song in front of the five willows.

For Zhang Shaofu

In his old age, he only likes to be quiet and does not care about anything.

There is nothing I can do for myself but return to the old forest.

The pine wind blows to undo my belt, and the mountain moon shines on my qin.

The fishing song is deep in the river.

Returning to Songshan

The clear river is long and thin, and the carriages and horses go leisurely.

The flowing water is like an intention, and the birds return to each other in the evening.

The deserted city is near the ancient ferry, and the setting sun fills the autumn mountains.

The city of Songshan is a long way away, and the mountains are full of fall.

Jiandanshan Mountain

Taiyi is close to the heavenly capital, and the mountains are close to the sea.

White clouds and green mist are in the sky.

The peaks of the mountains are different, and the ravines are different.

If you want to stay somewhere else, ask the woodcutter across the water.

Passing the Xiangji Temple

I don't know where the temple is, but it's a few miles into the clouds.

Where are the bells in the mountains?

The sound of springs and rocks, the color of the sun and pines.

The empty pool in the twilight, and the poisonous dragon in An Chan.

The Han River

Chu Sei San Xiang is connected to the Jingmen Nine Schools.

The river flows beyond the sky and the earth, and the mountains have a colorful appearance.

The county is floating in front of the river, and the waves are moving far away from the sky.

It's a beautiful day in Xiangyang, so I'll get drunk with the mountain men.

Qingxi

It is said that I enter the Yellow Flower River, and chase the water of Qingxi every time.

It's a long way to the mountains, but it's a long way to the mountains.

The sound of the rocks is noisy, the color of the deep pines is quiet.

The river is full of waterlily and pelt, and the reeds are clear.

My heart is already idle, and the clear river is tranquil.

Please stay on the rocks, fishing will be done.

To honor Mr. Kuo

The cave door and the high pavilion are full of afterglow, and the peaches and plums are in the shade and the willows are flying.

The night of the bells in the forbidden house, and the birds in the province.

Shaking the jade pendant in the morning, the golden temple, the evening to the heavenly book to worship the trivial door.

It's a good thing that I'm not old enough to be with you, because I'm sick and I'm going to take off my clothes.

New sunny day, the field is clear. The view is clear.

The gate is near the ferry. The village trees are at the mouth of the stream.

Beyond the white waters of the fields. The blue peaks are behind the mountains.

There are no idle men in the farm months. I'm not a man of the world, but I'm a man of the south.

The Classic of Poetry - Bin Feng - "The Seven Months"

"The Seven Months" is called by Qian Zhongshu as "China's oldest idyllic poem of the four seasons", which "recounts the hard work and hard life of the peasants from the end of the day to the end of the year". . However, this poem did not serve as a model; later idyllic poems, as Jiang Yan's Miscellaneous Poems indicate, were modeled from Tao Qian." ("Selected Poems of the Song Dynasty")

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

The first day of the month is zurna, the second day of the month is zurna.

Without clothes or brown, how can I die?

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

With my wife and son, we carry food to the southern mu, and the overseer is very happy!

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

Spring is the day of the sun.

What is the purpose of a woman's traveling in a basket, and what is the purpose of a woman's traveling in a basket?

Spring is late, and Artemisia stellarum is picked.

The woman's heart is sad, and I am not sure that I will be able to return with you.

July is the month of fire, August is the month of reeds.

Shrikes in July, and in August.

I, Zhu Kongyang, am dressed for the Duke.

Polygala in April, products in May.

August is the month of harvest, October is the month of culm sheaths.

The first day of the raccoon, take the fox, for the Prince's fur.

On the second day of the month, the same thing was carried out.

The pig is a small pig, and the 3-year old pig[7] is offered to the Duke.

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

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

October the crickets come under my bed.

The rats and mice are plastering the house with mud.

The woman said that she would change the year and enter this room.

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

August peeling dates, October rice.

This spring wine, in order to be in the eyebrow life.

The melon is eaten in July, the pot is broken in August, and Shujo in September.

The simaroubouboubouboub is picked for the farmers.

September is the month to build a garden, October is the month to gather crops.

Millet and grain, hemp and wheat.

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

During the day, we are in rope borders.

It is urgent for them to ride on the rope border, so that they can start sowing the grains.

The second day is the day of the ice, the third day is the day of the Lingyin.

On the fourth day of the month, the fleas were sacrificed and the leeks were sacrificed.

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

People are invited to drink wine, and they are told to kill the lambs.

This is the first time that I have been invited to a public hall to drink a rhinoceros cup, so that I can live a long life.

Notes:

The Bin Feng is a collection of seven poems written in the Bin area. 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 and Duke County in today's Shaanxi Province. The old customs of the Zhou people still existed in this area, and "the people of this area have the legacy of the former kings, and they are good at harvesting and doing their own work, so the Bin poems talk about agriculture, mulberry, clothing and food in a very good way." ("Han Shu - Geography Zhi") The poetic style is generous, joyful but not temperate ("Zuo Zhuan", Xiang Gong 29 years note)

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

Shawarzuna: the wind and cold were in full bloom.

Yi Zhi Li: bitterly cold

Yi Zhi Li: November and December of the summer calendar

San Zhi Li: first month and second month of the summer calendar

Yu ??ê: to repair agricultural tools. Lift the toes: to lift the feet to plow

Carry food to the laborers in the field

Steppenwolf: a steward in charge of agriculture

Canggeng: a yellow warbler

Yi Basket: a deep basket used for picking mulberry

Woman: a woman, a slave girl. 殆：恐

(eds)：长成的荻苇.

Hypericum: gun, axe, the square of the hole of the handle

Shrike: bureau of the sound, the bird of Burrow. Jieji: spinning hemp

Kongyang: very sharp

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

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

The same: will gather. Pig: plaster with 3-year old pig: sound between, three-year-old pig

dome suffocation: block the hole in the wall. plaster: the sound of the end, Tu

Yu: tree name. Prunus: sound Yu, Li genus

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

Tantalum: Yin Tu, a bitter vegetable. Simaroubaceae: a kind of stinking toon tree

Plants: a kind of grain that is planted late and ripens early

Rope: a kind of rope

Lingyin: a kind of ice cellar

Robin cups: a kind of wine vessel

Appreciation and Analysis：

《July》describes the year-round labor and life of the peasants, and it reflects a rich content of labor and a strong custom of the festivals, which should be regarded as a rare life story. It is a rare painting of life and customs. The poem takes chronological order as the main clue, describing and categorizing by month, and opening and closing vertically and horizontally, with one section and one picture. From the beginning of farming, to the end of the harvest to raise wine offerings, the woman who sends food, picking mulberry women, farmers, hunting knights, office of the nobility, many characters, each with its own face, and in the interim with the object of the table chronology, constituting the unity of the overall style, but also to avoid the dullness of the narrative, enhance the image of the poem, especially highlighting the characteristics of the customs of the paintings.

Tao Yuanming's Poems

Five Poems on Dwelling in the Garden

One of them

It was not my youth that was suitable for the common rhymes, but my nature was to love the hills and mountains. I fell into the net of dust by mistake, and have been gone for thirteen years.

The birds are in love with the old forest, the fish miss the old pond. I'm not sure if I'll be able to make a living in the South, but I'll be able to make a living in the Garden.

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

Ambiguous and distant villages, the smoke in the marketplace. Dogs bark in the alleys, chickens crow 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 now I'm back to nature.

Second

There are few people in the field, and few wheeled harnesses in the poor alleys. In the daytime, I cover up the thorns, and the empty room is free of dust.

Sometimes in the marketplace, they come and go in the grass. I have no words to say when I see you, but I say, "Mulberry, mulberry, mulberry, mulberry, mulberry, mulberry, mulberry, mulberry.

The days of mulberry and sisal are long, the days of my land are wide. I am always afraid that the frost will come and I will fall into the grass.

The third

The beans are planted under the south mountain, the grass is full of bean seedlings. The morning is full of filth, and I return with my hoe in the moonlight.

The grass grows long in the narrow road, and the evening dew stains my clothes. But I wish I could do it all.

Fourth

It has been a long time since I traveled in the mountains and lakes, and I have been entertained in the forests and fields. I will take my children and nephews with me to walk in the desert.

Wandering between the hills and the mountains, we can see where we used to live. The wells and stoves are still there, and the bamboo and mulberry trees are still there.

I asked the salary collector where all these people were. The paymaster said to me: "There is nothing left of them after their death".

The saying, "One life is different from the other," is true! Life is like an illusion, but in the end it is nothing.

The fifth

Disappointed to be the only one to return, the rugged through the hazards of the song. The mountain stream is clear and shallow, so I can wash my feet.

Liquefy my new wine, and invite me with two chickens. The room is dark, and the candle is lighted by the thorns.

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

Tao Yuanming was the first person in the history of Chinese poetry to take idyllic life as an important subject of creation. The poet lived in a society of extreme darkness, but insisted on lofty ideals and interests, which made him finally have to break with the ruling class and upper society completely, and return to the idyll. He wrote a large number of idyllic poems during his twenty years of idyllic life, and among the 120 surviving Tao poems, those describing the rural scenery and the life of peasants account for a large proportion. This makes him the founder of China's idyllic poetry.

Tao Yuanming's idyllic poems include Five Poems on "Returning to the Garden", Five Poems on "Moving to a New Home", Two Poems on "Harmony with Lord Guo", Twenty Poems on "Getting A Rice in the West Field in the Middle of September in the Year of Gengcheng", and Twenty Poems on "Drinking Wine", etc. These poems "describe the rural scenery and farmers' life". 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 own participation in it". (History of Chinese Literature, Institute of Literature, Chinese Academy of Sciences).

Tang Kaiyuan, Tianbao years, social stability, economic prosperity to the poets 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 end of the South"; for those who have a high-ranking official salary, from the service and hidden, not to affect the service, not to mention that it will not affect the work of the literati, but also the work of the literati. For those who have a high official salary, from the service and hidden, neither affect the livelihood, and even can serve while hidden, fame and fortune. 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 lot of idyllic poems with 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 were "inspired to write some idyllic poems, but they all took away Tao Yuanming's glorification of labor. They only unrealistically depicted some peasants' life of contentment and stability, 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), Hao Ran, first name unknown, was a native of Xiangyang, Xiangzhou (present-day Xiangyang, Hubei Province), who lived in seclusion in his hometown of Lumen Mountain in his early years, and at the age of 40, he applied for the examination for the title of scholar in Chang'an, but failed to pass the examination and returned to Chang'an, and lived his life as a man of cloth. Meng Haoran was the first person in the Tang Dynasty to write a large number of landscape and garden 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 Climbing to Orchid Hill and Sending Zhang Wu", "Returning to Deer Gate at Night", and "Thinking of Returning to the River and Mountain", which depict the landscape, smoky trees, crescent moon, and boats in Xiangyang in an ordinary and intimate 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 "Touring Jing Si Guan Hui Pei Yun in the Back", etc. The simplicity of farm life, the depth of 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 light and simple, but there is also a sense of grandeur in the simplicity of his poems. His poems are of a high artistic standard, and he has always been regarded as one of the representative writers of the Tang school of landscape and idyllic poems, along with Wang Wei. However, his poems were narrow in scope and lacked deep and broad social content.

He was one of the "pioneers of the 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 River of Constantinople", which have a quiet and faraway mood.

The old man has chicken and millet, inviting me to his home.

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

Opening a pavilion, we will drink wine and talk about mulberry and hemp.

When the sun comes back, I will come back to enjoy the chrysanthemums.

--"Passing by the Old Man's Village"

This is a masterpiece of idyllic poetry with a quiet and distant mood. The poem blends the quiet beauty of the countryside with the simplicity and sincerity of 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 eyes, the words used are verbal, the level of description is completely natural, and the brushwork is so relaxed that even the form of the poem seems to have become free and easy." (Dictionary of Tang Poetry).

"Spring sleeps without realizing the dawn, and everywhere smells the crowing birds. The wind and rain come at night, and the flowers fall." (Spring Dawn). Many people have interpreted the theme of this poem as "cherishing spring", but in fact it expresses an idyllic world beyond the ordinary, and the main character of the poem is a "climax scholar" who puts himself outside of the glory, wealth and honor, and is based on the transcendent world and dissolves in the nature with a proud and long whistling. See [Japan] Maeno Naobin, Ishikawa Tadahisa edited "Chinese ancient poetry appreciation dictionary"), this little poem is so popular, so that a little literate people will be able to come up with.

From the analysis of these two small poems, we can already see that the poet will be the countryside of the idyllic life to be embellished, which is no longer a real farmer's idyllic life, in which the chickens, dogs, cows and sheep are mostly borrowed to embellish the poem material, said that the true and profound reflection of peasant life. This is especially true of his contemporary Wang Wei.

Wang Wei (701-761, 698-759) was originally from Taiyuan Qi (now Qixian, Shanxi). Later, he moved to Puzhou (present-day Yongji, Shanxi) and became a native of Hedong. He was a poet and a good calligrapher, especially famous for his paintings. He was an official of the right minister of Shangshu, so he was called "Right Minister Wang". There are more than 400 poems preserved. His landscape poems are mainly about the leisure 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 the sun sets over the Yangtze River", or the detailed natural objects, such as "The bright moon shines among the pines, and the clear spring flows over the stones", he can capture the colors, sounds and dynamics of the nature with his keen sense of nature, either by sketching or engraving, or by 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 freedom of expression 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 concise, and the simplicity of his poems is reflected in their splendor.

After the age of 37, Wang Wei became more and more passive, and basically lived a semi-official and semi-hidden life, writing a large number of idyllic poems. His famous works include Autumn Night after the Mountain, The End of the South Mountain, The Leisurely Residence in the Rim River for Pei Xiucai Dee, The Rim River Collection, Seven Songs of the Idyllic Gardens, Passing through the Heungjiji Temple, Jieyucheonzhuang, The Idyllic Gardens of Spring, The Idyllic Gardens of Pekin, and The Idyllic House of the Pekin River, among other poems.

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

The old man remembers the shepherd boy, leaning on his staff.

Pheasants are in the wheat, silkworms are in the mulberry.

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

This is the envy of the idle, and the despair of the humble.

-"The Pilgrimage to the Fields"

As the sun was setting and the night was approaching, the poet was envious of the picture of a field family returning home in the evening, and felt envious of them. The core of the poem is the word "return". All life on this land is longing for home: the cows and goats coming down from the mountains, the shepherd boy returning, the pheasant calling affectionately, the silkworms carefully creating their own nests of happiness, the farmer returning with his hoe. Finally, the poet said with emotion: "I am envious of idleness, and I am disappointed to hear that the farmers are in a state of decline". In fact, the farmers are not idle, the above "return" word is actually a counterpoint, to all people have to return, against their own alone do not return; to all people return to timely, friendly, cozy, against their own return to recluse too late, as well as their own mixed in the officialdom of the loneliness and bitterness.

Wang Wei and Meng Haoran's field and garden poetry from the ideological content, "here than Tao Yuanming to take a big step backward" (Institute of Literature of the Chinese Academy of Sciences, "History of Chinese Literature"). But aesthetically speaking, they deepened the human feeling for the natural beauty of landscape and idyllic gardens, and at the same time improved the expressive skills of idyllic poetry.

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 saying goodbye, with distinct layers, mutual illumination, and complete structure. In addition, the refinement of words is also very delicate. The words "together" and "oblique" in the third line 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 old man and gives a person an affectionate feeling.

Wang Wei's "Autumn Night in a Mountain Dwelling" combines poetry, painting and music. In this poem, there is a painter's unique grasp of color and line, and a 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 the refinement of words, "Wang Wei, in particular, often uses subtle and simple words to paint a picture without any traces of refinement."

The development of idyllic poetry in the Middle and Late Tang dynasties took on a different appearance, as "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 kind of poetry is best represented by Nie Yizhong's Wounded Field House in the Late Tang Dynasty. In the late Tang Dynasty, the idyllic poems became the poems of compassion for the peasants.

Nie Yizhong (837-884), called Tanzhi, was a native of Hedong (present-day Yongji County, Shanxi) in the Tang Dynasty. He received his bachelor's degree in the second year of the reign of Emperor Xiantong (861), but because of the war and his family's poverty, he could not afford to bribe the rich and powerful, so he stayed in Chang'an for a long time after receiving his bachelor's degree before he was appointed as a lieutenant of the county of Huayin (present-day southeast of Huayin County, Shaanxi Province).

Because he was born in poverty and lived in the countryside for a long time, he was close to the laboring people and "knew the hardship of harvest". Therefore, most of his poems reflect the agonizing life of the peasants who suffered from cruel exploitation. His poems such as "Wounding the Field House" and "Two Songs of the Duke's Journey" are famous poems that have been passed down through the ages.

Let's take a look at the poem "Wounding the Farmer's House":

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

It's a good idea to heal the wounds in front of you, but it's also a good idea to pluck out the flesh from your heart.

I wish that the heart of the Emperor could be turned into a bright candle.

Not to illuminate the banquet, but to illuminate the house of the fugitive.

This is an ancient poem in five lines. It reflects the miserable life of the peasants in the late Tang Dynasty under the cruel exploitation, 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 were born in February and rice seedlings were planted in May, where was the silk to be sold? Where is the rice black? This is actually a fact! This is "selling the green" - a low-priced pre-mortgage of agricultural products that have not yet been produced. This is the food and clothing of the year, the flesh of the heart, which is cultivated with blood and sweat, and it is plucked out. Therefore, there are three or four lines "gouging out flesh to mend sores" metaphor, this is a bloody metaphor ah! It is shocking to the eye, both profound and typical, and then become a famous sentence of the ancient times.

The last four lines are the poet's expression of his wish 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 admonition. The poet skillfully uses the opposite stroke 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 polarized and sharp class antagonism in the society, and enhances the critical nature of the poem. It implies the cause of the bankruptcy of the farm family selling green, by "fleeing" two words point out that the result is bound to be "exhaust its land out, exhaust its hut into the holler and turn to the apprentice, hungry and thirsty and toned", "I die and in vain! " ("snake catcher said"), full of 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. Du Xunhe (846-904) was a poet of the Tang Dynasty, known as Yanzhi (彦之). He was a native of Shidai, Chizhou (present-day Shidai, Anhui). He came from a humble background. He went to Chang'an several times to take the examination, but failed. When Huang Chao's army swept through Shandong and Henan, he returned home from Chang'an. From then on, he lived a life of "writing and cultivating in the mountains" ("After the Rebellion, I Met Mr. Gao in the Mountain"). Later, he traveled to Daliang (Kaifeng, Henan Province), and presented 10 songs of "Times and Seasons" to Zhu Wen, hoping that he would save labor and reduce taxes, but this was not to Wen's liking. When he was staying in a monastery, his subordinate, Jingxiang, advised him to "cut down the old style a little bit, and then he could be promoted", so he pleased Wen by submitting thirty poems in praise of virtue. Wen sent his name to the Ministry of Rites, and he won the eighth grade in the second year of Dashun (891) (Jianzhu Lu). In the next year after he was awarded the title, he returned to his old position because of the political turmoil. Tian Yuan, who was in Xuanzhou, attached great importance to him and used him as an official. 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" reads as follows:

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

The mulberry and the cudgel are still taxed, and the fields are still being cultivated after they are deserted.

Whenever I pick a wild vegetable, I cook it with the root, and when I chop a piece of firewood, I burn it with the leaves.

If you are deep in the mountains, you should be able to avoid the rumor of levies.

The Song Dynasty was the peak of idyllic poetry.

The subject of idyllic life was discovered by the Jin, 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 Four Seasons in the Field" and "Lunar New Year's Day in the Village" are the most comprehensive works of idyllic poetry. The history of idyllic poems has been pushed to the peak.

"Neither Tao Yuanming nor Crown Prince Wang ever denounced 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 they do not belong to the system of idyllic poems in the traditional custom" (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 ideological content, and endowed it with a new life." （

Fan Dada, however, "combined these two systems to give the idyllic poetry a richer and deeper ideological content, giving it a new life.

Fan Chengda (1126-1193), called Zhineng, was a native of Wu County (present-day Suzhou, Jiangsu Province). He was a native of Wu County (present-day Suzhou, Jiangsu Province). His 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 received a good education in his early years, and was good at reading and writing. In the 24th year of Shaoxing (1154), he was awarded a bachelor's degree. In the 26th year of Shaoxing, he was appointed to the post of the Secretary of Huizhou, and since then, he has been in the officialdom. In the 10th year of Chunxi, he resigned due to illness at the age of 58. He lived in 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 were Confucianism's "benevolent government" and "people-oriented" thinking, believing that "the people are the foundation of the state, the foundation is solid and the state is peaceful", and that in order to enrich the country and strengthen the army, the first thing to do is to secure the people, "save labor, save the people, save the people, save the people, save the people, save the people, save the people. "Save corvée service, thin wealth, alleviate their hardships" ("On the State's Origin"). In some zhangzhi, he urged Emperor Xiaozong to save manpower, national resources, cherish time, rectify military discipline, training soldiers, careful use of punishment, crack down on corrupt officials, in order to 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, reorganize the armament, or relief the disasters and repair the water conservancy, and made efforts to reduce the burden of peasants and relieve the hardship of soldiers. Accordingly, his consistent thought of worrying about the country and sympathizing with the people was fully reflected in his poems.

Fan Chengda had been involved in the world for a long time and had a deeper understanding of the hardships of rural life. He wrote some poems depicting rural life in his twenties, for example, in the poem "Boat trip on Henshan Road in the summer vacation", he expressed his feelings of "pitying the old farmers for their suffering"; and in the poem "Song of the God of Music", he wrote about how the peasants felt lucky that they had the grain to pay the rents in the year of abundance, and were free from being whipped; and in "Song of the God of Music", he wrote that the peasants felt lucky that they had the grain to pay the rents and were free from being whipped. In "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 situation when the officials came 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 Reminder", which depicted 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 rural subject matter of the poem, such as "mowing wheat", "rice planting", "sun cocoon", "picking diamonds", "after the rain after the mango seeding cold three", "paddies sigh" 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 cultivation" by the "xiaonong" slash-and-burn, barely able to eat, 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 people in his works such as Winter Pounding, Autumn Thunder Sighs, and Winging the Singers of the River Market. In "In the snow, I heard the bitter sound of fish and vegetables being sold outside the wall", the poet declared: "You can't write poetry for you!" The poet declared: "You can't recite poetry for you!", which is a true statement of his intention to call for the people's sufferings.

Fan Chengda's poem "Miscellany in the Field and Garden in Four Seasons" is a representative work of his idyllic poems.

Fan Cheng Da's group poem "Miscellany in the Field and Garden in Four Seasons" is a representative work of his idyllic poems. 60 poems are divided into "Spring", "Late Spring", "Summer", "Autumn" and "Winter", "Winter" five groups, each group of twelve songs, the layout is uniform. Like a scroll of rural customs, each group of stanzas is a fragment, and each poem is a part of the scroll. The main content of this group of poems is: "depicting the beautiful scenery of the countryside, glorifying labor and the simplicity of peasants, and denouncing the feudal system of exploitation. Artistically, the poem is "y inspired by Liu Yuxi's Bamboo Branch Lyrics, fresh and light, with the flavor of folk songs." (Song Poetry Appreciation Dictionary, Shanghai Rhetoric Book Publishing House)

Let's take a 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, knowing that there are merchants 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 around in the cauliflower fields; the days are getting longer and longer, and there are no guests in the houses, so the village is very quiet. This is a positive description of the daily rural scene, and the first line also indicates that it is late spring. The second two lines of the poem describe the dynamic scene when the tea merchants arrive. The tea merchant came to buy tea, but even the dogs and chickens were shaken by the arrival, which reflects the fact that there are very few outsiders in the countryside, and everyone pays close attention to the arrival of strangers. This is a moving scene, but further illustrates the tranquility of the countryside.

The most important feature of this poem is that it is a contrast of movement to silence. The first stanza is a moving scene, but it deepens the quietness of the poem "The day is long and no guest comes to the field house". The third and fourth stanzas are about motion, but they contrast the stillness described in the whole poem. Secondly, "Butterflies enter the cauliflower in pairs" captures the details of the rural scene.

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

The daytime is spent plowing the fields and the nighttime is spent harvesting hemp, and the children of the villages are in charge of their own families.

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

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

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

The poem describes the adult first, the 15 or 16 year old children secondly, and the few year old grandchildren thirdly, in a well organized manner. These people, in fact, summarize all the people in the farmer's family. They also summarize 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 a mulberry tree" makes the whole poem very interesting.

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

It's hard work to pick diamonds and waste pear hoes.

It is not possible to plant a field, but to plant water, and recently the water is also collecting rent.

This poem describes the scene of peasants picking water chestnuts 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", and the second line is a specific description of the "hard work". The first sentence summarizes the "hard work", and the second sentence is a specific description of the "hard work". "Ghost quality withered" is about the whole person, and "blood finger flow Dan" is about the local area, which 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 have no choice but to pick diamonds because of poverty. The phrase "recently" shows that even though the peasants are poor, they still have to pay the rent, and the exploitation they are subjected to 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 realize 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 lines are the first layer, the third line is the second layer, and the fourth line is the third layer. The layers go deeper and deeper, and the cruelty of the exploitation is written very y.

Through the above analysis, we can already see that Fan Chengda's idyllic poems are the masterpieces of the idyllic poems of his predecessors, and they are creative from content to form, and their achievement is higher than that of any other idyllic poets 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 and become the peak of idyllic poetry development.