What poems and songs describe the countryside?

Du Fu

The clear river winds around the village, and everything in the village looks elegant in the long summer.

Swallows on the beam fly freely, and blind dates in the water are similar and accompanied.

The old lady is using a chessboard, and the younger son is making a hook with an injection.

The only thing many diseases need is medicine, what else can they ask for?

Landscape pastoral poem-Hu

Liu Jue Tian Xiao Yuan Ji

(1) abroad, the green hills are shaded, and jasmine is fragrant on the fence; Gold honors the bosom friend, and the grass house palace surrounds the beam.

(2) Kites fly and swallows dance in the season, and the mountains are covered with green trees and red flowers; Away from the depths of the wilderness, the road turns to Xiqiao snail's house.

(3) Sitting on the railing in the dark, collecting the night breeze from the mountain pavilion; The bright moon hangs like a hook, and the beauty plays the flute skillfully.

(4) In the middle of the night, the smoky wind moves in the dark, and the insects are slowly chirping; And the clothes sleep quietly, and the drizzle moistens silently.

(5) The night sky is full of stars and fireflies are shining; The boudoir is still there, and the courtyard is deeply bolted.

(6) In spring, Li Guang spreads and everything is born; The clouds are light and the wind is clear, and the flowers are fresh and fragrant.

(7) Looking for spring and enjoying the grass, the light goose yellow is swaying; Purple swallows dance vigorously, and fish and ducks swim in the water to catch up with the tide.

(8) Dancing heartstrings with the wind, jubilant and carefree; The drizzle is whispering, and the virtuous orchid is quiet.

(9) Everyone knows that spring is early and peach blossoms are in full bloom; Miscellaneous English shows a demon show, and leeks are green.

The Tang Dynasty was the peak of feudal society in China. In the past 300 years, with the changes of national conditions in the Tang Dynasty, pastoral poetry experienced a process from prosperity to decline. In the early Tang Dynasty, the magnificent style of court poems in Qi and Liang Dynasties was still popular for some time, but the breath of the new era began to appear in the poems. The earliest manifestation of this change was Wang Ji's pastoral poem Wild Hope. Although this poem has a faint feeling of adherents, it still objectively reflects the peaceful and peaceful living atmosphere in the new era. And its simple and fresh style also opened a precedent for the pastoral poetry in the prosperous Tang Dynasty. Later, Chen Ziang's landscape poems also set an example for the poems in the prosperous Tang Dynasty with the spirit and strength of getting rid of the shackles of the times.

The prosperous Tang Dynasty was a prosperous time and also an era of liberation. The poetic characteristics of this period are vividly summarized as "the weather in the prosperous Tang Dynasty", and landscape and frontier fortress are one of the most important poetic themes in this period. If frontier poems reflect the great prestige of the Tang Dynasty in foreign wars, then pastoral poems reflect the peace and harmony in China's prosperous times. This can be seen clearly in the poems of Meng Haoran and Wang Wei. In Wang Wei's "Wei Shui Nong Jia", the sunset in the distant mountains, the narrow village lanes, the cattle and sheep returning late, the pheasants in the fields, the wheat seedlings heading, the old people waiting by the door and the farmers chatting with lotus hoes all make people feel the warmth and peace of rural life. The old man waiting at the door was deeply moved by this simple family.

In Wang Meng's poems, pastoral and landscape began to merge. There are not many sentences describing landscapes in Tao Yuanming's pastoral poems, but in Wang Meng's poems, beautiful landscapes are constantly appearing as pastoral backgrounds, such as Wang Wei's "New Sunny Wild Hope": "White water crosses the wild, and blue peaks are behind the mountains. There are no idle people on the farm and the home is in the south. " The description of farmers' activities is carried out under the background of mountains and rivers; However, Meng Haoran's pastoral poems are actually very limited. His poem is more like "Qiu Deng Wan Shan sends Zhang Wu", in which some hermit themes of peasant activities are inserted. If Tao Yuanming's pastoral poems are more conservative and simple, then Wang Meng's pastoral poems are more lofty and leisurely.

This is because although Wang Meng describes and yearns for the countryside, they can't really give up their official career and return to the countryside. Wang Wei has always been a semi-official and semi-reclusive, and Meng Haoran has always been obsessed with being an official. And even if they live in the countryside, they are not living the life of farmers. Tao Yuanming wanted to "get rid of the filth in the morning and take the lotus home", but Wang Wei said that "the flowers have not been swept, and the tourists in Ti Ying are still sleeping". Tao Yuanming and the farmer "call each other more when they pass the door, so they can worry about wine", while Wang Wei "has nothing to do, and Fei Jing has a day off". We can say that Wang Meng has been watching the countryside from a distance, but he has not really integrated into it. This is the spiritual gap between Wang Meng and Tao Yuanming. However, the combination of landscape and pastoral enriches the aesthetic significance of poetry. On the one hand, Wang Meng inherited Tao Yuanming's sketching skills, on the other hand, he portrayed the scenery with delicate brushstrokes. Wang Wei, in particular, observed the countryside from a painter's perspective, and applied composition, lines, colors and other techniques to the creation of pastoral poems. He wrote poems such as "Egrets fly in the quiet swamp, mango birds sing in the trees in midsummer", "There is moonlight in the pine forest, crystal stones in the stream" and "There is white water outside the field and blue peaks behind the mountains". The combination of such meticulous scenery description and warm family life makes us feel the tranquility and joy of the countryside, and at the same time feel the aesthetic pleasure.

Poets represented by Wang Meng, while enjoying the beautiful scenery, also include nostalgia and return to warm and peaceful interpersonal relationships, simple and happy working life and even traditional morality and values. This kind of pastoral is the poet's ideal pastoral, their last refuge and their last position against the dirty society. Only the pastoral poems in the prosperous Tang Dynasty are closer to make the poet "sigh the old songs again, oh, I'm going back!" " . After the middle Tang Dynasty, the empire of the Tang Dynasty no longer flourished, and the countryside lost its former warmth and peace and became desolate. Poets also began to describe the poverty of rural areas and farmers, such as Wei's Housekeeping, Du Xunhe's Widow in the Mountain, and Pi Rixiu's Oak Sigh. The rural poetry in this period is more idyllic than compassionate.

Landscape not only appears as a background in pastoral poetry, but also as an independent aesthetic object in poetry. In addition to pastoral poems, Wang Meng has many landscape poems. Meng Haoran's landscape poems are desolate and distant. Although there are occasional magnificent sentences such as "Clouds dream and fog around Yueyang", most of them are lonely and lonely with a hermit's emotional appeal. For example, his Sleeping in Jiande and Wan Shan Tan Zuo are always more or less lonely and sad. Like Meng Haoran's hermit image, Wang Wei is a Zen believer. The cultivation of Zen Buddhism makes his landscape poems pursue the ethereal realm, often revealing the vitality of life, being quiet but not dying. For example, "Zhong Nanshan", an empty mountain forest, has become cordial and peaceful because of tourists, woodcutters and questions and answers. In Wu Xinyi, however, the flowers of Magnolia blossomed and fell in the lonely mountain stream, which reflected the truth of life that refused to be secular but was closely connected with the nature of the universe. Wang Wei's identity as a painter also makes his landscape poems as picturesque as pastoral poems. For example, "In the Mountains" and "White Stone in the West of Beijing", the weather is cold and the red leaves are sparse. It didn't rain on the mountain road, and my clothes were wet. "The white stone of Qingxi and the pine trees with red leaves make the scenery in late autumn not only desolate, but also full of emotion and joy. And such gorgeous and harmonious color matching is due to the cultivation of Wang Wei's painter. Another example is "its huge height is close to Tiancheng, and the mountain reaches the corner of the sea". One is standing vertically, and the other is extending horizontally, showing the majestic momentum of the mountain. Wang Wei's "The Secret of Painting" once said: "The main peak should be towering, and the guest mountain should be rushing. It is in the poem Zhong Nanshan that this painting technique has been put into practice. The word "harmony with wind and rain makes many valleys" embodies the painter's sensitivity to light and shadow. Su Shi's comment on Wang Wei's Poetry Day: "Painting in Poetry" is indeed a theory.

In addition to Wang Meng, Li Bai was also a master of landscape poetry in the prosperous Tang Dynasty. If Wang Meng is good at discovering poetry in daily life, then Li Bai shows his personality more in strange landscapes. Li Bai is an innocent, romantic and wild poet. His personality makes him prefer towering mountains and rushing rivers. Li Bai's desire to break free from all bondage and rush to the vast free world was stained by his Shu Dao, Lushan Mountain, which shows off the fight in the south, the waterfall that flies down to thousands of feet, and the Yellow River in the East China Sea. Li Bai's naivety, romance and boldness are not only reflected in the personalization of the description object, but also in the application of artistic techniques. His poems are full of surreal images, such as "the stars and the jade girl want to sweep, and the aunt scratches her back." My emperor deals with heaven and earth, and Dan Qiu talks about heaven. ""I watched angels riding colorful clouds from a distance and walking towards the Jade City in the sky, holding hibiscus in their hands. Therefore, when I cross the nine parts of the world, I will follow the purity of the holy land "; Another example is "until the two rulers of this area forced their way through in the foggy age." Forty-eight thousand years have passed, and people who have no connection with Qin Sai have confused myth with history with realistic landscape. Li Bai's poems and songs are also full of naive imagination and bold exaggeration, such as "never tired of looking at each other, only respecting the pavilion mountain", not only people are looking at the mountain, but Li Bai also imagines that the mountain is looking at people; Another example is how conceited and naive it is to "drive the mountain away from the sea and set your eyes"; However, the words like "A gust of wind blows down the mountain in three days, and the white waves are higher than the crock pavilion" and "Flying down the thousands of feet" are extremely exaggerated, but they are not life-threatening. Li Bai's language is simple, popular and full of connotations, such as "Although the Silk City is beautiful, I would like to return to my hometown as soon as possible" and "Nature is good and agriculture is evil", which are all understood as words but by no means shallow. Moreover, Li Bai's free and unrestrained personality often breaks through the shackles of metrical rules, such as "As high as the Gao Qi, six dragons drive the sun, and the river below lashes its twists and turns", which is a long prose sentence that others will never reach. Mr. Lin Geng once said: "If there are works equivalent to fairy tales and myths in the garden of poetry, just like in stories, many of Li Bai's poems are such works." Li Bai's landscape poems prominently reflect this feature.

Du Fu's landscape poems are also very successful. His early work "Looking at Yue" is full of young people's high spirits. After the An Shi Rebellion broke out, his works, such as Climbing the Mountain, Climbing Yueyang Tower and Expressing My Feelings at Night, all contained deep feelings of home and country in the magnificent landscape description, which seemed gloomy and sad. The change of Du Fu's landscape poetry style represents the change of landscape poetry from the prosperous Tang Dynasty to the middle and late Tang Dynasty. With the decline of the Tang Empire, Wang Meng's elegance, Li Bai's boldness and Du Fu's generosity no longer reappeared, and landscape poems became bleak. Wei () Liu (Zongyuan), also known as Wang Meng, is a bit lonely and desolate. Liu Yuxi's hearty and uninhibited is just a different tune in the middle and late Tang Dynasty.