Combined with his works, this paper analyzes the image of the hermit in Tao Yuanming s idyllic poems

Shen Deqin said in "Speaking Poetry":"Jin people are more generous, Duyuan Ming has a diligent language, a self-trust language, a content language, a sad and angry language, and a happy and peaceful language"，"

Su Dongpo once commented on Tao Yuanming:"If you want to be a person, you don't want to be suspicious; If you want to hide, you will hide, and you will not take it as high. If they are hungry, they will knock on the door and beg for food; When you are full, the chicken millet welcomes the guests.

Ancient and modern sages, expensive and true. "People are true, poetry is also true, poetry is true from people, this is the main reason why Tao poetry has an enduring charm.

Mr. Lu Xun's words, "Tao Qian is great because he is not 'full of 'quiet'."

Liang Qichao once said when he commented on Tao Yuanming, "Nature is his loving companion, and he often smiles at him." Indeed, Tao opens a channel between nature and philosophy, and achieves a reconciliation between the hardships of life and the interests of nature. Even the most ordinary scenes of rural life show an infinite and meaningful beauty in his pen.

The artistic characteristics of Tao poems have long been commented on by predecessors, which are said to be simple, natural and true. But this is not a folk song or a style influenced by folk songs, but a conscious aesthetic quest of the poet. Fundamentally, this is also determined by Tao Yuanming's philosophy of "nature".

In his view, man-made complicated etiquette destroys the naturalness of society, and pretentious behavior destroys the naturalness of human nature, so the excessive pursuit of poetry in the form of appearance will inevitably destroy the naturalness of feelings. Therefore, he rarely uses bright colors, exaggerated tones, esoteric vocabulary, and obscure allusions. His poems also often use antiphonal sentences, but most of them are relatively primitive and less elaborate, so that they are not obvious in feeling.

His poems are full of emotion, but they are rarely really expressed strongly and appear to be agitated and undulating, but are combined with calm philosophical thinking, presenting a clear and distant artistic conception. This aesthetic realm is unprecedented and difficult to achieve. Further, the simplicity of Tao Shi's language is not casual and unprocessed, but highly refined, washing away all the miscellaneous and sticky ingredients, and only then does it present a clear and pure simplicity.

He undoubtedly has a keen sense of the beauty of nature, so he is able to recreate it into a poetic image in accurate and simple language. For example, "Ambiguous and distant village, smoke in the ruins" writes about the tranquility of the countryside, "There is no hope in the ears, and the eyes are clean" to write about the lightness of the snow, and "There is wind from the south, and the wings are new seedlings" to write the traces of the wind, all of which are famous examples. On the one hand, the tendency of the poetry of the Western Jin Dynasty to pursue beauty and pay attention to rhetoric improved the expressive skills of poetic language, but sometimes it was too hard to do so, and the integrity of poetry was neglected, resulting in redundancy and fragmentation.

Tao poems are based on deep thoughts, feelings and philosophies, and never show off the external beauty, so most of them are concise throughout, and there are few pavings. The artistic conception of the poem is always relatively complete, infecting the reader as a whole, rather than attracting people with a word or a certain fragment.

It is not a pity to stain the clothes, but the wish is not violated.