Compare the pastoral poems of Meng Haoran and Tao Qian

Most of the content of Tao's poems expresses hidden thoughts and lives. The unity of plainness and mellowness, the unity of feelings, scenery and reason are the artistic characteristics of Tao Shi. The idyllic poems sing about the leisurely life of individuals, and do not fully reveal the contradictions in the countryside, which is its shortcoming, but it is of positive significance to contrast the ugliness of officialdom with the beauty of the countryside.

The poetry and epic poems show the anguish of the unrealized ideals, and the noble character of not going along with the rulers, and also expose the darkness of society and politics with twists and turns. Tao Yuanming's influence on future generations was mainly positive. But it also contains a lot of negative thoughts of self-preservation, self-preservation, life is like a dream, and timely happiness.

Although Meng Haoran's landscape poems are related to seclusion, his seclusion is different from the escape from war and misanthropy of the Wei, Jin, Southern and Northern Dynasties and the late Tang Dynasty. The imagery in the poem is clear, magnificent, or graceful. Such as "Steaming Cloud Mengze, Shaking Yueyang City", "The Wild Sky is Low Tree, Jiang Qingyue is Near."

Comparison between the two: Tao - as a member of the peasants, reflecting the pastoral life and labor, with a strong local flavor.

Meng - the realm of no Tao poetry, there is enthusiasm in tranquility, lonely and kind.

1, "The Old Man's Village" The old man Gu Ji Huang invited me to Tian's house. The green tree village is close to the edge, and the green mountain Guo is oblique outside. Open the noodle garden, and talk about the wine. Stay until the Double Ninth Day, and come to chrysanthemums.

2, "Autumn Denglan Mountain Sends Zhang Wu" in the white clouds of the North Mountain, the hermit is self-pleased. Looking at each other and trying to climb high, the heart flies away with the geese. Sorrow is due to the twilight, and the prosperity is the autumn hair.

When I saw the people returning to the village, the sand crossed the head to rest. The trees on the horizon are like camellias, and the boats on the riverside are like the moon. Why should he bring wine and get drunk on the Double Ninth Festival.

3, "Returning to Nanshan at Dusk" is a book in the north, and Nanshan is in the Ming book. Not only does it know that the Lord abandons, and many people are sick and sparse. The gray hair urges the old, and the green sun forces the old age. Forever sorrowful, pine moon night window empty.

4, "Climbing Lumen Mountain in Spring" came in the early morning and crossed the river by river. The sand fowl is close to the knowledge, and Pu Shu is far away and does not sell macro discrimination. Gradually to Lumen Mountain, the mountain is bright and shallow.

The rock pond is bent more, and the boat is repeatedly turned. In the past, when he heard about Pang Degong, he did not return to collect medicine. Golden stream bait zhishu, stone bed lying moss.

I feel old, and I take care of things. The hidden trace still exists today, and the high wind is far away. When will the white clouds go, the osmanthus will be empty.

**The intention is not endless, and the sunset is late on the boat.

5, "North Stream Boating" The North Stream is always full, and the floating boat touches everywhere. Along the migration from interesting, why bother in the five lakes.

1. Wang Wei and Meng Haoran's landscape idylls both belong to the "Qing School", but Meng Haoran's style is more light. Meng Haoran's landscape poetry creation is obvious.

Influenced by Xie Lingyun and Zhang Jiuling, his light style is in the same vein.

2. Wang Wei is the master of the Southern Sect painting school, and his landscape idylls pursue the beauty of sound and rhyme, and Meng Haoran's landscape idylls show people their self.

However, with the beauty of humanity, it has a strong regional cultural color.

3. In his later years, Wang Wei lived in seclusion in Songshan Mountain and Zhongnan Mountain, and operated the reclusive Gongchuan business, and the scenery in his poems was mostly the scenery in the mountains. And Meng Haoran is all his life.

He traveled many times, and he preferred to travel by water, and met the scene when roaming Wuyue Water Town by boat.

4. Wang Wei's landscape idylls contain meaningful Buddhist and Zen interests, while Meng Haoran's poems have no Zen interest.

5. In terms of lyrical style, Meng Shi emphasizes subjective lyricism, while Wang Shi emphasizes objective depiction; In terms of creative skills, Meng Shi focuses on poetry, smooth and sparse, and Wang Shi integrates poetry and painting, which is precise and elegant; In terms of genre, Meng's poems emphasize five words, and Wang's poems work part-time; In terms of style, Meng Shi is more sparse and simple.

Su, Wang Shi has a beautiful Seiko in addition to dilution.