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From the Southern Song Dynasty poet Zhao Shixiu's "Guest"

Mei Huang Shi, every family was flooded by rain, and the pond was covered with green grass and frogs.

It's past midnight, and the invited guests haven't come yet. I tapped the chess pieces bored and shook the wick of an oil lamp.

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The first sentence "It rains at home in Huangmei season" explains the environment at that time. Huangmei season is a rainy day in the south of the Yangtze River. After a long summer, plums turn from green to Huang Zhi, commonly known as Huangmeitian. At that time, it was raining in Mao Mao. As the saying goes, "Flying freely is as light as a dream, and the continuous rain is as fine as sorrow." For vision, it is a deep comfort. As for the rain beating on thousands of tiles, it is from far and near, gently soft, with a trickle down the tile trough and eaves, and all kinds of tapping and sliding sounds are closely woven into a net, as if "whose fingers are massaging the helix", and the mood is unusually quiet and serene.

In the sentence "Frogs are everywhere in the grass pond", the poet's attention naturally turned from rain to nearby, and frogs came and went, setting off the tranquility around at that time. Imagine, if it is not inner peace, it is anxiety and irritability. Why do you know the sound of insects and the new green screen window tonight?

Let's look at the third sentence, "I have an appointment to stay up late." I suspect that the book draws the conclusion of "anxiety" mostly based on this sentence. Friends won't come after midnight. If it were you and me, of course I would be anxious. But this is Zhao Shixiu, one of the "Four Spirits of Yongjia", and Zhao Shixiu, known as the "genius". Zhao Shixiu, a famous scholar, was a scholar in the year of Emperor Shao Xiyuan. He is the editor-in-chief of Shangyuan County and an official of Yunzhou. Although he is an official, he is frustrated and depressed. He often swims between mountains and rivers with Buddhist monks, longing for a quiet and indifferent life, and even wants to "return to his hometown" like Tao Yuanming ("Nine guests and one feather are proud of their rhyme, so I sent Zhu Jizhong"). After his death, Dai Fugu, a giant in Jianghu, wrote about Zhao Zizhi, saying that he was a "character in the Eastern Jin Dynasty". Don't be anxious without an "appointment to stay up late"?

The last sentence is "knock the chess pieces and drop the snuff". I don't know how the predecessors understood the word "leisure". I think so, too. The "leisure" of "idle knocking" should be that we seem to be bored a few times, so we just take it, take it, take it casually, just like Lu You's interest in "making grass with short paper". Zhao Shixiu is also sitting in front of the lamp, waiting for the guests from afar, bored, comfortable to see the pieces in the game, just pick them up and knock casually. How can he feel anxious?

An excellent poem describing summer: the mountains and rivers are covered with white water, and the rain is like smoke in the sound of rules.

April Days by Weng Juan, a poet in the Song Dynasty.

The mountains and plains are all green, and the sound of Zigui is raining like smoke.

In April, there were few idle people in the countryside, and sericulture was planted in the fields.

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This poem describes the early summer scene in the rural areas of the south of the Yangtze River (now Danxi Town, Yueqing City) in a simple way. The first two sentences focus on the scenery: green plains, Shirakawa, Zigui and misty rain, and a few strokes outline the unique scenery of the water town in early summer. The last two sentences are about people. The picture mainly highlights the image of farmers transplanting rice in paddy fields, thus setting off the tension and busyness of rural labor in April. Call before and answer after, interweaving into a colorful picture.

In April in the south of the Yangtze River, the hillside is green, Yuan Ye is green, and green trees, grass and seedlings are displayed in front of the poet, which is a world dominated by green. In the green Yuan Ye, rivers and canals crisscross, and the roads are full, flowing and white; Paddy fields filled with water are also white. Looking up, the green fields and the white water are all shrouded in faint smoke. Is that fog? A cigarette? No, it was a drizzle. From time to time, a few cuckoo calls came from the trees and the air. The first two sentences of the poem describe the scenery of Jiangnan in early summer, with broad vision and delicate brushwork; Bright colors and hazy artistic conception; Dynamic and static combination, vivid and colorful. "The rain is like smoke in the sound of the sub-gauge", and the drizzle like smoke seems to be summoned by the sub-gauge, which is particularly sense of realm.

"In April, there were few idle people in the countryside, and only silkworms were planted in the fields." The last two sentences are about busy farming in early summer in Jiangnan. Mulberry picking, sericulture and transplanting are two major agricultural activities related to food and clothing. Now is the busy farming season, and every household is very busy. Don't take the last sentence of the poem too seriously, thinking that every family picks mulberry to feed silkworms first, and some people transport seedlings and some transplant them; Some people put silkworms into the field first, some people put silkworms into the field first, some people are only busy with one of them, and many people have to do something else. "Planting fields only when raising silkworms" is just a simplification, which outlines the busy atmosphere of rural farmers in April. As for not directly saying that people are too busy, but that there are few idle people, it is deliberately euphemistic and soothing, in order to maintain a leisurely tolerance in people's busy tension, which is in harmony with the watercolor-style hazy colors described in the first two scenes.

An excellent poem describing summer in the composition material: We look at the green trees surrounding your village and the light blue distant mountains.

From Meng Haoran, a poet in the prosperous Tang Dynasty, "Passing through the Old Village"

This old friend prepared a delicious meal and invited me to his hospitable farm.

Green Woods surround the village and green hills are located outside the city.

Open the window facing the valley vegetable garden and pass the glass to talk about crops.

Please come here to see chrysanthemums when the ninth festival comes.

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The whole poem depicts the beautiful mountain village scenery and quiet rural life, with plain language, natural and smooth narration and no traces of rendering and carving. However, it has sincere feelings and mellow poetry, and has the aesthetic interest of "clear water produces hibiscus, which is naturally carved", so it has become a masterpiece in pastoral poetry since the Tang Dynasty.

Write a sentence or two on the invitation, "old friend" means it's not the first time to be a guest. Three or four sentences are famous sentences describing the scenery of mountain villages. Surrounded by green trees, the green hills are oblique, just like a faint ink painting. Write five or six sentences about the taste of mountain village life. Facing the garden in the yard, talking about crops with wine is kind and natural, full of life breath. At the end of the two sentences, let's get together on the Double Ninth Festival and write down the depth of friendship.

"Prepare chicken and rice for me, old friend. You entertain me on your farm." This beginning is like a note in a diary. An old friend "invites" and the author "arrives". There is no rendering in the text, it is simple and casual. This is just a possible form between friends who don't need to be polite. The invitation of "chicken and millet" not only shows the unique flavor of Tianjia, but also shows the simplicity of hospitality. It is this kind of hospitality without ceremony and ostentation and extravagance that makes the hearts of friends more open to each other. This beginning is not very focused, calm and natural, but it is an excellent introduction to the content of life to be developed, showing the characteristics of the atmosphere, which needs to be further enriched and developed below.

"We look at the green trees around your village and the pale blue mountains in the distance." When I entered the village, the author looked around for such a fresh and pleasant feeling. These two sentences are close to the border and surrounded by green trees, which seem to be unique and unique. The next sentence is light, accompanied by green hills abroad, which makes the village not lonely and shows a broad prospect. The village is located in Pingchou, far away from Qingshan, giving people the feeling of lightness and tranquility, but it is by no means indifferent and aloof. It is precisely because the "old friend village" appeared in such a natural and social environment that the host and guest raised their glasses at the window.

"We open your window, cross the garden and field, and talk about mulberry and hemp with cups in our hands" is even more carefree. The word "open porch" here seems to be inadvertently written into the poem, but the above two sentences are written on the outer wall of the village. Here, the narrator drinks and chats in the house. The porch window is open, and the outdoor is reflected indoors, giving people a relaxed feeling. For these two sentences, people pay more attention to "talking about Sang Ma" and think that it is "meeting each other without miscellaneous words" (Tao Yuanming's Returning to the Pastoral Residence). But there are threshing floors and vegetable gardens in front of the entrance window, surrounded by green shade, giving people a spacious and stretched feeling. The word Sangma makes readers feel that it is rural. Thus, readers can not only appreciate the stronger local flavor, the flavor of labor production, but also smell the soil flavor on the nursery, see the growth and harvest of crops, and even feel the characteristics of regions and seasons. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, playgrounds and Sang Ma blend harmoniously, forming a beautiful and quiet pastoral landscape, while the laughter of the host and guest and the words about Sang Ma seem to linger in the readers' ears. It is different from the pure fantasy of the Peach Blossom Garden, but it is more realistic in the prosperous Tang society. It is in this world that poets who once lamented that "the Lord of the realm is harsh on us, and the people who handle affairs are not like us" not only forgot the setbacks encountered in political pursuit, but also forgot the gains and losses of fame and fortune, even the lonely and depressed mood in seclusion. From his glance at the green hills and trees, and his wine conversation with friends in Sang Ma, we can see that his thoughts are relaxed and even his actions are flexible. The environment and atmosphere of the farm showed its conquest here, which made Meng Haoran somewhat converted.

"I'll come back at chrysanthemum time when I have a holiday on the mountain." Meng Haoran was deeply attracted by the farm life, so when he left, he told his master frankly that he would come back to see chrysanthemums in the autumn Double Ninth Festival. A few simple poems, the enthusiasm of old friends to treat each other, the pleasure of being a guest, and the cordial harmony between the host and the guest are all on the paper. Du Fu's "Drinking by Tianfu Mud, Drinking Beauty, Being Strict and Sincere" said: "When the moon rises, I will stay, but I still ask for help." In Du Fu's poems, Tianfu keeps people, and the feeling is urgent; In Meng Haoran's poems, he also made an appointment with an old friend, meaning to ease his words. Readers can get a glimpse of the difference between Du Fu's depression and Meng Haoran's calmness.

An ordinary farm, an ordinary dinner of chicken and millet is so poetic. It describes the prospect of the eyes, and the level of description is completely natural in spoken language. Both the pen and the pen are very relaxed, and even the form of rhythmic poetry has become free and flexible. The feeling that the poem gives readers is that this brisk and approachable style complements the simple pastoral described by the author, showing a high degree of adaptation in form and content, but it is calm and kind, but not dull. Plain contains deep affection. On the one hand, although there is almost no trace of strenuous exercise in every sentence, on the other hand, there has never been weakness in every sentence. For example, the first two sentences of the poem only write the invitation of friends, but they can show the simple peasant atmosphere; Three or four sentences only write green trees and green mountains, but you can see a world; Five or six sentences only write wine gossip, but they can show the comfortable fit between mood and environment; Seven or eight sentences only say that Chongyang will come again, but naturally they show their attachment to this village and old friends. These sentences are balanced and even, and together with * * *, they form a complete artistic conception, which combines quiet and beautiful pastoral scenery with simple and sincere friendship. This is the so-called "although the writing is wonderful, the syntax is not seen" (Shen Deqian's "Three Hundred Tang Poems"), "If you don't wonder, you will be strange ... If you lose your job, you will be unfortunate" (Pi Rixiu's "Yunzhou Meng Ting Ji"). He deeply integrated artistic beauty into the flesh and blood of the whole poem, which seemed natural and natural. This kind of showmanship is not dazzling, not showing off skills, not only relying on one or two carefully crafted sentences to prop up the facade, but also reflecting the superb artistic level. For example, a beautiful woman, her beauty is perfect and holistic, not because a certain part is particularly touching. Instead of putting on airs, she was amazed by a natural color and charm. It is precisely because of the true reflection that the words are scattered and pure, which makes the whole poem show its charm from "light touch" without "heavy makeup"

An excellent poem describing summer: at night, the south wind rises and the wheat turns yellow.

From the Tang Dynasty poet Bai Juyi's "Cutting Wheat"

The Tian family has less leisure in the month, and people are twice as busy in May.

In the evening, the south wind rises and the wheat turns yellow.

Mother-in-law is rich in food, and children are full of pot pulp.

Go with Tian Xiang. Ding Zhuang is in Nangang.

Filled with the heat of the country, the back was scorched by the sun.

I don't know about the heat, but I regret the long summer.

There is another poor woman with her son in her arms.

Grab the ear with your right hand and hang the basket with your left arm.

Listening to his words of concern is very sad.

My family's taxes are gone, so I can take this to satisfy my hunger.

Today, I have no merit, and I have never worked in farming and mulberry.

There are three hundred stones in the land, and there is surplus food at the age of eight.

I am ashamed to read this in private, and I can't forget it every day.

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Seeing Wheat Cutting is a poem written by Bai Juyi when he was a county magistrate in zhouzhi county, and he felt the hard-working and poor life of the local people. The work criticizes the heavy taxes that caused people's poverty, and feels deeply guilty about not doing anything with enough food and drink, showing the humanitarian spirit of a conscientious feudal official. This poem was written in the second year of Yuanhe in Tang Xianzong (807), when the poet was thirty-six years old. Zhouzhi county is located in the west of Xi City, Shaanxi Province. The county commandant is responsible for catching thieves and collecting taxes in the county. Because Bai Juyi is in charge of this matter; Therefore, he is also most aware of the disaster suffered by the working people in this respect: harvesting.

The whole poem is divided into four layers, the first layer is four sentences, explaining time and its environmental atmosphere. As the saying goes, "farmers have less leisure in January and people are twice as busy in May", and the following things will happen in May when people are twice as busy. These two sentences always affect the whole body, revealing the author's sympathy for the working people at the beginning; "At night, the south wind rises and the wheat is covered with yellow." There is a harvest scene, and the big picture is pleasing to the eye. But who can think of the sadness of farmers under this harvest scene?

Eight sentences on the second floor show this "busy" wheat harvest scene through specific families. Mother-in-law and daughter-in-law are carrying rice baskets, while little grandson is carrying a kettle. They are going to deliver meals to people who work in the fields. Men go to the fields before dawn; After getting up, women are busy with housework before cooking; The little grandson went to the fields with his grandma and mom when they were delivering food. They will work with the men after supper. Do you think this family is busy? "It was full of the heat of the country, and my back was burned by the sun. I don't know about heat, but I regret the long summer. " These four sentences describe the wheat harvest positively. Their faces face the earth and their backs face the blue sky. The bottom is steamed like a cage, and the top is roasted like fire. However, they waved their sickles with all their strength and cut them all the way forward. It seems that they have completely forgotten the heat, because this is "the tiger's mouth grabs the food", and time must be seized! Reluctant to waste. The weather is so hot and the days are so long, but people work hard and are afraid of wasting a little time, which shows how much people cherish the wheat they are about to get. The word "pity" is well used here, which is a kind of writing that goes against human nature to highlight the emotional strength of people here and now. Bai Juyi's "Charcoal Man" has a saying that "poor clothes are simple, my heart is worried about charcoal, and my eyes are cold". The usage of the word "wish" is exactly the same as that of the word "cherish" here.

In three stories and eight sentences, the camera turned to a poor woman who was ruined by taxes. At present, she can only make a living by harvesting wheat ears, which is one level lower than the above-mentioned families who are busy harvesting wheat ears. Look at her image: a child in her left hand, a broken bamboo basket in her arms, and a fallen ear of wheat in her right hand. How tired you are, and how little you get! But what can we do? Now it's time to harvest the wheat, and there are still ears to pick. If you want to change, you must beg in the street. Last year and the year before last, her family also had land to plant and a family that Michael wanted to collect. It was only later that taxes were cornered and family property and land were changed, which led to this situation today. The fourth floor, six sentences, the poet feels guilty and ashamed of such a tragic scene under the bumper harvest.

The title of the work is "Watching the Wheat Harvest", but what actually appears on the screen is a wheat harvester next to the wheat harvester, and the author's attention is just more focused on the latter. At present, they are rich and poor in different degrees, but their fate is closely related. Gleaner, who is sad and poor today, was a hard and busy reaper yesterday; I also know that today's hard-working wheat harvester will not be reduced to miserable and miserable wheat pickers tomorrow. As long as there are heavy taxes, the working people will never escape bankruptcy. Here, the author sharply criticized the tax system that harmed the people at that time and expressed deep sympathy for the suffering of the working people. Moreover, it is not general sympathy, but further putting yourself in, feeling that you are too different from the working people and feel guilty. Bai Juyi's poems at this time truly reflect the thoughts and feelings of the working people and breathe out their voices.

The basic feature of this poem is to describe the real life scene truthfully, without exaggeration. He chose the busy family and the bleak gleaning scene, which made them form a strong contrast. Although the former is bitter and tired, there is still hope for them for the time being. As for the latter, it is completely broken duckweed, which is in jeopardy. The scenes, atmosphere, image and psychology shown by the two lenses are very good.

At the end of the poem is a comment, which is the same as many satirical poems by Bai Juyi. The discussion of this poem does not directly point to the root of social diseases, but shows my guilt, which is also a vague criticism of the whole bureaucratic aristocratic society. Bai Juyi is a 300-stone county marshal. Shouldn't those big bureaucrats and big noble feel more guilty? The emperor is in charge of taxation, and Bai Juyi can't openly oppose it. He can only use this ending to achieve the purpose of irony.