meng haoran

meng haoran

Meng Haoran (689-740), with the name of Haoran, was born in Mengshan. He was born in Xiangyang, Xiangzhou (now Xiangyang, Hubei). He was a famous poet of landscape and pastoral school in the Tang Dynasty and was known as "Meng Xiangyang" in the world. Because he had never been an official, he was also called "mengshanren".

Meng Haoran was born in the prosperous Tang Dynasty. In his early years, he was determined to use the world. After his official career was difficult and painful, he was still able to respect himself, not flatter the secular world, and became a hermit for life. He once lived in seclusion in lumen mountain. At the age of 40, when you were in Chang'an, you should not be promoted as a scholar. He once wrote poems in Taixue, which was famous for Gongqing. He was very impressed and stopped writing for it. In the 25th year of Kaiyuan (737), Zhang Jiuling led the shogunate and later lived in seclusion. Most of Meng's poems are short stories with five characters, mostly about the idyllic scenery, the seclusion and the mood of being in exile. Although there are not no cynical words, but more belong to the poet's self-expression.

Meng Haoran's poems have unique artistic attainments. Later generations call Meng Haoran "Wang Meng" together with Wang Wei, another landscape poet in the prosperous Tang Dynasty. There are three volumes of collection of Meng Haoran handed down to the world.

Life of the characters

Young poet

In the first year of Yongchang (689), Meng Haoran was born in a scholarly family in Xiangyang.

In 698, Meng Haoran studied sword with his younger brother.

In the second year of Jinglong (708), Meng Haoran was 20 years old. He traveled to lumen mountain around the year and wrote a poem titled lumen mountain. Poetry marks the basic formation of Meng Haoran's unique poetic style.

In the second year of Jingyun (711), Meng Haoran was 23 years old. He and Zhang Zirong were hiding in lumen mountain.

Roaming for official career

In the first year of Xiantian (712), in the winter, he sent Zhang Zirong to be a Jinshi. He wrote a poem "sending Zhang Zirong to be a Jinshi". When he was 25 to 35 years old, he left his relatives for a long journey, roamed the Yangtze River Valley, made many friends, and paid a visit to Gongqing celebrities, so as to get a chance to enter.

In 717, I visited Dongting Lake. Dry Ye Zhang said. He ascended the Yueyang Tower and wrote the poem "a gift to Prime Minister Zhang from wangdongting Lake". (it is also said that this poem was written to Zhang Jiuling, about 733-737 from the 21st to the 25th year of Kaiyuan)

In the sixth year of Kaiyuan (718), in February, Zhang Shuo was the governor of Jingzhou. In April. Meng Haoran lived at home and wrote poems lamenting poverty and frustration. He longed for someone to introduce him to the emperor.

In the eighth year of Kaiyuan (720), Meng Haoran was ill in the late spring. He presented Zhang Zirong with a poem "late spring sick to Zhang Ba". On September 9, Meng Haoran and Jia Peng ascended Xianshan, where they sang in poetry and wine.

In 724, Meng Haoran was 36 years old and Han Sifu was appointed governor of Xiangzhou. Lu food is the order of Xiangyang, and Meng Haoran is a close friend. Because Xuanzong was in Luoyang, he went to Luoyang to seek an official. He stayed in Luoyang for three years and got nothing.

In 725, Han Sifu died, and the emperor inscribed his monument. Meng Haoran and Lu Cai established Shixian mountain.

In the summer and autumn of 726, Meng Haoran met Li Bai in Weiyang.

No official in Beijing

In 727, Meng Haoran went to Chang'an for the imperial examination.

In the early spring of the 16th year of Kaiyuan (728), he wrote the poem "early spring of Chang'an" in Chang'an to express his longing for peace. At that time, Meng Haoran was 39 years old, but he failed in the imperial examination. In the same year, Meng Haoran made friends with Wang Wei, and Wang Wei made a portrait of Meng Haoran. They became friends who forgot their years. Meng Haoran remained in Chang'an for appreciation after he failed to be promoted as a scholar. He once wrote poems in the Imperial Academy. He was a famous official, and he was so impressed that he stopped writing for it. He and Zhang are very friendly. According to legend, Zhang said that he had been invited into the internal affairs department privately. When Xuanzong arrived, Meng Haoran fled under the bed. Zhang said he didn't dare to hide it. He told the truth, and Xuanzong ordered him to see. Meng Haoran recited his poem to the sentence of "not to be clear about the abandonment of the Lord". Xuanzong was displeased and said, "I don't want to be an official, but I didn't abandon him. How can I frame me up?" Release to Xiangyang. After roaming Wu and Yue, he won the mountain and water.

Reclusive landscape

In the 17th year of Kaiyuan (729), Meng Haoran left Chang'an, traveled to Xiangyang and Luoyang, visited Wuyue in summer, and went boating with Cao San in Taihu Lake. Cao San proposed to recommend Meng Haoran, who declined in a poem. The next year, he visited the famous mountains and ancient temples in the south of the Yangtze River.

In the 19th year of Kaiyuan (731), Meng Haoran was 43 years old. In spring, he presented Xie Fuchi a poem in Yuezhou to show his concern for farming. He continued to meet friends and write poems in Jiangsu and Zhejiang.

In the 22nd year of Kaiyuan (734), Meng Haoran went to Chang'an for the second time to seek an official position. When he was not an official, he returned to Xiangyang.

In the 23rd year of Kaiyuan (735), Han Chaozong was the governor of Xiangzhou. He admired Meng Haoran very much, so he invited him to a banquet and recommended him to the imperial court. Considering that he failed to pay a visit to Zhang Jiuling in Beijing, he thought that Han Chaozong, as the governor, could not let him become an official, so he did not go to Beijing as agreed. Meng Haoran traveled eastward to Yueshan in response to Cui Guofu's appointment. When he passed Jiangxia, he met Li Bai again at the Yellow Crane Tower. Li Bai wrote a poem to see Meng Haoran off from the Yellow Crane Tower.

Shogunate induction

In the 25th year of Kaiyuan (737), Zhang Jiuling was the chief historian of Jingzhou, and led to the shogunate. Soon, he returned to his former residence.

In the 26th year of Kaiyuan (738), Meng Haoran visited many places in Jingzhou. In the summer, Meng Haoran suffered from back gangrene and was lying in Xiangyang. The next year, the disease worsened, many friends visit.

Finally South Garden

In the 28th year of Kaiyuan (740), Wang Changling returned to the north, passed Xiangyang and visited Meng Haoran. He met very happily. Meng Haoran had a poisonous sore on his back. He was about to recover after treatment. He died of eating fresh food because he indulged in banquets.

Poetry achievement

The first person of the pastoral poetry school in the prosperous Tang Dynasty and the forerunner of the creation of "Xing Xiang"

Wang Wei's and Meng Haoran's poetry schools formed in the prosperous Tang Dynasty are also called pastoral poetry school. In order to highlight their outstanding role in pastoral poetry school, they are also called "Wang Meng's Poetry School". The school has the merits of Tao Yuanming and "Er Xie" (Xie Lingyun and Xie Tiao) poems. It takes the landscape and idyllic scenery and reclusive life as the main theme, and its style is diluted and natural. Meng Haoran's poems have broken away from the narrow realm of chanting things in the early Tang Dynasty and expressed more personal feelings, which brought fresh breath to the poetry world of Kaiyuan and won the admiration of the time. Meng Haoran was the first poet to create landscape poems in Tang Dynasty and the forerunner of Wang Wei. His travel poems are vivid in description, and "a gift to Prime Minister Zhang from wangdongting Lake" is magnificent in style.

Meng Haoran's life experience is relatively simple, and the theme of his poetry creation is relatively single. Most of Meng's poems are short stories with five characters, mostly about the idyllic scenery, the seclusion and the mood of being in exile. Although there are some words of cynicism, most of them belong to the poet's self-expression. Mencius' poems are full of wonderful and complacent interest, but they are not too cold, thrifty and barren. He is good at exploring the beauty of nature and life, and writing real feelings. Such as "climbing mountains in autumn to send Zhang Wu", "South Pavilion in summer to cherish Xinda", "passing my old friend's village", "Spring Dawn", "sujiandejiang", "song of returning to lumen at night" and so on, they are naturally integrated, with clear artistic conception and flowing rhyme.

In Meng Haoran's landscape poems, the image is no longer the description of the original shape of the landscape, nor simply adding his own emotions. Instead, he uses the technique of expression to combine the description of the landscape image with the display of his own thoughts, feelings and temperament, which makes the image depiction in his landscape poems reach an unprecedented height and make the shape in his landscape poems more beautiful Image is an advanced form of artistic image, that is, image. It can be said that before Meng Haoran, there was no poet who deeply impressed the personality of the author's temperament in his landscape poems.

Light and natural poetic style

Meng Haoran's poems mainly express his reclusion and leisure, his travel and melancholy, but his style is light and natural, and he is good at five character ancient poems. Meng Haoran was the first poet in Tang Dynasty who devoted himself to writing landscape poems. He mainly wrote landscape poetry and was one of the representatives of landscape pastoral poetry school. In his early stage, he mainly wrote political poetry and frontier knight errant poetry, and in his later stage, he mainly wrote landscape poetry. There are more than 200 of his poems today, most of which are poems about mountains and rivers written by him on the way of roaming, as well as poems about rejuvenation written by him when he visited Wanshan, Xianshan and lumen mountains in his hometown. There are a few poems about rural life. The range of materials in the poem is quite wide.

Landscape is the most important theme of poetry in the Southern Dynasty, which has experienced long-term development and made remarkable achievements. By Meng Haoran, landscape poetry has been promoted to a new level, which is mainly reflected in the following aspects: the relationship between emotion and scenery in poetry not only sets off each other, but also is often a perfect combination; the artistic conception of poetry is more pure and pure due to the elimination of all unnecessary and inharmonious elements; the structure of poetry is also more perfect. Meng Haoran preferred water travel in his journey. As he said, "for the sake of mountains and rivers, he often went boating." (Jing Qi Li tan) his poems often write about the beautiful scenery and the interest caused by his wandering in the water villages of southern China, such as boating on the Yexi river

Fang Rixi pointed out in his article on the clearness and lightness of Meng Haoran's poetic style: "throughout Meng's poems, the lightness of his poetic style can be roughly divided into three parts: one is the lightness of thoughts and feelings, without the expression of intense emotions; the other is the lightness of poetic expression, without the display of strong poetic flavor; the third is the lightness of language color, without the description of gorgeous colors.

Rich artistic conception of Landscape Poetry

The artistic conception of Meng Haoran's landscape poems is mostly full of vitality and tranquility. But he can also express the magnificent scenery with magnificent writing style. Such as "looking at Lushan in Pengli Lake". Pan Deyu of the Qing Dynasty, taking this poem and "early fishing pool" as an example, said that Meng's poems are "energetic and vigorous, overlooking everything" (yangyizhai poetry talks), which shows the important characteristics of its vigorous and gloomy mood. Yin Li, a famous critic of poetry in the prosperous Tang Dynasty, likes to use the word "Xing Xiang" to discuss poetry. When commenting on Meng Haoran's two poems, he also said that "no matter Xing Xiang, it's also true" (see Heyue Yingling Collection). The so-called "Xing Xiang"

Chinese PinYin : Meng Hao Ran