Mountain and forest literature has won the love of many people with its maverick attitude, but mountain and forest literature is not orthodox literature, and some mountain and forest literary schools are not orthodox literary genres, and most of the orthodox literary genres are literary genres that have risen from some **. It seems that the secluded nature of mountain and forest literature makes it out of the temple and popular in the grassland, and it is difficult to get into the elegant hall.
The number of ways to escape in mountain and forest literature is relatively special, not all of them are for seclusion, but there are some people who learn from fame and wealth to cater to seclusion to meet secluded needs, escape responsibility, and even go directly to the mountains to live in seclusion, and when the right political opportunity comes, they run out of the mountains and then become officials. Li Bai's seclusion is like this, he has written a lot of literary works in the mountains and forests, describing the difficulties of Shu Road, describing Tianmu Mountain, and describing the water of the Yellow River, but he does not really wander between the mountains and rivers, but has a certain heart of fame and fortune, pursues success and retirement, and finally fails to achieve success, and his body has not retreated. Wang Wei wrote landscape poems, and Meng Haoran wrote landscape poems, both of which were written under the circumstances of unsatisfactory careers, which had the meaning of escaping from officialdom and secular life. It is good to live in seclusion in the mountains and forests, which can cultivate temperament, but at the same time, it is also far away from politics and officialdom, so there is no good enterprising. It's not that they don't want to be officials, it's not that they don't want to cultivate Qi Zhiping, it's just that because the world is dangerous, there are more open and secret battles in the officialdom, so they can't adapt to it, but they can't take the initiative to give up their official positions, so they can only wander the mountains and rivers, chant and sigh in the mountains and forests, and entertain themselves.
After the fall of the Shang Dynasty, the two of them, as courtiers of the Shang Dynasty, lived in seclusion in Shouyang Mountain, did not eat Zhou Su, picked roses and ate, and finally starved to death. They became famous ministers and were also the objects of emulation by later generations of hermit poets. Tao Yuanming, who did not bend his waist for five buckets of rice, became the first hidden poet in history, took the initiative to resign from office, ploughed the countryside, and wrote a lot of pastoral poems. He takes care of rural life with an aesthetic eye, and beauty is beautiful, but it is not a real pastoral life. In other words, the life in his idyllic poems is an aestheticized pastoral life, with beautiful imagery and artistic conception, but it is not the pastoral life in the eyes of the peasants. So much so that Tao Yuanming's ideals were too far away from reality, and he could only rely on relatives and friends to help him live, and finally died in poverty and illness.
Xie Lingyun, a landscape poet of later generations, also wanted to engage in mountain and forest literature, but in the end he could only write landscape poems, and could not live in complete seclusion. At that time, if you wanted to promote the poetry you wrote, you had to make friends with the powerful and use the power of the powerful to promote it quickly. Just as Confucius traveled around the world in order to gain the trust and support of the powerful, the promotion of mountain literature is also inseparable from the support of the powerful. At that time, the literati and doctors were all knowledgeable and learned people, belonging to the intellectual elite, with certain literary attainments, and also had a soft spot for mountain and forest literature, so that mountain and forest literature became an oasis in their hearts. As a result, in the Tang Dynasty, there was Wang Wei and Meng Haoran's landscape idyll, but it was not the mainstream of literature. The mainstream of literature has become the poetry of Li Bai and Du Fu, and the prose of Han Yu and Liu Zongyuan. Although poetry has always been the mainstream literary style of Tang Dynasty literature, poetry is also divided into grades, who makes it, style, and fame. In this way, most of the poets who live above the temple are powerful, and most of the people who write hidden poetry are also powerful people, and most of the common people are farmers, who do not read, are illiterate, and have no culture, so of course it is impossible to appreciate hidden poetry. Therefore, the so-called hidden poetry and the so-called mountain literature are only literature that circulates in the officialdom, not literature that circulates among the general public.
From this point of view, the so-called literature of mountains and forests is only a kind of literature between bureaucrats and literati and doctors, and it is a description of mountains and forests with aesthetic significance, not a description of real mountains and forests. The real mountains and forests include poor mountains and bad waters, torrents and rapids, inaccessible dense forests, and strongman haunted paths. Mountains and forests are not so beautiful, but mountain literature is very beautiful. The common people don't know the beauty of mountain and forest literature, nor do they know the beauty of the farming life around them, and they don't know the helplessness and sorrow of the secluded life.
Of course not, but they themselves have certain laws of life, but they have no knowledge, no culture, and of course they don't know the hidden attributes of mountain and forest literature, nor do they know the attributes of other literary styles. At that time, the mainstream style of literature was poetry, not **. As a result, the literati doctor used poetry as a barrier and isolated himself from the common people. Most of the people in the ruling class are intellectuals, they all understand literature, and they also understand the wonders of mountain and forest literature, while most of the people in the ruling class are ordinary people, who do not read, do not read, do not understand literature, and do not understand what mountain and forest literature is expressing, but they understand the feudal norms of etiquette and religion, and they have to live according to these norms. Obviously, the aesthetic literature of mountains and forests should be recognized by the common people, but the common people do not recognize it, and they can't read it. In this way, mountain literature has become a tool for literati and doctors to enjoy, rather than something that is generally popular among the people.
Most of the literati doctors who play with mountain and forest literature have the experience of having a bad career, and they want to express their emotions with the help of seclusion, but they dare not say it directly, but send their feelings to the landscape. Whether it is "The Story of Little Stone Pond" or "The Story of Shizhong Mountain", most of them have this kind of attribute, but they are not really hidden, and if they are really hidden, they will become Taoist priests and ascetic monks in the mountains, and they will not write any landscape idylls for self-entertainment, and of course it is impossible to pass them on. Since it is written, it is a kind of limited freedom after escaping from politics, but it is not only really free, nor is it really perfect.