Ming Dynasty

Song Lian's "Inscription on Zhang Le and Tao's Poetry": Tao Jingjie's poetry is like exhibiting birds to serve Lu, serving three times and stopping three times, with a sense of conflict, speaking and acting in a way that is not very different from the common people, but moving in harmony with the Tao, covering harmony with integrity, quality with elegance and elegance.

Li Dongyang's "Huailu Tang Poetry Talk": Tao's poetry has a thick quality in ancient times, and the more you read it, the more you will see its beauty.

Li Mengyang's "Preface to the Collection of Engraved Tao Yuanming": Yuanming was a talented and elegant person, but he was skilled and knowledgeable. When he was defeated, he should not use the hidden dragon. Reading his poetry, I feel a sense of admiration and sorrow, as well as a desire to play with the world. Alas!

Zhu Dianpei's "Commentary on Songshi Pavilion Poetry": Tao Qian's works are like the clear waves of white birds and the long forests of elk. Although they are not yet captivated by infants, they are still pure, yet they are hidden and not in harmony. They are still hesitant to be pleased and cannot forget those who are narrow-minded!

Xie Zhen's "Four Ming Poetry Talks": Yuan Ming has the most temperament, and when adorned with seaweed, he is no different from Bao and Xie. How can he express true interest in occasional moments and send it to taste in indifference?

Gui Youguang's "Record of Youran Pavilion": The poetry of Jingjie is not the work of those who carved and painted during the Jin and Song dynasties. And the leisurely meaning, when seen outside of words, is not only suitable for a moment, but also has no lingering in it. When seeing things in the sky and earth, one cannot be complacent. I think that those who are leisurely are actually in line with the Tao, and I don't know about Jingjie. It's impossible.

Jiao Hong's Preface to Mr. Tao Jingjie's Collected Works: Mr. Jingjie has the highest moral character, and throughout his life, Ren Zhen has promoted him to be easy. For example, the Lingyuyuan Pearl, shining brightly, is unknown to the master.

Wang Shizhen's "Zhiyan in the Art Garden": Yuan Ming's instructions were diluted, and his language was highly skilled, which was deeply thought out and left no trace on his ears. Descendants suffer from all the hardships and depths, and take their form to be similar, calling it nature, and absurdity leads to a thousand miles.

He Mengchun's "Postscript to the Collection of Tao Jingjie": Tao Gong has been the most influential figure since three generations, and his poetry and prose have been the first class writer since the Han Dynasty. Only because of his high mindedness, his words are clever, and later generations admire his elegance.

Wang Wenlu's "Wen Mai": Since the Wei and Jin dynasties, there have been many poems, specifically known as Tao poetry. Tao Ci is too light, inferior to Cao and Liu Zhixiong, Xie and Jiang Zhili. However, it often contains works of nostalgia, so reciters may have thoughts beyond the mundane realm.

An Pan's "Yishan Poetry Talk": It is said that since the Han and Wei dynasties, scholars who have followed Confucius and aspired to be saints and sages are known for their profound understanding and wisdom, and therefore they are listed.

Huang Wenhuan's Preface to the Interpretation of Tao Poetry: Respecting Tao from ancient and modern times, returning to simplicity; A plain concept of pottery, not to be seen in pottery. Analyzing it with refined characters and refined chapters, the characters are mysterious, and the division and combination are hidden, with many dangers and dangers. The hands and eyes of Sitao are out. Zhong Rong is a master of pottery, and his disciples call him the reclusive sect; Covering pottery with seclusion, pottery cannot be seen. Analyzing it with worries and thoughts of chaos, thinking about supporting the decline of Jin, thinking about resisting Jin's Zen, having a warm economic heart, and expressing the essence and end of language, surging like a sea, standing tall like a sword flying, the courage of Sitao's heart has emerged.

Xu Xueyi's "Debate on the Origins of Poetry" states: "However, in Jingjie, if one does not adhere to the ancient style or learn new language, and is sincere and natural, then it is a source of its own... In Jingjie, if one's poetry is sincere and natural, then it is a source of its own. Although it may be slightly biased, its style is pure and it is truly commendable." Jingjie poetry, upon first reading, is perceived as plain and easy to write. Without a single word, it seems that it is due to its high talent and distant interests, and it was not initially achieved through contemplation The poetic structure of Jingjie is natural and the meaning is profound, similar to the book "Mencius" Jingjie poetry directly expresses one's own feelings and naturally becomes a text Jingjie poetry is not verbose, but rather convenient in meaning, so there are very few concentrated long poems; This Wei and Liu cannot match.

Tang Shunzhi's Answer to Mao Lumen Supervisor of the County County: Tao Pengze has never compared the rhythm and carved sentences, but he writes them freely, which is the best poem in the universe. What is it? Its true color is also high.

Hu Yinglin's "Poetry Nest":... Tao's five words have opened up a timeless and plain school Although the meaning of Tao is new, its source is far and wide

Xue Yingqi's "Chronicles of Fangshan": Tao Jingjie sings while begging for food, and Shao Kangjie sings while slightly drunk. If one is not satisfied with themselves, can they? After this, Confucius and Yan enjoyed themselves.

Jiang Yingke's "Commentary on the Poetry of Snowy Waves": Tao Yuanming transcended the mundane world and established a unique family, which was not composed by people from the Six Dynasties. Therefore, his poetry was not composed by people from the Six Dynasties.

He Zhanzhi's Preface to Tao Wei's Collected Works: In the autumn of the Bandang era, Jin Chushi was devoted to fame and fortune, and his poetry was clear and broad, free from worldly customs, and he did nothing. Therefore, his words were all practical, and he believed in the "Three Hundred Chapters" alone.

Wang Qi's "A History of Eccentricity": All emotions are stored and cannot be vomited out; Wherever the scenery touches, it is impossible to write about people; Jin Weiyuan Ming, Tang Weishaoling Tao Shidan is not without a rope, but when the rope is cut to the natural place, the beauty of its simplicity can be seen without any trace of rope cutting.

Zhong Xing's "The Return of Ancient Poetry": Tao's poetry is leisurely and distant. From its true nature, a section of deep and moist air is forever submerged, and its beauty lies entirely in not withering.

Lu Shiyong's "General Theory of Poetry Mirrors" states that those who are simple yet brilliant, humble yet not yet high, are also profound and bright.

Liu Chaozhen's "On Tao": Jingjie is neither Confucian nor vulgar, neither arrogant nor upright, neither promiscuous nor rebellious, plain and contented, without any embellishments, all have a natural interest in contentment; Hunger, cold, and poverty do not tire the heart, but with enough wine, all worries are empty. And when it comes to expressing emotions, it becomes a literary expression that is sincere and lacks any trace of axe or smoke and fire.