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这是一首田园诗，描写农家恬静闲适的生活情景，也写老朋友的情谊。通过写田园生活的风光，写出作者对这种生活的向往。全文十分押韵。诗由“邀”到“至”到“望”又到“约”一径写去，自然流畅。语言朴实无华，意境清新隽永。作者以亲切省净的语言，如话家常的形式，写了从往访到告别的过程。其写田园景物清新恬静，写朋友情谊真挚深厚，写田家生活简朴亲切。
全诗描绘了美丽的山村风光和平静的田园生活，用语平淡无奇，叙事自然流畅，没有渲染的雕琢的痕迹，然而感情真挚，诗意醇厚，有“清水出芙蓉，天然去雕饰”的美学情趣，从而成为自唐代以来田园诗中的佳作。
一、二句从应邀写起，“故人”说明不是第一次做客。三、四句是描写山村风光的名句，绿树环绕，青山横斜，犹如一幅清淡的水墨画。五、六句写山村生活情趣。面对场院菜圃，把酒谈论庄稼，亲切自然，富有生活气息。结尾两句以重阳节还来相聚写出友情之深，言有尽而意无穷。
“故人具鸡黍，邀我至田家。”“具”和“邀”说明此饭局主人早有准备，说明了故友的热情和两人之间的真挚的情感。“感惠徇知”在文学艺术领域真挚的情感能催笔开花。故人“邀”而作者“至”，大白话开门见山，简单而随便。而以“鸡黍”相邀，既显出田家特有风味，又见待客之简朴。
“绿树村边合，青山郭外斜。”走进村里，作者顾盼之间竟是这样一种清新愉悦的感受。这两句上句漫收近境，绿树环抱，显得自成一统，别有天地；下句轻宕笔锋，郭外的青山依依相伴，则又让村庄不显得孤独，并展示了一片开阔的远景。由此运用了由近及远的顺序描写景物。这个村庄坐落平畴而又遥接青山，使人感到清淡幽静而绝不冷傲孤僻。正是由于“故人庄”出现在这样的自然和社会环境中，所以宾主临窗举杯。
“开轩面场圃，把酒话桑麻”，轩窗一开上句描述的美景即入屋里来，“开轩”二字也似乎是很不经意地写入诗的，细微的动作表现出了主人的豪迈。窗外群山环抱绿树成阴，窗内推杯换盏，这幅场景，就是无与伦比的古人诗酒田园画。“场圃”的空旷和“桑麻”的话题又给人以不拘束、舒展的感觉。读者不仅能领略到更强烈的农村风味、劳动生产的气息，甚至仿佛可以嗅到场圃上的泥土味，看到庄稼的成长和收获。有这两句和前两句的结合，绿树、青山、村舍、场圃、桑麻和谐地打成一片，构成一幅优美宁静的田园风景画，而宾主的欢笑和关于桑麻的话语，都仿佛萦绕在读者耳边。这就是盛唐社会的现实色彩。
“待到重阳日，还来就菊花。”孟浩然深深为农庄生活所吸引，于是临走时，向主人率真地表示将在秋高气爽的重阳节再来观赏菊花和品菊花酒。淡淡两句诗，故人相待的热情，作客的愉快，主客之间的亲切融洽，都跃然纸上了。杜甫的《遭田父泥饮美严中丞》中说：“月出遮我留，仍嗔问升斗。”杜甫诗中田父留人，情切语急；孟浩然诗中与故人再约，意舒词缓。杜甫的郁结与孟浩然的恬淡之别，读者从这里可以窥见一些消息。
这首诗没有渲染雕琢的痕迹，自然的风光，普通的农院，醇厚的友谊，这些普普通通的生活场景，有“清水出芙蓉，天然去雕饰”的美学情趣。这种淡淡的平易近人的风格，与作者描写的对象——朴实的农家田园和谐一致，表现了形式对内容的高度适应，恬淡亲切却又不是平浅枯燥。它是在平淡中蕴藏着深厚的情味。一方面固然是每个句子都几乎不见费力锤炼的痕迹，另一方面每个句子又都不曾显得薄弱。他把艺术美融入整个诗作的血肉之中，显得自然天成。这种不炫奇猎异，不卖弄技巧，也不光靠一两个精心制作的句子去支撑门面，是艺术水平高超的表现。正是因为有真彩内映，所以出语洒落，浑然省净，使全诗从“淡抹”中显示了它的魅力，而不再需要“浓饰盛妆”了。
appreciation
This is an idyllic poem, which describes the quiet and leisurely life of a farmer’s family and the friendship of old friends. Write the author’s yearning for this kind of life by writing about the scenery of pastoral life. The full text is very rhyming. The poem is written from “invitation” to “arrival” to “hope” and then to “appointment”, naturally and smoothly. The language is simple and unadorned, and the artistic conception is fresh and meaningful. The author wrote the process from visiting to saying goodbye in a kind and economical language in a homely way. He wrote about the fresh and quiet countryside scenery, the sincere and deep friendship of friends, and the simple and kind rural life.
The whole poem depicts the beautiful mountain village scenery and peaceful pastoral life. The language is plain, the narrative is natural and smooth, and there is no trace of embellishment. However, the emotion is sincere, the poetic flavor is mellow, and the aesthetic appeal of “water comes out of lotus, and nature goes to embellishment” has become a masterpiece of pastoral poetry since the Tang Dynasty.
1、 The second sentence starts from being invited to write that the “old friend” is not the first time to be a guest. 3、 The fourth sentence is a famous sentence describing the scenery of the mountain village. It is surrounded by green trees, and the green mountains are oblique, just like a light ink painting. 5、 Six sentences describe the taste of mountain village life. Facing the vegetable garden in the yard, I talked about crops with wine. It was kind and natural and full of life. The last two sentences show the depth of friendship with the Double Ninth Festival.
“My old friend has chicken and millet. He invited me to Tian’s home.” “Ju” and “Invite” show that the host of this dinner party has been prepared, and show the enthusiasm of old friends and the sincere feelings between them. Sincere emotion in the field of literature and art can urge the pen to blossom. The old friend “invites” and the author “arrives”. The big vernacular is straightforward, simple and casual. The invitation of “chicken and millet” not only shows the unique flavor of Tianjia, but also shows the simplicity of hospitality.
“The green trees are close to the village, and the green mountains are leaning outward.” Walking into the village, the author looked forward to such a fresh and pleasant feeling. These two sentences are close to the scene, surrounded by green trees, and seem to be unified and unique; In the next sentence, with the green mountains outside Guo, the village does not seem lonely and shows an open prospect. Therefore, the order from near to far is used to describe the scenery. This village is located in a flat area and is remote to the green mountains, which makes people feel quiet and quiet but never cold and lonely. It is precisely because the “Old Man’s Manor” appears in such a natural and social environment, so the guests and guests toast at the window.
“Open the porch to face the garden, and talk about the mulberry and hemp with wine”. As soon as the porch window is opened, the beautiful scenery described in the previous sentence comes into the room. The word “open porch” seems to be written into the poem carelessly, and the subtle action shows the owner’s heroic. The mountains outside the window are surrounded by green trees, and the glass inside the window is changed. This scene is an incomparable pastoral painting of ancient poetry and wine. The openness of the “field garden” and the topic of “mulberry and hemp” give people a feeling of freedom and stretch. Readers can not only appreciate the stronger rural flavor and the smell of labor and production, but also smell the soil on the farm and see the growth and harvest of crops. With the combination of these two sentences and the first two sentences, green trees, green mountains, cottages, nurseries, mulberry and hemp are harmoniously integrated into a beautiful and quiet pastoral landscape, and the laughter of the guests and hosts and the words about mulberry and hemp seem to haunt the readers. This is the realistic color of the prosperous Tang society.
“When the Double Ninth Festival comes, chrysanthemums will come.” Meng Haoran was deeply attracted by the farm life, so when he left, he told his master frankly that he would come back to watch chrysanthemums and taste chrysanthemum wine on the bright and cool autumn Double Ninth Festival. A light two lines poem, the enthusiasm of the old friends to treat each other, the pleasure of being a guest, and the cordiality and harmony between the host and the guest, are all on paper. In Du Fu’s “Encountered by Tian Fu’s Mud Drink, Meiyan Zhongcheng”, it said: “The moon rises to cover my stay, and I am still angry at Shengdou.” In Du Fu’s poems, Tian Fu stayed with others and spoke urgently; In Meng Haoran’s poems, he made an appointment with his old friends again, which made his meaning comfortable and his words slow. From the difference between Du Fu’s depression and Meng Haoran’s indifference, readers can get some information.
This poem has no traces of embellishment, natural scenery, ordinary farmyards, and mellow friendship. These ordinary life scenes have the aesthetic appeal of “water leaves lotus, and nature carves”. This kind of light and approachable style is in harmony with the simple countryside described by the author, which shows that the form is highly adaptable to the content. It is simple and kind but not simple and boring. It is in the insipid contains deep feelings. On the one hand, it is true that every sentence is almost devoid of the traces of hard work, on the other hand, every sentence has never been weak. He integrated the artistic beauty into the flesh and blood of the whole poem, which seemed natural. This is a performance of high artistic level, which does not show off novelty and novelty, does not show off skills, and does not rely only on one or two carefully crafted sentences to support appearances. It is precisely because of the true color inside, so the words are free and clear, which makes the whole poem show its charm from “light touch”, instead of “thick decoration and rich makeup”.
