Song Dynasty: Wang Anshi
When Princess Ming first left the Han Palace, her eyes were moist.
There's nothing Wang can do about it.
When you come back, you will complain about Dan Qing's hand. I've seen it in my life.
I couldn't understand the meaning, so I killed Mao Yanshou for nothing.
Go and know it, don't return, pity the Han palace clothes;
Send a voice to ask Sanan, only geese fly every year.
Wan Li, a family member, sent a message. Fortunately, Mo Xiang remembered being in the felt city.
Don't you see that Nagato and Gillian are very close? There is no difference between north and south in life.
Princess Ming first married Hu Er, and the carpet car was 120% Hu Ji.
The language with * is nowhere to be found, and it is spread on the pipa.
The golden pole stirred his hand and tried to persuade Hu to drink.
The maid-in-waiting in the Han palace wept, and the pedestrians on the sand looked back.
Hann is shallow and deep, and he has known each other all his life.
Poor Qingling is gone, and still has the strings of mourning music.
translate
When Princess Ming first left the Han Palace, her temples hung slightly and her face was covered with tears.
Looking back, there is no such color around the drawing room, which makes my king's mood difficult to control.
Come back after parting, blame painter Dan Qing. I have never seen such a beautiful scenery in my life.
It is difficult to describe the immortal's will with an autogenous brush, and the painter Mao Yanshou was unjustly killed at that time.
From then on, I knew I couldn't go back. I couldn't wear all the palace costumes of the Han Dynasty imperial city.
Wan Li sent a message to inquire about Sen En's distant hometown, and only watched Hongyan fly south every day.
Although the family heard the news of their loved ones in Wan Li, you should have a good peace of mind and don't always think about the family in Felt City.
You haven't seen weak Gillian in Nagato. If you want to be frustrated in life, there is no difference between north and south.
When Fei Ming just married the conference semifinals, all the women on the carpet beside her were conference semifinals.
She wanted to talk to someone, but there was nowhere to talk. She can only pin her heart on the pipa, and only she knows what she thinks.
She played the golden lever with a hand that could play a beautiful voice, played the pipa and looked up at the sky. Persuade Hu to drink.
The married handmaid of the Han Palace secretly shed tears, and the returnees who walked in the desert frequently turned back.
The grace of the Han dynasty was really shallow, and the grace of the conference semifinals was deeper. The joy of life lies in knowing each other.
Poor Wang Zhaojun's tomb has been deserted and buried, but there are still sorrows and sorrows that have been passed down to this day.
To annotate ...
Fei Ming: Wang Zhaojun, the maid-in-waiting of Emperor Han Yuan, is handsome and upright. Jin people avoided it and changed it to Zhao Weiming, which was used by later generations.
Spring breeze; Metaphor the beauty of face. Among Du Fu's five poems about historical sites, there is a poem about Zhao Jun that says, "Her face! Can you imagine the spring wind? " . The spring breeze here is the provincial name of spring breeze.
● Hesitation: wandering.
Unable to control: unable to control one's feelings.
Return: Come back. Hand of Dan Qing: refers to the painter Mao Yanshou.
Attitude: Fengshen.
Wearing Hangong clothes: Zhao Jun is still wearing Hanfu.
Sinan: refers to the Han Dynasty.
Felt City: This refers to Xiongnu Palace. Nomads use blankets as tents (now called yurts).
Close at hand: very close. Nagato confined Gillian: Emperor Wu of the Han Dynasty once confined Queen Chen to the palace. Nagato: The name of the Han Palace. Gillian: the nickname of Queen Chen.
Felt car sentence: Write that the Huns sent a brigade of Hu Ji to pick up Zhaojun. "The Book of Songs Zhao Nan Quechao": "The son of the son returns home, and one hundred and twenty emperors." Write that aristocratic women get married and accompany a lot. Two: the same car.
Tools for playing pipa. Spring breeze hand: describes that the hand can make a wonderful sound.
Handmaid in Han Palace: refers to the official female who accompanied Zhao Jun to marry far away in Han Dynasty.
Qingling Mausoleum: In Du Fu's poems, "She has become a green grave at dusk" and "The Tatar song on her jade piano tells her eternal sorrow". According to legend, the grass on Zhaojun's tomb is evergreen all the year round, hence the name Zhong Qing, which is in the south of Hohhot today.
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one
Mei and Ouyang Xiu denounced the "poor" harmony poems in the song and criticized the humiliating policy of the Song Dynasty. Wang Anshi, on the other hand, is extremely keen to describe the purity and profundity of Fei Ming's patriotism and homesickness, and deliberately distinguishes these feelings from personal grievances, which is particularly insightful.
In view of the social background at that time, Wang Anshi praised Fei Ming for not returning evil for good, which was of practical significance. Someone misunderstood his intention at that time. That's because he wrote ancient prose with twists and turns, and some people looked at Wang Anshi with political prejudice and even malicious Luo Zhi's eyes. In Qing Dynasty, Cai Shangxiang tried his best to defend Wang Anshi in The Chronicle of the King, but his explanation was not thorough.
Princess Ming is a tragic figure. This tragedy can be written from "entering the Han Palace" or "leaving the Han Palace". From the beginning of "going out of the Han Palace", we can highlight the theme of "Zhao Jun and Fan". Wang Anshi wrote from "Ming Fei Chu Han Palace", and the material selection was appropriate.
A peerless beauty, leaving her hometown to go abroad, the more beautiful she looks, the more people will sympathize with her. The record in The Biography of the Southern Xiongnu in the Later Han Dynasty is: "Zhao Jun is rich and beautiful, and he is a Ming and Han official. The emperor was shocked to see Gu Ying wandering around." Jiang Yan's "Hate Fu" also focuses on the details of her "sighing at the sky". Based on these, Wang Anshi wrote her "Spring Breeze with Tears" and "Wandering in the Shadow", focusing on her demeanor; On the one hand, from the eyes of "Wang", I wrote "I have never seen it in my life", which made Ming Fei moved. So the sentence "I can't paint for nothing" is a further foil to her. "Attitude" not only refers to her appearance, but also reflects her heart. Fei Ming's Wandering in a Colorless Shadow is an expression of her infinite tenderness for her motherland. As for the matter of "killing the painter", it comes from Xijing Miscellanies. There is no doubt that Miscellanies of Xijing is a novel. Wang Anshi is not researching history, nor commenting on historical facts. He just used this incident to aggravate the "attitude" of describing Ming Fei. Moreover, these descriptions are paving the way for Fei Ming's "frustrated" tragic ending to aggravate the atmosphere.
It says "at the time of departure" and it says "after departure" below. One year after I left, the author didn't write "Zi Tai Shuo Mo"; Instead, what happened in the past few decades is summed up as "once you know it, you will never come back, and it will be pitiful." Between these two sentences, the sentence "But I still want to stay" is omitted, which means: "Fei Ming knows in his heart that there is no hope of returning to the Han Palace. But she still cares about Han as soon as possible and will not change Hanfu. "
Chen Zeng, a modern scholar, pointed out that the essence of the distinction between Hu and Han in ancient China lies not in blood, but in culture. Confucius wrote "Spring and Autumn Annals", which means that "when foreigners enter China, they will enter China". In history, especially in literature, the symbol of culture is often the so-called "cultural relics in clothes". Zuo Zhuan talked about "Southern Crown" and "Zuo Zhou" in The Analects of Confucius, which has been used as literary allusions ever since. Du Fu's description of the princess also focuses on "returning to the moon night", which is actually the same as Wang Anshi's "wearing the clothes of the Han Palace". Both Du Fu and Wang Anshi imagined that "not changing Hanfu" would show Fei Ming's deep love for his hometown and patriotism, which was neither weakened because of her frustration in the Han Dynasty, nor out of any hope for the emperor (she knew that it could not be repaid), nor was it "striving for favor and taking pity". Therefore, the feelings are purer and the image is higher. He also said: "I want to ask Jiangnan, where geese fly every year", and wrote his heartfelt wishes to Korea, which will last forever. Mei also said that "Hongyan is sad for it, and the liver and intestines are destroyed for it." Wang Anshi writes more vividly than Mei.
Finally, in the words of Wanli Biography, the more helpless words are used as a lenient solution, the more sad the solution is, and the more tragic the atmosphere is. Even better, it points out the root of the tragedy and expands the scope of the tragedy to the area around the pen. The starting point of Princess Ming Can's tragedy is described as "entering the Han Palace". The Han Palace, or "Nagato", is what Jia Yuanchun called a "dark place" in A Dream of Red Mansions. From Chen Ajiao to Jia Yuanchun, Qian Qian was a "flower girl" and was locked in. With millions of people's youth (sometimes 3 thousand, sometimes 30 thousand), for one person's desire. It is conceivable that the ladies-in-waiting are desolate and lonely, but the ladies-in-waiting are almost out of favor with people with lofty ideals. Therefore, from Sima Xiangru's Poems of Nagato to Liu Yuxi's Gillian's Resentment and West Palace's Resentment, most of them take this as the theme, or express sympathy for the insulted and injured maids, or express "the misfortune of literati". Tang people's "how many flowers are in the palace, I don't know if I don't marry Khan Jun", which was described long before Wang Anshi, only saying "complaining without anger"; Wang Anshi is a little angry. Bi Li said: Wang Anshi's "finding out what the predecessors have not done" is in line with reality; As for "I don't know what I said", it was influenced by Wang Hui, Fan Chong and others. Wang Hui quoted Confucius as saying that "it is better to have a gentleman in the younger brother than to have no gentleman in the summer", but forgot that Confucius also said that "China should be promoted, which is China" (The Analects of Confucius); In particular, I misunderstood the sentence "There is no north and south in life". Wang Huiben was an opponent of Wang Anshi's political reform, and it was difficult for him to be fair when discussing poetry with political prejudice.
Secondly,
The first two sentences say that the princess (Wang Zhaojun) married Hu, and the Hu people greeted her with a hundred felt cars. In the Book of Songs, there is a poem "Children return to their hometown, and a hundred taels (the same as' one car') are royal (welcome)", which shows that Hu people greet them with a welcome ceremony. Under normal circumstances, the solemnity of etiquette reflects the depth of kindness, which lays the foundation for the following "Hu (En) self-sufficiency". Among them, the word "all Hu Ji" indicates the following "including * saying that there is no place to be alone"
Regarding Fei Ming's reaction to this, the poem wrote that she "said that there is no place to be alone, and it is spread on the pipa." Mei Yao Chen also said in "Ci of Yi Yun and Fu Yuan Zhao Jun": "Love words are unreasonable, more than nine times?" What they mean is that the princess and the conference semifinals can't talk and can't talk about "intimacy", so they are sad but unhappy.
In her poems, Wang Anshi highlighted a detail to express her condolences to Princess Ming: Princess Ming played the pipa to persuade Hu to drink, while she looked at it and turned her heart to Sai Nan. Through this detail, the inner contradictions and pains of Princess Ming are skillfully portrayed. Then, with the pipa sound played by Fei Ming, he was moved to "the ladies in the Han Palace cried and the pedestrians on the sand looked back." When the listener is moved to this point, the player's inner pain is self-evident. The sadness in "Sad String" is about the listener's reaction.
The front is a description of Princess Ming's entry into Hu and her situation and mood in Hu, and the last four sentences are further analysis and discussion. These four sentences are divided into three layers: the first layer is "shallow, deep in Hu"-in the Han Dynasty, she was demoted as a maid-in-waiting in Nagato, so she was "shallow"; The Hu people greeted her with "a hundred cars", and the "grace" ceremony was "deep". This sentence tells the truth. The second layer says that "the joy of life lies in knowing each other", which is human nature. If so, Ming Fei should be happy in Hu. However, this is not the case. This leads to the third layer: Hu is unhappy and unhappy, and her "mourning string" is still "left to this day", and the sadness at that time can be imagined. The reason why Princess Ming's heart is different from nature is that she understands the great righteousness deeply and does not change her mind because of personal gains and losses, and Hu Ren is not "intimate". There are two twists and turns in four sentences, and there is a contradiction. Only by sorting out the twists and turns can we see Wang Anshi's "foresight" and his "big eyes and big mind" (Fang Shudong's Zhao Wei Zhan Yan). At the beginning of Southern Song Dynasty, Fan Chong's "critical poem is the heart of a villain, without father and without gentleman" (quoted from Li Bi's note, according to Poems of Tang and Song Dynasties), but he didn't understand this poem at all. Fan Chong is the son of Fan Zuyu, who has always opposed the new law, and attacking him is even more groundless. In fact, Wang Anshi's description of Ming Princess, his profound description of her sufferings and her national justice can help her to "correct people's minds and be lenient with customs", which was aimed at Shi Yisheng and Bird at that time and was also of educational significance to future generations.
"Two Songs of Fei Ming" reflects Wang Anshi's emphasis on portraying characters. From the "attitude" of depicting characters to the psychological analysis of characters, there are exaggerations, contrasts and detailed descriptions, which is equivalent to applying some techniques of writing novels to poetry. On the other hand, he used the techniques of ancient writers such as Han Yu and Liu Zongyuan to write poems in the aspects of "reverse arrangement" and "stretching and cutting the rules". In this way, the artistic techniques of poetry are more diversified and the expressive ability of poetry is stronger. Because the combination of the two is good, although the words are poems, the image has not been weakened. The last four sentences of this poem are discussed by images, which is proof. Since Wang Anshi writes poems by novel and ancient prose, readers should also read them by reading novels and ancient prose in order to understand poems.
debate
Guo Moruo said in an article that Wang Anshi had difficulty in poetry. This refers to Wang Anshi's Fei Ming Qu, which is not recorded in this anthology. I don't know why. In his poem, he said, "When Princess Ming first married Hu Er, all felt cars were Hu Ji. There is no place for * language, and the heart of pipa knows it well. Jin guarded the hand, trying to persuade Hu to drink. The maid-in-waiting in the Han palace wept, and the pedestrians on the sand looked back. Hann's self-knowledge is superficial, and his life is full of mutual understanding. Poor Qinghai-Tibet has disappeared, and there are still mourning strings left. "
The so-called poetic disaster, of course, refers to "Hann's self-ignorance, self-deepening, and happy life knowing each other". As soon as this language came out, the discussion was fierce. Or "today's worship of my father is in line with Wang Anshi's intention to be a thief"; Or "If I don't know each other, can I betray my husband and my wife abandon her husband?" Wang Anshi's defenders have to say that the "grace" of "Hann's self-ignorance and self-depth" refers to the relationship between men and women, and has nothing to do with the meaning of the monarch and the minister. I think what Wang Anshi is talking about here is the relationship between men and women. But it is not a general relationship between men and women, but from a higher perspective, that is, from a social perspective. It can also be said that this language is an answer to the question raised in the last song, that is, the combination of men and women should be based on "knowing each other's hearts." This idea is very modern and smacks of budding capitalism. However, the relationship between men and women should also be viewed from a political perspective. For example, our great criticism is like this, and the situation is different.
Also, the ending of Wang Anshi's poem is wrong. I once visited the tomb of the Ming Princess, but the mourning of the Ming Princess did not "stay today" (last words).
Wang Anshi is a famous quarrelsome "xianggong" in history. These two poems are full of articles reversing his conviction and fully show his quarrelsome character. One said, "I can't draw the Italian origin. Mao Yanshou died in vain at that time." Exculpate Mao Yanshou. Then he said, "Although Nagato and Gillian are very close, there is no difference between North and South in life." It is a tragedy that Zhao Jun left the fortress. The third said: "Hann is shallow and deep, and life is fortunate to know each other." Focus on the word "know each other", a step further. Since there is no distinction between the north and the south, instead of staying in the Han Palace to be the "Gillian" trapped in Nagato (in fact, for Wang Zhaojun, if she didn't invite herself to marry the Huns, she wouldn't have a chance to meet the emperor of the Han Dynasty, even Gillian couldn't do it), she might as well marry the Huns and get a bosom husband. Reversing one's conviction, to this point, is not "showing resentment", but "showing happiness"
comment
Interestingly, there have been two different views on whether Zhao Jun's departure is a comedy or a tragedy. Du Fu and Wang Anshi are not the only people in Taiwan Province who play devil's advocate.
There are many poems around Zhaojun's tomb, one of which reads: The boudoir is worthy of the world, and the Ming princess is crowned in the Han Palace. A new moon in Korea, Wan Li is quiet. If you talk about fame, you are almost like Huo Wei. Everyone is sad to get married far away, but I envy meeting someone. Even if you are kind, how can you keep it? Up to now, the Qing tomb is here, and the autumn wind is absolutely. "Huo Wei" is the famous Wei Qing and Huo Qubing in the Han Dynasty. The poet compared Wang Zhaojun with "Huo Wei" and gave her high praise. However, although it is not explicitly stated in the poem, it is obvious that Wang Zhaojun described by the poet holds the spirit of "sacrificing oneself for others". Yes, Zhao Jun's "pride" (the poet's "I only envy the pride of being satisfied") also contains resentment.
Yu Dafu, a close friend, also has a poem praising Wang Zhaojun, with similar meaning. Yu Shi said, I love you very much. If Mao Yanshou had been bribed, the poet would not have said so today.
Writing about Wang Zhaojun is holding the heart of "loving you" (Emperor Hanyuan) and going to "harmony" to protect the Lord instead of going to the mountains. In terms of meaning and skill, this poem is not a masterpiece. However, this is Yu Dafu's "small work". He was only 18 years old when he wrote this poem.
Wang Anshi's Fei Ming Qu is quite eye-catching in art, which depicts the image of Wang Zhaojun. The first part describes the beauty of Wang Zhaojun, not her face and posture, but her expression and modal beauty, and the appeal of this beauty, from which she can vent her inner sadness. In this way, a vivid image of ancient beauty is written, which can be heard. The second part focuses on Wang Zhaojun's inner feelings. Predecessors here often focus on expressing Zhao Jun's sadness and resentment, exaggerating the tragic atmosphere, and this poem not only describes her sad life experience, but also reveals her deep love for the motherland and her relatives, as well as her kindness to others. Such Wang Zhaojun is not only sad, but also respectable.
Creation background
In the Northern Song Dynasty, Liao and Xixia "invaded each other, with an annual currency of one million". Since the reign of King Youwang (1034-1038), "Western (summer) affairs are particularly difficult". At that time, Shi Yisheng, Bird and others defected to Liao and Xia due to the frustration of Song Dynasty, and made suggestions for Liao and Xia, which caused the border chaos in Song Dynasty. Poets borrow Song Ci and Ming Fei's thoughts. Wang Anshi's Two Songs of Fei Ming was written under this social background.