The author of Jia Sheng is Li Shangyin, who was selected as the 540th volume of the whole Tang poetry 149. This is a satirical poem, intended to express the poet's feelings of lack of talents through Jia Yi's experience. In the poem, the story of Emperor Wendi summoning Jia Yi to talk in the middle of the night is selected, and it is written that Emperor Wendi cannot know sages and benevolence; "Don't ask ordinary people, ask ghosts and gods" reveals the fatuous characteristics of the late Tang emperor who used medicine to seek immortality, abandoned politics, failed to Ren Xian and ignored people's livelihood. The poem is full of irony, and the irony effect is quite good.
original text
Jia sheng
Author: Tang Li Shangyin
The propaganda room invited the sages to meet the ministers, and Jia was even more incoherent.
Poor midnight is unprecedented, and Mo Wen people ask ghosts and gods.
To annotate ...
Jia Sheng: Jia Yi, a famous political commentator in the Western Han Dynasty, advocated getting rid of abuses and put forward many important political opinions, but he was slandered and suppressed all his life.
② Xuan room: the main room in the front hall of Han Weiyang Palace. Chasing minister: a disgraced minister. After Jia Yi was demoted, Emperor Wendi called him back and asked questions in the publicity room.
(3) Chasing the minister: the degraded minister refers to Jia Yi who was once demoted.
4 tones: talent.
⑤ pity: pity, alas. People: people. Ask ghosts and gods: See Historical Records Biographies of Qu Yuan and Jia Sheng. Emperor Wen saw Jia Yi. "Ask the origin of ghosts and gods. Jia Sheng is like a Taoist priest. At midnight, Wendi was seated. "
6 virtual: empty, in vain.
⑦ Front seat: Put your knees together on the seat.
translate
Emperor Wen of the Han Dynasty summoned the minister in exile in the main room in front of Weiyang Palace in order to seek wisdom.
On Jia Yi's talent and style, he is really outstanding.
It's a pity that although it's late at night,
It turns out that it is futile to move forward.
Because he didn't ask people on earth, but ghosts and gods.
Make an appreciative comment
This poem is a short poem praising Jia Sheng's story. Its focus is not on personal poverty, but on pointing out that feudal rulers can't really attach importance to talents and make them play a role in politics.
Jia Yi's relegation to Changsha has always been a common theme for poets to express their unfortunate feelings. The author found a new way, specially selected Jia Yi to recall from Changsha and announced the plot of day and night confrontation as poetry material. Historical records. Biography of Qu Family: Jia Sheng's view. Emperor Xiaowen was accepted by Li (who just held a sacrifice and was blessed by God) and sat in the propaganda room (the main hall in front of Weiyang Palace). There is a sense of ghosts and gods in the world, so ask the origin of ghosts and gods. Jia Sheng is like a Taoist priest. At midnight, Wendi Deng sat in the front seat (moving her knees close to each other on the dining table). Then he said, "I haven't seen Jia Sheng for a long time. I feel that I have gone too far. I might as well go now."
In the eyes of ordinary feudal literati, this is probably a great event worth bragging about. However, the poet has a unique eye, and he has grasped the matter of "asking ghosts and gods" which is not noticed by people, and turned out a thought-provoking new poem.
"The propaganda room invited the sages to meet the minister, and Jia Geng was incoherent." The front picture is written purely from the front, without derogatory meaning. The first sentence is marked with "seeking" and "visiting" (consulting), which seems to warmly praise Wendy's eagerness and sincerity in seeking sages, sincerity and modesty in her attitude towards sages, and her so-called thirst for sages and open mind. From "looking for sages" to "visiting courtiers", it can be seen that there is no sage to stay in the wild. The second sentence contains the words of Emperor Wen's admiration for Jia Yi. "Talent and style", coupled with the praise of "more incoherent", makes people see Jia Sheng's juvenile talent and style of speech, which reflects people's mental outlook, and the image sense and emotional appeal of poetry are naturally displayed. These two words praised by "seeking" and "visiting" are progressive step by step, which shows that Wendy values Jia Sheng. If you don't read the following, you will almost think that this is an ode to a sage. In fact, this is the cunning of the author.
The third sentence is the pivot of the whole poem. Cheng, the so-called "sitting at the table at midnight", vividly depicts the scene of Emperor Wen asking for advice and listening with an open mind and "sitting at his knees", making Historical Records a vivid and touching picture full of life. This artistic means of choosing typical details and "giving gifts from small things" is exactly Li Shangyin's unique skill in chanting epic poems. Through this vivid detail rendering, the ladder of "seeking" and "visiting" praise has risen to the highest point; And the "turning point" also began at the same time in the climax of the play. However, it does not show its muscles, but uses a sigh pen to turn around-adding the word "poor" before "empty seat before midnight". A pity is a pity. Don't use emotional words such as "sad" and "deplorable", just say "pitiful", on the one hand, it is reserved for the last sentence-warning; On the other hand, it is also because the seemingly understated "pity" here is more meaningful and intriguing than the nervous "sadness" and "sadness". It seems to leave room for Deng Wendi, but in fact it implies a cold ridicule, which can be described as light and heavy. Those who are "empty" are empty and void. Although it is only a little gentle, it makes readers fundamentally doubt Wendy's attitude of "sitting at the table in the middle of the night", which can be described as effortless. How can such a person who values saints become "empty"? The poet's quotation leaves the reader with suspense, and the poem is also ups and downs, not a thousand miles away. This sentence is handled in a patchwork, refined, natural, harmonious and seamless way.
The last sentence is well-worded, closely followed by "pity" and "emptiness", shooting an arrow in the middle-don't ask the people, ask ghosts and gods. Seriously seeking sages, asking for advice with an open mind, and even "sitting in the front seat at midnight" are not for seeking the way to govern the country and the people, but for asking the true questions of ghosts and gods! What kind of quest is this for saints, and what does it mean to saints? The poet still only talks about it-by comparing "ask" with "don't ask", let the readers draw their own conclusions. The speech is extremely sharp, the irony is extremely spicy, the feelings are extremely profound, but it is extremely restrained. Because the first few sentences are gradually upgraded around "emphasizing morality", the third sentence is bow and horse bend, and the derogatory sentences formed by strong contrast are particularly powerful. This is the so-called "heavy lifting" (that is, fall prevention). The whole poem contains artistic dialectics in positive and negative, positive and negative, light and heavy, hidden and obvious, inheritance and so on, and its artistic style of new warning, singing and sighing is gradually revealed through this series of successful artistic treatments.
Not because the content is poor and confusing, but because the content is rich and the number of words is not enough. The poem is full of irony, with irony, and the will is not simple. From an ironic point of view, it seems to be stabbing Emperor Wen, but in fact, the poet's main intention is not here. In the late Tang Dynasty, many emperors worshiped Buddhism and Taoism, taking medicine to seek immortality, regardless of people's livelihood, and being benevolent and not talented. What the poet refers to is obviously the feudal ruler who "didn't ask ordinary people to ask ghosts and gods" at that time. Poetry satirizes the master, but also contains the deep affection of the poet's own talent. The poet yearns for the ambition of "returning to heaven and earth", but suffers from the decline of the world and indulges in the next generation. Every time in his poems, the words "Jia Sheng was young and sad" and "Jia Sheng is also a ghost" are given. Jia Yi in this poem has the poet's own shadow. In a word, the irony of China people actually stung the Tang Emperor, and pity for Jia was also self-pity.
Brief introduction of the author
Li Shangyin (about 8 12 or 8 13 ~ about 858), Han nationality, Yuxi native, also known as Fan Nansheng and Fan Nanzi, was a famous poet in the late Tang Dynasty. His ancestral home was in Hanoi, Huaizhou (now Qinyang City, Henan Province), and his ancestors moved to Xingyang (now Zhengzhou, Henan Province). He is good at parallel prose writing, and his poems also have high literary value. He and Du Mu are called "Little Du Li" and Wen is called "Wen Li". Because his poems and essays are similar to those of the same period, and all three of them rank sixteenth in the family, they are also called "Thirty-six Style". His poems are novel in conception and rich in style, especially some love poems are lingering and memorable. But it is too obscure to be solved, and there is even a saying that "poets always love Quincy and wish that no one could write about Jian Zheng". Caught in the struggle between Niu and Li, I was frustrated all my life. After his death, he was buried in his hometown of Qinyang (now the junction of Qinyang and Aibo County).
According to New Tang Book, there are 20 volumes of Fan Nanjia Collection, 20 volumes of Fan Nanyi Collection, 3 volumes of Western Henan, Fu 1 volume, Wen 1 volume, and some works have been lost.