First, Mei Yaochen and Ouyang Xiu's poems on "Ming Fei Qu" directly denounced "Han's clumsy planning" and criticized the humiliating policies of the Song Dynasty. Wang Anshi tried his best to portray the pure and deep feelings of patriotism and homesickness of the concubine Ming, and deliberately distinguished this feeling from personal grudges, which is particularly brilliant.
In view of the social background at that time, Wang Anshi's praise of Concubine Ming's unwillingness to change her heart with grudges is of practical significance. At that time, some people misunderstood his intentions. This was because he wrote poems in ancient Chinese style, with many turns and jumps. Some people viewed Wang Anshi with political prejudice, and even acted maliciously. Cai Shangxiang of the Qing Dynasty tried every possible means to defend Wang Anshi in "An Examination of Wang Jinggong's Annals", but he did not explain it thoroughly.
Concubine Ming is a tragic figure. This tragedy can be written from the time of "entering the Han Palace" or from the time of "exiting the Han Palace". And starting from the time of "leaving the Han Palace" can highlight the theme of "Zhaojun and Fan". Wang Anshi started writing from "when the Ming Dynasty first came out of the Han Palace", and the material selection was appropriate.
A peerless beauty leaves her hometown for a foreign country. The more beautiful her appearance is described, the more people's sympathy will be aroused. The record in "Book of the Later Han·Biography of the Southern Huns" is: "Zhaojun is rich and beautiful, a bright Han official, his shadow is wandering, his crocodile moves around, and the emperor is shocked when he sees her." Jiang Yan also focused on her in "Hateful Fu" The detail of "Looking up to the sky and taking a deep breath". Based on these, Wang Anshi wrote about her "spring breeze wet with tears" and "wandering around looking at the shadow", focusing on depicting her expression; on the other hand, from the eyes of the "king", he wrote that "the eyes have never seen anything in my life", and therefore "uncontrollable" , highlighting the charming appearance of Ming Fei. Therefore, the sentence "I can't draw it in vain" is a further foil to her. "Impression" not only refers to appearance, but also reflects her soul. The concubine Ming's "wandering about without color" is the expression of her infinite tenderness for her motherland. As for the matter of "killing the painter", it comes from "Miscellaneous Notes of Xijing". "Miscellaneous Notes of Xijing" is a novel, and the existence of the events cannot be known. Wang Anshi is not researching history or commenting on historical facts. He just uses this matter to emphasize the "state of mind" of Concubine Ming. Moreover, these descriptions all pave the way for the tragic ending of Concubine Ming's "frustration" and intensify the atmosphere.
Write "when you go" at the top and "after you go" at the bottom. Regarding the aftermath of his departure, the author did not write about a certain year in "Zitai Shuomo"; instead, he summarized the events of the past few decades as "I knew I would never return once I left, and I was so pitiful that I wore all the clothes of the Han Dynasty." Between these two sentences, "However, you still" is omitted, which means: "Concubine Ming knew in her heart that she had no hope of returning to the Han Palace, but she still stayed with the Han Dynasty and did not change her Han attire."
Modern scholar Chen Yinke once pointed out that the essence of the distinction between Hu and Han in ancient China was not blood but culture. When Confucius revised "Spring and Autumn", he said "when barbarians advance into China, China will be conquered". In history, especially in literature, the so-called "clothing cultural relics" are often used as symbols of culture. "Zuo Zhuan" talks about "Nanguan", and "The Analects of Confucius" talks about "Zuo Ren", which has been used as a literary allusion ever since. When Du Fu wrote about the concubine Ming, he also emphasized the words "Wearing a ring and returning to the moonlight night soul", which is actually the same technique as Wang Anshi's writing "Wearing the imperial robes of the Han Dynasty". Du Fu and Wang Anshi both envisioned that the concubine's sincere and deep feelings for her hometown and country would be expressed by "not changing the Han costume". This feeling was not weakened by her "frustration" in the Han Dynasty, nor was it due to any hopes for the emperor (already "in her heart"). You know better and never come back"), it is not "fighting for favor and pity". Therefore, the feelings are purer and the image is taller. Then he added, "If you send me a message to ask about the affairs of Southern Sai, only the geese will fly every year." The Ming Fei's unswerving words of devotion to the Han Dynasty were written down to the heart. Mei Yaochen also said, "The wild geese are so sad and their livers and intestines are devastated." Wang Anshi wrote more vividly than Mei Yaochen.
Finally, using the words "family members thousands of miles away", the words of helplessness are used as relief. The more you understand, the sadder you become, and the tragic atmosphere becomes more intense. What’s even better is: the writing points out the root of the tragedy and expands the scope of the tragedy. The starting point of the tragedy of Concubine Ming can be traced back to when she "entered the Han Palace". The Han Palace, or "Changmen", is what Jia Yuanchun in "A Dream of Red Mansions" calls "a shameful place". From Chen Ajiao to Jia Yuanchun, thousands of "flower girls" have been locked away in it for eternity. The youth of tens of millions of people (sometimes three thousand, sometimes thirty thousand) are used for the lust of one person. The desolation and loneliness of the palace maid can be imagined, and the palace maid's fall from favor is similar to the unrecognized talent of the idealist. Therefore, from Sima Xiangru's "Ode to Nagato" to Liu Yuxi's "Gillian's Resentment" and "West Palace" "Resentment" and the like, most of them are written on this theme to show sympathy for the vast number of palace ladies who have been insulted and harmed, or to express the indignation of "disrespected scholars". In the Tang Dynasty, "there are many beautiful girls in the palace, but you don't know if you don't marry a single woman", which Wang Anshi had described long before, but he said "resentment but not anger"; Wang Anshi was somewhat angry. Li Bi said: Wang Anshi "seeks out what no one before him has said", which is in line with reality; as for "I don't know what he said", it is influenced by Wang Hui, Fan Chong and others. Wang Hui quoted Confucius as saying, "It is better for the barbarians and the Di to have kings than for the Xia to have none." But he forgot that Confucius also said, "When the barbarians advance into China, China will be conquered" ("The Analects"); in particular, he misunderstood "If you are frustrated in life, there will be no success." North and South" sentence. Wang Hui was originally an opponent of Wang Anshi's reform. He used political bias to discuss poetry, which was difficult to be fair. Second, the first two sentences state that the concubine Ming (Wang Zhaojun) married a Hu, and the Hu people welcomed her with hundreds of felt carts. "The Book of Songs" contains the verse "When the son returns home, a hundred taels (same as 'chariot') are used to greet him." It can be seen that the Hu people welcomed the Ming concubine with the same courtesy as a royal concubine.
Under normal circumstances, the solemnity of etiquette reflects the depth of kindness, which foreshadows the following "Hu (en) self-deepening". Among them, the three words "all Hu Ji" foreshadow the following "Sentiment and desire to say that there is no place to be alone".
As for Concubine Ming's reaction to this, the poem says that she "said she was alone in nowhere with passion, and told her to play the pipa and know herself". Mei Yaochen also said in "Yi Yun and Yuanfu Zhaojun Ci": "If the language of love is not clear, how can it be more than just nine intestines?" They mean that the concubine Ming and the Hu people are not clear in language, and they cannot be said to be "intimate", so they are sad. Not happy.
Wang Anshi expressed the "sorrow" of Concubine Ming by highlighting a detailed description in the poem: Concubine Ming played the pipa to "persuad Hu" to drink, while she "watched the flying dragon" and her heart was "stuffed". South". Through this detail, Concubine Ming's inner conflict and pain are cleverly portrayed. Then, he played the pipa tune played by the concubine Ming, which moved "the maids of the Han Palace secretly wept, and the passers-by on the sand looked back." If the listener was moved to this extent, it goes without saying that the player's inner pain was felt. The sorrow of "Mourning String" is written from the listener's reaction.
The first part is the description of Ming Fei’s entry into Hu and her situation and mood there; the last four sentences are further analysis and discussion. These four sentences are divided into three levels: the first level is "Han's grace is shallow and Hu is deep" - Ming Fei was a maid confined in the long gate in the Han Dynasty, and was sent to "Hefan" as a gift, so "Han's grace "" is "shallow"; the Hu people greeted her with "hundreds of cars", and the "favor" was relatively "deep". This sentence tells the truth. The second level talks about "the joy of life lies in understanding each other", which is about human nature. If this is normal, Concubine Ming should be happy but not sad when she is in Hu. However, this is not the case. This leads to the third level: Concubine Ming was unhappy and mourned in Hu, and her "mourning strings" still "remain to this day". One can imagine her sadness at that time. The reason why Concubine Ming's heart is different from the normal situation is that she understands the righteousness deeply and does not change her mind based on personal grievances and gains and losses, and the Hu people are not "confidant". The four sentences are divided into three layers, with two turns and a contradiction. Only by sorting out the twists and turns can we see Wang Anshi's "deep intention" and "big eyes and big heart" (Fang Dongshu's "Zhao"). "Mr. Zhan Yan"). At the beginning of the Southern Song Dynasty, Fan Chong "discussed this poem by Gao Zong and directly denounced it as a bad man with a bad heart and no father or king" (Li Bi's words in the annotation are quoted from "Tang and Song Poetry"), and he did not understand this poem at all. Fan Chong is the son of Fan Zuyu, who has always been opposed to the new law. Attacking on the basis of suspicion has no basis. In fact, Wang Anshi's description of Ming Fei in this way, such a tortuous and in-depth portrayal of Ming Fei's thoughts, to highlight the national righteousness, can "rectify people's hearts and promote customs". At that time, it was directed at Shi Yisheng, Zhang Yuan and their like, and it will be useful to future generations. It’s also educational.
"Two Songs for Ming Fei" reflects Wang Anshi's attention to the characteristics of character portrayal, from describing the character's "state of mind" to dissecting the character's psychology, with rendering, foil and detailed description, which is equivalent to writing Some techniques from the novel are used in the poem. In terms of "arrangement of reverse order with the pen" and "stretching and cutting of the density and density of the composition", the techniques of ancient writers such as Han Yu and Liu Zongyuan were used to write poems. In this way, the artistic techniques of poetry will be more diverse and the expressive ability of poetry will be stronger. Because the two are well combined, although the text is used as poetry, the image quality is not weakened. The last four sentences of this poem are discussed with images, which is a clear proof. Wang Anshi wrote poems using novel techniques and ancient prose techniques, so readers should read them the same way they read novels and ancient prose in order to understand the poems. In modern times, Gao Buying commented on these two poems: "The opinions are surly." ("Summary of Poems of the Tang and Song Dynasties").