Calling the sage to see the minister made Jia even more incoherent.
Poor midnight is unprecedented, and Mo Wen people ask ghosts and gods.
Jia Sheng Author: Wang Anshi
At that time, we discussed the implementation of roads. Who said Wang Bo and Jia Sheng?
The title was abolished from the beginning of the high word, so there was no such thing as a thousand ministers in ancient times.
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. Only tone: talent and spirit.
3 pity: pity, pity. 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. "
[Edit this paragraph] Translation
Emperor Wen of Chinese seeks wisdom.
He once summoned the minister in exile in the main room in front of Weiyang Palace.
On Nagayi's Talent and Style
It's really exquisite and superior.
Unfortunately-
Although when it comes to the dead of night
It turns out that it is futile to move forward.
Because he didn't ask people all over the world.
But it's just ghosts!
[Edit this paragraph] Author
Li shangyin (8 13 ~ 858), whose real name is Mountain, was born in Yuxi and Fan Nansheng. A native of Hanoi, Huaizhou (now Qinyang, Henan). In the second year (837), he was admitted to Jinshi. Caught in the struggle between Niu and Li, his career was bumpy. He is good at parallel prose, especially poetry, for everyone in the late Tang Dynasty. Poetry is as famous as Du Mu, known as "Little Du Li" and as "Arts and Sciences" as literature.
[Edit this paragraph] Li Shangyin's Jia Sheng
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. Biography of Qu Jia in Historical Records: Jia Sheng's opinion. 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, sincerity and modesty towards the sage, and the so-called thirst for the sage 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 admiration 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 sentences are praised by "seeking" and "visiting", and they are progressive step by step, which shows that Emperor Wen valued 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, instead of showing its muscles and bones, it gently turned around with a chanting pen-adding the word "poor" before "empty before midnight" A pity is a pity. Don't use emotional words such as "sad" and "sad", just say "pity", 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-written, closely linked to "pity" and "emptiness", and shoots an arrow to the point-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 what is commonly called "heavy lifting and heavy falling". 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, he expressed the feelings of "Jia Sheng is sad when he was young" and "Jia Sheng is also a ghost". 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.