This is a four-line poem by Li Shangyin, a poet in the late Tang Dynasty. It tells the story that Emperor Wen of Han recalled Jia Yi, who was exiled to Changsha, and confronted him day and night.
The first sentence of the poem begins from the front, writing that Wen Di seeks the virtuous and goes to "see the courtiers", as if warmly praising Wen Di's thirst for the virtuous and his open mind; The "talent" in the second sentence also refers to the combination of talent and style, and the "more incoherent" behind it, which describes Jia Sheng's juvenile talent and style according to people's mental outlook. The third sentence, connecting the preceding with the following, vividly depicts Wendy's mode of seeking and longing for talents with an open mind. But in the poet's view, all this is nothing more than "emptiness", which means "futility", "pity" and "pity". Why is this rare scene in history where the Lord seeks the sage and meets the clouds regarded as "empty" and "pitiful" by the poet Li Shangyin? After reading the last sentence, we know that it is because Wendi "doesn't ask ordinary people to ask ghosts and gods".
At this point, the artistic success of this poem has been revealed, and the so-called desire to suppress first promotes. Li Shangyin, a poet, showed his intention in twists and turns through artistic treatment such as positive and negative, cadence, implication and inheritance: he satirized Wen Di's so-called pursuit of virtue, and at the same time expressed great sympathy for Jia Sheng.
But in this poem, Li Shangyin is more self-pitying, using someone else's cup to pour the pieces in his chest. Generally speaking, once a person is unlucky, he will show more sympathy to the unlucky people, which is called "helping each other in the same boat".
Li Shangyin has little talent and great ambition, claiming to "return to heaven and earth". But it happened that my life span was too long, and I was repeatedly pushed out by the dispute between Niu and Li Er, and I was exiled for a long time, and finally I fell to my death. So dissatisfied Li Shangyin has such sympathy for Jia Sheng who is not satisfied with what he thinks.
In fact, Li Shangyin was wrong. How many scholars can be as proud as Jia Sheng since ancient times? Even though Jia Sheng was not proud, he was by no means down and out in the specific social environment at that time. Wendi Deng knows him very well and respects him very much. He can talk about Wendi Deng casually and talk about sex without any scruples or reservations. They are almost friends, but Jia Sheng seems a little "insatiable". He raised a series of important political and economic issues to Emperor Wen, such as the extravagant life and poverty invasion of dajia, a Kanto warlord, Xiongnu and a wealthy businessman, as well as the naming, making music and making music. He asked Wendy to give it all to him and let him arrange it inside and out. In fact, he doesn't know Deng Wendi. Deng Wendi, who grew up in suffering, has a much higher realm and a much clearer mind than him. His suggestions for quick success and instant benefit were of course not allowed by Wendi, but Wendi didn't let him down. Just tell him that he has no virtue and can't make a difference on a large scale. He also gave Jia Sheng a "modest" ambition.
However, those officials and princes in the DPRK were not tolerant of Jia Sheng. "... to do all the harm is to short Jason, saying ... to seek strength and chaos." (Historical Records Biography of Qu Yuan and Jia Yi). Out of love for Jia Sheng, Emperor Wen had to exile him to Changsha because his thoughts were too radical and useless. Therefore, there is a saying in Wang Bo's Preface to Wang Teng-ting that "it is necessary for Jia Yi to go to Changsha without the owner". Indeed, we can't deny the "sacredness" of Emperor Wen just because Jia Yi was demoted.
In addition, Jia Yi repeatedly mentioned the problem of cutting vassals to Wendi, but Wendi didn't listen, because Wendi knew about it for a long time, and because of his love for Jia Yi, he was not allowed to participate in royal household chores, so as not to cause unnecessary harm. Chao Cuo died in vain, didn't he?
Therefore, in our opinion, it is a good thing for Jia Yi that he can't get much use. An old frontiersman loses his horse—a blessing in disguise. Perhaps after Emperor Wen reused him, Jia Yi's ending was even more tragic. As for his later self-mutilation and depression, it was entirely his personal reason, and his mind was too broad. As the saying goes, "the prime minister can punt in his stomach", which shows that Jia Yi has no talent.
Returning to Li Shangyin's Jia Sheng, this poem is impeccable in art, but Li Shangyin's attitude of taking history for granted is probably not worth emulating. He thought Jia Yi was as unlucky as he was, and while expressing ridiculous sympathy for him, he satirized the Chinese Emperor who was actually called the "king of the country" at that time.
From this, we also get a little enlightenment: reading and appreciating classical poetry must have a deeper understanding of the background materials, so as not to be led by the poet.
Four years before Jia Yi was demoted to the Chinese Emperor of Changsha (BC 176), Jia Yi was demoted to Changsha as the king's wife, lived here for three years, and wrote Qu Yuan Fu and? Bird Fu is a precedent of Han Fu in the history of China literature. Jia Yi recorded the household registration number of "25,000 households in Changsha" for the first time, inferring that Changsha was already a vassal capital with a population of about 100,000 in the Western Han Dynasty.