original text
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 ...
1, Xuan Shi: main room in front of Han Weiyang Palace;
2. Chasing officials: Jia Yi was once disgraced.
3, only tone: talent.
translate
Emperor Wen of Han asked the relegated minister in the propaganda room that Jia Yi's talent and demeanor were unparalleled.
Speaking of late at night, Emperor Xian of Han moved his knee close to him. It's a pity that he doesn't ask people's livelihood and ghosts and gods are poor.
Creation background
There are two opinions about the writing age of this poem. One is "Poems on Life in Yuxi". Note: "This poem was written by Li Shangyin in the first month of the second year of Dazhong (848), and was ordered by Zheng Ya, the secretariat of Guangxi, to go to Zhaozhou as a magistrate. Because Li Shangyin is the head of a county, he has to sacrifice great events, so he wrote this poem with the title. Another view was put forward by Liu Yang, who believed that this poem was written in March and April of the second year of Dazhong, when Li Shangyin left Guilin and stayed in Beijing. (See Biography of Li Shangyin)
Li Shangyin, the author of this poem, lived in the late Tang Dynasty, which was in decline. He was deeply dissatisfied with the fatuity of the emperor, the eunuch's power and the domineering of the buffer region. Moreover, Li Shangyin was involved in the party struggle between Niu and Li, and was repeatedly excluded. Therefore, he expressed his feelings by hanging Jia Yi, and satirized the behavior of Emperor Wen of the Han Dynasty. Although he could seek the virtuous, he did not know the virtuous, which reflected the social reality of the late Tang Dynasty-that is, the emperors of the late Tang Dynasty, like Emperor Wen, seemed to be enlightened, but in fact they were groggy and incompetent.
Make an appreciative comment
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.
Jia Sheng introduced
Jia Sheng, Ming Yi and Jia Yi, also known as Jia Taifu and Jia Changsha. Luoyang (now Luoyang East, Henan Province) people. A famous politician and writer in the early years of the Western Han Dynasty. 18 years old, famous. When he was young, he was recommended by Wu Gong, the prefect of Henan Province. In his twenties, Emperor Wen called him a doctor. In less than a year, he was promoted to be a loyal doctor. But at the age of 23, because of the jealousy of ministers, he was removed from the teacher of King Changsha. Later, he was recalled to Chang 'an and became the teacher of Liang Huaiwang. After the death of King Huai of Liang, Jia Yi felt deeply sorry for himself until he died of grief at the age of 33. His works mainly include prose and ci fu. Essays such as On Qin, On Warehousing and A Record of Chen Zheng are all famous. The most famous words are Ode to Hanging Qu Yuan and Ode to Catching Birds. Jia Yi (20 BC1-169) almost became a legend in the history of China, and was a typical politician whose virtue was not appreciated. His articles and poems have been praised by people, and some of them have been passed down to this day; He strongly advocated many ethical thoughts and social concepts considered as Confucius; One of his most famous papers discussed the shortcomings of the Qin Dynasty. Therefore, he is usually classified as Confucian.
Comment and analysis
This is a short poem lamenting 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. For more appreciation of Tang poetry, please pay attention to the 300 columns of Tang poetry in Station.
"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 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, 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 "pathetic" and "deplorable", just say "pitiful", on the one hand, it is reserved for the last sentence-a warning policy; 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 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.
Brief introduction of the author
Li Shangyin (8 12-858) was born in western Henan (xi) and in Hanoi, Huaizhou (now Qinyang, Henan). Squeezed out by the Niuli Party, he was down and out all his life. His poems are good at rhythm and uniqueness, rich in literary talent, rich in style and color, versatile in allusions and obscure in meaning, among which untitled poems are the most famous. There are poems by Li Yishan.
Li Shangyin, male, Han nationality, Yi Shan, You Hao, Yu Xisheng, Fan Nansheng (Fan Nanzi), a famous poet in the late Tang Dynasty. He was born in Xingyang, Henan (now Qinyang, Henan). Poetry is of great literary value. She entered Tang Wenzong for three years (AD 838). He used to be a judge in Hongnongwei, Sasaki Prefecture and Dongchuan Province. In his early days, Li Shangyin won the appreciation of Ling Huchu, an important member of the Niu Party, for his literary talent. Later, Wang Maoyuan of the Li Party married his daughter because of his love, so he was rejected by the Niu Party. Since then, Li Shangyin struggled for survival in the struggle between the two parties, worked as an aide in various provinces, and was depressed, and then he was down and out all his life. In the late Tang Dynasty, the Tang poetry was not as good as before, but Li Shangyin pushed it to another peak. He is the most famous poet in the late Tang Dynasty, along with Du Mu. They are also called "Little Du Li", and they are also called "Three Li" with Li He and Li Bai. There are poems by Li Yishan. Together with Wen, they are called "arts and sciences", because their poems and essays are similar to those of the same period, and all three of them rank sixteenth in the family, so they are also called "thirty-six styles". His poems are novel in conception and beautiful 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. Finally, he died of depression and was buried in Xingyang, Zhengzhou (now Alfalfa Village, Xingyang). 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.
Chinese-English translation
Jia sheng
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.
Jiasheng
Li shangyin
When the emperor sought guidance from wise men and exiles,
He found no calmer wisdom than the young Jia.
And arranged a front seat for him at midnight,
But ask him about God, not man.