The Original Text and Appreciation of Li Jiasheng Shang Yin

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.

Li Shangyin's poems have two remarkable characteristics: first, he ignores historical events and attaches importance to entrustment to enhance the lyricism of poetry; Secondly, lyrical comments are added to the description of historical details to enhance the concreteness of poetry. Jia Sheng is his masterpiece.

Jia Sheng, referring to Jia Yi, was an outstanding politician and writer in the period of Emperor Wendi. In his twenties, he was called a doctor and held an important position in the imperial court. He was honored as "Sir". He was demoted as the king of Changsha for putting forward a series of political reform measures and offending powerful people. Jia Yi stayed in Changsha for three years, about seven years before Emperor Wen (BC 173), and was recalled to Beijing. Wendi met him in the publicity room. "Historical Records Biography of Qu Yuan Jia Sheng" contains: "Jia Sheng asked for an audience, and Emperor Xiaowen was seated in the propaganda room by Li (accepting the blessing food offered to the gods). In the world, I ask the origin of ghosts and gods because I feel ghosts and gods. Jia Sheng is like a Taoist priest. At midnight, Wendi Deng came to the front seat. Then he said,' I haven't seen Jia Sheng for a long time, and I feel that I have gone too far. I might as well go now.' "This poem is about Wen Di summoned.

In the main hall of the front hall of Weiyang Palace in Han Dynasty, "Xuanshi Qiuxian visits courtiers" and "Xuan Shi". Here, "Xuan Shi" not only replaced Wen Di, but also pointed out the place where he was summoned, which shows that Wen Di attached great importance to Jia Sheng. The theme of the poem is Jia Sheng, but starting from the specific plot of the interview in the propaganda room, it ignores other activities of Jia Yi's life, which is a kind of ambiguity about historical events. The poet believes that chanting history, like chanting things, must be adhered to; Persistence insists on historical facts, narrates too many historical events and shows less enthusiasm. "Tuo" is a digression, which is easy to be blurred, so it must be "blurred". But we are very picky about vague historical events. The first sentence recalls that Jia Sheng went from Wendi to the propaganda room to consult ghosts and gods, which is precisely the poet's uniqueness in selecting materials. A "quest", a "visit", it can be seen that Wendi is thirsty for talents, and even the exiled ministers are humbly asking for advice. This is the following downward trend of derogatory storage. The second sentence praised Jia Yi's unparalleled talent and demeanor, followed by the first sentence, which turned the sentence "I haven't seen Jia Sheng for a long time, but I don't think it's as good as now" into a positive compliment, and further wrote that China's Emperor Wen not only "seeks the virtuous" but also "knows the virtuous". One, two, from "seeking" to "visiting" and then to "praising", it is Wendy's seeking for talents, which implies that Jia Sheng is brilliant, chic and combines reality with reality.

Three sentences are the key to the structure of an article, which not only connects the preceding with the following, but also prepares for four sentences. From "seeking", "visiting" and "praising" to "front seat" (knee moving forward) is "bearing"; However, using "pity" and "emptiness" to deny "seeking", "visiting", "praising" and "front seat" seems light but heavy, that is, turning "pity" into pity; "Virtual" is virtual. It turns out that it is futile to ask for a visit, praise or "front seat" This adds to the emotional and lyrical atmosphere of the poem. As for lamenting what? The author did not answer directly first, but skillfully used the historical detail of "front seat"-the metaphorical action of talking late at night and unconsciously moving his knees forward, which made the poetic scene greatly clear. Originally, the last sentence should be "don't ask ordinary people to ask ghosts and gods", but if two more sentences are added after this, the poem will be too straightforward and less meaningful. Therefore, arranging the details of the "front seat" in three sentences not only makes the image clear, but also makes it a step forward, which is also a preparation for the last sentence, and also makes the whole poem more graceful and graceful, showing a ups and downs.

It is Li Shangyin's conscious artistic pursuit to enhance concreteness with historical details. This technique is used in the poems that cut the palace brocade all over the country, such as Wugong, Xiaxia going out of the city, Southern Dynasties, Ci, Wandering Phoenix shaking nine bells, Beiqi, Xiaoxi County and Sui Palace. As Ji Yun commented: "Wonderful, give money from small things, and feel that there is a god in singing." And this "god" is the performance environment contained in historical details. Because of the accumulation of three sentences, the fourth sentence is even more powerful. When "don't ask" is compared with "ask" and "mortal" is compared with "ghosts and gods", Emperor Wen of the Han Dynasty, the wise master, is suddenly reduced to the status of "mediocre master" or even "ignorant master". Xie Fangde said: "This sentence is true, and Wendi is also guilty." This ups and downs deepened the poetry: the ruler's so-called "seeking the virtuous" is nothing more than asking some unimportant things, and the "virtuous minister" is at best a dictionary and chat consultant. And this kind of big talk is not an empty historical comment, but a point-to-point and continuous discussion, with implicit irony in the sigh, which is even more depressing.

Li Yishan's "Wendi Temple" (according to Jia Sheng) says: "The poor people ask ghosts and gods in the night sky." Using such things can be described as outstanding achievements. (Zhu's Romantic Poetry (Volume 2)

Scholars use stories directly, and some people use stories against their will. ..... Li Yishan's poem: "Poor midnight is unprecedented, and Mo Wen people ask ghosts and gods." However, Jia Yi used it against her will. ..... everyone can use it directly, but those who use it against their will have no knowledge, go beyond ordinary views and follow the past of their predecessors. How can they do this? (Yan Youyi's "Yi Yuan orpiment")

Jia's presence before his death was still a courtesy, and the publicity room did not receive him. Not to mention self-harm. ((He Chao's Three-body Tang Poetry))

Just talk about it! Instead, I sighed with songs, and I couldn't see the traces of discussion. (Ji Yun's "Yu Xi Shi Sheng said" volume)