Chapter 432 Story
Yue Ke’s postscript is a paragraph of text and a poem.
"Yu Guisi was in Jingkou. Because the lanterns were lit on the evening of the first year of the lunar month in the county, I occasionally read the history of the country.
On the 15th day of the first lunar month in Jingkang Bingwu, Xinsi visited Youling in the south and stayed in the county. 2 On the twenty-third day of the month, I returned to the capital. Eight of them lived in the county.
When I heard the flute and drum, I was so moved that I couldn't help but write down the outline.
However, if the monk had a conflict with Xi, he would bring it with him to show his integrity. He said that he was ridiculing himself, so he started to have a big grudge, which led to a false imprisonment.
Sage Ming realizes that he has been wronged, and his fingers are all white.
In order to mourn the death of Zheng Lun, Min Qi made a plan to clarify his original intention, and attached the poem he had written in the past:
I have been driving for a long time, listening to Sheng songs and supporting Qi Luo.
Ten miles of Xiliang brings back a happy memory, and a hundred years of traveling in the southern country compares with each other.
There is hatred and sorrow for Puliu when swallowing the sound, and no one will destroy Polygonum for the festival.
Lonely and tender-hearted, Meiyue lights up the lamp frequently and asks how the night is?”
A public case is recorded here.
On the Lantern Festival on the 15th day of the first lunar month in the sixth year of Shaoding, Yue Ke’s disciple Zhenjiang County Governor Han Zhenglun is here Lanterns were put up in Jingkou and Yue Ke was invited to watch the lanterns.
Yue Ke wrote a poem in response to the scene. Han Zhenglun was shocked when he saw it. He "made a big complaint and went to jail", so he turned around and reported Yue Ke to the court. Ke, please punish Yue Ke for his serious crime.
In the winter of the sixth year of Shaoding, Yue Ke was dismissed from office and returned to Lushan. During this period, he wrote thirty volumes of "The Continuation of Jin Tuo".
It was not until the second year of Jiaxi that Yue Ke was re-appointed to the rank of Minister of Household Affairs.
At this time, Han Zhenglun was dead. Yue Ke wrote the whole story in the postscript. Finally, he said that I mourned his early death, sympathized with him for wasting his mind, and forgave him for his meaningless original intention. Record that poem here.
But what is particularly interesting is, was Han Zhenglun really wrong in reporting him? Not at all.
There are too many allusions used in this poem, which most people cannot understand and need to be analyzed.
The word "driver" in the first sentence refers to the special car sent by the king to welcome the talented people recruited. However, later on, Laozi is used to compare this talented person, which is to insinuate that this talented person "rules by doing nothing" after becoming an official. .
In fact, it means doing nothing.
It’s okay to do nothing, but in the end, it’s more like “listening to Sheng’s songs and supporting Qiluo”, which shows that they are complicit in the same trend.
I am talking about Han Zhenglun.
Jing Lian is questioning his disciples - is it time for the country to be at ease now? Obviously not.
"Xiliang Ruyi" is an allusion from "Ji Yi Ji". The story tells that Emperor Xuanzong of the Tang Dynasty watched the lanterns one day and thought they were very beautiful, so he invited a Taoist priest to watch them with him.
The Taoist priest looked at it and said it looked good, similar to the lanterns in Xiliang today.
Xuanzong said, can you take me to see it? The Taoist priest said yes, asked him to close his eyes, and took him over.
After a while, the Taoist priest asked him to open his eyes. Xuanzong "saw the shadow lamp, which stretched for dozens of miles, the carriages and horses, and the ladies and gentlemen were arguing."
The Taoist priest also took him to a restaurant to drink. Xuanzong didn't bring any money, so he left Tie Ruyi there.
Then the Taoist priest took him back and flew him back. Xuanzong later sent envoys to Xiliang and found the Tie Ruyi.
Yue Ke's sentence is sarcastic to the core. It means that you are inviting me to watch the lanterns now. I admit that the lanterns are indeed beautiful, but where is our emperor? Were you taken to Xiliang to see the lanterns?
We have been a "Southern Country" for nearly a hundred years. Shouldn't we be alert and rise up after such a shame? Can we do something serious?
Further down, it is said that some people are lamenting and sympathizing with the Puliu that has difficulty experiencing autumn and winter. They feel hatred in their hearts, but dare not cry out; while some people have forgotten that filial piety should be fulfilled, and even the song "Polygonium" People are not allowed to sing.
This is another allusion. "Xiaoya Polygonum" is a song in "The Book of Songs". It starts with "Polygonum and Polygonum". The singer hates himself not as much as the mugwort that hugs his mother, but as a loose grass. This reminds him of the hard work of his parents and presents the grief of a filial son who cannot perform "filial piety". It's so vivid;
This is to say that the shame of Jingkang kidnapped the two emperors to the north, and the new emperor here didn't care at all.
Not only did he not care, he even scrapped the poem "Polygonium" which was about a filial son mourning his inability to support his parents and was not allowed to be sung. No one dared to uphold the integrity of Tsuna and human relations!
The last sentence is easy to understand. It means that when I think of this, I am so worried that I can't sleep. However, compared with the singing and dancing of others, it seems extremely "lonely".
This is clearly a thorn in the heart, so the persecution is not unfair at all.
And Yue Ke didn't seem to know how to repent at all, so he secretly recorded the incident here, where there were postscripts by Zhao Ji and Cai Jing.
Didn’t you let me write? I am writing here now, I asked Dad.
Old Zhao, is your son unfilial? Are these ministers of your descendants the same as your Grand Master Cai? !
Calligraphy is certainly good calligraphy, and Yue Ke is also a great calligrapher. This can be seen from his evaluation of Zhiyong and Mi Fu's calligraphy and the creation of the idiom "lifelike".
However, the content made Zhou Zhi shake his head. This was a matter of relief, but no one found out about it at the time, otherwise no one would be able to save him.
Further on, there is Ouyang Xuan’s postscript.
Ouyang Xuan is a descendant of Ouyang Xiu, and he is as familiar with history as Ouyang Xiu.
In his life, he "served as a Jun officer three times, served as a sacrificial wine for two times, entered the Imperial Academy for six times, and paid homage to the imperial edict three times". He was often responsible for drafting various edicts.
Most of the imperial court's high-level documents were written by him. His articles and calligraphy are extremely famous. Together with Wu Cheng, Yu Ji, and Jiexisi, they are known as the "Four Scholars of the Yuan Dynasty".
At that time, the famous mountains and rivers in the country, the palace of Shi Lao, and the monuments in the tomb tunnels of Wang Gong were all proud of his handwriting.
From the third year of Zhizheng, Ouyang Xuan began to serve as the president of "History of Song Dynasty", "History of Liao Dynasty" and "History of Jin Dynasty". The person who signed the Three Histories was first the president of the capital, Right Prime Minister Tuotuo, and then Alla Arutu.
But in fact, the two of them were only in name, and the actual editing work was completed by Ouyang Xuan, Zhang Qiyan, Jiexisi and others, among which Ouyang Xuan played the greatest role.
Even the final contribution list was written by Ouyang Xuandai. Later generations commented: "The three histories of the Song, Liao and Jin Dynasties were all detached and repaired in the Yuan Dynasty, which is really the pen of Ouyang Xuan."
When calligraphy came to Ouyang Xuan, it can be regarded as the continuation and development of the calligraphy style of the Song Dynasty that showed individuality. After reaching the extreme, it will be time for everyone to make a sudden change and return to the orthodox laws, and the mainstream will once again become restrained and reserved.
The Palace Museum has Ouyang Xuan's calligraphy "Chunhuitang Ji" collected by Qianlong in Sanxi Hall. After comparing it with the color album and studying it, the fourth cousin believed that Ouyang Xuan's calligraphy on the scroll was authentic.
The written records of ancestors and descendants appear in the same calligraphy scroll. The two are also masters of history, literature, and calligraphy in their respective eras. It is a rare sight, and they complement each other.
The content of Ouyang Xuan's postscript is more like a historical essay, with a discussion on the theme of friendship.
The relationship between my ancestors Ouyang Xiu and Shi Yannian was considered a deep friendship, and the same was true between Song Huizong and Cai Jing.
But the difference is that one is a "virtuous friend" and the other is a "foolish and sycophantic couple".
(End of this chapter)