Li Shangyin is a late Tang Dynasty talent who is deeply loved by readers, he was born in a small and medium-sized bureaucratic family, but unfortunately, when he was ten years old, his father died, and Yishan began to provoke the family beam at a young age.
However, god brought him suffering at the same time, but also gave him wisdom, he learned poetry at the age of five, penmanship at the age of seven, and at the age of eighteen, he was hired by the famous scholar Linghu Chu to serve as an inspector in the shogunate, and for a time his talent was quite famous.
This precocious talent is very sensitive to the world, can be said to be insightful of the world, but also cast the basis of Yoshiyama's sentimental, even slightly pessimistic character. Therefore, his collection of works can often be seen depicting displacement and lamenting the sadness under the fence.
The poet longs for care, does not want to be forgotten, his ambition is lofty, and he is worried about the country and the people, and his poems often hold on to allegories, borrowing ancient metaphors from the present to express the frustration and melancholy in his heart. The following shares Li Shangyin's masterpiece, the combination of virtual and real, witty puns, it is worth chewing carefully.
Fuping Shaohou
Late Tang: Li Shangyin
The three sides of the Seven Kingdoms did not worry, and the thirteen attacked the Marquis of Fuping.
Do not collect gold bombs thrown out of the forest, but regret the silver bed in the wellhead.
The colored tree turns the lamp beads are staggered, and the embroidered sandalwood back pillow jade carving is shoveled.
When guan does not report the invasion of morning guests, the new beautiful character is not worried.
Poetry is the accumulation of the poet's emotions, although derived from life, but not limited to life itself. When the author describes the characters, he not only refers to historical events, but also integrates his own knowledge and feelings, so his content is often false and difficult to distinguish.
Zhang Anshi of the Han Dynasty was given the title of Marquis of Fuping, and his grandson Zhang Shi inherited this title at an early age. Li Shangyin pretended to entrust this person, depicting a nobleman who did not understand the world, full of meaning, worth pondering.
The first league introduced this thirteen-year-old hereditary Marquis of Fuping, and he did not worry about the disaster of the "Seven Kingdoms and Three Sides". The Seven Kingdoms refers to the Rebellion of the Seven Kingdoms during the reign of Emperor Jing of Han. Tang Dynasty poets often used Han to refer to Tang, and the social unrest in the late Tang Dynasty was used as a metaphor for the feudal towns where rebellions occurred at that time. The three sides refer to the border troubles of Tubo, Uighurs, and Dangxiang at that time.
Not arriving is the meaning of the unknown. Here, the poet alludes to Tang Jingzong, who ascended the throne as a teenager, but did not know about state affairs, and often took feasting as a business, which was very suitable for the author's Fuping Marquis.
The poet then begins to describe the ignorance of Fuping Hou, who likes to catapult and often uses projectiles made of gold. "No gold bombs are thrown out of the forest", showing that it is not a pity, at least a dozen projectiles are lost every day. At that time, there was a song and ballad in Chang'an City, bitter hunger and cold, chasing gold pills. Whenever a child smells a bullet, he or she often picks up a projectile.
"But the silver bed is at the head of the well" shows the ignorance of this teenager. The silver bed refers to the rudder frame on the well, and when it is lost, he feels a pity, which is really incomprehensible, and it also reflects the luxury and ignorance of hao. The author uses "not to receive, but to regret" to concatenate and turn, forming a sense of frustration, which is appreciated.
The neck link describes the scene in the room, these two sentences seem abrupt, but they set the stage for the end. The colored tree turns the lamp, referring to the lamppost surrounded by ornate candles; the embroidered sandalwood pillow, referring to the beautiful ornamentation carved on the sandalwood pillow. Sandalwood pillow carvings are exquisitely crafted, glossy like jade carvings, which are not something that ordinary people can have.
At first glance at these two sentences, I don't know why the author suddenly changed the topic. When people read the tail link, there was "Mo Shuo", and only then did they know that it was The Golden House Hidden Jiao. And the gatekeeper did not report to the "morning raider" for fear of disturbing the dream of the teenager and the "new beauty". The tail link adopts the inverted technique, which has the effect of warning future generations.
Li Shangyin's Seven Laws, expressing euphemisms and combining virtual and real, not only has far-reaching meanings, but also inherits the melancholy and frustrated style of the poem Saint Du Fu, and is worthy of the excellent poems of the Tang Dynasty. The word "Mo Shuo" in the tail link, a pun on witty words, not only explains the drunken dream and death of Fuping Marquis, but also hints at the deep crisis of the Tang Dynasty.
Li Shangyin was only in his early twenties when he wrote this poem, but he was far-sighted and meticulous. He was keenly aware of the precariousness of the Tang Dynasty, not only embattled, but also a calamity to the Xiao Wall, which made Caizi worried, so he would use the ancient metaphors of the present to express the poet's worries and melancholy, and also show Yishan's superb and skillful literary expression skills.