Sun Qiuke: Liu Ji's "Two Ghosts" was written in the first year of Hongwu's examination - to Mr. Xu Shuofang

Mr. Xu Shuofang's article "Liu Ji's Friendship with Song Lian and His Poem SuoYin of the Two Ghosts" (hereinafter referred to as "Suo Yin"), published in the third issue of the thirtieth volume of the Taiwan Bibliographic Quarterly, believes that the "Two Ghosts" was written in the fourth year of Hongwu (1371). The author believes that according to the facts implied in the "Two Ghosts" and the spiritual imagery it represents, this poem should have been written in the first year of Hongwu (1368) rather than the fourth year of Hongwu. Sir is my teacher, so I did not dare to write such an article. Speaking of sir, sir did not think that it was a mistake, but encouraged it, so he did not take the liberty of making a statement.

One

The "two ghosts" in "Two Ghosts" refer to Liu Ji and Song Lian, and the Heavenly Emperor refers to Zhu Yuanzhang, and I fully agree with the views of "Suo Yin". However, "Suo Yin" says that "Two Ghosts" was written in the fourth year of Hongwu, and there are several problems in the basis. Mr. Xu believes that according to poetry, Liu Ji and Song Lian must have offended Zhu Yuanzhang in the same year, and "Liu Ji and Song Lian were denounced from Nanjing within a year, and only once in the early Ming Dynasty, that is, in August of the fourth year of Hongwu, Song Lian was demoted to Anyuanzhi County, and Liu Ji returned to his hometown in February of the same year." Zhu Yuanzhang issued two edicts in July and November of the third year of Hongwu (according to the "Sincere BoHuan") and the "Imperial Gifts to the Old Qingtian Edict"), the former of which promoted Liu Ji to the rank of knight, and only four months later, the other edict was to seize Lu, which proved that Liu Ji was degraded when he returned to his hometown in this year. The fact is that the latter of Zhu Yuanzhang's two edicts mentioned in the SuoYin was in the eighth year of Hongwu (1375) instead of the fourth year of Hongwu. This edict in the "Collected Works of Sincere Bo" does not have an age, but the facts are clear: "When the merits are rewarded, the autumn is never determined, but it is used to make it known, and the envoy is immortalized for thousands of years, and returns to the old Sangzi to fulfill the heavens and years." "This refers to the fact that Hongwu made Liu Ji a sincere uncle in the third year (1370) and then returned in four years." When the evil is born in a gap, it causes uneasiness. This refers to the fact that in the sixth year of Hongwu (1373), Hu Weiyong framed Liu Ji on the grounds that he was interested in "there was a gap between the Ou Ando", and Liu Ji entered the dynasty to blame him. "Take away his name but his lu", which refers to Zhu Yuanzhang's handling of this matter. The following text of this edict reads: "Qing Shan is a loyal one, so he does not argue but tends to the dynasty, and a theory of interpreting others is very serious, and the heart of the pro-king is very deep, which can be said to be a person who does not sell his name!" Evil words are not uttered! Qing Mai this year, living in Beijing for several years, recently heard of the old and sick day invasion ... But can we quickly go to the heavens, talk to the children and grandchildren, and do our best to test the way of the end, is it not the king and the subject who are exhausted? Liu Ji was then ordered to return home and died a month later. These words on the edict are completely in line with the situation in Hongwu's six years, so there is no doubt that the edict was given by Hongwu for eight years. From this point of view, the main basis for Suo Yin to say that "Two Ghosts" was written in the fourth year of Hongwu is problematic. In fact, in the first year of Hongwu, there is a historical fact that is close to the poetry of "Two Ghosts": in this year, Liu Gene first offended Li Shanchang, then angered Zhu Yuanzhang and returned, Hongwu returned in the second year, and added grace, and the following year he was awarded the bachelor of Hongwenguan and the title of Chengyi Bo; Song Lian was returned to The First in the twenty-fifth year of Zhizheng (1365), Ding was worried about the later, and Hongwu ii (1369) was edicted back and awarded the president of the "History of Yuan". In addition, I think that to determine the age of the writing of "Two Ghosts", in addition to the historical facts that roughly coincide with the poetry, there is also a reference basis that cannot be ignored -- whether the spiritual image of the poem is close to the reality and state of mind of the poet. "So cain" completely ignores this. Moreover, Liu Ji wrote the "Fifty Songs of Luxing" on the way back to his hometown in the first year of Hongwu, and the confidence expressed in it that he would be called back was consistent with the "Two Ghosts", and the return of Yu Hongwu in the fourth year could not be confirmed. Therefore, I think "Two Ghosts" was written in the first year of Hongwu.

To confirm that the Two Ghosts were written in the first year of Hongwu rather than in the fourth year, it is necessary to examine the fact of the relationship between Zhu Yuanzhang (Emperor of Heaven), Liu Ji (Yu Yi, the guardian of the Sun God), and Song Lian (the guardian of the Moon God) and its possible influence on the creation of Liu Ji's "Two Ghosts".

Among the late Yuan literati who were used by Zhu Yuanzhang, Liu Ji and Song Lian were a pair of Gemini constellations: as Wang Zuo, Liu Ji was good at martial arts, and Song Lian was good at Wen Tao; as a literati, Liu Ji was famous for poetry, and Song Lian was known for his articles. That's on their side of success. On the other hand, the same Zhejiang Eastern literati, their fate and poetry creation, there are also many places of reference formed by similar living environments, by differences in individual talent and different.

Ming Taizu Zhu Yuanzhang was a native of Fengyang in northern Anhui, and the northern Anhui clique was his main reliance on fighting the world and consolidating the world. Zhu Yuanzhang did have blue eyes for Song Lian and Liu Ji, who were also from eastern Zhejiang, but he could not trust the Northern Anhui Clique as much as he did. Zhu Yuanzhang's choice in employing people had a profound impact on the fate of Liu Ji and Song Yi and the style of poetry.

Liu Ji and Song Lian had known each other before they were hired by Zhu Yuanzhang to nanjing. In the ninth year of Zhizheng (1349), Song Lian was recommended to be taught Hanlin to edit, he resigned, and the following year he disappeared into the Xianhua Mountain, Liu Ji wrote "Sending Longmenzi into the Xianhua Mountain And The Preface" to send him off, and the "Preface" said: "Mr. Xing, I will also go from here on." The following year, Liu Ji resigned and returned to his hometown. In the twentieth year of Zhengzheng (1360), Song Lian, Liu Ji, Zhang Yi, Ye Chen and four others were hired by Zhu Yuanzhang, the King of Wu, to come to Nanjing.

According to the "History of Ming", after Song Lian came to Nanjing, he promoted Confucianism, taught Confucian classics to Zhu Yuanzhang, and served as a teacher for the prince and other princes. But his more important duty was to accompany Zhu Yuanzhang and prepare Confucian advisers. Song Lian lived up to Zhu Yuanzhang's expectations, and before his return in the twenty-fifth year of Zhizheng, he took Confucianism as his sect and provided Zhu Yuanzhang with many suggestions for "fixing the world" and convincing the "people's hearts". In the second year of Hongwu, Zhu Yuanzhang made him the chief official of the Yuan History. Thereafter, the Song official Hanlin (正五品) was demoted to the rank of Editor (正七品), and Hongwu was promoted to Guozi Supervisor (正六品) in the fourth year, and then demoted to Anyuanzhi County (正七品) in Jiangxi. Ironically, he was demoted and degraded for minor transgressions. The descent was due to the absence of the upper dynasty, and the demotion was due to the failure to complete it on time because he was ordered to examine the ritual of the temple. In his later years, his eldest grandson Song Shen was implicated in the Hu Weiyong case, Song Shen was killed, and after the empress and the crown prince rescued him, he still moved his family to Maozhou, Sichuan, and Song Lian committed suicide in Kuizhou. Although Liu Ji consulted Chen Youyi with Zhu Yuanzhang as soon as he arrived in Nanjing, personally risked Yashi, and made outstanding achievements, he participated in some important plans of Zhu Yuanzhang as a scribe in eastern Zhejiang, which was highly relied upon by Zhu Yuanzhang, which naturally caused dissatisfaction with him by the Northern Anhui clique. Therefore, on the one hand, Zhu Yuanzhang's unwarranted suspicion and deliberate suppression of him after the achievement, on the other hand, the Exclusion and Framing of him by the Anhui Northern Clique, Hongwu returned in the first year of his reign because he offended Li Shanchang at the same time and angered Zhu Yuanzhang. When Hongwu was awarded the title of Meritorious Servant in the third year, although Liu Ji was awarded the post of Protector of the Army by the Founding Guardian Of Fortune, and was given the title of Sincere Uncle, it was stipulated that it could not be hereditary. In the fourth year of Hongwu, Liu Ji was given the return to the field, Hongwu was framed by Hu Weiyong in the sixth year, and Hongwu died of poisoning by Hu Weiyong in the eighth year. In the final analysis, liu ji and Song Lian followed Emperor Zhu to a good end, and their death and Hu Weiyong's more or less relationship was not accidental, but the inevitable result of Zhu Yuanzhang's employment policy and jealousy.

Both Song Lian and Liu Ji were inheritors of the Zhejiang Eastern School, but in practice they were not exactly the same. Song Lian not only promoted Confucianism in the strategy of fixing the world, but his emotional world was also regulated by reason. Unlike Song Lian's Shang Li, Liu Ji was spontaneous. They all wrote "Songfeng Pavilion", but the gestures are very different. Song Lian is rationalized by the scenery, and the pleasure triggers his sense of reason, while Liu Ji feels the "sound of nature", his true disposition and nature are completely integrated, not just a viewer, and it is impossible to look at the scenery rationally like Song Lian. Liu Ji is generous and arrogant, and his feelings about reality are quite acute, but he often comes out with strange imaginations. The poems he composed at the beginning of the Ming Dynasty, such as "Two Ghosts", "Send Chen Tingxue to Chengdu Wei Zhao Mo Ren", "Title Xie Gao Yu Chuanhou", "Qianxi Tu Song for Song Jinglian Fu", "Qingluo ShanFang Song Sent to Song Jinglian" and other strange realms, magnificent words, heroic and imposing, are the expression of his spirit in the early days of the new dynasty he participated in establishing, and this part of the poem must have been written before Hongwu's fourth year of Zhishi.

Fate and literary style often go hand in hand, and Liu Ji believes that "the rise and fall of literature is the success or failure of the time" ("Su Zhongping's Collected Works"), which applies not only to the description of a generation of literature, but also to the interpretation of his personal creation. Liu Ji arrived in Nanjing in the 20th year of the Yuan Dynasty and participated in the establishment and consolidation of the Ming Dynasty as a minister, but did not escape the ancient iron law of "the enemy country is broken, and the subject is destroyed". At the beginning of the establishment of the Zhu Ming Dynasty, Liu Ji already felt depressed, and in some poems, he made euphemistic and tortuous explanations of this in the form of Bixing. For example, "Wall Head Flower" is surprised by "Wall Head Flower, Red Brocade Jealousy", and "Long Pine Shoot" claims that "it is better to be a simple stem than a long pine stem".

Liu Ji's feeling is not out of thin air. According to the biography of the "History of Ming", liu gene in the first year of Hongwu angered Zhu Yuanzhang and Li Shanchang: First, Zhu Yuanzhang toured the north and ordered Li Shanchang, Liu Ji and others to stay in the capital division. Liu Ji is a man of fortitude, and the inspector is very strict and evil, and everyone is afraid of him. Li Bin was involved in the corruption incident in Zhongshudu, and Li Shanchang asked Liu Ji to suspend his sentence, but Liu Ji did not allow it, and zhu Yuanzhang was allowed to accuse Li Bin. Li Shanchang hated him for this, and when Zhu Yuanzhang returned to Beijing, he entered Liu Ji's rumors, and those who were punished by Liu Ji also took the opportunity to confess it. Second, in the face of a severe drought this year, Liu Ji took the opportunity to play three major events related to people's livelihood, saying that he could solve the drought by doing it. Zhu Yuanzhang played accurately, but the drought did not ease, and Zhu Yuanzhang was furious. Liu Ji suddenly offended both the chancellor and the emperor's favor, and he knew that the situation was not good, so he used the excuse of his wife's funeral to return. After his confession, he wrote "Fifty Songs of Traveling". In this group of poems, words such as "keeping points", "avoiding disasters", "worrying", "laboring", "feeling of sorrow", "sadness", "mourning" and so on are all touching, which shows that At this time, Liu Ji's fear of disasters is already very heavy. In the poem, he expressed the mood of the companion like a companion of the tiger: "Exploring the pearl into the Dragon Hall, life and death are instantaneous." How to sit in the canopy and watch the great luck silently. On the other hand, he was full of confidence in Emperor Zhu: "The temporary leave will eventually be returned, but it is fast and late." Ju Yi is a man of his life, and the Holy Word is not deceived. Sure enough, hongwu's return in the first year was only three months, and Liu Ji was soon recalled by Zhu Yuanzhang's hand edict, and he was given a special favor: "The gift is very generous, and the posthumous gift to Ji Zu and his father are Yongjia County." In the third year, Hongwu also conferred the bachelor's degree of Hongwenguan and was awarded the title of Sincere Uncle.

Liu Jihongwu was "given to his hometown" by Zhu Yuanzhang for no reason for four years, and the situation was different from hongwu's first year's warning. This was the result of Zhu Yuanzhang's fear of Liu Jigong's high shock lord from the bottom of his heart after the world was determined, so he wanted to hide this "good bow" deeply. All indications show that Zhu Yuanzhang no longer intends to reuse Liu Ji. Judging from the "Xie En Table", Liu Ji penetrated through this mystery, so after returning to his hometown, he lived in simplicity, cautious in his words and deeds, lest he attract disasters and disasters, and there were also the ideas of "must be repaid" and "killed" when Hongwu gave a warning in the first year. But he was unable to escape the fate. In the sixth year of Hongwu, he was not summoned to Beijing again, but in the context of Hu Weiyong's framing of a piece of feng shui treasure land that he saw as a light ocean, which made Zhu Yuanzhang jealous and deprived of his title, he entered the dynasty and took the initiative to enter the "silver wire cage". Then Zhu Yuanzhang used Hu Weiyong as a face, and Liu Ji was "worried and angry", and was sent to the hospital by Hu Weiyong to be poisoned. In March of the eighth year of Hongwu, Zhu Yuanzhang, seeing that he was ill, returned to his hometown, saying in the edict that this was to let him "talk to his children and grandchildren together, in order to do his best to test the way of the end.". Liu Ji died at home a month later. In the edict of the return, Zhu Yuanzhang affirmed his contribution to the establishment of the Ming Dynasty, affirmed the principle of taking the name of him, and expressed satisfaction with his failure to defend Hu Weiyong's slander and taking the initiative to enter the court to apologize for his sins. With Liu Jihongwu's dusty deeds and the reality of his four-year return, it is difficult to imagine that he can write such a passionate, heroic, and ambitious poem as "Two Ghosts".

The problem is, Song Lian Hongwu was at home in the first year, and Hongwu was only degraded to An Yuanzhi County in four years, to explain the "Two Ghosts", is there insufficient historical basis for him? I think that Song Lian assisted Zhu Yuanzhang in fixing the world with Wen Tao, and returned in the twenty-fifth year of Zhengzheng, and Ding You was in the back, and he and Liu Ji were successively edicted in the same year, which was not much inconsistent with poetry. Besides, "Two Ghosts" is not an epic after all, and we can only ask for the historical facts it conceals. Moreover, Liu Ji proposed to be the guardian of the sun god himself, and Song Lian was the guardian of the moon god, and he sat down at the beginning of the "two ghosts" as the main and secondary. Moreover, this is not Liu Ji's arrogance, his actual merit and political status in the Zhu Ming Dynasty are higher than those of Song Lian. Therefore, we don't have to be so rigid about whether Song Lian's historical facts and "Two Ghosts" can correspond. Moreover, if we have to seek that Song Lian's facts are complete, it will not be consistent with Liu Ji's reality. As mentioned above, from the first year of Hongwu to the fourth year, Liu Ji had two tributes, Hongwu was due to "imperial anger" (the biography of the Ming History) and then sued, and Hongwu did not offend the emperor in the fourth year, which was given for no reason. In the "Table of Thanksgiving" in April of that year, Liu Ji said: "The great virtue of the great ... He was knighted, and the subject returned to his hometown, and was honored and favored for the rest of his life. After he returned to his hometown, TaoGuang raised obscurity, knowing that the emperor would not use him again. This is inconsistent with the "Fifty Songs of Travel" "Temporary Leave Must Be Returned" and the entire spiritual image and the poetic meaning of the concluding sentence of the poem "Two Ghosts". How will we explain these facts to be reasonable?

Based on the above reasons, the author believes that only by setting the writing date of "Two Ghosts" as the first year of Hongwu can it roughly conform to the historical facts and Liu Ji's creative reality.

Two

Determining the age of the writing of "Two Ghosts" is the key to apt interpretation of the poem. The Suo Yin believes that this poem was written in the fourth year of Hongwu, so its main explanation is that the "two ghosts" offended him because they were looking for medicine to heal the Heavenly Emperor, so they were detained by the Heavenly Emperor. The passage "Two Ghosts Since Heaven Farewell" is written through Han Shanzi, "Liu Ji only knew that Song Lian had degraded the official to Anyuanzhi County, Jiangxi. The passage "Suddenly the universe changes differences" is a manifestation of "Zhu Yuanzhang sometimes can't help but listen to the provocation of his fellow countrymen and ministers, and misunderstand the loyalty of non-fellow villagers like Liu Ji and Song Lian." The last four sentences are waiting for the enlightenment of the Heavenly Emperor, and the last sentence "is the hope of a compromising reality, but the poet's ideal is sung with greater passion in the poem, which can be said to be the crystallization of the friendship between Liu Ji and Song Lian." "I want to meet to ask for medicine and the Heavenly Emperor Doctor... The passage of avoiding punishment and avoiding crimes is "not only to make the Heavenly Emperor change his heart and wash his face, but also to make the world live in the same world." I think these interpretations are very different from poetry. So, if it is determined that "Two Ghosts" was written in the first year of Hongwu, can this poem be interpreted more roundly? Here's what I'm saying.

The two ghosts in "Two Ghosts" are Liu Ji and Song Lian, which is confirmed by the allusion of Huang Chuping's shepherding sheep in the poem and The claim that Bai Feng walked to Qingtian. The Heavenly Emperor referred only to Zhu Yuanzhang, and the most direct reason was that Liu Ji and Song Lian had never achieved the status of accompanying and assisting the emperor before they defected to Zhu Yuanzhang. As for why Liu Ji wanted to pull Song Lian into his "second ghost", I think the first is that they are all zhejiang eastern literati, and at the same time they were recruited to Nanjing and became Zhu Yuanzhang's wenwu zuo, and in the face of the powerful Anhui Northern Group, they naturally had to seek the same qi and were emotionally closer. Second, when Liu Ji wrote this poem, he returned to his hometown, and Song Lian was also worried about his home at this time, and Liu Ji "looked at Xianhua Mountain from afar" ("Fifty Songs of Luxing") on the way back, and he was very nostalgic.

The writing method of "Two Ghosts" combines virtual and real, and it is also true and illusory. The poet encapsulates a profound understanding of realpolitik and the relationship between monarchs and subjects in a rich and peculiar artistic imagination. This allowed the poet to express his views on the emperor and his colleagues without hesitation, and not to cause any trouble for it in real life. The resulting effect is that there is a serious connotation in the play, and the wind of plucking and leaping is clear in the fantasy of fantasy. The poet is rooted in reality and writes grotesquely, a feature we should pay attention to.

The poem begins with a strange gesture and an unexpected imagination to depict pangu's groundbreaking grandeur. He took the sun and the moon as his eyes, and his duty was the most important: "Cycle the candles to three hundred and sixty bone knots, eighty-four thousand hairs, and do not let the adultery and evil vent their sores." The poet compares himself to Yu Yi, the guardian of the sun god, and compares Song Lian to the guardian of the moon god. Yu Yi shines brightly, gives birth to all things, and knots make people understand. Such a description alludes to the actual situation of Liu Ji and Song Lian in the dynasty with martial strategy and Wen Tao assisting Zhu Yuanzhang. On the other hand, the sun and the moon are the guardians of heaven and earth, and the metaphor is the pillar of the society. What the psalmist wants to show is that the encounter between the three of them is actually out of the destiny of heaven, and the fate of the monarch and the subject has long been knotted in heaven. The two ghosts did not work hard in heaven, did their duty, and were loyal to the Heavenly Emperor: "Bow your head and hold your breath to serve the envoy, and do not dare to think of adultery." Because the two ghosts were too hardworking, "The Heavenly Emperor took pity on the two ghosts and temporarily let the two ghosts play among themselves." The relaxed tone shows the Heavenly Emperor's love and warmth for the two ghosts.

Where do the two ghosts frolic? "A ghost riding a white dog, walking towards the weaver girl Huang Guji, shaking the river drum, placating two flags, jumping off the emperor Chuping, herding sheep, cooking sheep and eating meat. But he entered tiantai mountain, calling the dragon and calling the tiger to listen to the fingers. This is written about Song Lian. In the poem, "Huang Chuping" is Huang Chuping, and it is said that he became a sheep and shepherded him in the Chisong Mountain. Chisong Mountain in Jinhua, Song Lian tasted the self-proclaimed "I ben Jinhua, shepherd's child" ("Qingshan Ci"), Liu Ji's "Send Song Jinglian Four Songs", "Qingluo Mountain House Song Sent Song Jinglian", "Qianxi Tu Song for Song Jinglian Fu" and other poems, all refer to Song Lian with Chuping riding sheep, and Huai Song Lian said in "Berthing Yan Zize, looking at Jinhua Mountain from afar." There are sheep riders, and the teeth are jade. "The Road" also has the sentence "Shepherd in the mountains, the age of Morphany". As for the clouds of "Tiantai Mountain", it is a word of imagination. "A ghost rides on a white pig, from a green sheep and a green rabbit to a red mouse." Then from the pavilion road out of the Western Qing, into the small, salty pool. Riding a Qingtian crane, go to pick Qingtian Zhi. The Thirty-six Cave Lords of Xiandu Chicheng rode the Luan Feng to accompany him. ...""Feng" is Liu Ji's zodiac sign, Qingtian is Liu Ji's township, and this passage is undoubtedly written about Liu Ji. Sentences such as "Xiandu Akagi" are written in the same way as "Tiantai Mountain" above. The problem is in the following sentences: "The two ghosts have been separated from heaven since they were separated, and the road after the farewell is not known to each other." Overheard Han Shanzi, and used to say Inyi. The two ghosts each borrowed a question, and they knew that they were not far apart, so why not meet each other and say love words. Love words cannot be told, and love is not missed. Fifty years on earth, fifty cooks in heaven. The author believes that this paragraph is a continuation of the past life karma between the Heavenly Emperor and the Two Ghosts in the opening chapter. In the stories of ancient Chinese gods and immortals, there are often plots of the past life after the Netherworld, and someone needs to point out the mystery. Here, "road blocking" refers to the two ghosts "since the heavens parted" after obscuring the leading edge, and Han Shanzi's "past in yi" refers to the immortals breaking the leading edge of the two ghosts. Han Shanzi did not have a test, when the poet came by hand. "Fifty years" refers to the reunion of the two ghosts after being broken, and the rendezvous ends with the end of the human frolicking to assist the Emperor of Heaven, which actually refers to the twenty years that Liu Ji and Song Lian were recruited by Zhu Yuanzhang to arrive in Nanjing, Liu Ji was fifty years old, and Song Lian was fifty-one years old. Although Liu Ji and Song Lian met in the ninth year of Zhizheng, the work together began.

"Suddenly the universe changed, and june snow and ice fell. The shrew goes up the mountain to make a cave, and the snake's head has a horn and horn. The crocodile dropped its tail and folded the giant horn, and the Penglai Palace poured water without frieze. Snatching the arrows to fight out of the monster, or as big as an urn, or as long as a snake, light shuo shuo, shaped and shaped, called deer, hu xiong, wu hui, xiang yi. "This passage is obviously depicting the great chaos at the end of the Yuan Dynasty and the overthrow of heaven and earth." The Emperor of Heaven has no support left and right, mosquitoes and flies, flies, grasshoppers, and the skin is full of blood. Disturbance can not be waved, the tendons are dissolved and the eyes are folded, and there is no distinction between Yan and Yan. "The main manifestation here is that at this time, the Heavenly Emperor has no sages to assist, and the position of auxiliary is nothing but two ghosts. Therefore, "the two ghosts were greatly injured, and their bodies were like being flogged, so they wanted to meet to ask for medicine and the Heavenly Emperor Doctor." They not only cured the Heavenly Emperor's illness, but also repaired and transformed the heavens and earth like the ancient myths of Nüwa and Pangu, and ordered the Celestial Gods and Craftsmen to obey his wishes: "Summoning the Emperor to show the land, deploying Yue Blasphemous, and accepting the Emperor's commission." Birds will be phoenixes, not owls and owls. Live beasts unicorns, do not give birth to jackals and tanuki. Raw scales will be dragon carp, do not give birth to snakes and. Shells must be turtle shells, do not give birth to cockroaches and worms. Raw wood will be pine nan, raw grass will be sunflower, do not give birth to hook kisses containing poison to break people's intestines, do not give birth to citrus thorns qinli to hurt human muscles. The borer locusts that harm the crops will be extinct. Tigers and wolves hinder animal husbandry, and they will restrain their pregnancies. Enlighten the world to be stupid and stupid, and honor the father and master. Serving Zhou Wengong, Lu Zhongni, Zeng Ziyou, and Confucius Si, he studied books, Yi, Li, Music, Spring and Autumn, and poetry. Integrity, evil, stubbornness, and rules. Yong Yong Xi Xi, not frozen and not hungry, avoiding punishment and long-distance crimes tend to be auspicious. With a strong momentum, the poem makes a visual description of the merits of the second ghost in assisting the Heavenly Emperor with Wen Taowu, and naturally also metaphorically describes the historical facts. It is not that Liu Ji bragged about himself, for the important role of the two assisting Zhu Yuanzhang, the "History of Ming" Song Lian made a clear summary: "All rise from the southeast, bear the heavy name." Ki-humai has a strange temperament, while Lian is a self-styled Confucian; Kizo's army is consulted, and Lian also uses literature first. The so-called "literature" here refers to Confucian classics and Confucian orthodoxy. After Liu Ji and Song Lian arrived in Nanjing, Liu Jichen's "Eighteen Strategies for Current Affairs" immediately solicited Chen Youyou's forgiveness, the so-called "conspiracy in the army"; Song Lian acted as a Confucian consultant: Zhu Yuanzhang "tried to summon the "Spring and Autumn Zuo Clan Biography", Lian Jin said: "The Spring and Autumn Festival" is Confucius's book of praise for good and depreciation of evil, and if you can obey it, the rewards and punishments are moderate, and the world can determine it. 'At the door of Taizu Yuduan, Shi Huangshigong's "Three Sketches", "Lian Yue": "Shang Shu", "Erdian", "Three Mo", the Emperor Dajing Dafa is complete, I would like to pay attention to the explanation. "The world is based on the human heart, and the human heart is not solid, although the gold is full of gold, it will be used!" 'Taizu is known for his goodness. "Then, why did Liu Ji dare to write the Heavenly Emperor here as a dimwitted emperor who could not be distinguished?" This can only be said to be because the poet has a high self-esteem, second, here is mainly to accuse the Emperor of Heaven for not being able to influence others, and third, because there are "Heavenly Emperors" and "ghosts" as protective colors, so they have no scruples.

After the "Two Ghosts" helped the Heavenly Emperor stabilize the world with Wen Tao's martial strategy, he did not expect that the Heavenly Emperor not only no longer listened to their opinions, but also became suspicious of them: "After the two ghosts, how dare they think more and more." Yawn to the blind, leakage of the creation of micro. So the Heavenly Emperor hurriedly summoned the Flying God King with five hundred night forks, "Searched for the bottom of the ninety-nine thousand nine hundred and ninety-nine thousand and ninety-nine dragon valleys, and caught the eyes of the two ghosts as bright as glass." Raised in a silver wire iron fence, clothed with literature and food to moose, Mo Jiao protruded from the outside, and stepped on the earth axis to tilt the heavens. The two ghosts also laughed at each other, but they had to be chilled and happy. Since you can wait for the Heavenly Emperor to relieve his anger and puzzles, he is still playing with the heavens. Based on historical facts, there are several points worth noting in this large section of the poem: First, the Emperor of Heaven "wrongly blamed" the two ghosts, and the two ghosts fled to the valley because of this, which is in line with the situation that Liu Jihongwu returned in the first year of his anger against Zhu Yuanzhang. Second, the world was initially determined, and the Heavenly Emperor had to put the two ghosts in a cage around him to rest assured, not to keep them far away, that is, "Mo Jiao stood out of the cage and broke the earth's axis to the heavenly dimension." And "raised in the silver wire and iron fence" is the so-called "detention" in the poem, which is in line with the fact that Liu Ji was recalled by Zhu Yuanzhang three months after his return, and Song Lian was subsequently returned. This is not the author's subjective speculation, Zhu Yuanzhang's edict to Liu Ji Township, the first sentence is "the skin smells the same suffering and dissenting people are not assisted", the words have their own deep meaning. Third, the concluding sentence expresses the desire of the "two ghosts" and the confidence that they will be revived by the Emperor of Heaven, which is exactly the same as the mentality expressed in the "Fifty Songs of Luxing"—later facts also prove that Liu Ji showed a kind of political sensitivity in the concluding sentence: after they were re-ordered, Hongwu Second Year Song Lian served as the president of the "History of Yuan", and Hongwu Three Years Liu Ji awarded the Hongwenguan Bachelor and was given the title of Chengcheng Bo.

All in all, from the twentieth year of Liu Ji's arrival in Nanjing at the invitation of King Wu, in the following fifteen years of his life, whether it was political fate or literary creation, he had many connections with Zhu Yuanzhang and Song Lian--the three junchens, especially the inextricable encounters and differences between Liu Ji and Zhu Yuanzhang before and after the establishment of the Ming Dynasty, were vividly portrayed in "Two Ghosts". In classical Chinese literature, Qu Yuan's "Leaving Sorrows", which vividly and vividly expresses his personal political career in the form of poetry. Although Liu Ji's "Two Ghosts" is not so grand in the system and the performance of his own experience is not so complete, it is a rare famous passage in such works after Qu Sao. We can feel the influence of "Leaving the Troubles" on "Two Ghosts", but the latter's deep understanding, generalization and unruly understanding of realpolitik, self-made handwriting, is also a new police. It is precisely because "Two Ghosts" is such a poem, so if we want to approach Liu Ji, we cannot avoid "Two Ghosts", and if we want to interpret "Two Ghosts", we cannot be uncertain about the era of its writing--this is why we pay attention to this poem and discuss the age of this poem.

The article was originally published in Taiwan's Bibliographic Quarterly, Vol. 37, No. 1, 2003, and the author is a professor at the School of Humanities of Kunming University, and has written works such as "History of Ming Dynasty Literature" (co-authored with Mr. Xu Shuofang).