Author's Note:
A city is brought to life and romance by the activities of some historical elite, highlighted and celebrated by certain celebrities. Historical celebrities influence a region and a city with their ideas, their creations and lifestyles.
Luoyang is a city that has never lacked celebrities, since the xia dynasty built the capital Luoyang, in the long history corridor of thousands of years, Luoyang has appeared countless outstanding figures, they have led the direction of history, or rendered the color of history, or embellished the sky of history, their love, hate and sorrow are intertwined in this fertile land of Heluo.
Taking the historical period as a clue, we have selected a hundred famous figures who have a major influence on the history of Luoyang in China and even the world, who have made great achievements in the world, who are ideological giants with insight, legendary heroes with courage and strategy, literary giants with brilliant pens and flowers, masters of art with ingenuity, and scientific elites who have forged brilliant science and technology... The time spans from the Shang Dynasty to the modern era, describing the historical process of Luoyang for more than 3,000 years. We will narrate the parts of their life journey that are closely related to Luoyang, or write about their lives, work, and struggles during their time in Luoyang, or write about their various contributions to Luoyang, or write about the important influence that Luoyang has had on the development of their thoughts and careers.
Luoyang is a famous cultural city. Historical celebrities gather here and interpret their wonderful lives, shaping the cultural temperament of Luoyang in the forest of world cities, and highlighting the humanistic splendor of Luoyang! Today launches the forty of the 100 historical celebrities related to Luoyang: Zuo Si
Zuo Si (左思), (c. 250–305), courtesy name Taichong. A famous literary scholar of the Western Jin Dynasty and a famous literary scholar during the Taikang period of the Western Jin Dynasty, his "Three Capitals" was widely circulated in the capital Luoyang. Around 272 AD, because Zuo Si's sister Zuo Di (fēn) was elected to the palace, the family moved to Luoyang.
When Zuo Si was a child, he was short in stature, did not look amazing, stuttered, and his father asked someone to teach him calligraphy and play the piano, and his results were not ideal, so his father always looked down on him. His father, Zuo Yong, slowly rose from a small official to imperial history, and often said that he regretted having this son. After Zuo Si became an adult, Zuo Yong also told his friends that he had very little knowledge. Zuo Si was not willing to accept such contempt, so he began to read angrily.
He admired the grandeur and gorgeous rhetoric of the Eastern Han Dynasty Bangu's "Two Capitals Fu" and Zhang Heng's "Xijing Fu", which wrote the style of the capital city of Luoyang in Tokyo and Chang'an in Western Beijing, but they were unreal, large and inappropriate. Based on facts and historical developments, he decided to write the Wei capital Yecheng, the Shu capital Chengdu, and the Wu capital Nanjing into the Three Kingdoms period, named "Three Capitals Fu".
Zuo Si began to collect a large amount of historical, geographical, property, customs and human information, and asked Zhang Zai, who had been to Shudi, about mín qióng, which is now in Chengdu, Sichuan; and asked him to be a secretary Lang in order to read Fang Zhiqun's books, collect good materials, and do fieldwork. After ten years of hard work, this "Three Capitals" that embodies Zuo Si's painstaking efforts was finally written, and the "Three Capitals" written was a grand system and a wide range of things, which to a certain extent reflected the social life conditions of the Three Kingdoms period.
However, when Zuo Si gave "Three Capitals" to others to see, he was ridiculed. When Lu Ji heard that the unknown Zuo Si had written "Three Capitals", he ridiculed him for not measuring his own strength. When Zuo Si's "Three Capitals" was evaluated in the literary circles, the literati said that the "Three Capitals" was useless when they saw that the author was a nobody. Zuo Si was not willing to let his hard work be buried, and found the famous literary artist Zhang Hua. Zhang Hua observed, read, and tasted the "Three Capitals" sentence by sentence, and after asking about the creative motivation and experience, he was deeply moved by the sentences in the text and loved it, so he showed it to Emperor Fumian. After reading it, Emperor Fu was full of emotions, highly praised the "Three Capital Fu", and made a preface to the article, he also invited the writer Lang Zhang Zai to make notes for the Wei Du Fu in the "Three Capital Fu", and asked Zhu ZhongshuLang Liu Kui to make notes for the "Shu Du Fu" and "Wu Du Fu".
Recommended by celebrities forewords, "Sandufu" quickly swept through Luoyang, Kyoto, and literary lovers praised it. After hearing about it, Lu Ji, a literary scholar who had ridiculed Zuo Si before, carefully read this fu, and he concluded that if he wrote it again, he would not surpass Zuo Si, so he dismissed the idea of creating "Three Capital Fu". The powerful families of the capital Luoyang all competed to copy the "Three Capitals", so the price of paper in Luoyang rose, and "Luoyang paper is expensive" became a good story for a while. The "Three Capitals" is gorgeous in literature, including the march into Eastern Wu and the unification of the whole country that were concerned by the government and the public at that time, and had an important position in the later period. Although the writing style and style of this fu are similar to those of Ban Gu's "Two Capitals Fu" and Zhang Heng's "Erjing Fu", its ideological theme is not the traditional "persuasion and irony". Therefore, the "Three Capitals" has an important position in the later great endowments. Zuo Si also has a lyrical small fu "White Hair Fu", the language is simple, humorous, emotionally subtle, and "Three Capital Fu" is very different, it adopts the allegorical body of the dialogue between the hair and people, sharply attacking the social reality that there is no one who does not pursue glory and profit, with glory as the precious, and with the loneliness as the low.
Zuo Si was born in The Cold Gate, had a strong desire to use the world in his early years, hoped to make a difference, although he had a high literary talent, but under the door valve system at that time, he was repeatedly discouraged, so he had to express his ambitions and contempt for the magnates in his poems, and praise the purity of the hermit. The representative works of Zuo Si's poetry are 8 poems of "History of Yong", which are intricate in historical facts, integrating ancient and modern, and even quoting metaphors. Since Bangu, the History of Yong has been more or less a poem, and the author's intention is glimpsed in the repetition of objective facts. Zuo Si had a strong desire to use the world in his early years, and he thought that he was talented by Gao Zhixiong and hoped to make a difference. However, under the suppression of the door valve system, he never met with talent. In the second poem of the "History of Yong", he profoundly exposes the irrational phenomenon that "the noble families of the warriors occupy high positions regardless of the generations of the wise and the foolish, and the handsome sages sink into the ranks of the lower officials" with the artistic image of "depressed and depressed, away from the seedlings on the mountain," and in the 7th poem, he borrows the bumps and tribulations of the ancient sages and points out bitterly: "There is no wizard in the world, and it is left in the grass." "The dark reality of stifling talent was violently attacked, and the sharpness of its pen was rare in the two Jin Dynasties and the Southern and Northern Dynasties. The poem "History of Yong" also borrows the ancients to clarify their attitude and ambition in life, declaring: "Although you are noble, you regard it as dust." Although the untouchable are self-deprecating, they are as heavy as a thousand. "Expressing profound realistic content in a clever art form is a basic feature of the poetry of Yong Shi. The poetry of "History of Yong" is simple in language, full of emotion, and majestic, although it expresses the depression and distress in the heart, it does not reveal a depressed and decadent mood, and the poems that are full of enthusiasm echo with the sadness of ambition, which is close to the generosity of Jian'an literature. This style of Zuo Si's "History of Yong" poems was called "Zuo Si FengLi" by Zhong Rong. "Zuo Si Feng Li" had an impact on Tao Yuanming. The artistic image of "Jian Di Song" created by Zuo Si was also borrowed by Fan Yun of the Southern Dynasty and Wang Bo of the Early Tang Dynasty to express the bitterness that Huai Cai did not encounter.
Zuo Si also has two poems of "Zhao Yin", which are fluent in writing, among which "non-bi silk and bamboo, the landscape has a clear sound", which is very appreciated by posterity. "Lady Poem", the language is simple, the feelings are sincere, and the love for the little daughter jumps on the paper. Tao Yuanming's "Responsible Son", Du Fu's "Northern Expedition", Li Shangyin's "Proud Children's Poems", etc., were all influenced by it to a certain extent. In addition, he also has one "Miscellaneous Poems" and two poems of "Mourning the Gift of Sisters". The former style is similar to that of the "History of Yong", and the latter is a four-character poem, elegant and dignified. During the Yuan Kang period, Zuo Si participated in the tour of the "Twenty-Four Friends" of the literati group at that time and lectured on the Book of Han for Jia Mi. In the last year of Yuan Kang, Jia Mi was cursed, and Zuo Si retired to Yichunli to concentrate on classics. Later, the King of Qi was summoned as the governor of the ji room, and he resigned. In the second year of Tai'an (303), Sima Yongbu, the king of Hejian, attacked Zhang Fang in Luoyang, and Zuo Si moved to Jizhou, where he died of illness a few years later, with the "Zuo Taichong Collection", "Three Capitals" and "Yongshi" poems as his representative works. Zuo Si's works are included in the "Six Dynasties of the Three Kingdoms of the Three Dynasties of the Qin and Han Dynasties" edited by Yan Kejun of the Qing Dynasty and the "Poems of the Southern and Northern Dynasties of the Pre-Qin, Han, Wei, and Jin Dynasties" edited by Lu Qinli.