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Content of Cai Zitang's allusions

Appreciation of Gui Tian Fu

Generally speaking, the accomplished literati in ancient China, when they encountered setbacks in their official career or were dissatisfied with the state affairs at that time, would go to the metropolis to retire to the fields and lead a clean life. Zhang Heng is one of them. Returning to Tianfu is a small fu written by Zhang Heng when he turned from official career to retirement.

Since the Eastern Han Dynasty, consorts and eunuchs have been in power for a long time. Emperor Shun of Han Dynasty once promoted Zhang Heng as a servant, satirizing the left and right. However, Zhang Heng finally did not dare to expose them. At the beginning of Yonghe, Zhang Heng was demoted to Hejian. In the third year of Yonghe (138), 61-year-old Zhang Heng wrote a letter from Hejian asking for a bone, and "Gui Tian Fu" was written at this time.

Returning to Tianfu is a short and pithy essay with unique style. It changed the rules of the Han Fu, such as scattering, stagnation, exaggeration and piling, into short, flexible, plain and beautiful sentences. The use of allusions is a major feature of this poem. For example, Clear Water in One River quoted the allusions in Huai Nan Zi's Xun Lin and Zuo Zhuan's Eight Years of "xianggong" respectively: "I felt that Cai Zi was generous and awarded Tang Sheng". See Biography of Fan Ju and Cai Ze in Historical Records for details: Zhang Heng made full use of the advantages of short words and large connotations of historical allusions, adding richer content to prose, so Gui Tianfu was not withered because of its short writing system. At the same time, most of the allusions selected in Guitian Fu are familiar to people, not obscure. Therefore, this article, with its elegant, concise, simple and fresh sentences, contains rich historical facts and gives it new ideas.

In addition, Gui Tian Fu also uses some rhetorical devices such as rhyme, repetition and pun, such as "closing the door" and "crossing the neck", which vividly depicts the harmonious, cheerful, agile and clear scenery of the pastoral forest; And "fly up and pay, catch the long stream." Death by touching an arrow, swallowing bait and swallowing hook "not only embodies the author's carefree state of mind, but also contains the meaning of self-discipline."

In a word, Guitian Fu is very different from the previous Handa Fu. Beginning to change from narrative prose to lyric prose, the style no longer pursues the layout of momentum and rhetoric, but is similar to 46 parallel prose, which opened the precedent of parallel prose. Gui Tian Fu occupies an important position in the history of China literature, and it has been a masterpiece for thousands of years.

Fu went through three stages in the Han Dynasty. Sao Style Fu was the most developed in the early Han Dynasty. The so-called Sao Fu refers to retaining and inheriting the characteristics of Qu Yuan's Ci Fu, expressing feelings and aspirations in content, and writing Chu Sheng and Chu Yu in form. Jia Yi's "On Fu", "Hanging Qu Yuan Fu" and "Zhao Yinyi in Huainan Mountain" are all representative works of this kind of Fu. After Emperor Wu of the Han Dynasty, Santi Dafu was the most developed, which is also the mainstream of the whole Han Fu. The so-called three-body wealth means that the sentence pattern is more scattered, the space-time capacity is greater, and the boldness of vision is more majestic. By describing Kyoto, palaces and hunting, praise has almost become the unified content of these scattered poems, and the center of poetry has turned to praise the imperial dynasty and kingship, becoming a typical Goethe literature and court literature. The reason for this change is obviously restricted by a strong national situation and a highly unified political situation. Sima Xiangru's Zixu Fu, Shanglin Fu, Yang Xiong's Ganquan Fu, Hunting Feather Fu and Ban Gu's Du Liang Fu are all representative works of this kind of Fu. By the end of the Eastern Han Dynasty, new changes had taken place in Fu, and the small lyric Fu in loose style was on the stage, which represented the trend of the times. During this period, although there were still large-scale prose poems, such as Zhang Heng's Erjing Fu, which was much larger than Ban Gu's Du Liang Fu, the emerging lyric poems represented a new direction. This is not only a change in form, but also a change in content. With the collapse of centralization and the shake of theological status, with the prohibition of party concealment and the formation of clear righteousness, some upright literati born in troubled times dared to vent their feelings openly and boldly with the help of Fu. In this way, the content expressed by Fu shifted from the court as the center of the world order to the inner world of the literati themselves. As a result, the content and emotional components of the self have increased, and the personality and image of literature have gradually emerged. Zhang Heng's Return to Tianfu came into being under this literary background.

Although Zhang Heng's life is relatively stable, he is squeezed out by the yes man from time to time and is not very proud of his career. According to "Zhang Hengchuan in the Later Han Dynasty", Emperor Wu of the Han Dynasty once worshipped Zhang Heng as a doctor and moved to Taishiling because he heard that he was "good at art". "Shun emperor, and then turn, complex for seeks to make. Never admire the official who lives in this world, and he has not moved for many years. He went to the history post and returned it five years later. " -this kind of experience is quite similar to Han Yu's "three doctors, redundant and incurable." Later, although he served as a servant, he was "led by the nose by the emperor and was satirized for it", but "eunuchs are afraid of self-destruction, and the balance is contradictory. I am afraid that I will eventually suffer from it, so I swear. " Later, as Hejian Xiang, I wrote the poem "Four Sorrow Poems", which expressed my feeling of difficult career. Because of his dissatisfaction with his official career, he adopted two attitudes towards politics, on the one hand, he tried his best, on the other hand, he was indifferent to his own ambitions. He wrote to the emperor many times to advise on political affairs. When he was in office, he "ruled majestically, improved his statutes, and ... respected him from top to bottom. This is called political management." When he was excluded, he imitated Qu Yuan's Li Sao and wrote Si, which showed his loyalty of "I will do my best, though I am poor, I will not change" and "I would rather die than surrender". However, he is always ready to retreat. When he was in a historical post, he wrote "Should Be Idle" to clarify his ambition, in which he said: "A gentleman does not suffer from disrespectful position, but suffers from disrespectful morality; Not ashamed of Lu's disagreement, but ashamed of his lack of wisdom. It is an art that can be learned, but the lines can be very powerful. The heavenly king hangs high, his life is at stake, or he is complacent or envious, but he is boring. Therefore, the wise do not think about it. " He also said: "the world is different, things are different and cannot be changed." Once, we slapped a face and asked for a sword, waiting for the rabbit. " It can be seen that in the power struggle, he is ready to retreat quickly. It is in this ideological background that he created Return to Tianfu.

Although this essay is very short, it embodies his feelings and emotions of serving as an official all his life. It is very scientific to include it in Selected Works. The full text of 2 1 1 is divided into four layers.

The first level is about having a hard career and determined to retire. The so-called "feeling Cai Zi's generosity, from Tang Sheng to doubt" is based on the canon of Cai Ze and Tang dramas in Historical Records. When Cai Ze was unlucky, he asked Tang Ju to give it to him face to face. The author used this allusion to compare himself with Cai Ze, but after divination, he decided to retire and live a life without competition according to the fisherman described in Chu Ci. We can realize that the feelings expressed by the author at this level are quite sad and indignant. Although his words seem broad-minded, his broad-mindedness can't hide his disappointment at the end of the Eastern Han Dynasty. He felt that he would never meet the peaceful and prosperous times clarified by the Yellow River again. Although I have Cai Ze's know-how, I have never had a chance to make a contribution like him. He had to sigh at the human society and left quietly.

The second level, write my joy after back in the game. The curve of feelings turns from low to high. My mood has also changed from depression to cheerfulness. The weather is so sunny, the grass is so lush and the birds are so happy. Facing this beautiful nature, he seems to really want to forget all the troubles in the world. "It's too late to die, and there is still a long time to say goodbye to this world."

The third floor made another turning point. The curve of feelings has fallen into the abyss again. When writing about fishing and hunting, the author did not write about the fun, but talked about how the "bird out of the cloud" died at the touch and how the "deep bird" swallowed the bait. Isn't this an obvious writing problem, so as to express the feelings of apathy and official feud? Although the speech is short, it obviously contains all kinds of joys and sorrows of the author's life.

The last paragraph is really broad-minded. The so-called "legacy of the old man" refers to what Laozi said: "Wild hunting makes people crazy." In other words, it is necessary to control hunting and strengthen life cultivation. So he wandered between the wonderful banjo made by Shun and the profound classics inherited by Duke Zhou and Confucius, and tried to write and clarify the sacred principles. In the end, he armed himself with the philosophy of Laozi and Zhuangzi, that is, he swam outside things, which means that it means to ignore things, ignore things and respect himself, so he reached the realm of sharing weal and woe, forgetting gains and losses and feeling at ease. In this layer, the curve of feelings turns into high spirits, and the whole article suddenly ends in this broad-minded and detached tone.

Throughout the whole article, we can see that this is indeed an ode to "ambition". His "ambition" is a deep sorrow for the ups and downs of his career and a deep reflection on how to get rid of this sorrow in life. And this "ambition" is the summary of his life, so not only his thoughts are profound, but also his feelings are quite profound and true. Although there are not many words, every sentence comes from the heart, and every sentence flashes a reflection of his life experience. The expressive technique of borrowing scenery to express emotion and the ever-changing emotional curve increase the vividness of expression and the richness of inner world. All these make this lyric poem gain the eternal value of authenticity and individuality when expressing emotions. I don't know how much more touching it is to read it than to read his clumsy and dull fu of the Second Classics, which is intended to compete with Ban Gu!

Zhang Heng's "Returning to Tianfu" can be described as the pioneering work of prose lyric fu. Later, at the end of the Eastern Han Dynasty, Zhao Yi's Evil Fu of Stabbing the World, Mi Fei's Parrot Fu, Wang Shen's Loutai Fu of the Three Kingdoms and the Western Jin Dynasty, Cao Zhi's Luo Shen Fu, Xiang Xiu's Fu of Nostalgia, Tao Yuanming's Fu of Hurting People, and even Ji Kang's Break Up with Juyuan Mountain and Liu Ling's Tong Zheng. Of course, Gui Tian Fu has the greatest and most direct influence on later generations, or Tao Yuanming's Gui Qu Lai Xi Ci. It can be said that Gui Qu Lai Xi Ci is directly inspired by Gui Tianfu in conception, meaning and technique, but it is more mature, profound, successful, personalized and literary than it.