Chapter 56 Seven Poems of Poverty (Part 5)

Yuan An was sleepy and snow-covered, and he couldn't do anything; Ruan Gong abandoned his official position immediately when he saw the money coming in.The grass has a normal temperature, and it is enough to eat in the court; it is not hard work, and the fear is not hunger and cold.The rich and the poor often fight each other, and the road wins without shame.To Deguanbanglu, the Qing Festival reflects Xiguan. In Ruyang (now Shangcai, Henan) in the Eastern Han Dynasty, there was a senior scholar, Yuan An.One day in winter, there was a lot of snow on the ground, and the county magistrate of Luoyang came out to make an inspection. He saw that every household came out to clear the snow, and some people were begging for food.The county magistrate went to Yuan An's gate and saw the snow piled up on the gate. He thought Yuan An had died of freezing and starving, so he ordered someone to remove the snow and enter the gate, but he was lying dead inside, and asked him why he didn't go out to beg. Yuan An replied: " It’s snowing heavily, and most people are hungry, so I can’t beg anyone anymore.”The county magistrate thought he was a wise man, so he recommended him as Xiaolian.It is also said that in ancient times, there was a man named Ruan Gong who "saw the money coming in" and abandoned his official position on the same day to go back to seclusion.The first four sentences of this poem cite the stories of the two sages, which should be the two sentences at the end of "the second", "Why do I comfort me, and I rely on the ancient times to see this sage". It is a pity that the story of Ruan Gong has been lost for a long time, and it is only in Tao Qian. There is a little trace left in this poem, and it is difficult for future generations to know the details. There are two possibilities for "seeing money to get in", one is that someone sent money to Ruan Gong for no reason, and he kept himself clean, and immediately hung the crown; entry), that is, to abandon the official and leave.Judging from the context of Tao Qian's life and poems, the latter possibility is the most important.

Below "Chu Gao", that is, Yuan and Ruan two officials express their feelings, and Chu Gao is horse grass.Ju, Tongyu, Yehe.The old notes all say that poor people borrow horse grass to lie down, gather wild grass to eat, and live contentedly and happily.Looking closely at the poetry, "Chu Gao has a normal temperature" is obviously a response to the sentence "Yuan'an is trapped in snow", and "Cai Ju is full of court meals" should be in response to Ruan's official business, which means that after abandoning his official position, he often picks wild Wo for food. "Chang" and "Zu" are intertextual, saying that although the two sages are hungry and cold, they know that "foot" is always "happy".However, since Ruan's official affairs are difficult to be detailed, it can be understood that it is not possible to chant the two affairs of He Yuan and Ruan, but it should not be like the old commentary to talk about poor people in general. "Isn't it?" The two sentences turn around, and the last sentence asks, isn't the life of the second husband hard?The answer to the next sentence is not that there is no suffering, but because what they worry about is not hunger and cold.So why worry? The two sentences "rich and poor" fully express their meaning.It turns out that people cannot be without material desires in their hearts, and the two hearts of being poor and seeking wealth are always at war. .So the poet can't help sighing, the supreme morality of the two, their clean style and integrity, are the best among the same kind, and they are of course more admired by all generations. "Guanbanglu" should have one or two sentences of Yuan Anzhuo lying in the alley, while "Yingxiguan" should have three or four sentences of "Ruan Gong" to go to office, so we can know that Ruan Gong is Xiguan Ruan Gong. "Zhide" and "Qingjie" are intertextual, and the two classics are integrated into one, which is related to the whole article.

Although the whole poem is about poor people, it reads with a strong character and strong wind. This is certainly because the poem's intention is to win the way rather than lament the old and the poor; it is also because of the vigor of the poem. Since Cao Zhi and other Jian'an poets, they have attached great importance to the beginning of the poem, which is known as "work at the beginning".This poem inherits this technique. Just imagine, if the two canons exchanged positions, and Ruan Gong abandoned his official position in the front, his spirit would not be raised.Today, with Yuan Andian standing in front of him, the snow reflects the high-ranking scholars, and he followed it with "I can't do it", a kind of poor and hard-working, arrogant attitude that looks down on the world, that is, it is majestic on paper, and it has the potential to be high when you start writing.

Opening and closing freely, the frustrating and simple structure also enhances the strength of this poem.The beginning and the end are double knots, and the echoes are obvious. The "Zhide" and "Qingjie" at the end further sublimate and sublimate the connotation and sublimation of the arrogant imagery in the first two canons and four sentences, reaching a super-far spiritual realm; And the key to this sublimation lies in the middle four sentences. "Chugao" and "Caiju" are divided into two classics, and the two characters "chang" and "zu" are intertextual, starting from the narrative, from separation to combination; It is one, and turns the poetic flavor, leading to the righteousness of Taoism, and then splits it into two things at the end, with "Zhi De" and "Qing Festival" as a reference to each other, to a higher level.This structure shows the power of opening and closing escapement in Tao Shi's consistent smoothness.The majestic spirit is fully expressed in the separation and combination, and the power of premature correction is shown in the setbacks.Immortality and majesty are also the main features of Xie's poems, but Tao's poems are completely unremarkable and natural, which is better than Xie's poems.

The natural and appropriate use of allusions also enhances the vigorous feeling of this poem.Yuan's and Ruan's two classics are already very good at distinguishing the two ends of Qi, cold and hunger, and what's even better is that they are in line with the poet's own actions.Tao Qian lay hungry for several days in his later years. Tan Daoji, the governor of Jiangzhou, made people feed him with wine and meat, and the poet went away. It is the character of asking people in Vanity Fair to help. From this we can also infer the deep meaning of Ruan Gong Yidian. The preface of "Gui Qu Lai Ci" once recounted his career as a hermit: because his family was poor and farming was not enough for self-sufficiency, he surrendered himself to serve as an official in Xiaoyi.According to Gao Shi Maoyi of the Eastern Han Dynasty, because his family was poor and his relatives were old, he did not choose to be an official. Once his mother passed away, he would not be an official.Ruan Gong's affairs should be similar to it, and Tao Qian used it to cut into the heart of his original official career.Therefore, although the two songs are full of hunger and cold, from the present to the past, you can see the deep feelings.In the second half of the poem, the literal meaning is very clear, but in fact it also uses two allusions. "The fear is not hunger and cold." What’s more, it’s my son’s disease!” Yuan Xian replied, “It’s not a disease to be poor.” Yuan Xian did not regard poverty as a disease. "The fear is not hunger and cold" is exactly what it means. The two sentences of "rich and poor" are based on "Han Feizi": Zi Xia said, "We see the righteousness of the ancestors, and we see wealth and honor. The two are fighting in the chest, so we are thin (thin); now we see the righteousness of the ancestors, so we are fat." "Dao wins without shame" is just the appearance of being fat after victory, with a broad mind and a comfortable body.The second canon progresses layer by layer from not worrying about illness to winning the Tao.

These are the factors that make this poem so majestic. The significance of the seven poems of "Song of the Poor" in the history of poetry is very noteworthy. From the point of view of the style of poetry, it combines Ruan Ji's "Yong Huai" and Zuo Si's "Ode to History". It also cooperates with Zuosi wind power", combined with "Song of the Poor", it can be seen that the wind of Jian'an Zhengshi was passed down from Jin to Song.Looking back at Tao Qian's other works, it can be seen that, as Zhu Xi said, Tao's poems are bold and unrestrained under the plainness, "but the boldness is so unrestrained." (Zhu Ziyu Lei, Vol. 140).Therefore, this kind of poems is the key to unravel the relationship between Tao poetry and Jian'an character.

From the point of view of the organization of poems, although the group of poems originated from Tao, such as Ruan Ji's "Yong Huai" and Zuo Shi's "Yong Shi", all poems are juxtaposed and are a combination of similar themes.The seven poems of "Song of the Poor" have a total and a part, echoing from the beginning to the end, and a coherent context, which promotes the form of poems to a new height, and inspired Du Fu's "Eight Poems of Autumn" and other forerunners.