Yue Ke's postscript is a paragraph of text and a poem.

"Yu Guisi was in Jingkou. Because the lanterns were lit on the eve of the Lantern Festival in the county, he occasionally read the history of the country.

On the 15th day of the first lunar month in Jingkang, Xinsi, Youling visited the south and stayed in the county. Before the 23rd day of the second month, he returned to the capital. Eight out of thirty people stayed in the county.

When I heard the flute and drum, I felt the old feelings and sighed, and I couldn't help but write down the outline.

However, if there are those who are against the wishes of the monks, they will bring them to show their upright ethics. They will say that they are ridiculing themselves, so they will cause great resentment and end up in hell.

The sage realizes that he has been wronged, and his fingertips are all white.

In order to mourn the death of Zheng Lun, Min Qi made a plan to clarify his original intention and attached the poem he had written in the past:

I have been dancing for a long time, always listening to Sheng songs and embracing Qi Luo.

Ten miles of Xiliang brings back happy memories, and a hundred years of southern country compares with fleeting memories.

There is hatred and mourning for Pu Liu when swallowing the sound, and no one will destroy Polygonum for the festival.

My lonely heart is full of love, and I turn on the light and ask how the night is going."

A public case is recorded here.

On the Lantern Festival, the 15th day of the first lunar month in the sixth year of Shaoding, Yue Ke's disciple Han Zhenglun, the governor of Zhenjiang County, put up lanterns at Jingkou and invited Yue Ke to watch the lanterns.

Yue Ke wrote a poem in response to the situation. Han Zhenglun was shocked when he saw it. He "made a big complaint and went to jail", so he turned around and reported Yue Ke to the court, asking him to punish Yue Ke for his serious crimes.

In the winter of the sixth year of Shaoding, Yue Ke was dismissed from office and returned to Lushan. During this period, he wrote thirty volumes of "The Continuation of Jin Tuo".

It was not until the second year of Jiaxi that Yue Ke was re-appointed to the rank of Minister of Household Affairs.

At this time, Han Zhenglun was dead. Yue Ke wrote the whole story in the postscript. Finally, he said that I mourned his early death, sympathized with him for wasting his thoughts, and forgave him for his meaningless original intention. He recorded the poem in this.

But what is particularly interesting is, was Han Zhenglun really wrong in reporting him? Not at all.

There are too many allusions used in this poem that most people cannot understand and need to be analyzed.

The word "driver" in the first sentence refers to the special car sent by the king to welcome the talented people recruited. However, later on, Laozi is used to compare this talented person, which is to insinuate that this talented person "rules by doing nothing" after becoming an official. .

In fact, it means doing nothing.

It's okay to do nothing, but later on he even "listens to Sheng's songs and supports Qi Luo", which shows that he is complicit in the same trend.

He is talking about Han Zhenglun.

Ning Lian is asking his disciples - Is this a time when the country can be at ease? Obviously not.

"Xiliang Ruyi" is an allusion from "Ji Yi Ji". The story tells that Emperor Xuanzong of the Tang Dynasty watched the lanterns one day and thought they were very beautiful, so he invited a Taoist priest to watch them with him.

The Taoist priest looked at it and said it looked good, similar to the lanterns in Xiliang today.

Xuanzong said, can you take me to see it? The Taoist said yes, so he asked him to close his eyes and took him over.

After a while, the Taoist priest asked him to open his eyes, and Xuanzong "saw shadow lamps stretching for dozens of miles, carriages and horses passing by, and ladies and gentlemen arguing."

The Taoist priest also took him to a restaurant to drink. Xuanzong didn't bring any money, so he left Tie Ruyi there.

Then the Taoist priest took him back and flew him back.

Xuanzong later sent envoys to Xiliang and found the Tie Ruyi.

Yue Ke's sentence was sarcastic to the core. It means you are inviting me to view the lanterns now. I admit that the lanterns are indeed beautiful, but what about our emperor? He was taken to Xiliang to view the lanterns, right?

We have been a "Southern Country" for nearly a hundred years. Shouldn't we be aware of this shame and rise up? Can we do something serious?

Further down, it is said that some people are lamenting and sympathizing with the Puliu that has difficulty experiencing autumn and winter. They feel resentment in their hearts, but they dare not cry; while some people have forgotten that filial piety must be fulfilled, and even the song "Polygonum" is not allowed to be sung. .

This is another allusion. "Xiaoya Polygonum" is a song in the "Book of Songs". It is named after "Polygonum and Polygonum". The singer hates himself not as much as the mugwort but as the loose grass.

This is associated with the hard work of parents, and vividly presents the grief of a filial son who cannot perform "filial piety";

This means that the disgrace of Jingkang led the two emperors to the north, but the new emperor here didn't care at all.

Not only did they not care, they even scrapped the poem "Polygonium", a poem about a filial son's grief for being unable to support his parents, and no one was allowed to sing it. No one dared to uphold the integrity of society and human relations!

The last sentence is easy to understand. It means that when I think of this, I am so worried that I can't sleep. However, compared with the singing and dancing of others, it seems extremely "lonely".

This clearly hurts my heart, so I am not unjust at all for being persecuted.

Moreover, Yue Ke seemed to have no idea of ​​repentance at all, so he secretly recorded this incident here, where there are postscripts by Zhao Ji and Cai Jing.

Didn't you let me write? I am writing here now and I asked your dad.

Old Zhao, is your son unfilial? Are the ministers of your descendants the same as your Grand Master Cai?!

Calligraphy is certainly good calligraphy, and Yue Ke is also a great calligrapher. This can be seen from his evaluation of Zhiyong and Mi Fu's calligraphy and the creation of the idiom "lifelike".

However, the content made Zhou Zhi shake his head. It was a matter of relief, but no one found it out at the time, otherwise no one would be able to save him.

Further on, there is Ouyang Xuan’s postscript.

Ouyang Xuan is a descendant of Ouyang Xiu, and he is as familiar with history as Ouyang Xiu.

Throughout his life, he "served as a Jun officer three times, served as a sacrificial wine for two times, entered the Hanlin Academy for six times, and paid homage to the imperial edict three times". He was often responsible for drafting various edicts.

Most of the imperial court's high-profile books were written by him. His articles and calligraphy were extremely famous. Together with Wu Cheng, Yu Ji, and Jiexisi, he was also known as the "Four Scholars of the Yuan Dynasty".

At that time, the famous mountains and rivers in the country, the palace of Shi Lao, and the monuments in the tombs of Wang Gong were all proud of his handwriting.

From the third year of Zhizheng, Ouyang Xuan began to serve as the chief executive of "History of the Song Dynasty", "History of the Liao Dynasty" and "History of the Jin Dynasty". The person who compiled the three histories was first the president of the capital, Right Prime Minister Tuotuo, and later Alla Arutu.

But in fact, the two of them were only in name, and the actual editing work was completed by Ouyang Xuan, Zhang Qiyan, Jiexisi and others, among which Ouyang Xuan played the greatest role.

Even the final contribution list was written by Ouyang Xuan. Later generations commented: "The three histories of Song, Liao and Jin were all revised by Yuan Tuotuo, and they were actually written by Ouyang Xuan."

When calligraphy came to Ouyang Xuan, it was considered that the calligraphy style of the Song Dynasty that showed individuality was continued and developed to the extreme. From then on, it was time for the Ming Dynasty to make a sudden change and return to the orthodox law, and the mainstream became restrained and reserved again.

The Palace Museum has Ouyang Xuan's calligraphy "Chunhuitang Ji" collected by Qianlong in Sanxi Hall. After comparing it with the color album and studying it, the fourth cousin believed that Ouyang Xuan's calligraphy on the scroll was authentic.

The written records of ancestors and descendants appear in the same calligraphy scroll. Both are masters of history, literature, and calligraphy in their respective eras. It is a rare sight, and they complement each other.

The content of Ouyang Xuan's postscript is more like a historical essay, with a discussion on the theme of friendship.

The friendship between my ancestors Ouyang Xiu and Shi Yannian was considered a deep one, and the same was true between Song Huizong and Cai Jing.

However, the difference is that one is a "virtuous friend" and the other is a "foolish and sycophantic couple".
Chapter completed!