The first song in Kyoto, no one to introduce, can only head into the liquor store. "There is no big house in Luoyang, and there is no master in Changan. The gold has not yet been sold out, but only for the poor wine family." People in the Tang Dynasty liked to drink wine, so the catering industry was especially developed. In metropolises like Luoyang and Chang'an, high-grade restaurants stood in abundance, and the wine feasts were extremely luxurious. In the metropolis at that time, there were many restaurants run by Hu people, where there were not only Hu wines, but also charming Hu ladies. He Chao vividly depicted the scene in "Gift to Hu Ladies in the Hotel": "Hu ladies in the spring hotel, the strings and pipes are clanging at night. A red, coarse serge is spread with the new moon, and a sable fur sits in the thin frost. The jade plate is chopped up with carp, and the golden tripod is cooking sheep. The guests were not dispersed, but listened to the songs and music of the world's mothers." In this prosperous city consumption, how much gold and silver mountains will be squandered net, that the streets of the prodigal son I do not know how many had been "silver saddle white horse degree spring wind", "laughing into the Hu Ji wine shop" of the five Ling young man.
The second song is the reason for the drunkenness: "I have been drinking for a long time now, and it's not about raising my spirit." These days, I drink more than once, and I am often drunk, but this has nothing to do with the pursuit of the inner "spirit". "Seeing that everyone is drunk, I can't bear to be awake alone!" These two lines are complementary to the previous two, explaining the reason for not "nourishing the spirit of nature" but "drinking in a stupor". On the surface, they seem to say that one's stupor and not waking up are just following the current, but in reality, the meaning is just the opposite. The words "to see" and "to bear" show the pain and helplessness. From the drunkenness of the people, the strong sense of the words of drunkenness, burst out "the world is so muddy, can not talk to the Zhuang language" indignation and dissatisfaction. Literally, Qu Yuan said, "The world is all turbid, I am only clear; the world is all drunk, I am only awake." (Chu Rhetoric - The Fisherman's Father), and the former "Why can't I bear it?" strengthens the intensity of the tone, reflecting a sense of sobriety that is "high in feeling and superior in spirit, and a step ahead of the times" (Xin Yuanfang, "Biography of a Tang Talented Man - Wang Jie"). Wang Jie is in the end of the Sui dynasty at the time of chaos, in the Sui Emperor Yang Daye (605-618) years, "not happy in the court" for the secretary of the province of the word, seeking for the six chancellors, witnessed "jackals and wolves stuffed Qu Road" reality, that is, with the salary of the money, the accumulation of the county door, abandoned the official to return to their hometowns, to go and sighed and said: "Nets in the sky, I and peace!" This "I'm a dry rut fish" fear of danger, it is from the people in the world of all drunkenness and chaos in the country will be defeated in the premonition of the pain of the skin. Therefore, not being able to stay awake alone implies the conflicting feelings of seeking drunkenness, which is a language of recluse and indignation. The poem is very much in line with the tone of a person who has been "drinking for a long time", speaking out of his mouth without thinking, seemingly open-minded, and a piece of bitterness, with the help of the five stanzas to promote the tone of the poem, it is more obvious. It is different from the light and colorful palace style poems that were widely practiced at the end of Sui Dynasty, and also different from the remaining habits of the Six Dynasties in the early Tang Dynasty that were popular and gaudy, and the simple and unassuming style is very different from that of the times, "like a luan and phoenix flying together, suddenly meeting a wild deer, which is exactly something that cannot be found often." (Weng Fangzang's Shizhou Poetry)
The third poem: "The bamboo leaves are even worse than the green, the grapes are red. We meet each other, but we don't want to be empty after we leave each other." To this effect: Hu wine is mostly colored wine, and its attractive color can arouse people's rich association and imagination, which can be associated with the green bamboo leaves, or imagine that it is the dancer's green robe; it can be associated with the sweet grapes, or imagine that it is the dancer's sweet red lips. This kind of wine should be shared with friends, and I don't know where I can drink it after parting, and even if I can drink it, it's not interesting to drink it alone.
The fourth song: "I know how to drink wine, but I don't want to hold on to it when I meet people. I can sleep when I lean on the stove, and I can sleep when I cross the urn." The idea is: Drinking is all about having a good time and not forcing others. Drinkers were free to drink as much as they wanted and as much as they wanted. When you are drunk, lie down in the wine shop and rest, or put down the wine urn, get into the wine urn and sleep, and continue to drink wine in your dreams.
The last song: "A guest must be taught to drink, no money can not sell. When I came to buy, I was ashamed to buy wine." To this effect: people live, just for this face, friends get together, must ask him to get drunk. However, you must not forget to bring money, not on credit, and bring enough silver to drink. Wang Ji can be said to be the first drunkard in the Tang Dynasty.