京剧《法门寺》中的贾桂,是一个奴性颇足而不觉悟的人物,别人让他坐,他不坐,回答说:“站惯了。”人们由此概括出一个所谓“贾桂精神”,在五十、六十年代常常被批判,其用意无非是说:在阳光普照的新中国,劳动群众是国家的主人,应该扬眉吐气,敢想敢干,不要再象旧社会处于受奴役地位那样,低声下气,萎靡不振。近十来年,“贾桂精神”没人言了。不知什么缘由,近来我突然又想到了它。在历史上,贾桂是确有其人的,他是明代宦官刘谨手下的太监,属于一个狐假虎威类型的奴才。对此,没有什么兴味。我 Jiagui in the Peking Opera “Famen Temple” is a figure of servility rather than enlightenment. When someone else lets him sit, he does not sit and replies: “People are used to it.” People have thus summed up a so-called “spirit of Jia Gui ”Was often criticized in the 1950s and 1960s. Its purpose is simply to say that in the sunny New China, the working masses are the masters of the country. They should be proud of themselves and dare to think hard and do not want to be enslaved to the old society That way, whispered, malaise. Nearly ten years, “Jia Gui Spirit” nobody said. I do not know what reason, I suddenly thought of it recently. Historically, Jia Gui was indeed a man of his own. He was an eunuch under Liu Ming, a Ming eunuch, and belonged to a fox genre. In this regard, no interest. I