Untitled
Author: Li Shangyin Era: Tang Dynasty Genre: Qilu Category: Girlfriend
It is difficult to say goodbye when we meet, the east wind is powerless and the flowers are withered.
Spring silkworms will not run out of silk until they die, and wax torches will not dry until they turn to ashes.
When you look into the mirror at dawn, you are worried about the clouds on your temples. When you sing at night, you should feel the cold moonlight.
There is not much way to get to Pengshan, and the blue bird is diligent in visiting.
Notes:
1. Untitled: Since the Tang Dynasty, some poets often use "Untitled" as the title of their poems when they are unwilling to indicate a title that can express the theme.
2. Silk Fangjin: Silk is a homophonic word for "si". "Si Fangjin" means that longing will not end until you die.
3. Tears begin to dry: Tears refer to the candle oil when burning. This is a pun, referring to the tears of lovesickness.
4． Xiaojing: dressing up and looking in the mirror in the morning; Yunyan: a woman’s abundant and beautiful hair, which is a metaphor for youth.
5. Pengshan: Penglai Mountain, the legendary fairy mountain on the sea, is a metaphor for the place where those who are missed live.
6． Blue Bird: The messenger who delivers messages to the Queen Mother of the West in mythology.
Appreciation: This is the most famous of the poet's many poems titled "Untitled". The entire poem
The content of the poem revolves around the first sentence, especially the three words "It is also difficult to say goodbye". "East wind" ends the season, but it is also a metaphor for people's lovesickness. Because of the lingering emotions, people are like spring flowers that wither in late spring and lose their vitality
. The third and fourth sentences are a portrayal of mutual loyalty and eternal alliance. The fifth and sixth sentences respectively describe the melancholy and resentment of the two people because they can't meet each other, feel cold and even lose their appearance. The only thing we can hope for is the idea in sentences 7 and 8: I hope the bluebird will convey lovesickness again and again.
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Untitled
Author: Li Shangyin Year: Tang Genre: Five Ancients Category: Unknown
Eight-year-old secretly looked into the mirror, growing up Eyebrows can be drawn.
When I was ten years old, I went on an outing with hibiscus as my skirt.
Twelve years of learning to play the zither, the silver armor has never been removed.
Fourteen have hidden six relatives, but they still haven’t married yet.
Weeping in the spring breeze on the fifteenth day, the swing falls on the back.
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Two Untitled Poems
Author: Li Shangyin Year: Tang Genre: Qilu Category: Unknown
Phoenix Tail Fragrant Luo Bo Ji Heavy, Biwen dome cracks late at night.
Shan Caiyue is so embarrassed that she can't hide her shame. The car is driving away and the sound of thunder makes no sense.
It used to be lonely, golden embers dark, no news, pomegranate red.
The spots are only tied to the weeping poplar bank, where can we wait for good winds in the southwest?
The heavy curtains are deep in the Mochou Hall. After lying down, the night is long and thin.
The career of a goddess is just a dream, and my sister-in-law has no husband at all.
The wind and waves don’t believe that the water chestnut branches are weak. Who can teach the moon dew that the osmanthus leaves are fragrant.
It’s useless to be longing for lovesickness, but it’s just pure madness to feel melancholy.
Notes:
Mochou: refers to young girls in general. An allusion comes from Liang Xiaoyan's "Song of Water in the River": "The water in the river flows eastward, and the daughter of Luoyang is named Mochou."
Brief analysis:
The first poem seems to be written A woman is thinking about her loved one. I wrote that I couldn't sleep late at night and was still sewing tents, and recalled the scene I met by chance at that time. I write about my longing and melancholy, looking forward to meeting again if I have the chance. It can also be explained from a male's perspective by imitating the female side. The second poem describes the scene of a girl who wakes up and savors her dream. She feels that she is lost and feels sad. It also expresses her willingness to suffer for love and her determination to pursue happiness.
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Li Shangyin The seven-character untitled poem is the most mature in art and best represents the unique artistic style of his untitled poems. These two seven-rhythm poems are untitled, and their content expresses the resentment of young women who are frustrated in love and the anguish of hopeless lovesickness. Both of them use the heroine's way of reminiscing about the past late at night. Therefore, the heroine's psychological monologue constitutes the main body of the poem. Her life experience and certain specific events in her love life are expressed implicitly or explicitly through reminiscences.
The first couplet begins with the heroine sewing a tent late at night. Fengweixiangluo is a kind of thin cloth woven with phoenix patterns; Biwen dome refers to a dome tent with blue and green patterns. Li Shangyin pays special attention to hints when writing poems. Even the couplets of rhymed poems are often unwilling to be too obvious and direct, leaving some content for readers to explore and understand. Like this couplet, it only describes what the protagonist does in the middle of the night, without revealing what it means. Even the gender and identity of the protagonist are not clearly explained. From the words "Phoenix Xiangluo", "Biwen Dome" and the actions of "Deep Night Seam", we can infer that the protagonist is probably a secluded woman living alone in a boudoir. The tent is often used as a symbol of harmony between men and women in ancient poetry. The heroine, who was quietly sewing tents in the long lonely night, was probably immersed in reminiscing about the past and looking forward to the reunion.
The following is a memory of the heroine, which is about an accidental encounter between her and the person she likes - "Shan Caiyue was so embarrassed that she couldn't hide her shame, and the car was driving and the thunder made no words." The other person drove past in a hurry. , because he was shy, he covered his face with a fan, and even though they met, they didn't even exchange a word with each other. Judging from the contextual description, this encounter does not seem to be the first encounter, but the last meeting before "no news". Otherwise, it would be impossible to sew tents late at night in anticipation of rendezvous. Because it was the last time we met without speaking to each other, looking back on the past today after not hearing from each other for a long time, I feel more and more regretful about losing that opportunity, and the scene of that encounter becomes more clear and profound in my memory. middle. Therefore, this couplet not only depicts an unforgettable episode in the heroine's love life, but also expresses her complex psychology of regret, melancholy and affectionate recollection of the past in a tortuous way. There is a big jump in the plot between Qi Lian and Qi Lian, and many romantic events before the last meeting (such as how she met and fell in love with the other person, etc.) are omitted.
The neck couplet describes the loneliness of lovesickness after farewell. Unlike the first couplet, which uses a dramatic fragment to express momentary emotions, this couplet uses the artistic technique of blending scenes to summarize life and feelings over a longer period of time, with a richer lyrical atmosphere and symbolic hints. . The two sentences mean that since that hasty encounter, there has been no news from the other party. How many times have I spent lonely sleepless nights alone with the dimming lamp? Now is the season of red pomegranates. "The wax torch turns to ashes before the tears dry up", "Every inch of lovesickness is an inch of ashes", the dim residual lamp not only exaggerates the lonely atmosphere of the long night, but also seems to be the externalization and symbol of the heroine's hopeless lovesickness. The season of red pomegranates, spring has passed. In the lonely expectation, what the pomegranate red brought to her might be the melancholy and sadness of fleeting time and wasted youth, right? "Golden embers dark" and "pomegranate red" seem to dye the scenery inadvertently, but contain rich emotional connotations. To use the expressive techniques of symbolic suggestion so naturally and exquisitely without revealing any trace is indeed a sign of artistic proficiency.
The last couplet still brings up affectionate expectations. The sentence "Ban Zui" implicitly uses the meaning of the sentence "Lu Lang rides Ban Zui... looking at the door without wanting to return" in Yuefu's "Shenxian Song·Mingxia Tongqu", which probably implies that the person she has missed for a long time is actually not far away from her. , maybe we are on the shore of Ma Chuiyang at this moment, but we are so far away that we have no chance to meet. The last sentence uses the poetic meaning of "May the southwest wind pass away into your arms forever" from Cao Zhi's "Seven Sorrows", hoping that a good wind will blow you to the other person. Most of Li Shangyin's excellent love poems describe the pain of lovesickness and the difficulty of reuniting, but even hopeless love is always run through a kind of persistent pursuit, a kind of "spring silkworm will not run out until it dies. The sincere and deep feelings of "the wax torch turns to ashes and the tears begin to dry". Hope burns in loneliness, and it is this emotion that we feel in this poem. This is an important difference between his excellent love poems and those erotic poems that lack deep emotions. It is also an important reason why these poems can still move people today, although they bear the imprint of the times and classes to varying degrees.
Compared with the first song, the second song focuses more on describing the heroine’s life experience, and the writing method is more general. Let’s put aside the specific situation at the beginning and start from the environment and atmosphere where the heroine lives. The curtains were hung deeply, and the deep room was enveloped in the silence of late night. The heroine, who is alone in a secluded room, thinks about her life experience, tossing and turning, feeling the length of the quiet night. Although there is no positive description of the heroine's psychological state here, through this quiet and lonely environment, we can almost touch the heroine's inner world and feel that there is an unknown layer of mystery filling the room with deep curtains. Resentment.
The chin couplet then writes the heroine’s review of her love encounter. The first sentence uses the story of Wushan Goddess dreaming of meeting the King of Chu, and the second sentence uses Yuefu's "Shenxian Song Qingxi Sister-in-law's Song": "My sister-in-law lives alone and has no husband." It means that recalling the past is like the Wushan Goddess in love. In that way, I had my own fantasies and pursuits, but in the end it was just a fantasy; until now, I am still just like Aunt Qingxi, living alone with no one and no support for her whole life. Although this couplet uses two allusions, there is almost no trace of the allusions, and it has truly reached the point where the allusions are made as if they were written by themselves. In particular, although it is written in a very general way, it is not abstract, because the myths and legends contained in these two allusions can arouse the readers' rich imagination and associations. The words "original" and "ben" in the two sentences are quite interesting. The former implies that she not only pursued love, but also had a brief encounter, but it turned out to be a fantasy, so it was said to be "originally a dream"; the latter seems to imply that although she still lives alone without a husband, she has no husband. However, people are quite talking about her, so saying "I have no husband" seems to contain some self-justification. However, the two meanings mentioned above are both written in a vague way, and it is difficult to find them without careful consideration of body odor.
The neck couplet changes from an unfortunate love experience to an unfortunate life experience. This couplet uses two metaphors: he is like a weak rhombus branch, but it is destroyed by the storm; and he is like a osmanthus leaf with fragrant beauty, but without the moisture of moon dew to make it fragrant. The meaning of this couplet is relatively obscure. It seems to imply that the heroine has been devastated by evil forces in life on the one hand, but on the other hand she does not receive the sympathy and help she deserves.
"Unbelief" means clearly knowing that the water chestnut branches are weak and yet they are destroyed, seeing the violence of "turbulence"; "Who taught" means knowing that the osmanthus leaves should be nourished but not doing so, seeing the ruthlessness of "moon dew". The words are tactful, but the meaning is very sad.
The encounter in love is like a dream, and the life experience is so unfortunate, but the heroine has not given up the pursuit of love - "There is no use in thinking about lovesickness, but it is just madness to be melancholy." Even if lovesickness is completely useless, You might as well be infatuated and melancholy for the rest of your life. It is conceivable that he still perseveres in his unswerving pursuit despite being almost disillusioned, and his unforgettable love-sickness is unforgettable.
Since the mid-Tang Dynasty, poems with love and erotic themes have gradually increased. The common characteristics of this type of works are that they have more narrative elements, a stronger plot, and the description of characters and scenes is quite detailed. Li Shangyin's love poems take lyricism as the main body, focusing on describing the protagonist's subjective feelings and psychological activities, and expressing their rich and complex inner world. In order to enhance the image and vividness of lyricism, it is often necessary to weave certain plot fragments into the poem and incorporate certain narrative elements into the lyricism. This greatly increases the content density of the poem, forming a contradiction between the short system and the rich content. In order to overcome this contradiction, he had to greatly strengthen the jumping between verses, and use metaphors, symbols, associations and other techniques to enhance the suggestiveness of the poems. This is an important reason why his love poetry is not very obvious and difficult to read. But precisely because of this, his love poems often have the characteristics and advantages of implicitness, profound artistic conception, and delicate writing, and can withstand repeated chewing and exploration.
Whether the untitled poem has any sustenance is a complicated question. It is completely against the laws of artistic creation to separate from the overall artistic image of poetry, grasp fragments of it, attach it to some specific people and events in real life, and make a guessing explanation. Like Feng Hao, he interpreted "Cuiyang An" in the first sentence of "Fengwei" as "Yu Liu" (referring to the poet's master Liu Zhongying), and "Southwest" as "Sichuan", thus making this The two poems are said to be composed by the poet "who is about to go to Dongchuan, where he will bid farewell to Linghu and stay overnight, and then compose tragic songs." This is a typical example of the connotation. But this does not prevent us from starting from the overall poetic image, connecting the poet's life experience and other works, distinguishing different situations, and exploring this aspect of some of the untitled poems. Looking at these two untitled poems, the poem "Chongwei" focuses on the heroine's miserable life experience of being dreamlike, helpless, and devastated. The writing style is ethereal and general, and the meaning is beyond the words. It may contain or penetrate the author himself. sense of life experience. Readers who are familiar with the author's life experience can easily understand from the couplet "Goddess" that the poet felt deep and endless regret when looking back on the past. The couplet "Trouble", if simply describing a woman's misfortune, seems out of context; but when understood from the perspective of Bixing's sustenance, it is easier to understand. The author's status is low, with "no strong people internally and no external support" ("Essentials to the Sisters of the Xu Family"). Not only did he not receive strong support in his official career, but he was suppressed by the forces of cliques. Moisturizing without moon dew. In a poem "Deep Palace", which expresses his resentment about the palace, he said: "The mad rush does not care about the thinness of the radish shade, but the clear dew only knows the thick osmanthus leaves." The analogy is similar to the two sentences of "Fengbo" (but "clear dew" "The sentence and the sentence "Moon Dew" have the opposite meaning), which also proves that the two sentences "Feng Bo" do have sustenance. He Zhuo said that this untitled song "exposes the true meaning of self-inflicted harm", which is more realistic. Compared with the "Chongwei" poem, the traces of sustenance in the "Phoenix Wei" poem are not very obvious, because the poem describes certain specific events in the heroine's love life in great detail (such as the couplet "The Fan Cuts the Soul of the Moon") , the realistic characteristics are more prominent. But regardless of whether these two untitled poems have sustenance or not, they are first and foremost successful love poems. Even if we read them entirely as love poems, it does not reduce their artistic value.
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Two untitled poems
Author: Li Shangyin Era: Tang Genre: Qilu Category: Unknown
What comes is empty words and disappears without a trace, the moon is tilting upstairs at five o'clock.
The dream is far away and it is difficult to recall it, and the book is hastened to become ink.
The wax illuminates the half cage of golden jade, and the musk smoke slightly embroiders the hibiscus.
Liu Lang already hated Pengshan for being so far away, and even more so because he was separated by 10,000 layers of Pengshan.
A rustling east wind and drizzle came, and there was light thunder outside Furong Pond.
The golden toad gnaws at the lock to burn incense, and the jade tiger pulls the thread back to the well.
Mr. Jia peeked behind the curtain, Young Master Han, while Concubine Mi stayed on the pillow of King Wei.
In the heart of spring, don’t let flowers bloom, every inch of lovesickness and every inch of gray.
Notes:
Liu Lang, it is said that in the fifth year of Yongping reign of Emperor Ming of the Eastern Han Dynasty, Liu Chen and Ruan Zhao went to the mountains to collect herbs. They met two women and invited them to stay for half a year. Also, later generations used it as a metaphor for romantic encounters. Pengshan, Penglai Mountain, generally refers to fairyland. Han Shou, a native of Jin, was a subordinate of Sikong Jia Chong. Whenever Chong had gatherings at home, Jia's daughter peeped out of the window and saw her beauty and fell in love with him. Concubine Mi left a pillow: Cao Zhi's "Ode to the Goddess of Luo: Preface": "In the third year of the first year of Huang Chu, he served as the capital of the imperial court and returned to Luochuan. The ancients said that the god of water was named Concubine Mi. I feel Song Yu's love for the goddess of the King of Chu "When I was passing through Luoshui, I suddenly saw a woman coming and presented me with a pillow. Concubine Mi, the legendary daughter of the Fuxi family.
Brief analysis:
The first poem is a love poem, which writes about the longing after separation from the lover. I woke up from the sweet dream and felt lost. I recalled the parting scene in my dream and wrote to her in a hurry.
From the allusion borrowed from Liu Lang, it is obvious that it will be almost impossible to meet again in the future. The second poem is also a love poem, but it is more obscure, deep and painful. The last two lines are the best lines of all time and make people scream.
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Untitled
Author: Li Shangyin Era: Tang Genre: Qilu Category: Unknown
Last Night Stars Last Night Wind, Painting House To the west is Guitang to the east.
I don’t have the wings of a colorful phoenix, but I have a clear mind.
Gouchun wine is given to every other seat to warm it up, and the wax-covered lamps are red.
I listened to the drum and went to answer the official question, walking around Malantai and turning around.
Notes:
1. Painting building and Guitang: both are metaphors for the houses of wealthy people.
2. Lingxi: It is said that rhinoceros has magical powers. There are white lines in the horns like lines, which go straight to both ends.
3. Delivery hook: also called hidden hook. A game played in ancient times, in which the winner is divided into two. After transferring the hooks to each other, they hide them in one person's hand, which makes people guess.
4. Divide: group.
5. Shooting: There are things placed under the covering that make people guess. "Dividing Cao" and "shooting over" are not necessarily actual references, but are just metaphors for the excitement of a banquet.
6. Drum: refers to the drum.
7. Ying Guan: Still at work.
8. Lantai: The Secretary Province, in charge of books and secrets. Li Shangyin once served as secretary of the provincial government. Literally, this sentence refers to riding a horse to Lantai after attending a banquet, which is similar to the flying of the grass, but in fact it also implies self-harm and wandering.
Rhyme translation:
The stars were shining brightly last night, but there was a cool breeze in the middle of the night;
Our banquet was held on the west bank of the painting building and east of Guitang.
There are no colorful phoenix wings on the body, so they cannot fly together;
But the heart is like a consonance, and the emotions are closely connected.
Guess hooks and play with each other, and drink spring wine across the seats to warm the heart;
Group into groups to make wine orders, and decide the winner by the red candlelight.
Sigh, when you hear the Wu Geng drum, you should go up to the court to light the drum;
He rushes to Lantai, like basil fluttering in the wind.
Commentary: There have always been different views on the so-called "untitled" poems: some people think they should be allegorical, while others think they are all written by talents
Judging from Li Shangyin's "untitled" poems, they all seem to be about erotic love. They actually have something to say, but it's just inconvenient to say it. This poem is a recollection of an erotic scene encountered. First, write about the time and place of the banquet; then write about the physical separation and the connection of human feelings; then write about the lingering affection of the encounter; and finally write about the regret after parting. Gorgeous but not obscene, sincere but not crazy.
--Quoted from "Chaochunzhai Poetry" bookbest.163.net Translation and analysis: Liu Jianxun
Note:
Sending hooks, a part of ancient banquets A game in which the hook is passed around secretly and people guess whose hand it is. If they fail to guess, they will be fined with alcohol. Shefu is an ancient game in which something is covered under a vessel to make people guess. Lantai, the Secretary of the Ministry, was in charge of books and secret books. At that time, Li Shangyin was the Secretary of the Ministry of Zhengzi.
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Four Untitled Poems
Author: Li Shangyin Year: Tang Genre: Qilu Category: Unknown
(Part 1)
I came with empty words and left without a trace,
The moon is slanting upstairs at five o'clock.
The dream is far away and it is difficult to recall it,
The book is hastened to become ink.
The wax shines on the half cage of golden jade,
The hibiscus is slightly embroidered with musk smoke.
Liu Lang already hated that Pengshan was far away,
it was even more separated by ten thousand layers of Pengshan.
(Part 2)
A rustling east wind and drizzle are coming,
There is light thunder outside Furong Pond.
The golden toad gnaws at the lock and burns incense,
The jade tiger pulls the thread back to the well.
Mr. Jia peeked behind the curtain, Young Master Han,
Concubine Mi stayed with Wang Cai of Wei.
Don’t let flowers bloom in the heart of spring,
One inch of lovesickness and one inch of gray.
(Part 4)
Where mourning kites are handled urgently,
The cherry blossoms are always on the alley and the poplars are hanging on the banks.
The old daughter of the owner is not for sale,
It is three months and a half on that day.
Princess Liyang is fourteen years old.
After the Qingming Festival, we watch from the same wall.
The show turned to the fifth watch after the return,
The swallows in Liangjian sighed after hearing this.
Brother Wang and his colleagues were visiting each other, and when they saw him having a drink, they expressed their condolences as his death was approaching.
He did not go because he was sending it.
Xie Fumenting’s old career ended,
The current singing pipe belongs to Tanlang.
There is no one around and the curtains are hanging to the floor.
When I want to dust the bed, the mat is on the bed.
The young boy of the Ji family is still pitiable.
How can we hope for the beautiful daughter of the Zuo family?
It’s hard to get rid of all the worries and abdominal ailments,
The west wind is blowing thousands of miles and the night is long.