Li shangyin
Lingluo of Pteris, thin; Never put off till tomorrow what you can, I chased it late into the night.
It's too late to cover up the encounter with a fan; But you drove by, speechless.
Once lonely and sleepless, I missed candles; But I haven't heard from you until the pomegranate blossoms.
I will tie my horse to a willow tree by the river, where will I stay in the southwest?
The curtains were drawn deeply, and I was in Mochow's house. Sleeping alone makes the night even longer.
The Wushan goddess of Chu was originally a dream; Qingxi is the residence of my sister-in-law, and there is no lang here.
Storms make nut horns ecstasy, and the moon dew sweetens cinnamon leaves?
Although fully aware of lovesickness, there is no good health; I am infatuated with it to the end and fall in love for life.
Li Shangyin's Seven Laws Untitled is the most mature in art, which can best represent the unique artistic style of his untitled poems. These two poems are both untitled, and both express the bitterness of young women's frustrated love and the hopeless depression of lovesickness, and both adopt the way that the heroine recalls the past late at night. Therefore, the heroine's psychological monologue constitutes the main body of the poem. Her life experience and some specific events in her love life are expressed through memories, either implicitly or explicitly.
The first song, the heroine sews the bill late at night. Phoenix-tailed fragrant Luo is a thin Luo woven with phoenix patterns; Biwen dome refers to the dome with blue patterns. Li Shangyin pays special attention to hints in his poems, and even in the connection of metrical poems, he is often reluctant to write too clearly and directly, leaving some content for readers to appreciate. Like this couplet, it only writes what the protagonist does in the middle of the night, without revealing what it means, and even the gender and identity of the protagonist are not explained clearly. We can infer from the literal meaning of "phoenix tail" and "Biwen dome" and the action of "night sewing" that the protagonist is probably a quiet and lonely boudoir woman. In ancient poetry, Luo Zhang was often used as a symbol of good cooperation between men and women. Quietly sewing Luo Zhang's heroine on a lonely night is probably immersed in reminiscence of the past and deep expectation of meeting each other.
The following is the memory of the heroine, the content of which is an accidental meeting between her and the right person-"Will your shy face stare at a moon-shaped fan, and will your voice drown out the rattle of my carriage?" "The other person drove by in a hurry and covered his face with a round fan because of shyness. Although he met, he didn't say a word From the context, this meeting is not like the first meeting, but the last meeting before "no news". Otherwise, it is impossible to sew Luo Zhang late at night and look forward to meeting you. Just because it was the last unspoken meeting, it reminded me of the past when I didn't hear from each other for a long time, and I felt more and more sorry for losing that opportunity, and the scene of that meeting was more clear and profound in my memory. Therefore, this couplet not only depicts an unforgettable episode in the heroine's love life, but also expresses her complex psychology of regret, disappointment and affection when recalling the past. There is a great leap in the plot between couplets, and there are many things before the last meeting (such as how she met and fell in love with each other, etc.) ) all omitted.
Write down the loneliness of lovesickness after bidding farewell to the neckline. Unlike "Part One", which expresses instant feelings through dramatic fragments, this couplet generally describes life and feelings for a long period of time through the artistic technique of scene blending, which has a stronger lyrical atmosphere and symbolic meaning. In a word, I haven't heard from you since that hasty meeting. How many times have I spent a lonely sleepless night alone with the fading lamp? Now it is the season of pomegranate bloom. "Every night, the candle will cry and put out the wick." "Even this bright fire of love will only have ashes?" The dim residual lamp not only exaggerates the lonely atmosphere in the long night, but also seems to be the externalization and symbol of the heroine's hopelessness. In the season when pomegranate flowers are in full bloom, spring has passed. In the lonely expectation, pomegranate bonus may bring her fleeting disappointment and sadness of wasting her youth. "Dark gold embers" and "pomegranate red" seem to inadvertently dye the scenery, but they contain rich emotional connotations. It is indeed a sign of artistic perfection to use the expressive technique of symbolic suggestion so naturally and skillfully without revealing traces.
The end of the couplet is still affectionate expectation. The sentence of "embellishment" implicitly uses the sentence of "Lu Lang embellishment" ... and doesn't want to go home. "In Yuefu's Children's Songs of the Fairy and the Chivalrous Man, it probably implies that the right person she has been missing for a long time is not far away from her. Maybe she is on the shore of Ma Chuiyang at the moment, but she is too far away to meet each other. The last sentence of Cao Zhi's "Seven Sorrow" is very poetic, "I wish to be a southwest wind and die in your arms", hoping that a good wind will blow me to the other side. Most of Li Shangyin's excellent love poems are about the pain of lovesickness and the difficulty of meeting, but even hopeless love always runs through a persistent pursuit and a sincere and affectionate "spring silkworms die, and the candle at night is all wick". Hope burns in loneliness, which is what we feel in this poem. This is an important difference between his excellent love poems and those colorful poems that lack deep feelings, and it is also an important reason why these poems can still impress people even if they are branded with the times and class to varying degrees.
Compared with the first song, the second song focuses more on describing the heroine's life experience and feelings, and the writing is more general. From the beginning, put aside the specific situation and write from the environment and atmosphere in which the heroine lives. Curtains are hung deeply, and the silent room is shrouded in silence at night. The heroine, alone in a quiet room, thinks about life, tossing and turning, and feels that the quiet night is long. Although there is no positive description of the heroine's psychological state here, we can almost touch the heroine's inner world through this quiet and lonely environment and feel that the room with deep curtains is filled with a layer of nameless bitterness.
Zhuanlian went on to write the heroine's review of her love experience. The first sentence of Wushan Goddess dreamed of meeting the King of Chu, and the next sentence used Yuefu's "Fairy Song Qingxi Sister-in-law Song": "Sister-in-law lives alone and has no lang." In retrospect, although I had my own fantasies and pursuits in love, like the goddess Wushan, it was only a dream in the end; Until now, just like sister-in-law Qingxi, Lang has no one to live on. Although this couplet uses two allusions, it hardly makes people feel the traces of useful classics, and really reaches the level of taking the classics as their own. In particular, although it is very general, it is not abstract, because the myths and legends contained in these two allusions can arouse readers' rich imagination and association. The words "original" and "original" in the two sentences are quite obvious. The former implies that she had not only pursued in love, but also met briefly, but they all became dreams in the end, so she said "it was a dream"; The latter seems to imply that although she still lives a life without any support, people talk a lot about her, so saying "no lang" seems to contain some meaning of self-defense. But the two meanings mentioned above are vague, and it is not easy to find body odor without careful consideration.
The necklace changed from an unfortunate love experience to an unfortunate life experience. This couplet uses two metaphors: it is like a weak diamond branch, but it is partially destroyed by the storm; It is also like a fragrant and beautiful laurel leaf, but there is no moon dew to nourish it. The implication of this couplet is obscure, which seems to imply that the heroine is destroyed by the evil forces in her life on the one hand, and she can't get the sympathy and help she deserves on the other. "Unbelief" refers to the destruction of rhombic branches because they know that they are weak, and the fierceness of "storm"; Who teaches could have moistened the laurel leaves, but it didn't. See the ruthlessness of Moon Dew. The wording is euphemistic, but the meaning is extremely painful.
Love and dreams meet, life experience is so unfortunate, but the heroine has not given up the pursuit of love-"I know this kind of love will not have any result, but it can comfort my soul!" "Even if lovesickness is completely useless, you might as well be infatuated and disappointed for a lifetime. In the case of near disillusionment, we still insist on pursuing, and the unforgettable "acacia" can be imagined.
Since the middle Tang Dynasty, poems describing love and pornography have gradually increased. This kind of works are characterized by more narrative elements, stronger plots and detailed descriptions of characters and scenes. Li Shangyin's love poems, on the other hand, focus on the subjective feelings and psychological activities of the protagonist and show her (his) rich and complicated inner world. In order to strengthen the vividness and vividness of lyricism, it is often necessary to weave some plot fragments into poems and incorporate certain narrative elements into lyricism. This greatly increases the content density of poetry, forming a contradiction between short system and rich content. In order to overcome this contradiction, he had to greatly strengthen the leap between poems, and use metaphor, symbol, association and other means to strengthen the suggestibility of poems. This is an important reason why his love poems are not obvious and difficult to read. But because of this, his love poems often have the characteristics and advantages of profound meaning, profound artistic conception and delicate writing, which can stand repeated chewing and playing.
Whether untitled poems are entrusted or not is a complicated problem. It is completely against the law of artistic creation to leave the overall artistic image of poetry, grasp a few words in it, and add some concrete people in real life to make a speculative explanation. Feng Hao, for example, interprets "Chuiyang Temple" at the beginning of "Feng Wei" as "Liu Yushi" (referring to Liu Zhongying, the poet's curtain master) and "Southwest" as "Shu land", thus saying that these two poems are the poet's "Go to Dongchuan, go there, spend the night, have an elegy", that is, to wear a chisel. But this does not prevent us from starting from the overall image of poetry, linking the poet's life experience with other works, distinguishing different situations, and discussing some untitled poems in this respect. As far as these two untitled poems are concerned, the first chapter of Chongwei focuses on the tragic life experience of the heroine, which is dreamlike, helpless and devastated. The brushwork is ethereal, and the meaning is beyond words, which may contain or permeate the author's own sense of life experience. Readers who are familiar with the author's life experience can easily appreciate the poet's infinite disappointment in reviewing the past. The connection between The Storm, such as simply writing about women's sufferings, seems irrelevant; However, from the perspective of metaphor and sustenance, it is easy to understand. The author's position is humble, "there is no strong proximity inside, and there is nothing to rely on outside" ("Sacrifice to Sister Xu"). Not only did he not encounter strong assistance in his official career, but he was destroyed by factional forces. Therefore, he was destroyed by the storm, and the laurel leaves were not moistened by the moon dew. He said in a poem "Deep Palace" expressing his resentment against the palace: "I don't hesitate to be thin in shade, but I know that laurel leaves are thicker than dew." The metaphor is similar to "storm" (only the meaning of "clear dew" is just the opposite of "moon dew"), which can also prove that "storm" is indeed entrusted. He Chao said that this untitled song "Tell the Truth" is more realistic. Compared with the poem Chongwei, the trace of the poem Fengwei is not obvious, because some specific situations in the heroine's love life are described in detail in the poem (such as Fan Jianyue), and the characteristics of realism are more prominent. But whether these two untitled poems are excuses or not, they are first and foremost successful love poems. Even if we read them completely as love poems, their artistic value will not be reduced.