They come with empty words and leave without a trace. The moon is slanting upstairs at five o'clock.
The dream is far away and it is difficult to cry out, 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 that Pengshan was far away, and even more so, it was ten thousand layers away from Pengshan.
Reading Li Shangyin's untitled poem, it seems that the poet lives in love forever, whether it is the warmth of two lovers, the tacit understanding of the heart, or the pain of persistent lovesickness, the sorrow and sadness of frustration, he His poetry has never stopped praising love. The poet's unique artistic sensitivity and aesthetic perspective were formed by tirelessly writing about gender situations.
This untitled song is about the painful yearning for a beloved woman who is far away from home. There are four original poems, this is the first. The protagonist in the poem is honest and passionate. Once he falls in love, he will cherish it all day long. Even if the sky is far apart, the rain and wind erosion of the years will never be able to erase the longing in his heart, and even the longing in his heart will turn into a dream, and he will feel sad and frightened. The whole poem was written from a dream, with "dream" leading to "emotion", expressing the fullness of missing love, sad and miserable love and hatred.
He clearly remembered that when they parted, he had made an appointment to meet here. Now it seems that it was just an empty promise. Since she left, there has been no trace of her, and she has never been seen again. . Thinking about it, one can't help but feel despair in the misery, and despair also contains a faint expectation. In suspense, he gradually fell into a dream. She came and drifted over; when he looked closely, he left again without a trace. I woke up again in despair, and after careful analysis, everything was disillusioned. In the haze, I could see a dim yellow slanting moon shining on the lonely pavilion, and the clear and empty dawn bell sounded in the distance. These two lines of poetry are like a dream but not a dream, not a dream but like a dream. They use the combination of virtuality and reality to create a realm of emptiness and illusion, inside and outside the dream. The first sentence is a hopeless sigh, and it is like a scene in a dream; while the second sentence is about the situation after waking up from a dream, just like Zhang Bi's "There is only the moon in the spring garden, and it is like a falling flower for someone who has left." ("Sending People") ), a feeling of loneliness and emptiness. In this way, it reflects the illusion of the first sentence and emphasizes the miserable and hopeless feeling of "coming with empty words and leaving with no trace."
The dream is vague, the dream is sparse, and the things in the dream are even more unforgettable in the loneliness and sadness. Cen Shen once wrote a poem "Spring Dream":
The spring breeze blew up in the bridal chamber last night, recalling the beauty of the Xiangjiang River in the distance.
In a spring dream on my pillow, I traveled thousands of miles south of the Yangtze River. What I think about in the sun, what I see in my dreams, what I have been unable to do for many years when I am awake, I can realize in a moment in my dreams. Even if the two people they love are thousands of miles apart, they can break through the barriers and meet each other. Although the scene in the dream seems illusory and confusing, it is ultimately charming and beautiful. However, this harsh reality of not being able to see each other hit him too hard, and undoubtedly left a deep wound in his heart full of eager hope to meet again, so that he could never forget the misery of being far apart, even if In dreams that can realize beautiful hopes, it is also difficult to find warm and sweet memories. Dreams are still short encounters that are difficult to recall. Such a dream reflects the serious trauma caused by the long distance in his heart and the deep longing for his loved one. However, a dream is a dream after all. The love of the past will never be forgotten, and the love of the present is even more difficult to let go. The strong longing made his heart surge, and he picked up the pen without thinking: I want to write a letter to her. "The book was rushed until the ink was not thick", this is a wonderful detail. Because he only wanted to write a letter immediately, he wrote furiously, pouring out all his accumulated emotions, and in an involuntary mental state, "the book was completed". "Urge" not only vividly expresses his eagerness to write a book to send a message to a distant place, but also contains various complex emotions of missing the beauty far away; it is not only the meaning in the dream, but also the "hard-to-cry" tears. Unfortunately, there are only three words "Mo Wen Nong", which can't be said to be exciting. Generally speaking, when Mo Wen Nong writes a letter, he is just in an anxious mood at best. But it was only after "the book was finished" that "the ink was not thick" that it was discovered, which is extremely expressive. It shows that under the control of eagerness, he did not notice that "the ink was not thick" at that time. It was only after "the book was finished" and the mood calmed down that he accidentally discovered "the ink was not thick". In this way, the mood and mood of the lyrical protagonist at that time are vividly and vividly expressed, and it is full of real life and artistic expression. The poet also expressed the same artistic conception in another poem. "I dreamed that my soul was flying, and the book was ready to be written." ("Bi Wa") It seems that he didn't care about the thickness of the ink because of his enthusiasm. "The book is hastened to be completed" is the real purpose.
After the book was completed, with the dim afterglow of the remaining candles, I thought about my beloved living alone in the boudoir at this time, and couldn't help but recall the sentimental tryst scene in the past with the candle shadow and fragrance. At that time, the candlelight was half-enclosed in the purple gold and emerald candle curtains, flickering softly and lightly; the hibiscus tent scented with musk revealed a faint fragrance, which was intoxicating and ecstatic. "Golden Jade", most people in the past thought it was the jade bird made of gold and gold ornaments on the curtain or quilt, but in fact it should refer to the candle cage curtain. The ancients often mixed purple and gold colors among the emeralds to make lanterns and candle curtains. Poems often mentioned: "Hidden with golden shades, sparse with Chinese cages." (Xiahou Zhan's "Ode on the Deng Deng") "Emerald bead quilt, tassel feather tent." (Yu Xin's "Lamp Ode") "The luminous instrument of the treasure tent is decorated with the beautiful ornaments of beautiful women. It is mixed with white jade to form the text, and mixed with purple gold to form the color.
" (Jiang Yan's "Ode to Jade") From this we can see the name "Golden Jade". "In the green curtains, there are moving flames, and scattered shadows in front of the tent." "(Emperor Jianwen of Liang Dynasty, "Ying the Cage Lantern") "The Zen room is blowing out incense embers, and the light gauze cage is green smoke. " (Li Qi's "The gauze lanterns in the temple are sent to Qi Wusan") Looking at the poem itself, the "cage" in "The wax shines half a cage on the golden jade" is a passive verb, which means "cage in", which further explains that "the golden jade is half caged" "The candle light is shrouded in the lampshade of purple and gold mixed with emerald. Looking at the syntax of the poem, the next sentence says that musk has infected the bed tent embroidered with hibiscus flowers. The sentence "wax shines" contrasts with it, and it also When interpreted as the candlelight being shrouded in the lampshade, "embroidering hibiscus", Feng Hao noted: "Bao Zhao's poem: 'The feathers of colorful hibiscus are regretful. ’ This is called a mattress, as in Du’s poem: ‘The mattress is embroidered with hibiscus. ’” This explanation is not impossible, but to be more precise, “embroidering hibiscus” should refer to the tent. Needless to say, Bao Zhao’s poem “It’s Difficult to Travel”, there is also Yu Xin: “Cover the hibiscus to line the tent.” "("Leng Fu") Liu Changqing: "The hibiscus tent is dark with small clouds". ("Zhaoyang Song") Bai Juyi: "The hibiscus tent warms the spring night." "("Song of Everlasting Regret") From these popular meanings, it can be seen that "embroidered hibiscus" seems to be more suitable to refer to the tent. In this way, the wax light is half-caged in the candle curtain, and the musk is slightly scented on the bed tent. One point to the light, one to the bed tent. Referring to the bed, it seems to have a more corresponding relationship between the curtain and the quilt explained by the predecessors, and the interpretation is more appropriate. The two poems also have a virtual and real effect. They are both memories and symbols of the beautiful love life in the past. It is another kind of enchanting phantom produced under the same hazy candlelight. The candlelight is "half caged" and the fragrance is only "slightly", and the degree is limited, giving the gorgeous scenery a cold and lonely color. It created a confusing and moving realm, highlighting the loneliness and desolation of the lovers in both places. In his dream, he seemed to see the dimly lit candle again when he met his beloved; he seemed to smell the hibiscus on her tent again. The fragrance is floating around. Maybe the beautiful lady whom I have been thinking about day and night is in front of me right now? This is naturally an illusion generated by suspense after the book is written. Once it disappears, what follows is still there. The lonely lamp in the empty pavilion, the quiet night, the past cannot be found again, and the beautiful woman can never meet again. What is left to the poet is endless melancholy and infinite emotion. And the half-cage candlelight, the faint fragrance, the color of emerald, are all mixed together. Hibiscus, these things have symbolic meaning of love, and they are the most arousing people's emotions and hatred, especially candlelight. Sitting alone under the lamp, the candlelight is flickering, pulling people's hearts, and the most evocative. All kinds of past events. "Why should I cut the candle from the west window?" " (Li Shangyin's "Night Rain Sends to the North") When can we meet her? In this long and quiet night, the faint shadow of candles and the melancholy fragrance further reflect the loneliness and loneliness of human beings, making them full of emotions. A person in separation and hatred becomes even more unable to control himself, and falls into misery and despair again.
When the dream disappears, hope becomes even slimmer. He clearly realizes the reality that there is no chance of meeting: just like Liu in ancient times. Lang, I was already resenting the remoteness of Pengshan Wonderland, but now it is even farther away from Pengshan Mountain. Some commentators believe that this "Liu Chen" refers to Liu Chen and Ruan Zhao who visited Tiantai Mountain in the Han Dynasty. The thing about fairies is actually not in line with the poet's original intention. The words "Liu Lang" and "Pengshan" here refer to the fact that Emperor Wu of the Han Dynasty sent people to Penglai Mountain in the East China Sea to seek immortality but could not find it. This is a specific usage in Li Shangyin's poems. Just like "Liu Lang's old incense stick, I immediately saw the Maoling tree" ("Ballad on the Sea") in another of his poems, or like Li He's "Maoling Liu Lang Autumn Guest" ("The Golden Bronze Immortal's Ci Han Song") ") all refer to Emperor Wu of the Han Dynasty. The poet uses this in the last couplet to mean that the person is far away in the horizon, and there are many barriers, just like the world of immortality and the mortal world. Today, it is difficult to regain consciousness. After that, he looked at the letter that he had just written with tears. In fact, it could not be sent. It was just his infatuation with love. Then, his long-cherished dream became a dream, and the dream was full of sorrow and anxiety. A series of infatuated actions such as writing books, longing for each other, and hallucinations are all empty in the end, and they are still the result of endless efforts to meet each other. Bubble is really an illusion. However, it is this kind of foolish and futile behavior that is the most realistic portrayal of the tortuous mood of lovers in a specific environment where they miss each other deeply and have no reason to meet each other. Yao Peiqian in the Qing Dynasty. "Notes on Li Yishan's Collected Poems" once explained this poem:
It is said that the relationship between the two has not changed, and the ugliness of the so-called secret agreement in the world is swept away by words. It has disappeared without a trace. At this time, the water is really cut off, but every time when the moon sets and the clock moves, I feel sad about the farewell in the dream and the book that has been written. What lacquer can describe is that I know the suffering of the world is so close. At this moment, I think of the emerald lanterns and the hibiscus curtains. It is said that "the room is close, but the person is far away". I am bleeding and gutting, but who knows me? ?
A heart-wrenching lovesickness is still replaced by hopeless despair. How depressing and sad it is! It is through this hatred of distance and the pain of lovesickness that the poet expresses his feelings. Repeated description and rendering make the hopelessness at the end more tragic, thus creating a soul-stirring artistic power.
This untitled poem is deeply emotional and full of true tragedy. , it is difficult to write this poem. The famous Chinese scholar Mr. Zhou Cezong once said that this poem is the poet's "self-recording of his experience and his own expression of his feelings" ("Discussing Li Shangyin's Untitled Poetry Book with Professor Liu Ruoyu", see Taiwan's "Mainland" magazine 40 One volume and twelve issues) should be regarded as credible.
As for who the distant beauty in the poem is, it may be difficult to verify, because after all, this is the poet's privacy. At that time, due to some difficulties, it was hidden in the form of untitled. Later, the poet himself did not say, who would Can you tell clearly?
Most of the conceptions of Li Shangyin's untitled poems are entirely based on the flow of subjective consciousness, and there are few objective narratives. Therefore, the poems lack necessary correlation and coherence, are not limited by time and space, and show great leaps. They mostly express reality in illusions, express feelings in hints, and are persistent in feelings without being obscene and obsessed. Moderate yet able to transcend vulgarity, pure love, elegant interest, and exquisite thoughts form the outstanding characteristics of Li Shangyin's untitled poems. The conception of this poem closely revolves around "dream" to express the feeling of distance, but it completely breaks the normal sequence of distance-missing-dreaming-waking up from dream, but starts from like a dream but not a dream. It starts with the non-dream-like situation and the scene after waking up from the dream, and then combines the dream and the dream, the reality and the illusion to describe it, and finally points out the hatred of distance blocked by Pengshan. Although the main theme of the whole poem is the hatred of separation, six of the eight lines in the whole poem do not write about hatred, but about the lingering longing for each other and the melodious psychology of not knowing why. The whole psychological process of longing for each other and remembering each other is also related to The environmental descriptions of the slanting moon, morning drums, and candle shadows and incense are layered down, creating a melancholy and beautiful realm in the interweaving of dreams, thus avoiding artistic flatness and appropriately highlighting the distance. The theme of hate.