Whole poem:
Untitled Li shangyin
It was a long time ago that I met her, but since we separated, the time has become longer, the east wind is blowing and a hundred flowers are blooming.
Silkworms in spring will weave until they die, and candles will drain the wick every night.
In the morning, she saw her hair cloud changing in the mirror, but she bravely faced the cold of the moonlight with her evening song.
There are not many roads to Pengshan. Oh, Bluebird, listen! -Give me what she said! .
You said the meeting was empty talk, after we didn't see its trace; Wake up in the oblique moonlight upstairs and listen to Xiao Zhong Chuming.
The dream in the wound is far from being called; When I woke up, I began to write a letter.
The blue candle burns its jade feather lamp, and the musk deer embroiders the hibiscus slightly.
In those days, Liu Lang had long complained that the mountain was far away; You go to more places than the mountains in Shashaling!
The stars were bright last night, but there was a cool breeze at midnight. Our banquet is on the side of Hualou Temple and the east of the county.
Without Cai Feng's wings, it is impossible to be Qi Fei in fly with me; The heart is like a soul, and the feelings are the same.
Guessing and intrigue, wine warms the heart; This group of people came to the bet of drinking friends, and a win-lose red in candlelight.
Alas, it's time to call the roll in the morning when you hear the drums of the fifth watch; Riding to Lantai is like the wind in the wind.
The wind in the east wind, the rain in the wind, the rain in the wind, the sound of light thunder came from the other side outside the lotus pond.
There is also a locked golden toad incense burner. Cigarettes are elegantly wrapped, like pulleys in a jade pot, and the traction rope is pumped into the well water.
Wang Wei dreamed that she was a beautiful young girl. Wang Wei had a pillow dream and wrote a poem.
Never-ending, even this bright flame of love will only have ashes? !
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.
I am a weak lingzhi, biased by storms; I'm Lingfang, but I don't have any fragrant 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.
This is a poem with deep feelings, touching euphemism and praising faithful love. The poet used sincere and implicit methods to write a deep hatred of parting and lingering lovesickness. "Spring silkworms die, night candles burn their wick" embodies the loyalty of love, the novelty of artistic conception and the significance of poetry, and has become a famous sentence that has been passed down through the ages.
This is the most famous love poem among many poems titled Untitled by the poet.
The first couplet is a deep sigh caused by extreme lovesickness, which highlights the pain of parting in the gathering and parting of two lovers. The phrase "the east wind rises and a hundred flowers blossom" not only describes the natural environment, but also reflects the poet's state of mind. Things blend with me, and the mind and nature reach a subtle fit. Zhuan Xu went on to write about the feelings of "short encounter" and "difficult to leave", which was even more tortuous. The poet wrote his infatuation and bitterness and his unrequited love pursuit by symbolic means. Necklace guesses and imagines each other's lovesickness from the perspective of the poet's considerate care. The last sentence is an image of a young woman who "looks in the mirror with makeup and caresses her temples to hurt herself", which implies her thoughts and worries. "Changing temples" refers to being unable to sleep at night because of painful torture, resulting in the loss of temples and gaunt face, which is what Wu Yun, a poet of the Six Dynasties, said: "Worrying changes temples, crying makes beauty disappear" (Six Poems with Ma Xiaoxi). However, the sentence "Xiao Jing" in Untitled said that when I looked in the mirror in the morning, I was worried about "cloud change" and it was "but worried"-just worried. This vividly describes the spiritual activities of graceful songs, rather than simply describing the fact that youth is consumed by pain. Tail couplet, the more concrete the imagination, the deeper the yearning, the more eager to meet, which is its content. Since there is no hope of meeting each other, I have to ask the messenger to pay tribute to myself and visit each other for myself.
Li Shangyin (about 8 12 or 8 13 ~ about 858), Han nationality, Yuxi native, also known as Fan Nansheng and Fan Nanzi, was a famous poet in the late Tang Dynasty. His ancestral home was in Hanoi, Huaizhou (now Qinyang City, Henan Province), and his ancestors moved to Xingyang (now Zhengzhou, Henan Province). He is good at parallel prose writing, and his poems also have high literary value. Together with Du Mu, it is called "Xiao", and together with Wen, it is called "Wen Li". Because his poems are similar to the paragraphs and essays of the same period, and all three of them rank sixteenth in the family, it is also called "Thirty-six Style". His poems are novel in conception and rich in style, especially some love poems are lingering and memorable. But it is too obscure to be solved, and there is even a saying that "poets always love Quincy and wish that no one could write about Jian Zheng". Caught in the struggle between Niu and Li, I was frustrated all my life.