Untitled 1
The heavy curtains are deep in the Mochou Hall, and the night after sleeping is long and thin. The life of a goddess is a dream, and the sister-in-law has no husband in her home.
The wind and waves don’t believe that the water chestnut branches are weak, but who can teach the fragrance of cinnamon leaves to the moon dew? It’s pointless to miss lovesickness, but melancholy is pure madness.
Untitled 2
What comes is empty words and disappears. It's five o'clock in the morning upstairs. The dream is far away and it's hard to call it out. The book is hastily turned into ink.
The wax shines on half the cage of golden jade, and the musk slightly embroiders the hibiscus. Liu Lang already hates Pengshan. Far away, even more than 10,000 layers away from Pengshan Mountain.
Notes
Liu Lang, according to legend, Liu Chen and Ruan Zhao went into the mountains to collect herbs in the fifth year of Yongping, Emperor Ming of the Eastern Han Dynasty. A woman invited her to stay at home for half a year before returning the favor. Later generations used this as a metaphor for a romantic encounter.
Pengshan, Penglai Mountain, generally refers to fairyland.
Untitled 3
It is difficult to say goodbye when we meet. The east wind is powerless and the flowers are withered. The spring silkworms will die when their silk is exhausted, and the candles will turn to ashes before their tears dry up.
The morning mirror is full of worry, but the clouds on the temples are changing, and the moonlight is cold when singing at night. There is no way to go to Pengshan, and the bluebirds are diligent in looking around.
Untitled Four
The rustling east wind and drizzle are coming, There is light thunder outside Furong Pond. The golden toad gnaws at the lock and burns incense, and the jade tiger pulls the silk to return to the well.
Jia Hua peeks out from behind the curtain, Young Master Han, and Concubine Mi stays on the pillow of Wei Wangcai. In the heart of spring, do not fight with flowers. Flowers, one inch of lovesickness and one inch of gray.
Notes
Han Shou, a native of Jin, was a subordinate of Sikong Jia Chong. Whenever Chong had gatherings at home, Jia's daughter peeped through the window pane and saw his appearance. She fell in love with her because of her beauty, and had an affair with her. After she found out, she took her as his wife.
Concubine Mi left a pillow: Cao Zhi's "Ode to the Goddess of Luo: Preface": "In the third year of Huangchu, 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. Feelings Song Yu wrote this poem about the king of Chu's goddess, "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.
Untitled Five
The phoenix tail incense is several layers thin, and the green dome is met late at night. The moon is so shy that it is hard to conceal it, and the thunderous sound of the car cannot make sense.
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It used to be lonely and dark, with no news and pomegranate red. The spots were only tied to the weeping poplar bank. Where can we wait for the good wind in the southwest?
Untitled Six
Last night The stars were blown by the wind last night, west of the painting building and east of the Gui Hall. I don’t have the wings of a colorful phoenix, but my heart has a clear connection.
The next seat is warmed by Gou Chun wine, and the cao is covered with wax and the lamp is red. I sigh and listen to the drum. After leaving the official position, he returned to Malantai.
Notes
Most of Li Shangyin's "untitled poems" are vague and hazy, with implicit and euphemistic expressions, so they are vague and uncertain. There are also different opinions on Li Shangyin's "Untitled Poetry". For example, this "untitled poem" is considered by some to be a political poem, while others consider it to be a love poem.
Take the third song as an example. The word "last night" appears twice in a row in the first sentence of the poem, suggesting that the poet is recalling the past today. The emotional content of the word "last night" shows that the poet's memory is unforgettable. "Stars" and "wind", "Painting Building" and "Guitang" allude to the happy times and life scenes experienced by the poet.
The second couplet expresses the experience and understanding of love. The colorful phoenix flying together is a symbol of a happy love life; the rhinoceros horn has a texture in the center that runs through both ends, so it is also called Tongrhin. The poet uses this metaphor to describe the emotional connection between the two parties and show the spiritual connection and emotional compatibility. We are on the same side, but our hearts are connected. The profound heritage contained in these two lines of poetry has made later generations give it more philosophical meaning and life connotation.
The hook-feeding and shooting-over mentioned in the third couplet are both games played at ancient banquets, similar to guessing puzzles. The two sentences describe the warm and cheerful scene with wine and lights in extremely gorgeous language.
However, just as the poet was immersed in the memory of the beautiful scenery last night, the sound of drums came from the distance. It was getting dark and it was time for the poet to go to court again. "Yingguan" means to deal with official duties, which contains a helpless and bored mood. "Peng" is a very small and light grass that floats around in the wind. Therefore, in ancient poetry, it is often used to describe a wandering life. Li Shangyin also uses this image to reveal his own life situation.
Li Shangyin's untitled poems are the most ambiguous, and the love story is so obscure that only those who are thoughtful can understand it.
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