Author: Li Shangyin Year: Tang Style: Seven Laws Category: Boudoir Love
time was long before I met her, but is longer since we parted, and the east wind has arisen and a hundred flowers are gone.
and the silk-worms of spring will weave until they die, and every night the candles will weep their wicks away.
mornings in her mirror she sees her hair-cloud changing, yet she dares the chill of moonlight with her evening song.
There are no multiple routes from Pengshan to oh blue-birds, be listening!-Bring me what she says!.
Note:
1. Untitled: Since the Tang Dynasty, some poets have often used "
untitled" as the title of their poems when they are unwilling to mark the topic that can express the theme.
2. Silk is exhausted: silk is homophonic with "thinking", and "silk is exhausted" means that missing will
end unless you die.
3. Tears begin to dry: Tears refer to the burning candle oil, and pun here refers to the tears of acacia.
4. Xiao Jing: Dress up and look in the mirror in the morning; Yunbin: A woman's beautiful hair is a metaphor for her youth.
5. Pengshan: Penglai Mountain, a legendary fairy mountain on the sea, is a metaphor for the place where the mourners live.
6. Jade Bird: a mythical messenger who delivers messages to the Queen Mother of the West.
Appreciation: This is the most famous love poem among many poems with the title of "Untitled". The whole poem
revolves around the first sentence, especially the word "don't be difficult". The "east wind" has ended the season, but < P > is a metaphor for people's lovesickness. Because of the lingering feelings, people are as angry as the withered spring flowers in late spring. Three or four sentences are a portrayal of mutual loyalty and vows of eternal love. The fifth and sixth sentences respectively describe the two people's feelings of melancholy, resentment, coldness and even decline because they can't meet each other. The only thing we can hope for is the assumption in the seven or eight
sentences: I hope that the bluebird will pass on lovesickness frequently.
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Untitled
Author: Li Shangyin Year:.
go for an outing at the age of ten, and hibiscus will be a skirt.
twelve learned to play the Zheng, but the silver armor never came off.
Fourteen Tibetans have six relatives, and I know that I am still unmarried.
the fifteenth weeping spring breeze, under the swing on the back.
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Two Untitled Songs
Author: Li Shangyin
will your shy face peer round a moon-shaped fan, and your voice be heard hushing the rattle of my carriage?.
it is quiet and quiet where your gold lamp dies, how far can a pomegranate-blossom whisper?.
I will tether my horse to a river willow, where to wait for a good wind in the southwest.
Go to Mochou Hall, where rapture lasts the whole night long.
The life of a goddess is a dream, if they take no lovers into their rooms?.
storms are ravishing the nut-horns, moon-dew sweetening cinnamon-leaves.
I know well enough naught can come of this lovliness, yet how it serves to ease my heart!.
Note:
Mochow: generally refers to girls. Liang Xiaoyan's Song of Water in the River was published: "The water in the river flows eastward, and the daughter of Luoyang is named Mochow."
Brief analysis:
The first song seems to write about a woman who is thinking and loving. Writing sleepless nights, still sewing Luo Zhang, recalling the encounter at that time. And write about longing and melancholy, looking forward to the opportunity to meet again. It can also be interpreted as a woman from a male perspective. The second song, writing about the scene of a girl waking up and savoring her dream, is bound to be lost, and she is sad, and expresses her willingness to suffer for love and her determination to pursue happiness.
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Li Shangyin's Seven Lyrics are untitled, which is the most mature in art and best represents the unique artistic style of his untitled poems. These two poems are untitled, both of which express the bitterness of young women's frustrated love and the hopeless depression of lovesickness, and both adopt the way that the heroine remembers 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 implicitly or explicitly through reminiscence.
In the first song, the heroine sews the Luo Zhang in the middle of the night. Phoenix-tailed fragrant Luo is a kind of thin Luo woven with phoenix patterns; Biwen dome refers to a dome with a blue pattern. Li Shangyin pays special attention to hints in his poems, and even in the connection of regular poems, he is often unwilling to write too clearly and directly, leaving some content for readers to enjoy. 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 clearly explained. We can infer that the protagonist is probably a secluded and lonely boudoir woman through the literal words of "Phoenix Tail" and "Biwen Dome" and the action of "sewing at night". Luo Zhang is often used as a symbol of good cooperation between men and women in ancient poetry. The heroine who silently sewed Luo Zhang in the lonely night is probably immersed in the recollection of the past and the deep expectation of meeting.
What follows is a memory of the heroine, which is about an accidental meeting between her and the right person-"will your shy face peer round a moon-shaped fan, and your voice be heard hushing the rattle of my carriage?." The other party drove by in a hurry, and because he was shy, he covered his face with a round fan. Although he met each other, he didn't speak a word. Judging from the context, this encounter is not like the first encounter, but the last encounter before "no news". Otherwise, it is impossible to sew Luo Zhang late at night and look forward to meeting. It is precisely because it was the last unspoken meeting that I recalled the past when I didn't hear from the other party for a long time, and I felt more and more sorry to lose that opportunity, and the scene of that meeting was more clearly and deeply left 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, dismay and deep affection when she recalls the past. There is a great leap in the plot between the couplet and the couplet, and many things before the last encounter (such as how she met and fell in love with each other, etc.) are all omitted.
The lovesickness is lonely after the farewell of the necktie. Unlike Shanglian, which expresses instantaneous emotions through a dramatic segment, this couplet generally describes life and feelings in a long period of time through the artistic technique of scene blending, which has a stronger lyrical atmosphere and symbolic implication. In a word, I haven't heard from you since that hasty meeting. How many times have I spent lonely sleepless nights alone with the fading residual lamp, and now it is the season of pomegranate blossom. "and every night the candles will weep their wicks away" and "and of even this bright flame of love, shall there be only ashes?", the dim residual lights, not only exaggerate the lonely atmosphere in the long night, but also seem to be the externalization and symbol of the heroine's hopeless feelings of lovesickness. In the pomegranate blossom season, spring has gone. In the lonely expectation, pomegranate bonus may bring her the disappointment and sadness of fleeting and wasted youth. "Dark gold embers" and "pomegranate red" seem to inadvertently dye the scenery, but they contain rich emotional connotations. It is indeed a symbol of artistic perfection to use the expressive technique of symbolic suggestion so naturally and subtly without revealing traces.
at the end of the couplet, I still look forward to it with deep affection. The sentence of "Spot Zhui" implicitly uses the sentence of "Lu Lang takes a spot Zhui ... and doesn't want to go home" in Yuefu's "Shen Xian Ge Ming Xia Children's Song", which 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 just so far away that she can't meet. In the last sentence, Cao Zhi's "Seven Sorrow" is poetic, "I wish to be a southwest wind and die in your arms", hoping that there will be a good wind to blow myself 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 deep feeling of "and the silk-worms of spring will weave until they die and and every night the candles will weep their wicks away". Hope burns in loneliness, and it is such a feeling that 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 though they are branded with the times and classes in different degrees.
Compared with the first song, the second song focuses more on expressing the heroine's life experience and feelings, and its writing is more general. From the beginning, put aside the specific circumstances and write from the environment and atmosphere where the heroine lives. The curtain is deeply hung, and the quiet room is shrouded in silence in the middle of the night. The heroine, who is alone in the secluded room, thinks about her 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.
Lian then writes the heroine's review of her love encounter. The first sentence uses the Wushan Goddess to dream of meeting the king of Chu, and the next sentence uses Yuefu's "Shenxian Song Qingxi Sister-in-law Song": "My sister-in-law lives alone and has no lang." It means that, recalling the past, although I had my own fantasies and pursuits in love, like the witch mountain goddess, it was just a dream in the end; Until now, just like Qingxi's sister-in-law, she has no lang alone and no support for life. Although this couplet uses two allusions, it hardly makes people feel the traces of useful classics, and really reaches the level of driving 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 word "original" and "original" in the two sentences are quite obvious. The former implies that she not only had a pursuit in love, but also had a brief encounter, but it eventually became a dream, so she said "it was a dream"; The latter seems to imply that although she still lives alone without a lang and has nothing to rely on, people have a lot of discussions about her, so saying "there is no lang" seems to contain some self-defense meaning. However, the two meanings mentioned above are all vague, and it is not easy to find them without careful consideration of body odor.
Necklace has changed from an unfortunate love experience to an unfortunate life experience. This couplet uses two metaphors: it says that it is like a weak rhombic 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 moisten it to make it fragrant. The implication of this couplet is rather obscure, which seems to imply that the heroine is devastated by evil forces in her life on the one hand, and she can't get the sympathy and help she deserves on the other. "Unbelief" means knowing that the rhombic branch is weak and destroying it, seeing the violence of the "storm"; "Who teaches" could have moistened laurel leaves, but it didn't. See the ruthlessness of "Moon Dew". The wording is tactful, but the meaning is extremely painful.
The encounter of love is both a dream and an unfortunate experience, but the heroine has not given up the pursuit of love-"I know well enough naught can come of this lovliness, yet how it serves to ease my heart!." Even if acacia is completely useless, you may wish to be infatuated and disappointed for life. In the case of near disillusionment, we still persist in our pursuit, and the unforgettable "Acacia" can be imagined.
since the middle Tang dynasty, there have been more and more poems about love and eroticism. This kind of works are characterized by more narrative elements, stronger plots and detailed descriptions of characters and scenes. Li Shangyin's love poems, however, focus on lyricism, focusing on the subjective feelings and psychological activities of the protagonist, and showing her (him) 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 poetry 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 metaphors, symbols, associations and other means to strengthen the suggestibility of poems. This is an important reason why his love poetry is not obvious and difficult to read. But because of this, his love poems often have the characteristics and advantages of implication, profound artistic conception and delicate writing, which can withstand repeated chewing and playing.
It is a complicated question whether untitled poems are entrusted or not. It is completely against the law of artistic creation to leave the whole artistic image of poetry, grasp a few words in it, and attach some specific personnel in real life to make a guessing explanation. Like Feng Hao, interpreting "Chuiyang 'an" in the beginning of "Feng Wei" as "Yu Liu's surname" (referring to the poet's curtain master Liu Zhongying) and "Southwest" as "Shu land", thus saying that these two poems are the poet's "going to Dongchuan, going to Hu Ling, staying for the night, and having elegies", that is, piercing the attachment. However, this does not prevent us from starting from the overall image of poetry, connecting 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 penetrate the author's own sense of life experience. It is not difficult for readers who are familiar with the author's life experience to appreciate the poet's infinite disappointment in reviewing the past. The connection of "storm", such as simply writing about women's sufferings, seems irrelevant; However, it is easy to understand from the perspective of metaphor and sustenance. The author's position is humble, "there is no strong proximity inside, and there is no reason to rely on it outside" ("Sacrifice to Xu's Sister"). Not only did he not encounter strong assistance in his official career, but he was destroyed by clique forces. Therefore, he was destroyed by the storm, and the laurel leaves were moistened without moon dew. In a poem "Deep Palace" in which he expressed his resentment at the palace, he said: "I don't hesitate to be overcast and thin, but I know that the leaves of laurel are thick in the clear dew." The analogy is similar to that of "storm" (except that the meaning of "clear dew" is just the opposite of that 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 "Chong Wei", the trace of the poem "Feng Wei" is not obvious, because some specific situations in the heroine's love life are described in detail in the poem (such as "fan cutting the moon"), and the characteristics of realism are more prominent. But whether these two untitled poems are entrusted or not, they are first and foremost successful love poems. Even if we read them completely as love poems, it does not reduce their artistic value.
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I cry for you forever gone, I cannot waken yet, I try to read your hurried note, I find the ink too pale.
blue burns your candle in its kingfisher-feather lantern, musk deer smoked hibiscus slightly embroidered.
but far beyond my reach is the Enchanted Mountain, and you are on the other side, ten thousand peaks away.
a misty rain comes blowing with a wind from the east, and wheels faintly thunder beyond Hibiscus Pool.
The golden toad is locked and burned incense, the jade tiger tells, on its cord, of water being drawn.
a great lady once, from behind a screen, favoured a poor youth, a fairy queen brought a bridal mat once for the ease of a prince and then vanished.
in love, there is no competition between flowers, and of even this bright flame of love, shall there be only ashes?.
Note:
Liu Lang, according to legend, Liu Chen and Ruan Zhao went to the mountains to collect herbs in the fifth year of Emperor Yongping of the Eastern Han Dynasty, but they couldn't get out of it. When they met two women, they invited them to stay at home for half a year before returning them. Later generations used this as a metaphor for an affair. Pengshan, Penglai Mountain, refers to fairyland in general. Han Shou, a member of Jin Dynasty, was a subordinate of Sikong Jia Chong. Every time she had a party at home, Jia's daughter peeped from the pane and saw that she was beautiful and loved her, and she had an affair. After she found out, she celebrated her wife's birthday. Fu Fei left a pillow: Cao Zhi's Preface to the Ode to Luoshen: "In the third year of Huang's reign, he served as the imperial capital and returned to Luochuan. The ancients said, the god of water, named Fu Fei. Feeling Song Yu's concern for the goddess of Chu, he wrote a poem. " When I planted Luoshui, I suddenly saw a woman coming to give me a pillow. Fu Fei, the legendary daughter of Fu Xishi.
brief analysis