Untitled
Tang [Li Shangyin]
It is difficult to say goodbye when we meet, the east wind is powerless and the flowers are withered.
Spring silkworms will not run out of silk until they are dead, and wax torches will not dry until they turn to ashes.
When you look into the mirror at dawn, you are worried about the clouds on your temples. When you sing at night, you should feel the cold moonlight.
There is not much way to get to Pengshan, and the blue bird is diligent in visiting.
Notes:
1. Untitled: Since the Tang Dynasty, some poets often use "Untitled" as the title of their poems when they are unwilling to indicate a title that can express the theme.
2. Silk Fangjin: Silk is a homophonic word for "si". "Si Fangjin" means that longing will not end until death.
3. Tears begin to dry: Tears refer to the candle oil when burning. This is a pun, referring to the tears of lovesickness.
4. Xiaojing: dressing up and looking in the mirror in the morning; Yunyan: a woman’s abundant and beautiful hair, which is a metaphor for youth.
5. Pengshan: Penglai Mountain, the legendary fairy mountain on the sea, is a metaphor for the place where those who are missed live.
6. Blue Bird: The messenger who delivers messages to the Queen Mother of the West in mythology.
Appreciation: This is the most famous of the poet's many poems titled "Untitled". The entire poem
The content of the poem revolves around the first sentence, especially the three words "It is also difficult to say goodbye". "East wind" ends the season, but it is also a metaphor for people's lovesickness. Because of the lingering emotions, people are like spring flowers that wither in late spring and lose their vitality
. The third and fourth sentences are a portrayal of mutual loyalty and eternal alliance. The fifth and sixth sentences respectively describe the melancholy and resentment of the two people because they can't meet each other, feel cold and even lose their appearance. The only thing we can hope for is the idea in sentences 7 and 8: I hope the bluebird will convey lovesickness again and again.
The night rain is sent to the north
Li Shangyin of the Tang Dynasty
You asked about the return date but it has not been scheduled. The night rain in Bashan swells the autumn pond.
Why should I cut off the candles from the west window and talk about the rainy night in Bashan?
Notes:
1. Bashan: north of today’s Nanjiang County, Sichuan Province.
2. Cut the candle wick from the west window: cut the wick together; cut the candle core under the west window.
3. Refusal: Let’s talk about it again.
Rhyme translation:
You asked me about the day when I will return home, but I have not yet set a return date;
It rained heavily in Bashan tonight, and the rainwater filled the autumn pond.
When will you and I get together again and cut the candles from the west window?
I will tell you about my painful feelings in the autumn rain tonight.
Commentary: This is a lyric poem. The first two sentences of the poem use questions and answers and describe the immediate environment, elucidating the feelings of loneliness and deep longing for his wife. The last two sentences imagine the joy of meeting again and talking in the future, contrasting with the loneliness tonight. The language is shallow and affectionate, implicit and meaningful, popular among the people, and has an endless aftertaste. According to some research, this poem was written by the author when he entered the Yingzizhou shogunate in Liuzhong, Dongchuan, during the fifth year of Dazhong (851). At that time, Yishan's wife Wang had died (Wang died in the summer and autumn of the fifth year of Dazhong). For this reason, I thought this poem was sent to my friends in Chang'an. However, Yishan entered the imperial family and his wife passed away in the summer and autumn of the fifth year of Dazhong. Even if Wang died first and Yishan wrote his poems later, it was entirely possible in the era of traffic jams and poor information.
As far as the content of the poem is concerned, if you read it as "Send to the Nei", it will be full of emotions and sentiments; if you read it as "Send to the North", it will be too delicate and tranquil, and it will be too delicate.
--Quoted from "Chaochunzhai Poems" bookbest.163.net Translation and analysis: Liu Jianxun
Two untitled poems
Li Shangyin of the Tang Dynasty
Phoenix tail incense is several layers thin, and the green dome is cracked late at night.
Shan Caiyue is so embarrassed that she can't hide her shame. The car is driving away and the sound of thunder makes no sense.
It used to be lonely, golden embers dark, no news, pomegranate red.
The spots are only tied to the weeping poplar bank, where can we wait for good winds in the southwest?
The heavy curtains are deep in the Mochou Hall. After lying down, the night is long and thin.
The career of a goddess is just a dream, and my sister-in-law has no husband at all.
The wind and waves don’t believe that the water chestnut branches are weak. Who can teach the moon dew that the osmanthus leaves are fragrant.
It’s useless to be longing for lovesickness, but it’s just pure madness to feel melancholy.
Notes:
Mochou: refers to young girls in general. An allusion comes from Liang Xiaoyan's "Song of Water in the River": "The water in the river flows eastward, and the daughter of Luoyang is named Mochou."
Brief analysis:
The first poem seems to be written A woman is thinking about her loved one. I wrote that I couldn't sleep late at night and was still sewing tents, and recalled the scene I met by chance at that time. I write about my longing and melancholy, looking forward to meeting again if I have the chance. It can also be explained from a male's perspective by imitating the female side. The second poem describes the scene of a girl who wakes up and savors her dream. She feels that she is lost and feels sad. It also expresses her willingness to suffer for love and her determination to pursue happiness.
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Li Shangyin The seven-character untitled poem is the most mature in art and best represents the unique artistic style of his untitled poems.
These two seven-rhythm poems are untitled. Their content expresses the resentment of a young woman's frustrated love and the anguish of hopeless lovesickness. Both of them use the heroine's way of reminiscing about the past late at night. Therefore, the heroine's psychological monologue constitutes the main body of the poem. Her life experiences and certain specific events in her love life are expressed implicitly or explicitly through reminiscences.
The first couplet begins with the heroine sewing a tent late at night. Fengweixiangluo is a kind of thin cloth woven with phoenix patterns; Biwen dome refers to a dome tent with blue and green patterns. Li Shangyin pays special attention to hints when writing poems. Even the couplets of rhymed poems are often unwilling to be too obvious and direct, leaving some content for readers to explore and understand. Like this couplet, it only describes what the protagonist does in the middle of the night, without revealing what it means. Even the gender and identity of the protagonist are not clearly explained. From the words "Phoenix Xiangluo", "Biwen Dome" and the actions of "Deep Night Seam", we can infer that the protagonist is probably a secluded woman living alone in a boudoir. The tent is often used as a symbol of harmony between men and women in ancient poetry. The heroine, who was quietly sewing tents in the long lonely night, was probably immersed in recollections of the past and affectionate anticipation of the reunion.
What follows is a memory of the heroine, which is about an accidental encounter between her and the person she likes - "Shan Caiyue was so embarrassed that she couldn't hide her words when the car was driving." The other person drove past in a hurry. , because he was shy, he covered his face with a round fan, and even though they met, they didn't even exchange a word with each other. Judging from the contextual description, this encounter does not seem to be the first encounter, but the last meeting before "no news". Otherwise, it would be impossible to sew tents late at night in anticipation of rendezvous. Because it was the last time we met without speaking to each other, looking back on the past today after not hearing from each other for a long time, I feel more and more regretful about losing that opportunity, and the scene of that encounter becomes more clear and profound in my memory. middle. Therefore, this couplet not only depicts an unforgettable episode in the heroine's love life, but also expresses her complex psychology of regret, melancholy and affectionate recollection of the past in a tortuous way. There is a big jump in the plot between Qi Lian and Qi Lian, and many romantic events before the last meeting (such as how she met and fell in love with the other person, etc.) are omitted.
The neck couplet writes about the loneliness of lovesickness after farewell. Unlike the first couplet, which uses a dramatic fragment to express momentary emotions, this couplet uses the artistic technique of blending scenes to summarize life and feelings over a longer period of time, with a richer lyrical atmosphere and symbolic hints. . The two sentences mean that since that hasty encounter, there has been no news from the other party. How many times have I spent lonely sleepless nights alone with the dimming lamp? Now is the season of red pomegranates. "The wax torch turns to ashes before the tears dry up", "Every inch of lovesickness is an inch of ashes", the dim residual lamp not only exaggerates the lonely atmosphere of the long night, but also seems to be the externalization and symbol of the heroine's hopeless lovesickness. The season of red pomegranates, spring has passed. In the lonely expectation, what the pomegranate red brought to her might be the melancholy and sadness of fleeting time and wasted youth, right? "Golden embers dark" and "pomegranate red" seem to dye the scenery inadvertently, but contain rich emotional connotations. To use the expressive techniques of symbolic suggestion so naturally and exquisitely without revealing any trace is indeed a sign of artistic proficiency.
The last couplet still brings up affectionate expectations. The sentence "Ban Zui" implicitly uses the meaning of the sentence "Lu Lang rides Ban Zui... looking at the door without wanting to return" in Yuefu's "Shenxian Song·Mingxia Tongqu", which probably implies that the person she has missed for a long time is actually not far away from her. , maybe we are on the shore of Ma Chuiyang at this moment, but we are so far away that we have no chance to meet. The last sentence uses the poetic meaning of "May the southwest wind pass away into your arms forever" from Cao Zhi's "Seven Sorrows", hoping that a good wind will blow you to the other person. Most of Li Shangyin's excellent love poems describe the pain of lovesickness and the difficulty of reuniting, but even hopeless love is always run through a kind of persistent pursuit, a kind of "spring silkworm will not be exhausted until it dies. The sincere and deep feelings of "the wax torch turns to ashes and the tears begin to dry". Hope burns in loneliness, and it is this emotion that we feel in this poem. This is an important difference between his excellent love poems and those erotic poems that lack deep emotions. It is also an important reason why these poems can still move people today, although they bear the imprint of the times and classes to varying degrees.
Compared with the first song, the second song focuses more on describing the heroine’s life experience, and the writing method is more general. Let’s put aside the specific situation at the beginning and start from the environment and atmosphere where the heroine lives. The curtains were hung deeply, and the deep room was enveloped in the silence of late night. The heroine, who is alone in a secluded room, thinks about her life experience, tossing and turning, feeling the length of the quiet night. Although there is no positive description of the heroine's psychological state here, through this quiet and lonely environment, we can almost touch the heroine's inner world and feel that there is an unknown layer of mystery filling the room with deep curtains. Resentment.
The chin couplet then writes the heroine’s review of her love encounter. The first sentence uses the story of Wushan Goddess dreaming of meeting the King of Chu, and the second sentence uses Yuefu's "Shenxian Song Qingxi Sister-in-law's Song": "My sister-in-law lives alone and has no husband." It means that recalling the past is like the Wushan Goddess in love. In that way, I had my own fantasies and pursuits, but in the end it was just a fantasy; until now, I am still just like Aunt Qingxi, living alone with no one and no support for her whole life.
Although this couplet uses two allusions, there is almost no trace of the allusions, and it has truly reached the point where the allusions are used as if they were written by themselves. In particular, although it is written in a very general way, it is not abstract, because the myths and legends contained in these two allusions can arouse readers' rich imagination and associations. The words "original" and "ben" in the two sentences are quite interesting. The former implies that she not only pursued love, but also had a brief encounter, but it turned out to be a fantasy, so it was said to be "originally a dream"; the latter seems to imply that although she still lives alone without a husband, she has no husband. However, people are quite talking about her, so saying "I have no husband" seems to contain some self-justification. However, the two meanings mentioned above are both written in a vague way, and it is difficult to discover them without careful consideration of body odor.
The neck couplet changes from an unfortunate love experience to an unfortunate life experience. This couplet uses two metaphors: he is like a weak rhombus branch, but it is destroyed by the storm; and he is like a osmanthus leaf with fragrant beauty, but without the moisture of moon dew to make it fragrant. The meaning of this couplet is relatively obscure. It seems to imply that the heroine has been devastated by evil forces in life on the one hand, but on the other hand she does not receive the sympathy and help she deserves. "Unbelief" means clearly knowing that the water chestnut branches are weak and yet they are destroyed, seeing the violence of "turbulence"; "Who taught" means knowing that the osmanthus leaves should be nourished but not doing so, seeing the ruthlessness of "moon dew". The words are tactful, but the meaning is very sad.
The encounter in love is like a dream, and the life experience is so unfortunate, but the heroine has not given up the pursuit of love - "It is useless to think of lovesickness, but it is just madness to be melancholy." Even if lovesickness is completely useless, You might as well be infatuated and melancholy for the rest of your life. It is conceivable that he still perseveres in his unswerving pursuit despite being almost disillusioned, and his unforgettable love-sickness is unforgettable.
Since the mid-Tang Dynasty, poems with love and erotic themes have gradually increased. The common characteristics of this type of works are that they have more narrative elements, a stronger plot, and the description of characters and scenes is quite detailed. Li Shangyin's love poems take lyricism as the main body, focusing on describing the protagonist's subjective feelings and psychological activities, and expressing their rich and complex inner world. In order to enhance the image and vividness of lyricism, it is often necessary to weave certain plot fragments into the poem and incorporate certain narrative elements into the lyricism. This greatly increases the content density of the poem, forming a contradiction between the short system and the rich content. In order to overcome this contradiction, he had to greatly strengthen the jumping between verses, and use metaphors, symbols, associations and other techniques to enhance the suggestiveness of the poems. This is an important reason why his love poetry is not very obvious and difficult to read. But precisely because of this, his love poems often have the characteristics and advantages of implicitness, profound artistic conception, and delicate writing, and can withstand repeated chewing and exploration.
Whether the untitled poem has sustenance or not is a complicated question. It is completely against the laws of artistic creation to leave the overall artistic image of poetry, seize on fragments of it, attach it to some specific people and events in real life, and make a guessing explanation. Like Feng Hao, he interpreted "Cuiyang An" in the first sentence of "Fengwei" as "Yu Liu" (referring to the poet's master Liu Zhongying), and "Southwest" as "Sichuan", thus making this The two poems are said to be composed by the poet "who is about to go to Dongchuan, where he will bid farewell to Linghu and stay overnight, and then compose tragic songs." This is a typical example of the connotation. But this does not prevent us from starting from the overall poetic image, connecting the poet's life experience and other works, distinguishing different situations, and exploring this aspect of some of the untitled poems. Looking at these two untitled poems, the poem "Chongwei" focuses on the heroine's miserable life experience of being dreamlike, helpless, and devastated. The writing style is ethereal and general, and the meaning is beyond the words. It may contain or penetrate the author himself. sense of life experience. Readers who are familiar with the author's life experience can easily understand from the couplet "Goddess" that the poet felt a deep and endless regret when looking back on the past. The couplet "Trouble", if simply describing a woman's misfortune, seems out of context; but when understood from the perspective of Bixing's sustenance, it is easier to understand. The author's status is low, with "no strong people internally and no external support" ("Essentials to the Sisters of the Xu Family"). Not only did he not receive strong support in his official career, but he was suppressed by the forces of cliques. Moisturizing without moon dew. In a poem "Deep Palace" that expresses his resentment about the palace, he said: "The mad rush does not care about the thinness of the radish shade, but the clear dew only knows the thick osmanthus leaves." The analogy is similar to the two sentences of "Fengbo" (but "clear dew" "The sentence and the sentence "Moon Dew" have the opposite meaning), which also proves that the two sentences "Feng Bo" do have sustenance. He Zhuo said that this untitled song "exposes the true meaning of self-inflicted harm", which is more realistic. Compared with the "Chongwei" poem, the traces of sustenance in the "Phoenix Wei" poem are not very obvious, because the poem describes certain specific events in the heroine's love life in quite detail (such as the couplet "The Fan Cuts the Moon Soul") , the realistic characteristics are more prominent. But regardless of whether these two untitled poems have sustenance or not, they are first and foremost successful love poems. Even if we read them entirely as love poems, it does not reduce their artistic value.
Two Untitled Poems
Li Shangyin of the Tang Dynasty
It came with empty words and disappeared without a trace, the moon was setting at five o'clock upstairs.
The dream is far away and it is difficult to recall it, and the book is hastened to become ink.
The wax shines on 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.
A rustling east wind and drizzle came, and there was light thunder outside Furong Pond.
The golden toad gnaws at the lock to burn incense, and the jade tiger pulls the thread back to the well.
Mr. Jia peeked behind the curtain, Young Master Han, while Concubine Mi stayed on the pillow of King Wei.
In the heart of spring, don’t let flowers bloom, every inch of lovesickness and every inch of gray.
Notes:
Liu Lang, it is said that in the fifth year of Yongping reign of Emperor Ming of the Eastern Han Dynasty, Liu Chen and Ruan Zhao went to the mountains to collect herbs. They met two women and invited them to stay for half a year. Also, later generations used it as a metaphor for romantic encounters. Pengshan, Penglai Mountain, generally refers to fairyland. Han Shou, a native of Jin, was a subordinate of Sikong Jia Chong. Whenever Chong had gatherings at home, Jia's daughter peeped out of the window and saw her beauty and fell in love with him. Concubine Mi left a pillow: Cao Zhi's "Ode to the Goddess of Luo - Preface": "In the third year of the first year of Huang Chu, 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. I feel Song Yu's love for the goddess of the King of Chu "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.
Brief analysis:
The first poem is a love poem, which writes about the longing after separation from the lover. I woke up from the sweet dream and felt lost. I recalled the scene of farewell in my dream, and wrote to her in a hurry. From the allusion borrowed from Liu Lang, it is obvious that it will be almost impossible to meet again in the future. The second poem is also a love poem, but it is more obscure, deep and painful. The last two lines are the best lines of all time and make people cry.
Untitled
Li Shangyin of the Tang Dynasty
Last night the stars and the wind were on the west side of the painting building and on the east side of Guitang.
I don’t have the wings of a colorful phoenix, but I have a clear mind.
Gouchun wine is given to every other seat to warm it up, and the wax-covered lamps are red.
I listened to the drum and went to answer the official question, walking around Malantai and turning around.
Notes:
1. Painting building and Guitang: both are metaphors for the houses of wealthy people.
2. Lingxi: It is said that rhinoceros has magical powers. There are white lines in the horns like lines, which go straight to both ends.
3. Delivery hook: also called hidden hook. A game played in ancient times, in which the winner is divided into two. After transferring the hooks to each other, they hide them in one person's hand, which makes people guess.
4. Divide: group.
5. Shooting: There are things placed under the covering that make people guess. "Dividing Cao" and "shooting over" are not necessarily actual references, but are just metaphors for the excitement of a banquet.
6. Drum: refers to the drum.
7. Ying Guan: Still at work.
8. Lantai: The Secretary Province, in charge of books and secrets. Li Shangyin once served as secretary of the provincial government. Literally, this sentence refers to riding a horse to Lantai after attending a banquet, which is similar to the flying of the grass, but in fact it also implies self-harm and wandering.
Rhyme translation:
The stars were shining brightly last night, but there was a cool breeze in the middle of the night;
Our banquet was held on the west bank of the painting building and east of Guitang.
There are no colorful phoenix wings on the body, so they cannot fly together;
But the heart is like a consonance, and the emotions are closely connected.
Guess hooks and play with each other, and drink spring wine across the seats to warm the heart;
Group into groups to make wine orders, and decide the winner by the red candlelight.
Sigh, when you hear the Wu Geng drum, you should go up to the Dianmao;
He rushes to Lantai, like basil fluttering in the wind.
Commentary: There have always been different views on the so-called "untitled" poems: some people think they should be allegorical, while others think they are all about talent
. Judging from Li Shangyin's "untitled" poems, they all seem to be about erotic love. They actually have something to say, but it's just inconvenient to say it. This poem is a recollection of an erotic scene encountered. First, write about the time and place of the banquet; then write about the physical separation and the connection of human feelings; then write about the lingering affection of the encounter; and finally write about the regret after parting. Gorgeous but not obscene, sincere but not crazy.
--Quoted from "Chaochunzhai Poetry" bookbest.163.net Translation and analysis: Liu Jianxun
Note:
Sending hooks, a part of ancient banquets A game in which the hook is passed around in secret and people guess whose hand it is. If they fail to guess, they will be fined with alcohol. Shefu is an ancient game in which something is covered under a vessel to make people guess. Lantai, the Secretary of the Ministry, was in charge of books and secret books. At that time, Li Shangyin was the Secretary of the Ministry of Zhengzi.
Four Untitled Poems
Li Shangyin
(Part 1)
What comes is empty words and disappears,
It's five o'clock in the morning upstairs.
The dream is far away and it is difficult to recall it,
The book is hastened to become ink.
The wax shines on the half cage of golden jade,
The hibiscus is slightly embroidered with musk smoke.
Liu Lang already hated that Pengshan was far away,
it was even more separated by 10,000 layers of Pengshan.
(Part 2)
A rustling east wind and drizzle are coming,
There is light thunder outside Furong Pond.
The golden toad gnaws at the lock to burn incense,
The jade tiger pulls the thread back to the well.
Mr. Jia peeked behind the curtain, Young Master Han,
Concubine Mi stayed with Wang Cai of Wei.
Don’t let flowers bloom in the heart of spring,
One inch of lovesickness and one inch of gray.
(Part 4)
Where mourning kites are handled urgently,
The cherry blossoms are always hanging on the banks of the alley.
The old daughter of the owner is not for sale,
It is three months and a half on that day.
Princess Liyang is fourteen years old.
Watch the same wall after the Qingming Festival.
At the fifth watch of the return exhibition,
The swallows in Liangjian sighed after hearing this.
Brother Wang and his colleagues visited each other, and when they saw him having a drink, they expressed their condolences as his death was approaching.
He did not go because he was sending it.
Xie Fumenting’s old career ended,
Now the singing pipe belongs to Tanlang.
There is no one around and the curtains are hanging to the floor.
When I want to dust the bed, the mat is on the bed.
The young boy of the Ji family is still pitiable.
How can we hope for the beautiful daughter of the Zuo family?
It’s hard to get rid of the worries and abdominal ailments.
The west wind is blowing thousands of miles and the night is long.
Jin Se
Li Shangyin
The Jin Se has fifty strings for no reason, each string and one column reflects the past.
Zhuang Sheng was fascinated by butterflies in his morning dream, and looked forward to the emperor's spring heart in love with cuckoos.
The moon in the sea has tears, and the sun in Lantian is warm and jade produces smoke.
This feeling can be recalled later, but it was already at a loss.
Notes:
Gu Se has fifty strings. Pillar, the pillar that adjusts the pitch of strings; Sidu removes the tones, because rhymed poems are not allowed to have three flat tones in a row. Lantian: In the southeast of present-day Lantian County, Shaanxi Province, it was a famous jade producing area in ancient times.
Brief analysis:
This poem is a piece of memory in old age. Although it is a bit hazy, it has always been recited.
The first couplet of the poem is inspired by the sad and sad Jinse, which points out the theme of "thinking of the Chinese years". Unprovoked, without reason, without reason. Fifty strings, "Historical Records: Book of Fengchan" records that the ancient zither had fifty strings, but later it was generally twenty-five strings, but it still has its own system. The first and second lines of the poem say: The beautiful and brocade-painted zither has fifty strings. I am almost fifty years old, and every string and every string evokes my memories of the passing years.
The chin couplet and neck couplet of the poem are the core of the whole poem. In the couplet, the story of Zhuang Zhou's dream about butterflies is found in "Zhuangzi: Equality of Things": "In the past, Zhuang Zhou dreamed of butterflies, and they were lifelike butterflies. ... Suddenly he felt that he was like a butterfly. I didn't know that Zhou's dream was a butterfly, and the butterfly was like a butterfly. "Dream for Zhou Jie?" The "Xiao Meng" in the poem refers to the dream when the sky is about to break. "Confused about butterflies" refers to being confused about the relationship between oneself and butterflies. Facing the fiercely changing Warring States society with heroes vying for the throne, Zhuang Zhou came up with the idea that life is illusory and impermanent, while Li Shangyin used this allusion because he felt that the country in the late Tang Dynasty was declining, the political situation was turbulent, and fate was like duckweed. This allusion also contains his sadness about the loss of love and life. He seemed to have had a premonition that he would die soon, and he wanted to vent his deep pain and resentment. The legend of Emperor Wang can be found in "Huanyu Ji", which says: "The king of Shu, Du Yu, was named Emperor Wang. Later, he died because of his Zen position and became Zigui." Zigui is the cuckoo. The beautiful and desolate cuckoo described by the poet has been sublimated into the poet's miserable soul. The deep sadness can only be attributed to the cuckoo's cry in late spring. How desolate it is.
The neck couplet is immediately followed by the chin couplet. "The New Book of Tang: Biography of Di Renjie" records: "(Di Renjie) cited Ming scriptures, transferred Bianzhou to join the army, and falsely accused the officials of deposing Zhi. He sent Yan Liben to summon him for interrogation, and he was very talented. , Xie said: "Zhongni said that Guan Guo Zhiren, you can be said to be a treasure in the sea." "The Chronicle of the Three Kingdoms·Wu Zhi·Zhuge Ke Biography": "Ke is rarely talented. Sun Quan said to his father Jin: 'Lantian produces jade. It's true. '" "Pearl" and "jade" are self-descriptions of the poet, which not only refer to talents, but also to virtues and ideals. The poet uses these two images to express his sorrow that he has outstanding talents and virtues, but they are not used by the world. The last couplet of the poem uses a rhetorical question and progressive sentence pattern to strengthen the tone and end the poem. "This feeling" summarizes the emotions expressed, while "Cheng Memories" echoes "Sihua Years". It's hard to wait, which shows that this melancholy and sad "this feeling" has long been confused and difficult to let go, and it is even more unbearable at this time.
This poem is artistically very individual, using allusions, metaphors, and symbolic techniques. In the poem, butterflies and cuckoos are symbols, and beads and jade are metaphors. They create a bright, clear, and graceful atmosphere. The artistic conception of sadness.
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< p> This poem "Jin Se" is Li Shangyin's representative work. Everyone who loves poetry is happy to recite Taoism and is the most famous. However, it is also the most difficult poem to explain. Since the Song and Yuan Dynasties, there have been many speculations and no consensus.The title of the poem "Jinse" uses the first two words of the sentence. In the old theory, it was originally believed that this poem was a poem about things, but recent commentators seem to maintain that this poem has nothing to do with the poem, and is actually an "untitled" work that uses the poem to hide the theme. I think it is indeed different from ordinary chants about objects, but it is also not an untitled poem that simply "cuts off the first two characters" to create a metaphor without any reference to the literal words. The love story it writes is clearly related to Se.
Many annotators have misunderstood the two sentences in the couplet, thinking that this can be used to determine that the poet was "in his fifties" or "nearly fifty" when this piece was written, so So much. Not really. "Unprovoked" means "without any reason" or "for no reason". This is the poet's foolish words. There are so many strings in Jinse, and there is nothing "wrong" or "fault" in this. However, the poet insisted on complaining about it: Jinse, why do you have so many strings? In fact, there is no need to "examine" how many strings the harp originally had, and how many strings it actually had in Li Shangyin's time. The poet just used it to express his ideas. According to records, the ancient zither has fifty strings, so when writing zither in Yuxi, the number "fifty" is often used, such as "the rain hits Xiangling fifty strings", "because of the order of fifty strings, the middle way divides the palace", which can be proved. , the poet had no special intention here.
The key to "thinking about the Chinese years with one string and one pillar" lies in the word "Hua Nian". One string and one column are like one note and one verse. The zither has fifty strings, and the syllables are the most abundant. The complex sounds and rhythms often make the listener difficult to remember.
The poet never meant for people to dig out "numbers". He said: Listening to the complicated strings of the brocade harp, thinking about the past of the Chinese years; the sounds are complicated and the thoughts are chaotic, and it is difficult to express the regret. The fifty strings set up are just to "create the atmosphere" to see the thousands of past events and the nine tunes of emotions. If you want to appreciate Yuxi's poem, you should first understand its purpose. You should not stick to the pillars and play the harp instead. He Zhu, a poet in the Song Dynasty, said: "Who can spend the golden years in the golden age?" ("The Sapphire Case") Yuan Haowen, a poet in the Yuan Dynasty, said: "The beautiful lady hates the golden years in the golden years!"
("On Poetry III") "Ten Poems") Hua Nian is the so-called beautiful youth in today's language. The most important "main focus" of this poem in Yuxi is the grand scene of the Chinese New Year, so the idea of ??recalling the "forty-nine years" after "the fiftieth year" is really just a roundabout way of thinking.
Now that the intention of Qi Lian is clear, let’s see how he takes over the next step.
The first sentence of the couplet uses an allusion from "Zhuangzi", which tells the story of Zhuangzhou dreaming that he turned into a butterfly and flew vividly... forgetting that he was "Zhuangzhou". But when he woke up from the dream, he was still Zhuang Zhou, and he didn’t know where the butterfly had gone. This sentence from Yuxi is written: The beautiful lady Jinse, a complex string music, awakened the poet from his dream, and he no longer fell asleep. Mi contains the meanings of getting lost, leaving, and not arriving. Let's take a look at what he said in "Evening Thoughts on an Autumn Day": "Watch the butterflies in Hanzhuang and leave." To leave means to leave and pass away, which is what he calls the lost. Although "Dawn Dream Butterfly" originated from Zhuang Sheng, once it was used by Yuxi, it was no longer just a "lifelike" problem. It vaguely contained beautiful scenes, but it was also an illusory dream. The Wangdi in the second sentence of this couplet is the legendary monarch of Shu in the late Zhou Dynasty, named Du Yu. Later, the Zen position retired. Unfortunately, the country was destroyed and the body died. After death, the soul turned into a bird. In late spring, it cried bitterly, and the mouth bleeds. The sound was sad and sad, touching the heart, and was named cuckoo. Du Yu's cry of spring, what does this have to do with Jinse? It turns out that the brocade strings and mournful music arouse the poet's infinite sadness and unspeakable resentment, just like hearing the sad sound of the cuckoo sending spring home. The word "tuo" not only describes Du Yu's entrustment of spring to the cuckoo, but also describes the beauty's entrustment of spring to the brocade. While waving his hands and looking away, the interest of flowers falling and flowing water, and the poet's wonderful feelings in his writing, have reached a level here. climax.
It seems that Yuxi's "Spring Heart Entrusts the Cuckoo" uses the wronged bird to express resentment, while "The Beautiful Woman's Brocade and the Beautiful Years" uses the word "resentment", which is just right. The title of Yuxi chants Jinse, which is different from ordinary leisurely emotions. There is a strange feeling and deep hatred in it.
As soon as the rhythmic poem passes through the couplet, after "starting" and "carrying on", it is time to "turn" the pen. At this point, the previous text has probably reached a small pause, which seems to be a knot but not a knot. , the meaning is yet to be applied. Below this, I clicked the pen and dropped the ink, as if it was "rising" again. The writing style may be like a strange peak protruding, or like a lotus root being broken and connected, or pushing the pen to spread out, or being light and slow, dark and tight... The techniques can be different, but the spiritual context has twists and turns but is always focused. On this occasion, Yuxi wrote the famous saying "The moon in the sea has tears".
Pearls are born from clams, and clams live in the sea. Whenever the moon is bright and the night is quiet, the clam opens its mouth to the moon to nourish its pearls. The pearls get the moonlight, and they begin to shine brightly... This is a beautiful folk tradition. The moon is a pearl in the sky, and the pearls are like the bright moon in the water; tears are symbolized by pearls, which has been the case since ancient times. When a shark weeps, each pearl turns into a pearl, which is also a strange scene in the sea. In this way, the bright moon sets in the vast sea, and the bright pearl bathes in the boundary of tears. The moon, the pearl, and the tears, three yeses and one yes? One into three? Three equals one? In the poet's writing, a wonderful realm that is difficult to distinguish has been formed. When we read Tang Dynasty poetry, there are not many poems with such rich connotations and wonderful associations in one stroke.
So, is there any connection between Haiyue, Teardrops and Jinse that we can explore? Didn't Qian Qi's famous line of chanting Se say long ago, "Twenty-five strings play the moon at night, and all the grievances fly away"? Therefore, on a moonlit night, the grievances are particularly deep. In this way, isn't it possible to spy on the connection between the vast ocean and the moonlight realm and Se?
For the poet Yuxi, the state of the moonlit sky has special and deep feelings. Once, because of his illness, he was unable to attend the "Le Ying Zhi Jiu" meeting with He Donggong, so he wrote the sentence "Only the moon in the sea, the high pressure of the clouds in Chicheng". From this point of view, he admired this scene very much for its high openness and purity, and on the other hand he was very sentimental for its desolation and loneliness: a complex and unspeakable feeling of melancholy that could not be expressed in words.
Sikong Tu, a poet of the late Tang Dynasty, quoted a passage from Dai Shulun, who preceded him: "The poet's beautiful scenery, such as the warm sun in Lantian and the smoke in good jade, can be expected but not placed in front of the eyebrows." Here. The eight characters used in the metaphor are exactly the same as the seven characters in the next sentence of the poem's neck couplet, which shows that this metaphor has another origin. Unfortunately, the ancient books were lost and it is difficult to find the source again. Today’s interpretation of this sentence has no other reference. It is difficult to say whether it is appropriate to use Dai’s words as an explanation. Lu Ji, a writer of the Jin Dynasty, has a famous sentence in his "Wen Fu": "The mountains are brilliant with stones and jade, and the rivers are beautiful with pearls in the water." Lantian, the name of the mountain, is a famous jade-producing place in the southeast of Lantian, Shaanxi today. This mountain is illuminated by the sun, and the jade energy contained in it (the ancients believed that treasures have a kind of light energy that cannot be seen with ordinary eyesight) is slowly rising up. However, the essence of the beautiful jade appears to be there from a distance, but not up close, so it can be seen It is impossible to look forward to it - this represents an extremely beautiful ideal scenery, but it cannot be grasped and cannot be approached. Here in Yuxi, it is under the inspiration and association of "the glory of Yunyu Mountain, the beauty of pearls and rivers" that the warm sun in Lantian is used to contrast with the bright moon in the sea in the previous sentence, creating an unusually sharp and strong contrast. Literally speaking, Lantian is also very neat to Canghai, because the original meaning of the character Cang is cyan.
Yuxi's exquisite vocabulary can also show his talent and workmanship.
The two sentences of the neck couplet express the yin and yang, cold and warm, beautiful jade and pearls. Although the realms are different, the sadness and hatred are the same. The poet loves and perseveres this noble feeling, but he dare not blaspheme or lament.
The last couplet ties up the whole article, clearly mentioning the word "this feeling", which echoes the "Hua Nian" at the beginning, and the writing style does not escape. The poem says: With such feelings, how can I wait to recall today and feel endless regret? Even at that time, it was already so disappointing - the saying "how to wait for recall" means exactly this: Then recalling today, it is regretful. , so what! The poet expresses several twists and turns in two sentences, and the twists and turns are just to illustrate the painful and painful mood. This is why poetry is a poet, and this is especially why Yuxi poetry is a Yuxi poet.
Yuxi’s life experience was filled with unspeakable pain and extremely painful emotions, which were pent up in her heart and turned into poems. The deep sadness lingered back and forth, deeply affecting others. In one of his farewell poems, he said: "The letter is full of emotions, and Yang Zhu is sentimental after death; when the string is in danger, the wife's harp is in danger, and when the armor is cold, she misses her husband's zither!..." The zither is composed of music, which is often related to the deep feelings and sorrows of life and death. Meaning, one can imagine. Based on this, I feel that if there is hatred of separation between life and death in Jinse's poem, I am afraid it cannot be said to be entirely conjecture.
Qin Guan
Xianyun makes tricks