Translation and Appreciation of Untitled Li Shangyin

The opportunity to meet each other is really hard to get, and it is even more difficult to part when we break up. Moreover, the weather in late spring, the east wind is about to close, is even more sad. Spring silkworms don't spin silk when they die, and wax oil like tears can drip dry when candles are burned to ashes. Women dress up in front of the mirror in the morning, only worrying that the plump bangs will change color and the youthful appearance will disappear. Men can't sleep at night, so they must feel Leng Yue's aggression. The other person's residence is not far from Penglai Mountain, but there is no road to cross, just out of my reach. I hope an angel like a bluebird will visit my lover diligently for me.

Untitled Time is the creative background long before I met her, but longer after I broke up.

In the Tang Dynasty, people advocated and believed in Taoism. At the age of fifteen or sixteen, Li Shangyin was sent to Yuyangshan by his family to learn Taoism. In the meantime, he met and fell in love with Song Huayang, a female Taoist priest in Yuyang Mountain, but their feelings could not be known to outsiders, and there was an irresistible wave of love in the author's heart, so he could only remember his feelings with poems and hide the topic, thus making his poems both vague, graceful and affectionate. Most of Li Shangyin's untitled poems are about their love stories. This poem is one of them.

Appreciation of Untitled Li Shangyin

This is the most famous love poem among many poems titled Untitled by the poet. The whole poem revolves around the first sentence, especially the words "Don't be embarrassed". "East wind" ends the season, but it is a metaphor for people's lovesickness.

Because of lingering feelings, people are as lifeless as dead spring flowers. Three or four sentences are a portrayal of mutual loyalty and vows of eternal love. The fifth and sixth sentences respectively describe the feelings of depression, resentment, indifference and even decline caused by not meeting each other. The only thing we can hope for is the idea in those seven or eight sentences: I hope the bluebird can spread acacia frequently.

This poem expresses the love psychology in a feminine style. It contains burning desire and persistence in sorrow, and its emotional realm is profound and rich.

The first two sentences are about the unfortunate experience of love and the mood of the lyric hero: because of some power, it is difficult for a pair of lovers to meet each other, and the pain of separation is unbearable for her. The "don't" in the first sentence does not mean that we say goodbye now, but refers to the established forced separation. The word "difficult", the first refers to the difficulty of meeting, and the second is pain and embarrassment. In previous poems, some sentences such as "It's a piece of cake to meet difficulties" (Ge Yanxing by Cao Pi) and "It's a piece of cake to meet difficulties" (Hugh by Ding Du by Song Wudi) all emphasize the difficulty of reunion and lament the pain of parting. Li Shangyin went further from here, saying that "seeing each other late" means "parting is also difficult"-it is difficult to give up and the pain is unbearable. The poet used the word "difficult" twice in one sentence, and the appearance of the second word "difficult" gave people a slight sense of suddenness because of repetition, which made the whole poem interlocking and made the parting pain of reunion after a long separation particularly profound and lingering because of the low expression; This sentimental modality is not easy to understand in such a straightforward narrative as "Don't be easy to get". This lyric hero is already so sad, but facing the scenery in late spring, of course, it makes her sad. In late spring, the east wind is weak, flowers bloom and fall, and the beautiful spring is about to pass away. There is nothing that human beings can do about it. Their own misfortunes and mental pains are like flowers that wither with the passage of spring, because beautiful things are destroyed, which makes people feel endless disappointment and regret! 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. This kind of description that reflects people's situation and feelings with scenery is common in Li Shangyin's works. For example, the first two sentences of "A note to friends in the north on a rainy night" say: "Jun asked that the return date is undecided, and the rain rose in the autumn pool in the evening." The second sentence not only symbolizes that the poet stays in Bashu, but also reflects the boredom of leaving. For example, in "And the East Wind Has Arised, Let a Hundred Flowers Bloom", realism and symbolism are integrated into one, giving feelings a tangible external form, which is usually called the lyrical way of feeling in the scene.

In a few words, it is more tortuous to write the feelings of "seeing each other late" and "inseparable". The word "silk" in "Spring silkworms must weave until they die" is homophonic with "thinking". You miss each other like silkworms until you die. "And the candle will cry the wick every night" is a metaphor for the endless pain of not being together, as if the candle burned to ashes and the wax tears ran out. Miss more than, showing deep attachment, but will spend a lifetime in miss, but it also shows that meeting is indefinite and the future is hopeless. Therefore, his own pain will accompany him all his life. However, although the future is hopeless, she loves it to death and will be attached to it all her life; Despite the pain, there is only patience. Therefore, in these two sentences, there are both disappointed sadness and pain, as well as lingering and burning persistence and pursuit. Pursuit is hopeless, and we still have to pursue it in hopelessness, so this pursuit is also pessimistic. These feelings seem to circulate endlessly, and it is difficult to find the end; It seems to have formed a multi-faceted solid, and light can't see the whole picture from one angle. The poet successfully expressed such a complicated psychological state with only two metaphors, which shows that his association is very rich. The phrase "Spring Silkworm" is first of all the association between the lingering attachment of human beings and the endless spinning of spring silkworms, and then from the spinning of silkworms to the ending of "death" and then to the unswerving love of human beings. So writing "silk to death" gives this image various metaphorical meanings.

original work

Author: 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! .

To annotate ...

1. Untitled: Since the Tang Dynasty, some people often use "untitled" as the title of a poem when they are unwilling to mark the topic that can express the theme.

2. silk exhaustion: silk is homophonic with "thinking", and "silk exhaustion" means missing until death.

3. Tears begin to dry: Tears refer to candle oil when burning, and pun here refers to the tears of lovesickness.

4. Xiao Jing: Dress up and look in the mirror in the morning; Yunbin: A woman's beautiful hair is a symbol of her youth.

5. Pengshan: Penglai Mountain, the legendary fairy mountain on the sea, is a metaphor for the place where mourners live.

6. Bluebird: a mythical messenger to the Queen Mother of the West.

Brief introduction of the author

Li Shangyin (about 813-about 858), a native of Yuxi, xi, was a famous poet in the Tang Dynasty. His ancestral home is Qinyang, Hanoi (now Jiaozuo, Henan) and Xingyang, Zhengzhou. He is good at poetry writing, and his parallel prose also has high literary value. He is one of the most outstanding poets in the late Tang Dynasty. Together with Du Mu, it is called "Xiao", and together with Wen, it is called "Wen Li". Because his poems and essays are similar to the paragraphs and essays of the same period, all three of them rank sixteenth in the family, so they are also called "Thirty-six Style". His poems are novel in conception and beautiful in style, especially some love poems and untitled poems are touching, beautiful and moving, and are widely read. However, some poems are too obscure to be solved, and there is even a saying that "poets always love Quincy and hate that no one writes about Jian Zheng". Caught in the struggle between Niu and Li, I was frustrated all my life. After his death, he was buried in his hometown of Qinyang (now the junction of Qinyang and Aibo County in Jiaozuo City, Henan Province). His works are included in Li Yishan's poems.