Translation and Annotation of Untitled Li Shangyin

Untitled Part I Li Shangyin | Annotation | Translation | Appreciation | Introduction to Works Untitled Part I was created by Li Shangyin and was selected as one of the 300 Tang poems. This poem is probably about the bitterness of a woman's lovelorn love and the depressed mood of Sauvignon Blanc. In the first couplet of this poem, the heroine sewed Luo Zhang in the middle of the night, expressing her memories of the past and her deep expectation of meeting. Zhuan Xu recalled the last meeting, and when he recalled the past, he expressed his complex feelings of regret, dismay and affection. After parting, lovesickness is lonely, spring is exhausted, pomegranate blossoms, and people who think about it have no news. Expressed disappointment and sadness at fleeting and wasted youth. People who miss each other day and night may be far apart, but they are so close that they have no chance to meet. The poem vividly uses the famous sentence of "May I die in your arms for the southwest wind" in Cao Zhi's Seven Wounded Poems, expressing the pain of meeting in difficult times. The feelings revealed in the poem are sincere and profound. It seems that the heroine is unrequited. Acacia is hopeless, but its pursuit is persistent. It is this pure love and infatuation that endows poetry with strong appeal. This poem may be considered to be about men missing women. Erotic poems like this are hard to understand. Original untitled Part I Author: Li Shangyin, a faint phoenix tail yarn, with double fragrance, makes you green, close your eyes for the night. It's too late to cover up the encounter with a fan; But you drove by, speechless. Once lonely and sleepless, I missed candles; But I haven't heard from you until the pomegranate blossoms. Maybe you are on the bank of weeping willows, stopping to chase; How can you wait until it is sent to the southwest wind? Note 1 phoenix-tailed fragrant Luo: a thin Luo woven with phoenix patterns. Rolfe: A kind of silk. (2) Biwen Dome: refers to the dome with blue pattern. Top: refers to the top of the account. (3) Fan cutting: refers to covering the face with a round fan. April bright: the moon. ⑤ Pomegranate red: the season when pomegranate blooms. 6. spotted raccoon: a horse with black and white flowers. Here I secretly used Yuefu's "Fairy Ming Ge's Chivalrous Children's Song", "Chen Kong is proud and white, and Lu Lang takes advantage of it." Wandering in the hall, looking at the door and unwilling to return "implies that her lover is not far from her, perhaps on the shore of the horse at the moment." ⑦ "Where is the good wind in the southwest? "I used the poem" I would like to be a southwest wind and die in your arms "in Cao Zhi's seven wounded poems, hoping that a breeze would blow me to the right person. Proofreading note 1, Fengwei Xiangluo: Fengwei feathers are woven into fine lines. "Hanwu Biography": "On the evening of July 7, the second year of Yuanfeng, the Queen Mother descended in front of the Palace of Changsheng, wearing the crown of Taizhen Morning tassel and bearing the title of Yuanfeng Feng Qiong. The tolerant road "Fan Zhen Ishikawa Leiyu has a gift" (3): "Ji Yun Wen Feng is good, sing it to Shaojun." (Chen Fan said) Feng, that is, Luo Ye. (Feng Jianyin) (Wu Qiao said) Huang Tingjing (preface): "Jin Wen's Luo is forty feet." White Post: "Wen Feng, Cicada, and Luo Ming." Yu Xin's "The Secret of Xie Yun Soap Robe": "Phoenix will fly if it doesn't go, although the flowers are cold." 2. Biwen Dome: A dome with blue ripples or other patterns. Yuan Zhen's Jiang Mei: "Mei Man's tongue is red, Jiang Xun Qionghuaqing." A dome, any object with a round top, can be called a dome. Su Xiang's "Feng He Sheng Zhi Xing Zheng Shang Shu Dou Xi Jun Jia Ying Zhi": "The dome is full of rocks and surrounded by Wei Sha." (Yao Peiqian's note) Cheng Taizhi's "Lu Fanlu": "It is very expensive to use the ancient books for weddings in the Tang Dynasty. And its system is not the meaning of many future generations, especially concrete and subtle. The willow is a circle, interlocking, and a hundred pieces are closed. Because there are many circles, in short, there are not really a hundred circles. Its relaxation has become a reality, probably a pavilion with a spire, and it is easy to replace the ear with a green bang. " According to reports, the so-called "Bi Wen Qiong" almost refers to this in Yishan. Is it better to use logue or logue? "(Feng Hao note) Yao said near is, the ancient so-called also. But the above sentence is called Luo Zhang. Youyang Za: "In the northern wedding, the green curtain is used as the house, and it is called Lu Qing, where we worship and salute. "Yellow Publishing House Lu Qing, the place where the ancient northern nationalities held their wedding. Peacock flies southeast: "On its day, cows and horses hiss, and the bride enters Bilu." Paragraph "Youyang Miscellaneous Gifts": "In the Northern Dynasties, the green curtain is the house, and the inner and outer doors are called, so we pay homage here. "Guqinglu is like a house with curtains made of bamboo or green cloth. The depth of the night should be one hundred times that of the dome, not a thing. 3, Ban Jieyu's' Song of the Fan':' Newly cracked Su, fresh and clean as frost and snow. Cut into acacia fans, just like the bright moon. "Moon spirit: the dark and unknown part of the moon or the circle, generally referring to the moon, replaced by a round fan. "Hanwu Biography": "Let the essence of the sun get the pearl of sunshine and the moon get the flower of yellow water. "Liang Jianwen's" Xianggong Temple Inscription ":"The pearl gives birth to the bright moon, and the clock is frosted in autumn. "Gao Shi's Song of the Wall": "The sun wheel is in the frost, and the moon hangs the bow. "Liu Changqing's Meet Zheng Tian on the Lake": "Suddenly drunk in a cup, born in the lake. "4. Sima Xiangru's" Changmen Fu ":"Clouds and yin are four obstacles, and the sky is overcast. Thunder sounds like a gentleman's car. "5, used to be: already, already; Again and again. Gold ember: the laudatory name for the ember of a lamp or candle. Xu Jian's Lonely Candle Sighs: "The jade plate is red with tears and the gold embers are round in color. "6. Absolutely not: absolutely not." "Book of Rites Confucianism": "Fukashi is eager to be strong, but he has to learn." Kong Jian is sparse: "Break, absolutely. "Pomegranate red, pomegranate blossoms in May, red in color, so yin; It is said that spring has passed. Kong Shaoan's "Singing Pomegranate at Banquet": "It's a pity that the trees in the imperial court moved their roots to drive away the Han officials. Just because it's late, it's not as good as spring. Han Yu's "Chanting Zhang Eleven Hostel": "May is bright, you can see the branches." (Note by Daoyuan) Wu Qiqu, Emperor of Liang Yuan: "Furong wears pomegranate skirt." Wu Qiao's note: "Then there is a poem in the sky:' If you don't believe me, you will cry. The word "open pomegranate skirt" and "red" is suspected of using this meaning. " ("Quincy Puwei" Volume) (Feng Hao's Note) pomegranate wine is comparable to Albizia, see "Anger in the Same Year"; Kong Shaoan's story can be compared with that of a Beijing official. See Peony in the Back. Huang Jiu's notes are all wrong, and Liu Yu's works are the best, saying that "this pomegranate red" is opposite to "golden ember dark", and "pomegranate" refers to pomegranate flowers. The golden embers are dark, and acacia is hopeless; Pomegranate red' means fleeting, bidding farewell to the years (when pomegranate blossoms, youth has passed away) ". Say yes. Pomegranate blooms in May, and spring goes to summer. It is said that pomegranate flowers have turned red since spring in Zhixia, but there is no news. 7. Spotted raccoon: A good horse with mixed blue and white fur "Yuefu Poetry" Volume 47 "Fairy Summer Songs" Part II: "Chen Kong is arrogant, and Lu Lang takes advantage. Wandering around the hall and shooting, looking at the door and unwilling to return. Li He's "Night Song": "The stars are rotten in the east, and Xia Hong is a little southeast. Lu Lang will take a look." Yishan's poem "Spring Tour" says: "Bridge Steep Spot Disease, Sichuan Changbai." The second cloud in "Snow Pile" says: "Shut the river and freeze the east-west road, and send Lulang to the heart." "Untitled" says: "The white road returns to the sunset, and the spots hiss and break the seven fragrant cars." 8. "Waiting",,, Jiangben, Tong, Zhu, Yao and Qu Ben are all "Ren". Yi Kun: "Friends in the southwest, friends in the northeast." Cao Zhi's Seven Wounded Poems: "If the road dust is cleared, if the cement is muddy. Floating dust and mud are different, when can we meet harmoniously? I am willing to die in your arms for the southwest wind. " Bao Zhao's "Playing the Moon": "When I first saw the southwest building, it was as thin as a jade hook." Yuan Zhen's Ci of Spring: "Spring often comes to Songjiadong to be a good wind." Rhyme translation is woven with phoenix tail pattern, which is thin and heavy; Biwen's dome, I went to sew it late at night That encounter was too late to be covered up with a round fan; But you drove by, speechless. Because of loneliness and sleepless nights, I thought of more candles; But I didn't hear from you until the pomegranate bloomed. Maybe you are on the bank of weeping poplar, tied with a zebra; How can you wait? Send your southwest wind. Interpretation of this poem, through the bitterness of a young woman's frustrated love and the hopeless depression of lovesickness, expresses the poet's melancholy and sentimental feelings about the fleeting impermanence of life, the waste of youth, and the difficulty of realizing ambition and pursuit. In the poem, when a young woman sews a Luo Zhang in the middle of the night in early autumn, she not only remembers an accidental meeting with her lover a long time ago, but also describes the endless lovesickness after this meeting and the state of mind of looking forward to meeting again. This poem has delicate psychological description and sincere and profound feelings, especially the use of symbols and hints, which makes the theme more subtle and profound. "A faint layer of phoenix yarn, fragrant and double, lining your green canopy, closed for the night." The phoenix fragrance I woven is thin and soft; I sewed a blue dome. At this moment, it is also the dead of night. "Will your shy face stare around a moon-shaped fan, and will your voice drown out the rattle of my carriage? For this reason, I can't help but think of an accidental meeting with the right person: at that time, because I was shy, I covered my beautiful face with a round fan, but I couldn't hide my inner shyness. His carriage rumbled in front of me, and we didn't even have time to say a word. "The place where your golden lamp goes out is very quiet. How far can a pomegranate flower whisper? "Since that hasty meeting, there has been no news of the right person. How much loneliness I experienced, how many long nights I spent alone, and endless thoughts in the dim candlelight. Now it's pomegranate blossom season again, and he still has no news. For more appreciation of Tang poetry, please pay attention to Guo Xuexi's 300 Tang poems in Gutang. com。" I will tie my horse to the willow tree by the river. Where is the southwest wind? "In fact, thinking about his lover day and night is not far from him. Isn't that black and white horse tied to the willow bank his mount? The breeze will blow me to his side.

Comment on Li Shangyin's untitled seven laws, which are the most mature in art and can best represent the unique artistic style of his untitled poems. These seven laws are untitled, and the content is to express the bitterness of young women's frustrated love, the hopeless depression of lovesickness, and the way the heroine remembers 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 through memories, either implicitly or explicitly. Started writing about the heroine sewing accounts late at night. Phoenix-tailed fragrant Luo is a thin Luo woven with phoenix patterns; Biwen dome refers to the dome with blue patterns. Li Shangyin pays special attention to hints in his poems, and even in the connection of metrical poems, he is often reluctant to write too clearly and directly, leaving some content for readers to appreciate. 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 explained clearly. Through the literal meaning of "Phoenix Tail" and "Biwen Dome" and the action of "sewing clothes at night", it can be inferred that the protagonist is probably a quiet and lonely boudoir woman. In ancient poetry, Luo Zhang was often used as a symbol of good cooperation between men and women. Quietly sewing Luo Zhang's heroine on a lonely night is probably immersed in reminiscence of the past and deep expectation of meeting each other. The following is the memory of the heroine, the content of which is an accidental meeting between her and the right person-"Will your shy face stare at a moon-shaped fan, and will your voice drown out the rattle of my carriage?" "The other person drove by in a hurry and covered his face with a round fan because of shyness. Although he met, he didn't say a word From the context, this meeting is not like the first meeting, but the last meeting before "no news". Otherwise, it is impossible to sew Luo Zhang late at night and look forward to meeting you. Just because it was the last unspoken meeting, it reminded me of the past when I didn't hear from each other for a long time, and I felt more and more sorry for losing that opportunity, and the scene of that meeting was more clear and profound 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, disappointment and affection when recalling the past. There is a great leap in the plot between couplets, and there are many things before the last meeting (such as how she met and fell in love with each other, etc.) ) all omitted. For more appreciation of Tang poetry, please pay attention to Guo Xuexi's 300 Tang poems in Gutang. com。 Write down the loneliness of lovesickness after bidding farewell to the neckline. Unlike "Part One", which expresses instant feelings through dramatic fragments, this couplet generally describes life and feelings for a long period of time through the artistic technique of scene blending, which has a stronger lyrical atmosphere and symbolic meaning. 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 lamp? Now is the season when pomegranate blossoms. " Every night, the candle will cry and put out the wick. ""Even this bright fire of love will only have ashes? "The dim residual lamp not only exaggerates the lonely atmosphere in the long night, but also seems to be the externalization and symbol of the heroine's hopelessness. In the season when pomegranate flowers are in full bloom, spring has passed. In the lonely expectation, pomegranate bonus may bring her fleeting disappointment and sadness of wasting her youth. "Dark gold embers" and "pomegranate red" seem to inadvertently dye the scenery, but they contain rich emotional connotations. It is indeed a sign of artistic perfection to use the expressive technique of symbolic suggestion so naturally and skillfully without revealing traces. The end of the couplet is still affectionate expectation. The sentence of "embellishment" implicitly uses the sentence of "Lu Lang embellishment" ... and doesn't want to go home. "In Yuefu's Children's Songs of the Fairy and the Chivalrous Man, it 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 too far away to meet each other. The last sentence of Cao Zhi's "Seven Sorrow" is very poetic, "I wish to be a southwest wind and die in your arms", hoping that a good wind will blow me 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 affectionate "spring silkworms die, and the candle at night is all wick". Hope burns in loneliness, which is what readers 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 if they are branded with the times and class to varying degrees.

Since the middle Tang Dynasty, poems describing love and pornography have gradually increased. This kind of works are characterized by more narrative elements, stronger plots and detailed descriptions of characters and scenes. Li Shangyin's love poems, on the other hand, focus on the subjective feelings and psychological activities of the protagonist and show her (his) 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 poems 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 metaphor, symbol, association and other means to strengthen the suggestibility of poems. This is an important reason why his love poems are not obvious and difficult to read. But because of this, his love poems often have the characteristics and advantages of profound meaning, profound artistic conception and delicate writing, which can stand repeated chewing and playing. Comment on the first couplet of Feng Luo is the poet's empty words, and the family says "write from the opposite side". Women are going to sew a Biro tent with a phoenix tail pattern in the middle of the night. The gauze of the tent is very thin and gives off a beautiful fragrance. This kind of multi-layer 100-fold account was called "Bai Zi account" in the Tang Dynasty, which was used for weddings. The first sentence "Luo" uses "phase" (phase) and the second sentence uses "seam" (feng), which is obvious. 3.4. Looking back at the scene of meeting in a hurry: the woman was ashamed to take the round fan, and the poet led the car away. The car was thundering, but she tried to speak but failed. This scene is very similar to another "Untitled": "The white road lingers into the sunset, and the seven fragrant cars are broken. Who laughs at the spring breeze? Break through100,000 Yangcheng. " In this poem "Phoenix-tailed Melon", it is also said that "the spot has hung on the Yang River", "Broken heart spot is sent to Lu Lang" in "Snow Pile" and "Bridge Steep Spot Disease" in "Spring outing". With these four words, the lyric subject is the poet himself. There is no hope to turn acacia into acacia. Compare the dim light with the late spring. Say a word in countless nights, with the destruction of snuff, lonely and difficult. Snuff is usually considered as a good omen, and it is usually a harbinger of happy events for men and women. Du Fu's "Poems for Yourself": "Snuff is too cheerful and wine is green." Five books in The West Chamber are 10% off: "Last night snuff reported that magpies were in trouble today." The twenty-eighth time in a dream of red mansions: "My daughter is happy, and her nose is double-headed." However, snuff burns to ashes tonight, which means that it is difficult to contact each other. There is no news in the sentence cloud from spring to summer. "Pomegranate red" means pomegranate flower. "Pomegranate flowers are as red as flowers in May" means that spring has passed. Kong Shaoan's "Yan Shiyong Pomegranate" says: "It is only because spring comes late." Therefore, "golden embers are dark" (lights go out) and "pomegranate red" (late spring) are just metaphors of hopeless harmony. Seven, eight reflects three, four, saying that we met in a hurry before, but we couldn't get along. Today, I am on the bank of weeping Yang. The poet had to scratch his head and wait for it, suddenly thinking: where can I wait for the good wind in southwest Chen to blow you? Southwest Kun, Yi Kun: "Friends of Southwest China." Cao Zhi's Seven Sorrow: "May I die in your arms for the southwest wind." "Where is the good wind in the southwest", that is, "where is the good wind in the southwest", this southwest wind is a metaphor for thinking about women. Yao Peiqian said: "Those who recite what they think can think but not see." For more appreciation of Tang poetry, please pay attention to Guo Xuexi's 300 Tang poems in Gutang. com。 The author introduces Li Shangyin (8 12-858), male, Han nationality, whose name is Yishan, so he is also known as Li Yishan, whose real names are Yuxi (xi) and Fan Nansheng (Fan Nanzi), a famous poet in the late Tang Dynasty. Originally from Hanoi, Huaizhou (now Qinyang, Henan), he was born in Xingyang, Henan (now Xingyang, Zhengzhou). Poetry is of great literary value. She entered Tang Wenzong for three years (AD 838). He used to be a judge in Hongnongwei, Sasaki Prefecture and Dongchuan Province. In his early days, Li Shangyin won the appreciation of Ling Huchu, an important member of the Niu Party, for his literary talent. Later, Wang Maoyuan of the Li Party married his daughter because of his love, so he was rejected by the Niu Party. Since then, Li Shangyin struggled for survival in the struggle between the two parties, worked as an aide in various provinces, and was depressed, and then he was down and out all his life. In the late Tang Dynasty, the Tang poetry was not as good as before, but Li Shangyin pushed it to another peak. He is the most famous poet in the late Tang Dynasty, along with Du Mu. They are also called "Little Du Li", and they are also called "Three Li" with Li He and Li Bai. There are poems by Li Yishan. Together with Wen, they are called "arts and sciences", because their poems and essays are similar to those of the same period, and all three of them rank sixteenth in the family, so they are also called "thirty-six styles". His poems are novel in conception and beautiful 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. Finally, he died of depression and was buried in Xingyang, Zhengzhou (now Alfalfa Village, Xingyang). According to New Tang Book, there are 20 volumes of Fan Nanjia Collection, 20 volumes of Fan Nanyi Collection, 3 volumes of Western Henan, Fu 1 volume, Wen 1 volume, and some works have been lost. Li Shangyin once claimed to be the same clan as the royal family in the Tang Dynasty. Zhang Caitian's textual research confirmed that he was a distant imperial clan in the Tang Dynasty. [3] But there is no official document to prove it, so it can be considered that this blood relationship between Li Shangyin and the royal family in the Tang Dynasty is quite far away. Li Shangyin affirmed his imperial clan status several times in his poems, but this did not bring him any practical benefits. Li Shangyin's family can be traced back to his great-grandfather Li She. The highest administrative post that Li She once held was Meiyuan County Order; Great-great-grandfather Li Shuheng (uncle) is an Anyang county commandant. Grandfather Li Biao, a former Xingzhou document, joined the army; His father, Reese, was once an imperial adviser in the temple. When Li Shangyin was born, Li Siren was awarded the order of jia county (now jia county, Henan). For more appreciation of Tang poetry, please pay attention to Guo Xuexi's 300 Tang poems in Gutang. com。 Shi Zhecun believes that although the social significance of Li Shangyin's poems is not as good as that of Li Bai, Du Fu and Bai Juyi, Li Shangyin has the greatest influence on later generations, because there are more people who like Li Shangyin's poems than Li, Du Fu and Bai Juyi. Among the 300 Tang poems edited by Sun Zhu in the Qing Dynasty, 22 poems by Li Shangyin were included, ranking fourth after Du Fu (38 poems), Wang Wei (29 poems) and Li Bai (27 poems). This anthology of Tang poems is a household name in China, from which we can see Li Shangyin's great influence on ordinary people. In the late Tang Dynasty, Han Wo, Wu Rong, Tang and others began to consciously learn Li Shangyin's poetic style. In the Song Dynasty, more poets studied Li Shangyin. According to Ye Xie, "There were seven unique poets in the Song Dynasty, probably/kloc-0 studied Du Fu in 1967 and/kloc-0 studied Li Shangyin in 1934." (Original Poetry) In the early years of the Northern Song Dynasty, Yang Yi, Qian and other clansmen, Li Shangyin, often sang in harmony with each other, pursuing gorgeous rhetoric and neat antithesis, and published a collection of Kunxi Appreciation, which was called Titi. It was quite influential at that time. In addition, Wang Anshi also spoke highly of Li Shangyin, thinking that some of his poems were "unbearable for Lao Du" (Cai Kuanfu's poems). Wang Anshi's own poetic style is also obviously influenced by Li Shangyin. Poets in the Ming Dynasty were all influenced by Li Shangyin from The First Seven Sons to Qian and Wu. People who like to write erotic poems in the Ming and Qing Dynasties specialize in Li Shangyin's untitled poems, such as Yi Yun Ji and Yu Yi Ji by Wang Yanhong in the late Ming Dynasty (note: whether Yi Yun Ji is Wang Yanhong's works is controversial in academic circles), and some excellent Seven Huai poems by Huang Jingren in the middle of Qing Dynasty. Romantic poetry in the novels of Yuanyang Butterfly School in the Republic of China was also influenced by him. Regarding Li Shangyin's influence on later generations, we can refer to the influence of Wu Diaogong on poetry in the Northern Song Dynasty, Li Shangyin's Sunset Red in the Qing Dynasty, the influence on the formation of Li Shangyin's poems, and the graceful and restrained poems of Liu Xueyan in the Tang and Song Dynasties. Two Untitled English-Chinese Poems (Part I) Li Shangyin's faint phoenix-tailed yarn, which is doubly fragrant, sets you off with a green canopy and closes your eyes for the night. It's too late to cover up the encounter with a fan; But you drove by, speechless. Once lonely and sleepless, I missed candles; But I haven't heard from you until the pomegranate blossoms. I will tie my horse to a willow tree by the river and wait for the will of the southwest wind? A wisp of faint phoenix-tailed yarn on an unnamed Ili is doubly fragrant, lining your green canopy and closing your eyes for the night ... Will your shy face stare at a moon-shaped fan, and will your voice drown out the rattle of my carriage? The place where your golden lamp goes out is very quiet. How far can a pomegranate flower whisper? ... I'm going to tie my horse to the river and wait for the southwest wind.