英译李商隐《锦瑟》

英译李商隐《锦瑟》

　　赏析通过鉴赏与分析得出理性的认识，既受到艺术作品的形象、内容的制约，又根据自己的思想感情、生活经验、艺术观点和艺术兴趣对形象加以补充和完善。下面是小编精心整理的英译李商隐《锦瑟》，欢迎大家分享。

　　《锦瑟》

　　李商隐

　　锦瑟无端五十弦，

　　一弦一柱思华年。

　　庄生晓梦迷蝴蝶，

　　望帝春心托杜鹃。

　　沧海月明珠有泪，

　　蓝田日暖玉生烟。

　　此情可待成追忆，

　　只是当时已惘然。

　　《The Lute》

　　By Li Shangyin

　　The lute has fifty strings,I dont know why,

　　One pluck and pluck, of past glory I sigh.

　　In his dream, with butterflies Zhuang was glad,

　　Id ask a cuckoo for good news or bad.

　　The azure sea sees the pearl with tears beam,

　　The sapphire field feels the jade with hue gleam.

　　My love for him draws me back to the past,

　　While now Im all lost and a bit downcast.

　　创作背景

　　李商隐天资聪颖，文思锐敏，二十出头考中进士，举鸿科大考遭人嫉妒未中刷下，从此怀才不遇。在“牛李党争”左右为难，两方猜疑，屡遭排斥，大志难伸。中年丧妻，又因写诗抒怀，遭人贬斥。《锦瑟》一诗约作于作者晚年。

　　关于此诗的创作意旨历来众说纷纭，莫衷一是。有人说是写给令狐楚家一个叫“锦瑟”的侍女的爱情诗；有人说是睹物思人，写给故去的妻子王氏的悼亡诗；也有人认为中间四句诗可与瑟的适、怨、清、和四种声情相合，从而推断为描写音乐的咏物诗；有人认为是爱国之篇，有影射政治之意；有人认为是自伤身世、自比文才之论，还有人认为是自叙诗歌创作等许多种说法。大体而言，以“悼亡”和“自伤”说者为多。

　　Li Shangyin was gifted with intelligence and sharp thinking. In his early twenties, he passed the imperial examination and became a jinshi. However, he was envied by others for not passing the entrance exam for the Hongke University and was subsequently overlooked. In the midst of the Niu Li Party dispute, both sides are suspicious, repeatedly rejected, and unable to achieve their ambitions. He lost his wife in middle age and was criticized for writing poetry to express his feelings. The poem Jin Se was written around the authors later years.

　　There have always been different opinions on the creative intention of this poem. Some people say it is a love poem written for a maid named "Jinse" in the Linghu Chu family; Some people say it is a mournful poem written for their deceased wife Wang Shi, as they see things and think of people; Some people also believe that the four lines in the middle of the poem can be matched with the four emotions of harmony, resentment, clarity, and harmony of the zither, thus inferring it as a hymn describing music; Some people believe that it is a patriotic article with implications for politics; Some people believe it is a theory of self harming ones background and comparing oneself to literary talent, while others believe it is a theory of self narrative poetry creation and many other theories. Generally speaking, there are more people who speak of "mourning for the deceased" and "self harm".

　　作品鉴赏

　　整体赏析

　　诗题“锦瑟”，是用了起句的头二个字。旧说中，原有认为这是咏物诗的，但注解家似乎都主张：这首诗与瑟事无关，实是一篇借瑟以隐题的“无题”之作。

　　首联“锦瑟无端五十弦，一弦一柱思华年。”乐器，琴有三弦、五弦，筝有十三弦，而“瑟”却有五十弦。用这么多弦，来抒发繁复之情感，该是多么哀伤。古有泰帝与素女之典故，已是哀伤至极了。诗人以这个典故作为喻象，暗示自喻诗人与众不同，别人只三弦、五弦，而诗人之瑟却有五十弦之多。真是得天独厚之天才。暗示他天赋极高，多愁善感，锐敏幽微。比兴用得多么高妙。下一句，一弦一柱，追忆青春恋爱的年华。首联总起，引领下文，以下都是追忆美好的青春。但又美景不长，令人失落惆怅。

　　颔联的上句，用了《庄子》的一则寓言典故，说的是庄周梦见自己身化为蝶，栩栩然而飞，浑忘自家是庄周其人了；后来梦醒，自家仍然是庄周，不知蝴蝶已经何往。不知周之梦为蝴蝶，还是蝴蝶之梦为庄周。下句中的望帝，是传说中古蜀国的君主，名叫杜宇；后来禅位退隐，不幸国亡身死，死后魂化为鸟，暮春啼苦，至于口中流血，其声哀怨凄悲，动人心腑，名为杜鹃。此联二句，写的是佳人锦瑟，一曲繁弦，惊醒了诗人的梦景，不复成寐。迷含迷失、离去、不至等义。隐约包含着美好的情境，却又是虚缈的梦境。锦瑟繁弦，哀音怨曲，引起诗人无限的悲感、难言的冤愤，如闻杜鹃之凄音，送春归去。一个“托”字，不但写了杜宇之托春心于杜鹃，也写了佳人之托春心于锦瑟，手挥目送之间，花落水流之趣。诗人妙笔奇情，于此已然达到一个高潮。

　　律诗一过颔联，“起”“承”之后，已到“转”笔之时，笔到此间，大抵前面文情已然达到小小一顿之处，似结非结，含意待申。在此下面，点笔落墨，好像重新再“起”似的。其笔势或如奇峰突起，或如藕断丝连，或者推笔宕开，或者明缓暗紧，手法可以不尽相同，而神理脉络，是有转折而又始终贯注的。当此之际，诗人就写出了“沧海月明珠有泪”这一名句来。

　　颈联上句把几个典故揉合在一起，珠生于蚌，蚌在于海，每当月明宵静，蚌则向月张开，以养其珠，珠得月华，始极光莹。这是美好的民间传统之说。泪以珠喻，自古为然，鲛人泣泪，颗颗成珠，亦是海中的奇情异景。如此，皎月落于沧海之间，明珠浴于泪波之界，在诗人笔下，已然形成一个难以分辨的妙境。一笔而能有如此丰富的内涵、奇丽的联想的，实不多见。后一句的蓝田日暖，也并非没有来源。晚唐诗人司空图，引过比他早的戴叔伦的一段话：“诗家美景，如蓝田日暖，良玉生烟，可望而不可置于眉睫之前也。”这里用来比喻的八个字，简直和此诗颈联下句的七个字一模一样，足见此一比喻，另有根源，可惜后来古籍失传，竟难重觅出处。引戴语作解说，是否贴切，亦难断言。晋代文学家陆机在他的《文赋》里有一联名句：“石韫玉而山辉，水怀珠而川媚。”蓝田山是有名的产玉之地。此山为日光煦照，蕴藏其中的玉气（古人认为宝物都有一种一般目力所不能见的光气），冉冉上腾，但美玉的精气远察如在，近观却无，所以可望而不可置诸眉睫之下，这代表了一种异常美好的理想景色，然而它是不能把握和无法亲近的。诗中此句，正是在“韫玉山辉，怀珠川媚”的启示和联想下，用蓝田日暖给上句沧海月明作出了对仗，造成了异样鲜明强烈的对比。而就字面讲，蓝田对沧海，也是非常工整的，因为沧字本义是青色。诗人在词藻上的考究，也可以看出他的才华和功力。对于诗人来说，沧海月明这个境界，尤有特殊的深厚感情。有一次，他因病中未能参与河东公的“乐营置酒”之会，就写出了“只将沧海月，高压赤城霞”（《病中闻河东公乐营置酒口占寄上》）的句子。如此看来，他对此境，一方面于其高旷皓净十分爱赏，一方面于其凄寒孤寂又十分感伤：一种复杂的难言的怅惘之怀，溢于言表。

　　中间两联共用了四个典故，呈现了不同的意境和情绪。庄生梦蝶，是人生的恍惚和迷惘；望帝春心，包含苦苦追寻的执著；沧海鲛泪，具有一种阔大的寂寥；蓝田日暖，传达了温暖而朦胧的欢乐。诗人从典故中提取的意象是那样的神奇、空灵，他的心灵向读者缓缓开启，华年的美好，生命的感触等皆融于其中，却只可意会不可言说。

　　尾联拢束全篇，明白提出“此情”二字，与开端的“华年”相为呼应，笔势未尝闪遁。诗句是说：如此情怀，岂待今朝回忆始感无穷怅恨，即在当时早已是令人不胜惘惘了。对于一般普通人，往往是人到老年，追思以往：深憾青春易逝，功业无成，光阴虚度，碌碌无为而悔恨无穷。但天资聪敏的诗人，则事在当初，就早已先知先觉到了，却无可奈何，无限之惘然若失。这就是诗人李商隐，借锦瑟而自况了。

　　李商隐一生经历坎坷，有难言之痛，至苦之情，郁结中怀，发为诗句，幽伤要眇，往复低徊，感染于人者至深。他的一首送别诗中说：“庾信生多感，杨朱死有情；弦危中妇瑟，甲冷想夫筝！”（《送千牛李将军赴阙五十韵》）则筝瑟为曲，常系乎生死哀怨之深情苦意，可想而知。如谓锦瑟之诗中有生离死别之恨，恐怕也不能说是全出臆断。

　　Appreciation of works

　　Overall Appreciation

　　The poem title "Jinse" uses the first two words of the sentence. In the old theory, it was originally believed to be a poem about objects, but annotators seem to advocate that this poem has nothing to do with the use of the zither, and is actually an "untitled" work that uses the zither to conceal the theme.

　　The first couplet reads "Jinse has fifty strings without any reason, one string and one pillar to reflect on the Chinese New Year." Musical instruments include the qin with three or five strings, the zither with thirteen strings, and the "se" with fifty strings. How sad it must be to express complex emotions with so many strings. The ancient story of Emperor Tai and his plain daughter is already extremely sad. The poet uses this allusion as a metaphor, implying that the poet is different from others who only have three or five strings, while the poets zither has as many as fifty strings. He is truly a unique genius. Suggesting that he has extremely high talent, is sensitive, sharp and subtle. How cleverly used it is. The next sentence, one string, one pillar, reminiscing about the years of youth and love. Starting from the first line, leading the rest of the text, the following is a reminiscence of the beautiful youth. But the beautiful scenery is not long, which makes people feel lost and melancholic.

　　The first sentence of the couplet uses a fable from Zhuangzi, which tells the story of Zhuangzi dreaming that he transformed into a butterfly and flew away, forgetting that he was actually Zhuangzi himself; Later, when I woke up from my dream, I realized that my family was still Zhuang Zhou, and I didnt know where the butterfly had gone. I dont know if Zhous dream is a butterfly or if the butterflys dream is Zhuang Zhou. The Wangdi mentioned in the following sentence is a legendary ruler of the ancient Shu Kingdom, named Du Yu; Later on, the abdication abdicated, and unfortunately the country perished and the body died. After death, the soul transformed into a bird, and in the late spring, it cried bitterly. As for the bleeding in the mouth, its mournful and sorrowful voice moved the heart and soul, and it was named Dujuan. This couplet consists of two lines, depicting a beautiful woman in a golden silk, with a melody full of strings that awakens the poets dreamland, never to fall asleep again. The meaning of confusion includes being lost, leaving, and not reaching. Vaguely containing beautiful situations, yet also a vague dream. Jinse Fanxian, mournful music, evokes infinite sadness and indescribable resentment in poets, like hearing the mournful sound of azaleas, sending spring back. The word tuo not only depicts Du Yus love for spring in azaleas, but also the love of a beautiful woman in a golden silk, with the joy of flowers falling and water flowing as they bid farewell. The poets skillful writing and extraordinary emotions have reached a climax here.

　　After the couplet of the regulated poem, "rising" and "inheriting", it has reached the time of "turning" the pen. At this point, the literary sentiment has reached a small pause, as if it were a knot but not a knot, and the meaning is yet to be determined. Below, point and ink as if starting over again. The brushstrokes can be as sudden as a peak, as if a lotus root is broken and connected, as if the brush is pushed open and down, or as light and slow as light and dark as tight. The techniques may vary, but the divine logic and thread have twists and turns that are always consistent. At this moment, the poet wrote the famous line Tears on the Pearl of the Moon in the vast sea.

　　The sentence on the neck couplet combines several allusions together. The pearl grows in the clam, and the clam lies in the sea. Whenever the moon is bright and the night is quiet, the clam opens up to the moon to nourish its pearl. The pearl becomes bright in the moon, and the light begins to shine brightly. This is a beautiful folk tradition. Tears are likened to pearls, which has been a tradition since ancient times. The mermaids shed tears, each one forming a pearl, which is also a strange scenery in the sea. In this way, the bright moon falls between the vast sea, and the pearl bathes in the realm of tears. In the poets writing, it has already formed an indistinguishable beauty. It is rare for a stroke to have such rich connotations and beautiful associations. The warm blue sky in the latter sentence is not without its source. Sikong Tu, a poet of the late Tang Dynasty, quoted a passage from Dai Shulun, who was earlier than him, saying: "The beautiful scenery of a poet is like the warm blue fields, and the good jade is like smoke, which can be expected but cannot be placed in front of the eyes." The eight words used here are almost the same as the seven words in the next sentence of the poems couplet, which shows that this metaphor has other roots. Unfortunately, it is difficult to find its source again since the ancient books were lost. It is also difficult to assert whether quoting Dais words as an explanation is appropriate. Lu Ji, a literary figure of the Jin Dynasty, wrote a famous line in his "Wen Fu": "The mountains are shining with jade, and the rivers are beautiful with pearls in the water." Lantian Mountain is a famous place for producing jade. This mountain is bathed in the warm sunshine, containing a jade aura (ancient people believed that treasures had a kind of light aura that ordinary eyes could not see), rising slowly. However, the essence of beautiful jade can be seen from afar, but not up close, so it cannot be placed under the eyebrows and eyelashes. This represents an exceptionally beautiful ideal scenery, but it cannot be grasped or approached. This line in the poem is inspired and associated with the phrase "Yunyu Mountain shines brightly, Huaizhu River is charming", and uses the warmth of the blue fields to create a stark contrast to the previous line "Canghai Yueming". And literally speaking, Lantian is also very neat about Canghai, because the original meaning of Cang is blue. The poets attention to detail in his vocabulary also reveals his talent and skill. For poets, the realm of the clear moon over the vast sea holds a special and profound emotion. Once, due to illness, he was unable to participate in the "Le Ying Zhi Jiu" meeting of the Duke of Hedong, so he wrote the sentence "Only the vast sea and moon, high-pressure red city clouds" (from "Hearing of the Duke of Hedongs Le Ying Zhi Jiu Kou Occupying the Post during Illness"). It seems that he is deeply appreciative of this situation, on the one hand, due to its lofty and pure appearance, and on the other hand, due to its desolate and lonely state: a complex and indescribable sense of melancholy overflowing from words.

　　The two middle couplets share four allusions, presenting different artistic conception and emotions. Zhuangzheng dreaming of butterflies is the confusion and perplexity of life; Wangdi Chunxin contains the persistence of hard pursuit; The tears of the sea shark have a broad loneliness; The warm blue sky conveys a warm and hazy joy. The imagery extracted by the poet from allusions is so magical and ethereal that his soul slowly opens up to the reader. The beauty of his youth, the feeling of life, and so on are all integrated into it, but they can only be understood and cannot be expressed.

　　At the end, the whole article is tightly connected, clearly stating the word this emotion, which echoes the beginning of the Hua Nian, and the brushwork is not lost. The poem says: Such a sentiment, it will not be until todays memories begin to feel endless sorrow, even at that time it was already overwhelming. For ordinary people, it is often when they reach old age that they reminisce about the past: deeply regretting the passing of youth, the lack of achievements, the wasted time, and the endless regret of being mediocre. But the poet with innate intelligence was already aware of the situation from the beginning, but had no choice but to feel lost and lost. This is the poet Li Shangyin, who took advantage of the Jinse to reflect on himself.

　　Li Shangyin experienced ups and downs throughout his life, with indescribable pain and feelings of extreme suffering. He was deeply melancholic in his heart, and when he wrote poetry, his wounds would linger back and forth, infecting people deeply. In one of his farewell poems, he said, "Yu Xin has many feelings in life, Yang Zhu has feelings in death; in the midst of the danger of the strings, the woman and the zither, Jia Leng thinks of her husband and zither!" ("Sending General Li to the Que with Fifty Rhymes"). The zither and the zither are often accompanied by deep emotions and bitterness of life and death, which can be imagined. If there is a hatred of life and death in Jin Ses poetry, it cannot be said to be entirely speculative.

　　名家点评

　　宋代刘攽《中山诗话》：李商隐有《锦瑟》诗，人莫晓其意，或谓是令狐楚家青衣名也。

　　宋代黄朝英《缃素杂记》：东坡云：此出《古今乐志》，云：“锦瑟之为器也，其弦五十，其柱如之，其声也适、怨、清、和。”案李诗，“庄生晓梦迷蝴蝶”，适也；“望帝春心托杜鹃”，怨也；“沧海月明珠有泪”，清也；“蓝田日暖玉生烟”，和也。一篇之中，曲尽其意。

　　明代顾璘《批点唐音》：此诗自是闺情，恐不泥在锦瑟耳。

　　明代王世贞《艺苑卮言》：中二联是丽语，作“适、怨、清、和”解甚通。然不解则涉无谓，既解则意味都尽，以此知诗之难也。

　　明代胡应麟《诗薮》：锦瑟是青衣名，见唐人小说，谓义山有感作者。观此诗结句及晓梦、春心、蓝田、珠泪等，大概无题中语，但首句略用锦瑟引起耳。宋人认作咏物，以适、怨、清、和字面附会穿凿，遂令本意懵然。且至“此情可待成追忆”处，更说不通。学者试尽屏此等议论，只将题面作青衣，诗意作追忆读之，自当踊跃。

　　明代胡震亨《唐音癸签》：以锦瑟为真瑟者痴。以为令狐楚青衣，以为商隐庄事楚，狎绹，必绹青衣，亦痴。商隐情诗，借诗中两字为题者尽多，不独《锦瑟》。

　　明末清初钱谦益《唐诗鼓吹评注》：此义山有托而咏也……顾其意言所指，或忆少年之艳冶，而伤美人之迟暮，或感身世之阅历，而悼壮夫之晼晚，则未可以一辞定也。

　　明末清初吴乔《围炉诗话》：诗意大抵出侧面。郑仲贤《送别》云：“亭亭画舸系春潭，只待行人酒半酣。不管烟波与风雨，载将离恨过江南。”人自别离，却怨画舸。义山忆往事而怨锦瑟，亦然。

　　明末清初朱鹤龄《重订李义山诗集笺注》：程梦星曰：旧说适、怨、清、和之穿凿，令狐青衣之附会，前人已辞而辟之。朱长孺定为悼亡，归于一是矣……三四谓生者辗转结想，唯有迷晓梦于蝴蝶；死者魂魄能归，不过托春心于杜鹃。五六谓其容仪端妍，如沧海之珠，今深沉泉路，空作鲛人之泪矣；性情温润如蓝田之玉，今销亡冥漠，不啻紫玉之烟矣……“此情”二字，紧承上二句，谓不堪追忆其人亡事在。“当时”二字，缴回“华年”，谓不堪悲悼其年远日湮。起“思”字，结“忆”字，一篇之呼应也。

　　清代叶矫然《龙性堂诗话》：细味此诗，起句说“无端”，结句说“惘然”，分明是义山自悔其少年场中，风流摇荡，到今始知其有情皆幻，有色皆空也。次句说“思华年”，懊悔之意毕露矣。此与香山《和微之梦游》诗同意。“晓梦”、“春心”、“月”、“明”、“日暖”，俱是形容其风流摇荡处，着解不得。义山用事写意，皆此类也。义山《锦瑟》诗之佳，在“一弦一柱”中思其“华年”，心绪紊乱，故中联不伦不次，没首没尾，正所谓“无端”也。而以“清和适怨”当之，不亦拘乎？

　　清代陆次云《五朝诗善鸣集》：义山晚唐佳手，佳莫佳于此矣。意致迷离，在可解不可解之间，于初盛诸家中得未曾有。三楚精神，笔端独得。

　　清代查慎行《初白庵诗评》：此诗借题寓感，解者必从锦瑟着题，遂苦苦牵合。读到结句，如何通得去？

　　清代何焯《义门读书记》：此悼亡诗也。首特借素女鼓五十弦之瑟而悲，泰帝禁不可止，发端言悲思之情有不可得而止者。次联则悲其遽化为异物。腹联又悲其不能复起之九泉也。曰“思华年”，曰“追忆”，旨趣晓然，何事纷纷附会乎？

　　清代杜诏、杜庭珠《中晚唐诗叩弹集》：杜诏云：诗以锦瑟起兴，“无端”二字便有自讶自怜之意，此瑟之弦遂五十邪？瑟之柱如其弦，而人之年已历历如其柱矣。

　　清代屈复《玉溪生诗意》：以“无端”吊动“思华年”。中四紧承。七“此情”紧收“可待”字、“只是”字，遥应“无端”字。一，兴也。二，一篇主句。中四皆承“思华年”。七八总结。诗面与“无题”同，其意或在君臣朋友间，不可知也。

　　清代薛雪《一瓢诗话》：此诗全在起句“无端”二字，通体妙处，俱从此出。意云：锦瑟一弦一柱，已足令人怅望年华，不知何故有此许多弦柱，令人怅望不尽；全似埋怨锦瑟无端有此弦柱，遂使无端有此怅望。即达若庄生，亦迷晓梦；魂为杜宇，犹托春心。沧海珠光，无非是泪；蓝田玉气，恍若生烟。触此情怀，垂垂迫溯，当时种种，尽付惘然。对锦瑟而兴悲，叹无端而感切。如此体会，则诗神诗旨，跃然纸上。

　　清代周咏棠《唐贤小三昧集续集》：得此结语，全首翻作烟波（末二句下）。

　　清代汪师韩《诗学纂闻》：《锦瑟》乃是以古瑟自况……世所用者，二十五弦之瑟，而此乃五十弦之古制，不为时尚。成此才学，有此文章，即己亦不解其故，故曰“无端”，犹言无谓也。

　　清代姜炳璋《选玉溪生补说》：心华结撰，工巧天成，不假一毫凑泊。

　　清代黄叔灿《唐诗笺注》：此义山年登五十，追溯平生而作也。

　　清代吴瑞荣《唐诗笺要》：即用黄帝命素女鼓五十弦，悲不自止之意。中四句曲尽情致。

　　清代沈厚塽《李义山诗集辑评》：朱彝尊曰：此悼亡诗也。意亡者善弹此，故睹物思人，因而托物起兴也。瑟本二十五弦，一断而为五十弦矣，故曰“无端”也，取断弦之意也。“一弦一柱”而接“思华年”三字，意其人年二十五而殁也。蝴蝶、杜鹃，言已化去也；“珠有泪”，哭之也；“玉生烟”，葬之也，犹言埋香瘗玉也。此情岂待今日“追忆”乎？只是当时生存之日，已常忧其至此，而预为之“惘然”，意其人必婉然多病，故云然也。何焯曰：此篇乃自伤之词，骚人所谓美人迟暮也。“庄生”句言付之梦寐，“望帝”句言待之来世；“沧海”、“蓝田”言埋而不得自见；“月明”、“日暖”则清时而独为不遇之人，尤可悲也。又：感年华之易迈，借锦瑟以发端。“思华年”三字，一篇之骨。三四赋“思”也。五六赋“华年”也。末仍结归思之。纪昀曰：以“思华年”领起，以“此情”二字总承。盖始有所欢，中有所恨，故追忆之而作。中四句迷离惝恍，所谓“惘然”也。韩致光《五更》诗云：“光景旋消惆怅在，一生赢得是凄凉。”即是此意，别无深解。清代洪亮吉《北江诗话》：《锦瑟》一篇，皆比体也。

　　Expert reviews

　　In the Song Dynasty, Liu Zhu wrote "Zhongshan Poetry Talks": Li Shangyin wrote the poem "Jin Se", which was not understood by people, or it is said to be the name of the Chu familys green clothes.

　　The Song Dynastys Huang Chaoyings "Miscellaneous Records of Xiangsu": Dongpo said: "The Jin Se is a tool, with fifty strings and pillars like it. Its sound is suitable, sorrowful, clear, and harmonious; Watching the Emperors Spring Heart Holding Rhododendrons "is a source of resentment; The pearl of the moon in the vast sea has tears, Qing Ye; Blue fields are warm and jade is smoking. In one piece, the melody conveys its meaning.

　　Gu Lins "Critique of Tang Yin" from the Ming Dynasty: This poem is about a womans feelings, and Im afraid it wont be stuck in the ears of Jin Se.

　　In the Ming Dynasty, Wang Shizhens "Yiyuan Zhiyan" states that the middle and second couplets are in Li language and can be interpreted as "suitable, resentful, clear, and harmonious". If you dont understand it, its meaningless; if you understand it, all the meaning will be lost, in order to understand the difficulty of poetry.

　　In the Ming Dynasty, Hu Yinglin wrote in his poem "Shishu": "Jinse" is a name for green clothes. When it comes to Tang Dynasty novels, it is said that the author has feelings for Yishan. Observing the concluding lines of this poem, such as "Xiaomeng", "Chunxin", "Lantian", "Zhutear", etc., there is probably no title in the middle of the sentence, but the first line is briefly touched by the use of a golden spear. The Song people regarded it as a form of poetry, and used it to express their feelings of suitability, resentment, clarity, and literal meaning, which confused the original meaning. And even to the point where this situation can be remembered, it doesnt make sense. Scholars have tried to suppress such discussions, only turning the topic into a green one and poetic reminiscence, and should be enthusiastic about it.

　　In the Ming Dynasty, Hu Zhenhengs "Tang Yin Gui Pian" states: Those who consider Jin Se as the true Se are infatuated. Thinking that Linghu Chu is wearing green clothes, thinking that Shangyin Zhuang is dealing with Chu, and that if one engages in sexual activities, they will inevitably wear green clothes, they are also infatuated. Shang Yins love poems often use two characters from the poem as the title, not just Jin Se.

　　In Qian Qianyis "Commentary on Tang Poetry Propaganda" during the late Ming and early Qing dynasties, it is stated that this mountain of meaning is entrusted with praise... Depending on the meaning and meaning of the words, it may recall the beauty of youth, hurt the aging of beautiful women, or feel the experience of ones own life, but mourn the late memory of a strong man, which cannot be determined in one word.

　　In the late Ming and early Qing dynasties, Wu Qiaos "Poetry Talks on the Surrounding Furnace": The poetry is mostly superficial. In Zheng Zhongxians "Farewell", it is said: "The pavilions and painted boats are like spring pools, waiting only for pedestrians to be half drunk. Regardless of the smoke and wind and rain, carrying the generals will leave and hate Jiangnan." People bid farewell, but they still complain about the painted boats. Yishan reminisces about the past and resents Jinse, and so does it.

　　In the late Ming and early Qing dynasties, Zhu Helings "Revised Annotations on Li Yishans Poetry Collection" states: Cheng Mengxing said: "The old sayings of suitability, resentment, clarity, and harmony have been thoroughly explored, and the attachment of fox and green clothes has been established by previous scholars. Zhu Changru was determined to mourn the deceased, and it is settled... Three or four said that the living have tossed and turned their thoughts, only to be lost in their dreams of butterflies; The soul of the deceased can return, but the spring heart is in the cuckoo. Five or six people say that his appearance is exquisite, like a pearl in the vast sea. Now, on the deep spring road, he is like the tears of a mermaid; His temperament is as gentle as the jade in the blue field, but now it is sold in the desolate desert, like the smoke of purple jade... The two words "this emotion" closely follow the previous two sentences, saying that it is unbearable to recall his death. The two characters "at that time" were returned to "Hua Nian", indicating that it was unbearable to mourn his distant years. Starting with the word thinking and ending with the word memory, a piece of correspondence is also formed.

　　In the Qing Dynasty, Ye Jiaorans "Longxingtang Poetry Talks": Upon careful consideration of this poem, the opening line says "without reason", and the ending line says "bewilderment". It is clear that Yishan regrets his youthful life, which was full of emotions and illusions, and only now do he realize that all colors are empty. The next sentence, Thinking of the Year of Hua, reveals a sense of regret. This is consistent with Xiangshans poem "Dreaming of Harmony". Xiaomeng, Chunxin, Moon, Ming, and Warm Sun are all descriptions of its graceful and swaying places, which cannot be explained. Yishans freehand brushwork is similar to this. The poem "Jin Se" by Yishan is excellent, as he reflects on his "golden years" in "one string and one pillar", causing confusion in his emotions. Therefore, he is inconsistent in his poetry, without a beginning or an end, which is what is called "groundless". Isnt it also restrained to treat it as clear and suitable for grievances?

　　During the Qing Dynasty, Lu Ciyun wrote in his collection of poems from the Five Dynasties: Yishan was a masterpiece of the late Tang Dynasty, and there is no such thing as a masterpiece here. The meaning is ambiguous, between what can be understood and what cannot be understood, and whether it has been obtained or not among the early prosperous families. The spirit of San Chu is unique in writing.

　　In the Qing Dynasty, Cha Shenxing wrote in his "Commentary on the Poetry of Chubai An": This poem uses the title to convey emotions, and the one who solves it must start with a beautiful theme, which is deeply connected. How can I make sense of the ending sentence?

　　In the Qing Dynasty, He Zhuos "Record of Reading in Yimen": This mourning poem is also. The first person used the fifty stringed zither of the Su Nv drum to mourn, and Emperor Tai couldnt stop it. At the beginning, there was a feeling of sorrow that could not be obtained and stopped. The second connection is sad that it suddenly turns into a foreign object. The Nine Springs, which cannot be restored, are also a source of sorrow for the abdominal connection. Saying Year of Reflection and Remembrance, the purpose is clear, but why are they all attached?

　　In the Qing Dynasty, Du Zhao and Du Tingzhu wrote a collection of mid to late Tang poems titled "Tapping and Tapping": Du Zhao said that poetry is inspired by the use of golden silk, and the word "without reason" implies self pity and surprise. Therefore, the strings of this silk are fifty evil? The pillar of the spear is like its string, and the years of a person have already passed by like its pillar.

　　Qu Fu from the Qing Dynasty wrote in his poem "The Poetry of Yuxi", which uses the phrase "without reason" to stir up the "Year of Thinking of China". The fourth grade is tight. The seven emotions are closely related to the words can wait and just, and correspond to the words without reason . 1、 Xingye. 2、 A main sentence. All students in the fourth year of junior high school inherit the Year of Sihua. Summary of Seven or Eight. The meaning of poetry is the same as untitled , and it is unknown whether it is between rulers, ministers, and friends.

　　Xue Xues "A Poem of One Piao" from the Qing Dynasty: This poem is entirely composed of the two words "without reason" at the beginning, and the whole body is exquisite, all of which come from here. Yi Yun: Each string and pillar of the Jinse is enough to make one look back on ones youth. For some reason, there are so many strings and pillars that make one look back endlessly; Its like complaining about Jinses inexplicable string pillar, which leads to this unfounded longing. Even if Da Ruozhuang was born, he was also lost in his dreams; The soul is Du Yu, still entrusted with the heart of spring. The pearl of the sea is nothing but tears; Lantian jade qi, as if smoking. Touching this sentiment, hanging down and tracing back, all kinds of things at that time were full of confusion. Feeling sorrowful for Jinse, sighing for no reason and feeling deeply moved. By experiencing it in this way, the poetic essence of the God of Poetry can be vividly portrayed on paper.

　　In the Qing Dynasty, Zhou Yongtangs "Sequel to Tang Xians Little Samadhi Collection": With this conclusion, the entire poem is translated as "Yanbo" (under the last two sentences).

　　In the Qing Dynasty, Wang Shihans "Compilation of Poetics" stated that the "Jin Se" is based on the ancient Chinese zither... The commonly used one is a 25 stringed zither, but this is an ancient 50 stringed zither and not fashionable. Only by achieving this can one learn, and even with this article, one cannot understand the reason behind it. Therefore, it is called groundless and even meaningless.

　　Jiang Bingzhangs "Selected Yuxi Life Supplement" from the Qing Dynasty states: "The heart is beautifully crafted, the craftsmanship is natural, and there is no falsehood in the slightest bit.

　　Huang Shucans "Annotations on Tang Poetry" from the Qing Dynasty: This poem was written to trace ones life back to the 50th year of climbing Mount Yi.

　　In the Qing Dynasty, Wu Ruirongs "Essentials of Tang Poetry Annotations" stated that the Yellow Emperor ordered a plain girl to play fifty strings of drums, symbolizing an endless sadness. The four lines of music are fully expressed.

　　In the Qing Dynasty, Shen Houqians "Commentary on Li Yishans Poetry Collection": Zhu Yizun said, "This mourning poem is also. Those who have lost their will are good at playing this, so seeing things makes them think of people, and thus they are inspired by things. Serben has twenty-five strings, but when it breaks, it becomes fifty strings, hence it is called without reason, meaning broken string. The phrase one string, one pillar followed by the words Sihua Year implies that the person passed away at the age of 25. Hu Die and Du Juan, their words have vanished; Beads have tears, even when crying; As the saying goes, Jade gives birth to smoke, its like burying incense and burying jade. How can this be remembered today? However, during the day of survival, I often worried about it and anticipated it as melancholy , meaning that the person would inevitably suffer from illness, hence the saying melancholy . He Zhuo said: This article is a self harming poem, which the poets call a beautiful person in their twilight years. The phrase Zhuangzheng means to sleep in ones dreams, while the phrase Wangdi means to wait for the next life; The words Canghai and Lantian are buried but cannot be seen for themselves; When the moon is bright and the sun is warm, they are the only ones who are rarely encountered, which is especially sad. Also, feeling the ease of youth, using the golden silk as a starting point. The three characters Sihua Year are the backbone of a piece. Three or four poems thoughts. Five or six poems are also called Hua Nian. At the end, it is still a reflection. Ji Yun said: Starting with the "Year of Thinking of Splendor" and ending with the two words "this emotion". At the beginning, there was joy, but at the same time, there was hatred, so I wrote it in memory. The four sentences in the middle are full of confusion and disorientation, also known as bewilderment . Han Zhiguangs poem "Five Changes" goes: "The scenery fades away and melancholy lingers, and winning a lifetime is desolate." This is the meaning behind it, and there is no deeper understanding. In the Qing Dynasty, Hong Liangjis "Discussions on Poetry in Beijiang" and "The Great Wall" are all compared in style.

　　作者简介

　　李商隐（约813年—约858年），唐代诗人。字义山，号玉溪生。怀州河内（今河南沁阳）人。开成进士。曾任县尉、秘书郎和东川节度使判官等职。因受牛李党争影响，被人排挤，潦倒终身。所作咏史诗多托古以讽时政，无题诗很有名。擅长律绝，富于文采，构思精密，情致婉曲，具有独特风格。然有用典太多，意旨隐晦之病。与温庭筠合称“温李”，与杜牧并称“小李杜”。有《李义山诗集》。

　　Author Introduction

　　Li Shangyin (approximately 813-858 AD) was a poet of the Tang Dynasty. His courtesy name is Yishan and his given name is Yuxisheng. He was born in Hanoi, Huaizhou (now Qinyang, Henan). Became a jinshi. He has served as a county magistrate, secretary, and judge of Dongchuan Jiedushi. Due to the influence of the Niu Li Party struggle, he was ostracized and destitute for life. Many of the epic poems he wrote were based on ancient times to satirize current affairs, and he is famous for his untitled poems. Skilled in the art of rhythm, rich in literary style, with precise conception and graceful emotions, possessing a unique style. The disease of having too many useful references and obscure meanings. Together with Wen Tingyun, they are called "Wen Li", and together with Du Mu, they are called "Xiao Li Du". There is a collection of poems by Li Yishan.