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英譯李商隱《錦瑟》
賞析通過鑒賞與分析得出理性的認(rèn)識(shí)，既受到藝術(shù)作品的形象、內(nèi)容的制約，又根據(jù)自己的思想感情、生活經(jīng)驗(yàn)、藝術(shù)觀點(diǎn)和藝術(shù)興趣對形象加以補(bǔ)充和完善。下面是小編精心整理的英譯李商隱《錦瑟》，歡迎大家分享。
《錦瑟》
李商隱
錦瑟無端五十弦，
一弦一柱思華年。
莊生曉夢迷蝴蝶，
望帝春心托杜鵑。
滄海月明珠有淚，
藍(lán)田日暖玉生煙。
此情可待成追憶，
只是當(dāng)時(shí)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.
創(chuàng)作背景
李商隱天資聰穎，文思銳敏，二十出頭考中進(jìn)士，舉鴻科大考遭人嫉妒未中刷下，從此懷才不遇。在“牛李黨爭”左右為難，兩方猜疑，屢遭排斥，大志難伸。中年喪妻，又因?qū)懺娛銘�，遭人貶斥。《錦瑟》一詩約作于作者晚年。
關(guān)于此詩的創(chuàng)作意旨?xì)v來眾說紛紜，莫衷一是。有人說是寫給令狐楚家一個(gè)叫“錦瑟”的侍女的愛情詩；有人說是睹物思人，寫給故去的妻子王氏的悼亡詩；也有人認(rèn)為中間四句詩可與瑟的適、怨、清、和四種聲情相合，從而推斷為描寫音樂的詠物詩；有人認(rèn)為是愛國之篇，有影射政治之意；有人認(rèn)為是自傷身世、自比文才之論，還有人認(rèn)為是自敘詩歌創(chuàng)作等許多種說法。大體而言，以“悼亡”和“自傷”說者為多。
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".
作品鑒賞
整體賞析
詩題“錦瑟”，是用了起句的頭二個(gè)字。舊說中，原有認(rèn)為這是詠物詩的，但注解家似乎都主張：這首詩與瑟事無關(guān)，實(shí)是一篇借瑟以隱題的“無題”之作。
首聯(lián)“錦瑟無端五十弦，一弦一柱思華年�！睒菲鳎儆腥�、五弦，箏有十三弦，而“瑟”卻有五十弦。用這么多弦，來抒發(fā)繁復(fù)之情感，該是多么哀傷。古有泰帝與素女之典故，已是哀傷至極了。詩人以這個(gè)典故作為喻象，暗示自喻詩人與眾不同，別人只三弦、五弦，而詩人之瑟卻有五十弦之多。真是得天獨(dú)厚之天才。暗示他天賦極高，多愁善感，銳敏幽微。比興用得多么高妙。下一句，一弦一柱，追憶青春戀愛的年華。首聯(lián)總起，引領(lǐng)下文，以下都是追憶美好的青春。但又美景不長，令人失落惆悵。
頷聯(lián)的上句，用了《莊子》的一則寓言典故，說的是莊周夢見自己身化為蝶，栩栩然而飛，渾忘自家是莊周其人了；后來夢醒，自家仍然是莊周，不知蝴蝶已經(jīng)何往。不知周之夢為蝴蝶，還是蝴蝶之夢為莊周。下句中的望帝，是傳說中古蜀國的君主，名叫杜宇；后來禪位退隱，不幸國亡身死，死后魂化為鳥，暮春啼苦，至于口中流血，其聲哀怨凄悲，動(dòng)人心腑，名為杜鵑。此聯(lián)二句，寫的是佳人錦瑟，一曲繁弦，驚醒了詩人的夢景，不復(fù)成寐。迷含迷失、離去、不至等義。隱約包含著美好的情境，卻又是虛緲的夢境。錦瑟繁弦，哀音怨曲，引起詩人無限的悲感、難言的冤憤，如聞杜鵑之凄音，送春歸去。一個(gè)“托”字，不但寫了杜宇之托春心于杜鵑，也寫了佳人之托春心于錦瑟，手揮目送之間，花落水流之趣。詩人妙筆奇情，于此已然達(dá)到一個(gè)高潮。
律詩一過頷聯(lián)，“起”“承”之后，已到“轉(zhuǎn)”筆之時(shí)，筆到此間，大抵前面文情已然達(dá)到小小一頓之處，似結(jié)非結(jié)，含意待申。在此下面，點(diǎn)筆落墨，好像重新再“起”似的。其筆勢或如奇峰突起，或如藕斷絲連，或者推筆宕開，或者明緩暗緊，手法可以不盡相同，而神理脈絡(luò)，是有轉(zhuǎn)折而又始終貫注的。當(dāng)此之際，詩人就寫出了“滄海月明珠有淚”這一名句來。
頸聯(lián)上句把幾個(gè)典故揉合在一起，珠生于蚌，蚌在于海，每當(dāng)月明宵靜，蚌則向月張開，以養(yǎng)其珠，珠得月華，始極光瑩。這是美好的民間傳統(tǒng)之說。淚以珠喻，自古為然，鮫人泣淚，顆顆成珠，亦是海中的奇情異景。如此，皎月落于滄海之間，明珠浴于淚波之界，在詩人筆下，已然形成一個(gè)難以分辨的妙境。一筆而能有如此豐富的內(nèi)涵、奇麗的聯(lián)想的，實(shí)不多見。后一句的藍(lán)田日暖，也并非沒有來源。晚唐詩人司空圖，引過比他早的戴叔倫的一段話：“詩家美景，如藍(lán)田日暖，良玉生煙，可望而不可置于眉睫之前也�！边@里用來比喻的八個(gè)字，簡直和此詩頸聯(lián)下句的七個(gè)字一模一樣，足見此一比喻，另有根源，可惜后來古籍失傳，竟難重覓出處。引戴語作解說，是否貼切，亦難斷言。晉代文學(xué)家陸機(jī)在他的《文賦》里有一聯(lián)名句：“石韞玉而山輝，水懷珠而川媚。”藍(lán)田山是有名的產(chǎn)玉之地。此山為日光煦照，蘊(yùn)藏其中的玉氣（古人認(rèn)為寶物都有一種一般目力所不能見的光氣），冉冉上騰，但美玉的精氣遠(yuǎn)察如在，近觀卻無，所以可望而不可置諸眉睫之下，這代表了一種異常美好的理想景色，然而它是不能把握和無法親近的。詩中此句，正是在“韞玉山輝，懷珠川媚”的啟示和聯(lián)想下，用藍(lán)田日暖給上句滄海月明作出了對仗，造成了異樣鮮明強(qiáng)烈的對比。而就字面講，藍(lán)田對滄海，也是非常工整的，因?yàn)闇孀直玖x是青色。詩人在詞藻上的考究，也可以看出他的才華和功力。對于詩人來說，滄海月明這個(gè)境界，尤有特殊的深厚感情。有一次，他因病中未能參與河?xùn)|公的“樂營置酒”之會(huì)，就寫出了“只將滄海月，高壓赤城霞”（《病中聞河?xùn)|公樂營置酒口占寄上》）的句子。如此看來，他對此境，一方面于其高曠皓凈十分愛賞，一方面于其凄寒孤寂又十分感傷：一種復(fù)雜的難言的悵惘之懷，溢于言表。
中間兩聯(lián)共用了四個(gè)典故，呈現(xiàn)了不同的意境和情緒。莊生夢蝶，是人生的恍惚和迷惘；望帝春心，包含苦苦追尋的執(zhí)著；滄海鮫淚，具有一種闊大的寂寥；藍(lán)田日暖，傳達(dá)了溫暖而朦朧的歡樂。詩人從典故中提取的意象是那樣的神奇、空靈，他的心靈向讀者緩緩開啟，華年的美好，生命的感觸等皆融于其中，卻只可意會(huì)不可言說。
尾聯(lián)攏束全篇，明白提出“此情”二字，與開端的“華年”相為呼應(yīng)，筆勢未嘗閃遁。詩句是說：如此情懷，豈待今朝回憶始感無窮悵恨，即在當(dāng)時(shí)早已是令人不勝惘惘了。對于一般普通人，往往是人到老年，追思以往：深憾青春易逝，功業(yè)無成，光陰虛度，碌碌無為而悔恨無窮。但天資聰敏的詩人，則事在當(dāng)初，就早已先知先覺到了，卻無可奈何，無限之惘然若失。這就是詩人李商隱，借錦瑟而自況了。
李商隱一生經(jīng)歷坎坷，有難言之痛，至苦之情，郁結(jié)中懷，發(fā)為詩句，幽傷要眇，往復(fù)低徊，感染于人者至深。他的一首送別詩中說：“庾信生多感，楊朱死有情；弦危中婦瑟，甲冷想夫箏！”（《送千牛李將軍赴闕五十韻》）則箏瑟為曲，常系乎生死哀怨之深情苦意，可想而知。如謂錦瑟之詩中有生離死別之恨，恐怕也不能說是全出臆斷。
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.
名家點(diǎn)評
宋代劉攽《中山詩話》：李商隱有《錦瑟》詩，人莫曉其意，或謂是令狐楚家青衣名也。
宋代黃朝英《緗素雜記》：東坡云：此出《古今樂志》，云：“錦瑟之為器也，其弦五十，其柱如之，其聲也適、怨、清、和�！卑咐钤姡扒f生曉夢迷蝴蝶”，適也；“望帝春心托杜鵑”，怨也；“滄海月明珠有淚”，清也；“藍(lán)田日暖玉生煙”，和也。一篇之中，曲盡其意。
明代顧璘《批點(diǎn)唐音》：此詩自是閨情，恐不泥在錦瑟耳。
明代王世貞《藝苑卮言》：中二聯(lián)是麗語，作“適、怨、清、和”解甚通。然不解則涉無謂，既解則意味都盡，以此知詩之難也。
明代胡應(yīng)麟《詩藪》：錦瑟是青衣名，見唐人小說，謂義山有感作者。觀此詩結(jié)句及曉夢、春心、藍(lán)田、珠淚等，大概無題中語，但首句略用錦瑟引起耳。宋人認(rèn)作詠物，以適、怨、清、和字面附會(huì)穿鑿，遂令本意懵然。且至“此情可待成追憶”處，更說不通。學(xué)者試盡屏此等議論，只將題面作青衣，詩意作追憶讀之，自當(dāng)踴躍。
明代胡震亨《唐音癸簽》：以錦瑟為真瑟者癡。以為令狐楚青衣，以為商隱莊事楚，狎绹，必绹青衣，亦癡。商隱情詩，借詩中兩字為題者盡多，不獨(dú)《錦瑟》。
明末清初錢謙益《唐詩鼓吹評注》：此義山有托而詠也……顧其意言所指，或憶少年之艷冶，而傷美人之遲暮，或感身世之閱歷，而悼壯夫之晼晚，則未可以一辭定也。
明末清初吳喬《圍爐詩話》：詩意大抵出側(cè)面。鄭仲賢《送別》云：“亭亭畫舸系春潭，只待行人酒半酣。不管煙波與風(fēng)雨，載將離恨過江南�！比俗詣e離，卻怨畫舸。義山憶往事而怨錦瑟，亦然。
明末清初朱鶴齡《重訂李義山詩集箋注》：程夢星曰：舊說適、怨、清、和之穿鑿，令狐青衣之附會(huì)，前人已辭而辟之。朱長孺定為悼亡，歸于一是矣……三四謂生者輾轉(zhuǎn)結(jié)想，唯有迷曉夢于蝴蝶；死者魂魄能歸，不過托春心于杜鵑。五六謂其容儀端妍，如滄海之珠，今深沉泉路，空作鮫人之淚矣；性情溫潤如藍(lán)田之玉，今銷亡冥漠，不啻紫玉之煙矣……“此情”二字，緊承上二句，謂不堪追憶其人亡事在�！爱�(dāng)時(shí)”二字，繳回“華年”，謂不堪悲悼其年遠(yuǎn)日湮。起“思”字，結(jié)“憶”字，一篇之呼應(yīng)也。
清代葉矯然《龍性堂詩話》：細(xì)味此詩，起句說“無端”，結(jié)句說“惘然”，分明是義山自悔其少年場中，風(fēng)流搖蕩，到今始知其有情皆幻，有色皆空也。次句說“思華年”，懊悔之意畢露矣。此與香山《和微之夢游》詩同意�！皶詨簟�、“春心”、“月”、“明”、“日暖”，俱是形容其風(fēng)流搖蕩處，著解不得。義山用事寫意，皆此類也。義山《錦瑟》詩之佳，在“一弦一柱”中思其“華年”，心緒紊亂，故中聯(lián)不倫不次，沒首沒尾，正所謂“無端”也。而以“清和適怨”當(dāng)之，不亦拘乎？
清代陸次云《五朝詩善鳴集》：義山晚唐佳手，佳莫佳于此矣。意致迷離，在可解不可解之間，于初盛諸家中得未曾有。三楚精神，筆端獨(dú)得。
清代查慎行《初白庵詩評》：此詩借題寓感，解者必從錦瑟著題，遂苦苦牽合。讀到結(jié)句，如何通得去？
清代何焯《義門讀書記》：此悼亡詩也。首特借素女鼓五十弦之瑟而悲，泰帝禁不可止，發(fā)端言悲思之情有不可得而止者。次聯(lián)則悲其遽化為異物。腹聯(lián)又悲其不能復(fù)起之九泉也。曰“思華年”，曰“追憶”，旨趣曉然，何事紛紛附會(huì)乎？
清代杜詔、杜庭珠《中晚唐詩叩彈集》：杜詔云：詩以錦瑟起興，“無端”二字便有自訝自憐之意，此瑟之弦遂五十邪？瑟之柱如其弦，而人之年已歷歷如其柱矣。
清代屈復(fù)《玉溪生詩意》：以“無端”吊動(dòng)“思華年”。中四緊承。七“此情”緊收“可待”字、“只是”字，遙應(yīng)“無端”字。一，興也。二，一篇主句。中四皆承“思華年”。七八總結(jié)。詩面與“無題”同，其意或在君臣朋友間，不可知也。
清代薛雪《一瓢詩話》：此詩全在起句“無端”二字，通體妙處，俱從此出。意云：錦瑟一弦一柱，已足令人悵望年華，不知何故有此許多弦柱，令人悵望不盡；全似埋怨錦瑟無端有此弦柱，遂使無端有此悵望。即達(dá)若莊生，亦迷曉夢；魂為杜宇，猶托春心。滄海珠光，無非是淚；藍(lán)田玉氣，恍若生煙。觸此情懷，垂垂迫溯，當(dāng)時(shí)種種，盡付惘然。對錦瑟而興悲，嘆無端而感切。如此體會(huì)，則詩神詩旨，躍然紙上。
清代周詠棠《唐賢小三昧集續(xù)集》：得此結(jié)語，全首翻作煙波（末二句下）。
清代汪師韓《詩學(xué)纂聞》：《錦瑟》乃是以古瑟自況……世所用者，二十五弦之瑟，而此乃五十弦之古制，不為時(shí)尚。成此才學(xué)，有此文章，即己亦不解其故，故曰“無端”，猶言無謂也。
清代姜炳璋《選玉溪生補(bǔ)說》：心華結(jié)撰，工巧天成，不假一毫湊泊。
清代黃叔燦《唐詩箋注》：此義山年登五十，追溯平生而作也。
清代吳瑞榮《唐詩箋要》：即用黃帝命素女鼓五十弦，悲不自止之意。中四句曲盡情致。
清代沈厚塽《李義山詩集輯評》：朱彝尊曰：此悼亡詩也。意亡者善彈此，故睹物思人，因而托物起興也。瑟本二十五弦，一斷而為五十弦矣，故曰“無端”也，取斷弦之意也�！耙幌乙恢倍印八既A年”三字，意其人年二十五而歿也。蝴蝶、杜鵑，言已化去也；“珠有淚”，哭之也；“玉生煙”，葬之也，猶言埋香瘞玉也。此情豈待今日“追憶”乎？只是當(dāng)時(shí)生存之日，已常憂其至此，而預(yù)為之“惘然”，意其人必婉然多病，故云然也。何焯曰：此篇乃自傷之詞，騷人所謂美人遲暮也�！扒f生”句言付之夢寐，“望帝”句言待之來世；“滄�！�、“藍(lán)田”言埋而不得自見；“月明”、“日暖”則清時(shí)而獨(dú)為不遇之人，尤可悲也。又：感年華之易邁，借錦瑟以發(fā)端�！八既A年”三字，一篇之骨。三四賦“思”也。五六賦“華年”也。末仍結(jié)歸思之。紀(jì)昀曰：以“思華年”領(lǐng)起，以“此情”二字總承。蓋始有所歡，中有所恨，故追憶之而作。中四句迷離惝恍，所謂“惘然”也。韓致光《五更》詩云：“光景旋消惆悵在，一生贏得是凄涼�！奔词谴艘�，別無深解。清代洪亮吉《北江詩話》：《錦瑟》一篇，皆比體也。
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.
作者簡介
李商隱（約813年—約858年），唐代詩人。字義山，號(hào)玉溪生。懷州河內(nèi)（今河南沁陽）人。開成進(jìn)士。曾任縣尉、秘書郎和東川節(jié)度使判官等職。因受牛李黨爭影響，被人排擠，潦倒終身。所作詠史詩多托古以諷時(shí)政，無題詩很有名。擅長律絕，富于文采，構(gòu)思精密，情致婉曲，具有獨(dú)特風(fēng)格。然有用典太多，意旨隱晦之病。與溫庭筠合稱“溫李”，與杜牧并稱“小李杜”。有《李義山詩集》。
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.
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