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这首诗，以女性的口吻抒写爱情心理，在悲伤、痛苦之中，寓有灼热的渴望和坚忍的执着精神，感情境界深微绵邈，极为丰富。
开头两句，写爱情的不幸遭遇和抒情主人公的心境：由于受到某种力量的阻隔，一对情人已经难以相会，分离的痛苦使她不堪忍受。首句的“别”字，不是说当下正在话别，而是指既成的被迫分离。两个“难”字，第一个指相会困难，第二个是痛苦难堪的意思。前人诗中曾有“别日何易会日难”（曹丕《燕歌行》）“别易会难得”（宋武帝《丁都护歌》）等句，都是以强调重聚之难而感叹离别之苦。李商隐从这里推进一步，表明因为“相见时难”所以“别亦难”——难以割舍、痛苦得难以禁受。诗人在一句之中两次使用“难”字，第二个“难”字的出现，因重复而给人以轻微的突兀感，造成了诗句的绵联纤曲之势，使相见无期的离别之痛因表达方式的低回婉转而显得分外的深沉和缠绵；这样的缠绵情态，在“别易会难得”等平直叙述中是不易体会的。这位抒情主人公既已伤怀如此，恰又面对着暮春景物，当然更使她悲怀难遣。暮春时节，东风无力，百花纷谢，美好的春光即将逝去，人力对此是无可奈何的，而自己的境遇之不幸，和心灵的创痛，也同眼前这随着春天的流逝而凋残的花朵一样，因为美的事物受到摧残，岂不令人兴起无穷的怅惘与惋惜！“东风无力百花残”一句，既写自然环境，也是抒情者心境的反映，物我交融，心灵与自然取得了精微的契合。这种借景物反映人的境遇和感情的描写，在李商隐的笔底是常见的。例如《夜雨寄北》的前两句：“君问归期未有期，巴山夜雨涨秋池。”次句不仅象征诗人留滞巴蜀，而且反映了客子离人的百无聊赖，同“东风无力百花残”一样，写实与象征融为一体，赋予感情以可以感触的外在形态，也就是通常说的寓情于景的抒情方式。
三、四句，接着写因为“相见时难”而“别亦难”的感情，表现得更为曲折入微。“春蚕到死丝方尽”中的“丝”字与“思”谐音，全句是说，自己对于对方的思念，如同春蚕吐丝，到死方休。“蜡炬成灰泪始干”是比喻自己为不能相聚而痛苦，无尽无休，仿佛蜡泪直到蜡烛烧成了灰方始流尽一样。思念不止，表现着眷恋之深，但是终其一生都将处于思念中，却又表明相会无期，前途是无望的，因此，自己的痛苦也将终生以随。可是，虽然前途无望，她却至死靡它，一辈子都要眷恋着；尽管痛苦，也只有忍受。所以，在这两句里，既有失望的悲伤与痛苦，也有缠绵、灼热的执着与追求。追求是无望的，无望中仍要追求，因此这追求也着有悲观色彩。这些感情，好象在无穷地循环，难以求其端绪；又仿佛组成一个多面的立体，光从一个角度是不能见其全貌的。诗人只用两个比喻就圆满地表现了如此复杂的心理状态，表明他的联想是很丰富的。“春蚕”句首先是人的眷恋感情之缠绵同春蚕吐丝绵绵不尽之间的联想，又从蚕吐丝到“死”方止而推移到人的感情之生死不渝，因此写出了“到死丝方尽”，使这一形象具有了多种比喻的意义。南朝乐府西曲歌《作蚕丝》：“春蚕不应老（不应，这里是“不顾”的意思），昼夜常怀丝。何惜微躯尽，缠绵自有时。”造意与《无题》的“春蚕”句相近。不过，这里的春蚕“何惜微躯尽”，是在料定“缠绵自有时”、前途颇有希望的情况下产生的意念。《无题》“春蚕”句则不然，就其表现追求精神而言，它表现的追求是无望的，却又是不计希望之有无的，感情境界有差异，联想也更为曲折。以蜡烛的燃烧比喻痛苦的煎熬，在李商隐以前的南朝乐府中，也不少见。如“思君如明烛，中宵空自煎”（王融《自君之出矣》），“思君如夜烛，煎泪几千行”（陈叔达，同题）等皆是。“蜡炬成灰泪始干”同样是用蜡烛作比喻，却不是单一地以蜡泪比拟痛苦，而是还进一步以“成灰始干”反映痛苦的感情终生以随，联想比前人深微复杂得多，形象的底蕴也因此而丰富得多了。
以上四句着重揭示内心的感情活动，使难以言说的复杂感情具体化，写得很精彩。五六句转入写外向的意念活动。上句写自己，次句想象对方。“云鬓改”，是说自己因为痛苦的折磨，夜晚辗转不能成眠，以至于鬓发斑白，容颜憔悴，亦即六朝诗人吴均所说“绿鬓愁中改，红颜啼里灭”（《和萧洗马子显古意六首》）的意思。但是，《无题》“晓镜”句说的是清晨照镜时为“云鬓改”而愁苦，并且是“但愁”——只为此而愁。这就生动地描写了纡折婉曲的精神活动，而不再是单纯地叙述青春被痛苦所消磨这件事了。自己于夜间因痛苦而憔悴，清晨又为憔悴而痛苦。夜间的痛苦，是因为爱情的追求不得实现；次日为憔悴而愁，是为了爱情而希望长葆青春，总之，为爱情而憔悴，而痛苦，而郁悒。这种昼夜廻环、缠绵往复的感情，仍然表现着痛苦而执着的心曲。“夜吟”句是推己及人，想象对方和自己一样痛苦。他揣想对方大概也将夜不成寐，常常吟诗遣怀，但是愁怀深重，无从排遣，所以愈发感到环境凄清，月光寒冷，心情也随之更趋暗淡。月下的色调是冷色调，“应觉月光寒”是借生理上冷的感觉反映心理上的凄凉之感。“应”字是揣度、料想的口气，表明这一切都是自己对于对方的想象。想象如此生动，体现了她对于情人的思念之切和了解之深。
想象愈具体，思念愈深切，便愈会燃起会面的渴望。既然会面无望，于是只好请使者为自己殷勤致意，替自己去看望他。这就是结尾两句的内容。诗词中常以仙侣比喻情侣，青鸟是一位女性仙人西王母的使者，蓬山是神话、传说中的一座仙山，所以这里即以蓬山用为对方居处的象征，而以青鸟作为抒情主人公的使者出现。这个寄希望于使者的结尾，并没有改变“相见时难”的痛苦境遇，不过是无望中的希望，前途依旧渺茫。诗已经结束了，抒情主人公的痛苦与追求还将继续下去。
这首诗，从头至尾都融铸着痛苦、失望而又缠绵、执着的感情，诗中每一联都是这种感情状态的反映，但是各联的具体意境又彼此有别。它们从不同的方面反复表现着融贯全诗的复杂感情，同时又以彼此之间的密切衔接而纵向地反映以这种复杂感情为内容的心理过程。这样的抒情，联绵往复，细微精深，成功地再现了心底的绵邈深情。
诗中一、三、四、五各句，都可以从李商隐以前的诗歌创作中发现相似的描写。在前人创作的薰陶和启发下，诗人有所继承和借鉴。但是他并没有简单地模仿前人，而是以很高的创造性，向前跨进了一大步，把原来比较朴素的表现手段改造得更曲折、生动，用以反映更为丰富、深刻的思想感情，实际上已经脱去旧的形迹，成为新的创造了。从这里可以看出，诗人丰富的文学修养与他对于意境和表现手段的探索，是这首诗取得成就的重要条件。▲
appreciation
This poem expresses love psychology in a female tone. In sadness and pain, there is burning desire and perseverance. The emotional realm is deep and rich.
The first two sentences are about the unfortunate experience of love and the mood of the lyric hero: due to the obstruction of some force, it is difficult for a couple of lovers to meet, and the pain of separation makes her unbearable. The word “farewell” in the first sentence does not mean that we are saying goodbye now, but that we are forced to separate. Two “difficult” words, the first refers to difficulties in meeting each other, and the second refers to pain and embarrassment. In the previous poems, there were such sentences as “How can we easily meet the difficulties of another day” (Cao Pi’s Yan Ge Xing), “How can we easily meet the difficulties of another day” (Song Wu Di’s Ding Du Hu Ge), and so on. All of them expressed the pain of parting by emphasizing the difficulty of reunion. Li Shangyin took a step forward from here, which shows that because it is “difficult to meet each other”, it is “difficult to leave” – it is hard to give up and bear the pain. The poet uses the word “difficult” twice in a sentence. The appearance of the second word “difficult” gives people a slight sense of abruptness due to repetition, resulting in the continuous and winding trend of the poem, making the pain of seeing each other for an indefinite separation seem particularly deep and lingering due to the low euphemism of expression; Such a lingering mood is not easy to understand in such straightforward narrations as “hard won’t be easy won’t be easy”. This lyrical hero has already been so sad, but also facing the late spring scenery, of course, it makes her sad. In late spring, the east wind is weak, flowers are fading, and the beautiful spring light is about to die. Manpower has no choice but to do so. The misfortune of their own situation and the pain of their hearts are the same as the flowers withering with the passage of spring. Because the beautiful things have been destroyed, wouldn’t it cause endless frustration and regret! The sentence “The east wind is powerless and the flowers are incomplete” not only describes the natural environment, but also reflects the mood of the lyric. Things blend with me, and the soul and nature have achieved a subtle fit. This description of people’s circumstances and feelings reflected by scenery is common in Li Shangyin’s writing. For example, the first two sentences of “Sending the Rain to the North at Night”: “You asked about the return date, but the night rain in Bashan rises in the autumn pool.” The second sentence not only symbolizes the poet’s staying in Bashu, but also reflects the boredom of leaving people. Like “Dongfeng is powerless and flowers are crippled”, realism and symbolism are integrated into one, giving feelings an external form that can be touched, that is, the commonly said lyric way of expressing feelings in the scenery.
3、 Four sentences, and then write about the feelings of “meeting is difficult” and “leaving is also difficult”, showing more twists and turns. The word “silk” in “spring silkworms die before they die” is homophonic with “thinking”. The whole sentence means that one’s missing the other is like a spring silkworms spinning silk until they die. “The wax torch turns to ashes and tears start to dry” is a metaphor to describe the endless pain of not being able to get together, as if the wax tears were not exhausted until the candle was burned to ashes. Missing is not only a sign of deep attachment, but also a sign that they will miss each other all their lives, indicating that there is no time to meet and that the future is hopeless. Therefore, their pain will follow them all their lives. However, although her future was hopeless, she was so obsessed with it that she would love it all her life; In spite of the pain, we have to endure. Therefore, in these two sentences, there are not only disappointed sadness and pain, but also lingering and burning persistence and pursuit. The pursuit is hopelessness, and we should still pursue in hopelessness, so this pursuit also has a pessimistic color. These feelings seem to circulate endlessly, and it is difficult to find their thread; It also seems to form a multi-faceted solid, and light cannot see the whole picture from one angle. The poet used only two metaphors to perfectly express such a complex psychological state, indicating that his association is very rich. The sentence “Spring Silkworm” first refers to the association between the lingering sentimentality of people and the endless silk spinning of spring silkworms. It also goes from silk spinning to “death” to the life and death of people’s feelings. Therefore, the sentence “to death” is written, which makes this image have a variety of metaphorical meanings. The Western Song of the Southern Dynasty’s Yuefu “Making Silk”: “Spring silkworms should not be old (no, here it means” disregard “), and they often cherish silk day and night. No matter how sorry you are, you will always be lingering. ” The meaning is similar to the sentence “spring silkworm” in Untitled. However, the Spring Silkworms here “don’t hesitate to die” is an idea generated under the condition that they expect to be “lingering” and have a promising future. The “Spring Silkworm” sentence in Untitled is not the same. As far as its expression of pursuit spirit is concerned, its expression of pursuit is hopeless, regardless of whether there is hope or not. The emotional realm is different, and the association is more tortuous. It is not uncommon to compare the burning of candles with suffering in Yuefu of the Southern Dynasty before Li Shangyin. For example, “thinking of the monarch is like a bright candle, and you can fry yourself in the middle of the night” (Wang Rong’s The Emergence of the Emperor), “thinking of the monarch is like a candle at night, and you can fry thousands of lines of tears” (Chen Shuda, the same title), etc. “The wax torch turns to ashes and starts to dry with tears” is also a metaphor with candles, but it is not a simple comparison of wax tears with pain, but also further uses “turning to ashes and starting to dry” to reflect the painful feelings for a lifetime. The association is much deeper and more complex than previous generations, and the image is therefore much richer.
The above four sentences focus on revealing the emotional activities of the heart, so that the complex feelings that are difficult to express can be embodied and written wonderfully. Five or six sentences turn to writing outward thinking activities. Write about yourself and imagine the other person. “Cloud sideburns change” means that he cannot sleep at night because of suffering, so that his hair is gray and his face is haggard. That is what Wu Jun, a poet of the Six Dynasties, said: “The green sideburns change in sorrow, while the red ones die in tears.” (“Six Ancient Poems on Washing Horses with Xiao”). However, the “Xiaojing” sentence in Untitled says that when looking at the mirror in the morning, people are sad because of the “cloud sideburns change”, and it is “but sad” – only because of this. This vividly describes the tortuous and euphemistic spiritual activities, rather than simply describing the fact that youth is consumed by pain. I am haggard by pain at night, and haggard by pain in the morning. The pain at night is because the pursuit of love cannot be realized; The next day I was worried because I was haggard. I wanted to stay young for love. In a word, I was haggard for love, painful and depressed. This kind of day and night loop, lingering feelings, still shows a painful and persistent heart. The sentence “Chant at night” means to push oneself to others and imagine that the other person is as painful as himself. He speculated that the other party would also be sleepless at night and often recited poems, but his sorrow was too deep to be relieved, so he felt more miserable environment, cold moonlight and gloomy mood. The color under the moon is cold, and “should feel the cold moonlight” reflects the psychological sense of desolation through the physiological feeling of cold. The word “should” is a tone of conjecture and anticipation, indicating that all this is your own imagination of the other party. The vivid imagination reflects her deep yearning and understanding of her lover.
The more concrete the imagination and the deeper the yearning, the more eager they will be to meet. Since there was no hope of meeting, I had to ask the messenger to pay tribute to me and visit him for me. This is the content of the last two sentences. In poetry, immortals are often used to refer to lovers. Qingniao is the messenger of a female fairy, Queen Mother of the West. Pengshan is a fairy mountain in mythology and legend, so here Pengshan is used as the symbol of each other’s residence, and Qingniao appears as the messenger of the lyric hero. This hope in the end of the messenger did not change the painful situation of “meeting is difficult”, but it is a hopeless hope, and the future is still bleak. The poem has ended, and the pain and pursuit of the lyric hero will continue.
The poem is full of painful, disappointed, lingering and persistent feelings from beginning to end. Each couplet in the poem is a reflection of this emotional state, but the specific artistic conception of each couplet is different from each other. They repeatedly express the complex feelings in the whole poem from different aspects, and at the same time, they vertically reflect the psychological process with such complex feelings as the content by the close connection between them. This kind of lyric, continuous, subtle and profound, successfully reproduced the deep feelings of the heart.
The first, third, fourth and fifth sentences in the poem can be found similar descriptions from Li Shangyin’s previous poetry creation. Under the influence and inspiration of previous works, the poet inherited and used for reference. But instead of simply imitating the predecessors, he took a big step forward with high creativity, and transformed the original simple means of expression into more tortuous and vivid ones to reflect more rich and profound thoughts and feelings. In fact, he has removed the old traces and turned into a new creation. It can be seen from this that the poet’s rich literary accomplishment and his exploration of artistic conception and means of expression are important conditions for the achievement of this poem. ▲
