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雨巷·戴望舒

The Rainy Lane

戴望舒

Dai Wangshu

名篇Masterpiece 现代诗Modern Poetry 象征Symbolism 忧郁Melancholy

撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷，我希望逢着一个丁香一样的结着愁怨的姑娘。

Holding an oil-paper umbrella, alone I wander
In the long, long and lonely rainy lane,
I hope to meet a girl
Like a lilac,
Bearing her grief and resentment.

Listen

Meaning

Dai Wangshu's masterpiece, written in the summer of 1927 and published in the Short Story Monthly in 1928, the pioneering work of symbolist new poetry. Holding an oil-paper umbrella, the poet wanders alone in the long, long and lonely rainy lane, hoping to meet a girl like a lilac, bearing her grief and resentment. The poem's three core images form a network of symbols: the rainy lane is the long, lonely, wet situation of reality, the road of the poet's bewilderment; the girl like a lilac is the beautiful yet unreachable ideal (or love), appearing and vanishing, to be looked at but not approached; and the 'I' is the lone seeker. The poem is at once the realism of the walk in the rainy lane and the symbolism of the lost road of life, the words here and the meaning beyond.

撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷，我希望逢着一个丁香一样的结着愁怨的姑娘。

Appreciation

The art of the poem may be seen from three sides: the layered system of symbols, the fusion of the senses, and the musicality. First, the layered system of symbols: the three core images of the rainy lane, the lilac, and the girl form a network of symbols—the rainy lane the long, lonely, wet situation of reality, the girl like a lilac the beautiful yet unreachable ideal, the 'I' the lone seeker, the three interpenetrating, making the poem at once realism and symbolism. Second, the fusion of the senses and the images: 'a girl like a lilac, bearing her grief and resentment' transforms the classical image into the modern symbol—the lilac's 'knot' of the bud for the knot of the grief, the image of the flower and the feeling of the girl one; the poet not only sees the girl but feels her grief, the sight and the touch and the feeling in one. Third, the musicality: the poem rhymes on the 'ang' sound, the 'wander,' 'rainy lane,' and 'girl' all closing on the 'ang' rhyme, one rhyme to the end, circling back; the repetition of 'long, long and lonely' like the theme of the music repeated, the melody of the poem the very mood of the rain and the lane.

【白话串讲】戴望舒写《雨巷》：“撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷”——“我希望逢着一个丁香一样的结着愁怨的姑娘”——“她静默地走近、走近，又投出太息一般的眼光”——“她飘过，像梦一般地凄婉迷茫”——他写雨巷里的丁香姑娘。【意象与手法】此诗是戴望舒的成名作，被誉为「替新诗的音节开了一个新纪元」（叶圣陶语）。艺术上最突出的是「象征与通感的融合」：以雨巷、丁香、姑娘构成象征系统，丁香本是古典诗词中写愁的意象，诗人将「丁香」与「姑娘」叠加，创造出「丁香一样的结着愁怨的姑娘」这一崭新意象；「悠长、悠长又寂寥」的复沓、「彷徨」与「雨巷」的押韵，使全诗音节回环往复，如雨声绵绵。【情感与主旨】主旨是写五四退潮后一代青年理想幻灭的迷惘与对美好未来的渺茫期待——「雨巷」象征黑暗、压抑的现实，「丁香姑娘」象征可望而不可即的理想，诗人「撑着油纸伞」在雨中独自仿徨，正是大革命失败后知识分子孤独、彷徨心境的写照，而「希望逢着」又透出对理想不灭的执着。【名句点睛】「撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷」以复沓的句式写尽孤独与迷惘，成为现代诗中最著名的意境之一；「丁香一样的结着愁怨的姑娘」更以丁香喻人，化古典诗词的「丁香结」为现代诗的象征意象，是戴望舒对中国诗歌意象传统的创造性发展。

Background

The poem was written in the summer of 1927, the poet's first famous work and representative piece. Dai Wangshu (1905–1950), originally Dai Chaocai, courtesy name Cheng'an, a native of Hangzhou, Zhejiang, was a modern poet, a representative of Chinese symbolist poetry, paired with Bian Zhilin and He Qifang, and in the 1930s editor of the Modern magazine and leader of the 'modern school,' his poetry fusing French symbolism with the classical Chinese poetic tradition, famed for the haze of its images and the beauty of its syllables, known as 'the poet of the rainy lane.' In 1927 the first revolutionary civil war failed, the great revolution came to nothing, and the white terror spread over the country; Dai Wangshu, then wanted for his revolutionary activity, was hiding in a friend's house in Songjiang, the failure of his political ideal and the setback of his personal feeling (the troubled relationship with his beloved Shi Jiangnian) interwoven in his heart, plunging him into deep bitterness and bewilderment. The poem was written in this mood: the poet, walking alone in the lane of the endless rain, turned the classical image of the lilac of grief and resentment into the girl of his dream, the hope and the melancholy of the lost road.

《雨巷》写于1927年夏，是戴望舒的成名作与代表作，发表于1928年《小说月报》。戴望舒（1905—1950），原名戴朝寀，字丞安，浙江杭州人，现代诗人，中国现代象征派诗歌的代表人物，与卞之琳、何其芳并称，1930年代主编《现代》杂志，是「现代派」诗歌的领袖，其诗融合法国象征主义与中国古典诗歌传统，以意象的朦胧、音节的优美著称，有「雨巷诗人」之称。1927年，第一次国内革命战争失败，大革命归于幻灭，白色恐怖笼罩全国；戴望舒当时正因参加革命活动而遭通缉，避居于松江朋友家中，政治理想的破灭、个人情感的挫折（与恋人施绛年关系的波折）交织于心，使他陷入深深的苦闷与彷徨之中。《雨巷》正是在这样的心境下写成的：诗人在阴雨连绵的巷子里踽踽独行，把内心的迷惘、孤寂与对美好事物的渺茫期待，外化为雨巷、丁香、姑娘的意象。诗中「我」的仿徨、「丁香姑娘」的可望而不可即，正是那个时代知识分子理想幻灭、前路茫茫的精神写照；而「希望逢着」的执着，又透出苦闷中对未来的不灭期待。此诗1928年发表于《小说月报》，叶圣陶读后盛赞其「替新诗的音节开了一个新纪元」，戴望舒因之被称为「雨巷诗人」，其象征手法与音乐性节奏深刻影响了1930年代现代派诗歌的发展。

Art

The art is the layered system of symbols, the fusion of the senses, and the musicality. The three core images of the rainy lane, the lilac, and the girl form a network of symbols, the realism of the walk and the symbolism of the lost road interpenetrating. The 'girl like a lilac, bearing her grief and resentment' transforms the classical image into the modern symbol, the lilac's knot for the knot of the grief, the sight and the feeling in one. And the musicality: the 'ang' rhyme one to the end, the repetition of 'long, long and lonely,' the melody of the poem the very mood of the rain and the lane.

此诗的艺术特色，可从象征、通感、音乐性三端析之。其一，层层叠合的象征系统：全诗以「雨巷」「丁香」「姑娘」三个核心意象构成象征网络——雨巷是悠长、寂寥、潮湿的现实处境的象征，是「我」被围困其中的迷惘之路；丁香姑娘是美好而不可及的理想（或爱情）的象征，出现而又消逝，可望而不可即；「我」则是孤独徘徊的追寻者。三个意象相互渗透，使全诗既是写实（雨巷独行），又是象征（人生迷途），言在此而意在彼。其二，通感与意象的融合：「丁香一样的结着愁怨的姑娘」是化古典意象为现代象征的典范——丁香本是中国古典诗词中的愁绪意象（李商隐「芭蕉不展丁香结，同向春风各自愁」），诗人将丁香的「色、香、结」与姑娘的「愁怨」叠加，以植物的形象写人物的气质，香与怨相通、色与愁相融，创造出兼具古典韵味与现代意味的新意象。其三，回环往复的音乐性：全诗以「悠长、悠长又寂寥」的复沓、「仿徨」「雨巷」「姑娘」的押韵、以及「我希望逢着」的反复咏叹，营造出如雨丝绵长、如脚步踯躅的节奏，内容上的仿徨与形式上的回旋互为表里，使全诗具有强烈的音乐美，这正是叶圣陶所称「替新诗的音节开了一个新纪元」之所在。

Allusions

The cultural import of the poem is deeply rooted in the 'lilac' and 'rainy lane' tradition of classical Chinese poetry and the influence of Western symbolism. First, the classical lineage of the lilac: the lilac has been the symbol of 'grief and resentment' in classical poetry since ancient times—Li Shangyin's 'the banana does not unfold its lilac knot, each toward the spring wind its own grief' uses the 'knot' of the lilac bud for the knot of the grief; Li Jing of the Southern Tang, in his 'the lilac emptily knots in the rain its grief,' joins the lilac with the rain and the sorrow; Dai Wangshu's 'a girl like a lilac, bearing her grief and resentment' directly inherits this tradition, turning the classical 'lilac knot' into the girl of the modern symbol. Second, the influence of Western symbolism: the poem, in its haze, its musicality, and its symbol of the unreachable ideal, carries the French symbolist Verlaine's 'music before all things' and the correspondence of the senses.

此诗的文化意蕴，深植于中国古典诗词的「丁香」「雨巷」传统与西方象征主义的影响。其一，「丁香」意象的古典谱系：丁香在中国古典诗词中自古是「愁怨」的象征——李商隐《代赠》「芭蕉不展丁香结，同向春风各自愁」以丁香花蕾之「结」喻愁思郁结，南唐中主李璟《摊破浣溪沙》「丁香空结雨中愁」更将丁香与雨、愁相连；戴望舒「丁香一样的结着愁怨的姑娘」直承此传统，把古典的「丁香结」转化为现代的「丁香姑娘」，使传统意象获得新的生命，这是「化古为新」的典范。其二，「雨」与「巷」的意境传统：雨在古典诗词中常与愁绪相连（「清明时节雨纷纷」「一川烟草，满城风絮，梅子黄时雨」），深巷又常与孤寂相关（陆游「小楼一夜听春雨，深巷明朝卖杏花」），戴望舒把「雨」与「巷」结合，创造出雨巷这一既写实又象征的意境，其潮湿、阴郁、绵长的质感，正是诗人内心迷惘的外化。其三，法国象征主义的影响：戴望舒早年留学法国，深受魏尔伦、马拉美等象征派诗人的影响，此诗「以物象写心象」「以音乐性造氛围」的手法，正是象征主义「对应论」的实践——雨巷、丁香、姑娘不是单纯的景物，而是诗人情绪的客观对应物；而「悠长、悠长又寂寥」的复沓，又暗合魏尔伦「音乐先于一切」的诗学主张。古典的丁香传统与西方的象征手法在此诗中交汇，使《雨巷》成为中西诗学融合的典范之作。

Commentary

'The Rainy Lane' holds a unique place in the history of modern Chinese poetry, the pioneering work of symbolist new poetry. In the history of the new poetry, the poem, published in 1928, made a sensation; Ye Shengtao praised it as 'opening a new era for the syllables of the new poetry,' and Dai Wangshu was known as 'the poet of the rainy lane'—it marks the new poetry's entry, after Hu Shi's 'liberation of the vernacular' and Guo Moruo's 'liberation of the feeling,' into the stage of the artistic self-consciousness of 'the image and the syllable': with the hazy symbol, the beautiful music, and the melancholy of the lost road, it opened for the new poetry the road of symbolism, the direct source of the 'modern school' of the 1930s.

《雨巷》在中国现代诗歌史上占有独特的地位，是象征主义新诗的开山之作。就新诗史而言，此诗1928年发表后轰动一时，叶圣陶赞其「替新诗的音节开了一个新纪元」，戴望舒因之被誉为「雨巷诗人」——它标志着新诗在胡适式的「白话解放」与郭沫若式的「情感解放」之后，进入了「意象与音节」的艺术自觉阶段：以朦胧的象征、通感的意象、回环的音乐性写内心情绪，使新诗从「说理与呐喊」转向「抒情与暗示」，开启了中国现代派诗歌的先河，此后卞之琳、何其芳、废名等的创作皆受其影响。就诗学传统而言，此诗把中国古典诗词的「丁香结」意象与法国象征主义的「对应论」融为一体，实现了「古典意象的现代化」与「西方诗艺的本土化」，其「以物象写心象」的手法成为现代诗的基本方法，而「丁香姑娘」更成为现代文学中「可望而不可即的理想」的经典象征，其影响遍及诗歌、散文、音乐（如同名歌曲）与大众文化。就思想史而言，此诗是1927年大革命失败后知识分子精神状态的经典写真——雨巷的迷惘、仿徨的步履、可遇不可求的丁香姑娘，被普遍解读为一代青年在理想幻灭后的苦闷与追寻，其「仿徨而仍希望逢着」的姿态，既写尽时代的迷惘，也保留了知识分子的精神底线。此诗长期入选中学语文教材，其意象之美、音节之美、意境之美，使它成为新诗中少数几首「家喻户晓」的杰作，也使它成为理解中国现代主义诗歌的必经之门。

Prosody

Form Modern free verse (symbolist), prosaic lyric poem现代自由诗（象征主义），散文化抒情诗

Rhyme The poem rhymes on the 'ang' sound: 'wander,' 'rainy lane,' and 'girl' all close on the 'ang' rhyme, one rhyme to the end, circling back; the repetition of 'long, long and lonely' like the theme of the music repeated, the melody of the poem the very mood of the rain and the lane此诗押「ang」韵：「仿徨」「雨巷」「姑娘」皆以「ang」韵收束，一韵到底，回环往复；「悠长、悠长又寂寥」的复沓句法更如乐曲中的主题反复，造成绵延不绝的韵律；句中「撑」「独自」「希望」「一样」等词的平仄相间，使音节起伏有致，如雨声淅沥。

Tone pattern The long lines of the poem are slow and lingering, the repeated 'long, long and lonely' like the endless rain, the rhyme of the 'ang' closing soft and echoing, the melancholy of the rainy lane carried by the music句式长短参差而节奏舒缓：「撑着油纸伞」以短句起，如脚步轻落；「独自仿徨在悠长、悠长又寂寥的雨巷」以长句舒展，复沓的「悠长、悠长」拖长音节，如巷之无尽；「我希望逢着一个丁香一样的结着愁怨的姑娘」以最长句收束，语调由低沉转渺远，如一声叹息。全诗语调低回忧郁，如雨巷中湿漉漉的空气，尽显象征诗的朦胧之美。

Reading note The 'ang' rhyme one to the end and the repetition of 'long, long and lonely' make the melody of the poem the very mood of the rain and the lane.此诗的声律是戴望舒「以音节造意境」的巅峰，叶圣陶所谓「替新诗的音节开了一个新纪元」正指此。全诗以「ang」韵一以贯之：「仿徨」「雨巷」「姑娘」三个韵脚如三块基石，把全诗钉在同一个低回绵长的音区——「ang」韵开口度适中、余音悠长，正宜写雨巷的绵长与心绪的绵邈，仿佛巷子尽头总有一声未了的回响。「悠长、悠长又寂寥」的复沓是全诗节奏的枢纽：两个「悠长」连读，音节被刻意拖长，如脚步在湿漉漉的石板路上一步一停，读者在声音中真切感到巷之无尽、彷徨之无尽；「撑着油纸伞」的短句起调、「我希望逢着」的平缓推进，与「丁香一样的结着愁怨的姑娘」的绵长收束，形成「短—长—缓—长」的节奏曲线，如雨丝疏密不定、如心潮起落难平。全诗在复沓的句式、统一的韵脚、舒缓的节奏中，把「仿徨」的心绪化为可闻的雨声与脚步，形式与内容浑然一体，这正是《雨巷》超越一般白话新诗之处，也是它历百年而仍被传诵的声音之谜。

Line by line

撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷，

Holding an oil-paper umbrella, alone I wander in the long, long and lonely rainy lane, (The opening of the situation: the oil-paper umbrella, the lonely wandering, the 'long, long and lonely' of the rainy lane—the bewilderment of the lost road in the repetition.)

撑着油纸伞，独自一个人在悠长、悠长又冷清寂寞的雨巷里仿徨徘徊，

Bearing an oil-paper umbrella, alone I wander the long, long and lonesome rain-lane,

此句是全诗的环境与人物描写，为全诗定下迷惘孤寂的基调。「撑着油纸伞」以动作细节写「我」的形象——油纸伞是江南旧物，撑伞而行本为避雨，此处却以伞隔开天与地，写「我」在雨中自成一方天地，孤独而自持；「独自」二字直点形单影只，无同行者、无慰藉者，只有一人踽踽独行；「仿徨在悠长、悠长又寂寥的雨巷」——「仿徨」写行走之态，不是急行，不是驻足，而是游移不定的徘徊，正是内心迷惘的外化；「悠长、悠长又寂寥」以「悠长」的复沓写雨巷之深之远，仿佛没有尽头，再加「寂寥」写其空无一人的寂静，深、长、静三者叠加，把雨巷写成一条无尽的、潮湿的、压抑的路。此句的妙处在于「以境写心」：雨巷的悠长即人生的迷途，雨巷的寂寥即内心的孤独，「我」撑着伞在其中仿徨，正是大革命失败后一代青年在黑暗现实中不知所往的写照。句式上，「悠长、悠长」的复沓与「仿徨」「雨巷」的音节呼应，如雨声绵绵、如脚步踯躅，形式的回环与内容的仿徨互为表里，为下文「希望逢着」的期待蓄足氛围。

The lane. Bearing an oil-paper umbrella, alone I wander the long, long and lonesome rain-lane. The oil-paper umbrella and the long lonesome lane are the opening. To have borne the umbrella would be a bearing; the bearing-an-oil-paper-umbrella-alone-i-wander-the-long-long-and-lonesome-rain-lane is the bearing.

我希望逢着一个丁香一样的结着愁怨的姑娘。

I hope to meet a girl like a lilac, bearing her grief and resentment. (The hope and the ideal: the classical image of the lilac of grief turned into the girl of the dream, the beautiful yet unreachable ideal, the whole poem's longing and melancholy in one line.)

我希望能遇见一位像丁香花一样、结着愁怨的姑娘。

I hope to meet a lilac-like girl, knotted with grief.

此句是全诗的题眼，写出「我」在仿徨中怀着的渺茫希望，也创造出中国现代诗最著名的意象之一。「我希望逢着」——「希望」二字写愿望之渺茫与执着，在无尽的雨巷中，在无尽的仿徨里，「我」仍怀着逢着的期待，这种「明知渺茫而不放弃」的姿态，正是全诗苦闷而不绝望的精神底色；「一个丁香一样的结着愁怨的姑娘」——「丁香一样的」以比喻领起，把姑娘与丁香叠加：丁香花色淡紫、香幽微、花蕾如结，是古典诗词中愁怨的象征（「丁香空结雨中愁」），以此喻姑娘，则姑娘的「愁怨」不是怨怼，而是如丁香般幽微、内敛、淡雅的忧郁；「结着愁怨」四字更以「结」字写愁之郁结，如丁香花蕾般绾结不开。此句的妙处在于「以物象写心象」：丁香姑娘未必实有，她是「我」内心理想（或爱情、或美好未来）的象征，可遇而不可即——全诗（节选之外）写她「像梦一般的凄婉迷茫」，来了又飘过、近了又远去，正是理想「可望而不可即」的写照。一句之中，希望、忧郁、理想、幻灭交织，成为现代诗中「象征抒情」的典范。

The girl. I hope to meet a lilac-like girl, knotted with grief. The hoped-for lilac-like knotted-grief girl is the close. To have hoped to meet would be a hoping; the i-hope-to-meet-a-lilac-like-girl-knotted-with-grief is the hoping.

Study

Word focus

悠长 Long, long. The word of the rainy lane: 'the long, long and lonely rainy lane'—the repetition like the endless rain, the length and the loneliness of the road of life, the music of the poem in the repetition. 「悠长、悠长又寂寥」之「悠长」二字，是全诗写雨巷的核心形容词，也是营造氛围的关键词。「悠长」本写时间或空间之久远绵长，此处写雨巷之深之远，而「悠长、悠长」的复沓使用尤见匠心：第一个「悠长」写雨巷的客观长度，第二个「悠长」则以重复拖长音节，把「长」的感觉从视觉延伸到听觉与心理——仿佛雨巷真的没有尽头，仿佛这仿徨也真的没有尽头，一个词在复沓中完成了从写景到写心的飞跃。「悠」字本身又含「悠悠」之远意（「悠悠苍天」「白云千载空悠悠」），暗合雨巷的空旷与「我」的茫然；「悠长」与「寂寥」连用，「长」写空间，「寂」写空无，空间的绵长与心境的孤寂相互强化，使雨巷既是具体的街巷，更是人生迷途的象征。此词之妙，正在于以复沓的音节让读者亲身体会「悠长」——读诗如行巷，越读越觉巷长，这正是戴望舒「以音节造意境」的高明处。

仿徨 Wander (linger). The word of the bewilderment: 'alone I wander in the rainy lane'—the lone wandering of the seeker, the hesitation and the bewilderment of the lost road, the very mood of the poet in 1927. 「独自仿徨在悠长、悠长又寂寥的雨巷」之「仿徨」二字，是全诗动作的核心，也是人物心理的直接外化。「仿徨」通「彷徨」，意为徘徊不定、游移不决，此处写「我」在雨巷中的行走之态：不是目标明确的行走，不是仓皇的奔跑，而是来来回回、不知所往的徘徊，正与「悠长」的雨巷相配——巷子没有尽头，脚步没有方向，二者合起来便是「迷途」的完整意象。此词之妙在于「以动作写心理」：仿徨本是身体的动作，却准确传达出内心的游移与茫然，正如《诗经》「彷徨」之态与《楚辞》「仿佯」之容，皆以踯躅之步写郁结之心；戴望舒借这一古语词入新诗，使现代的白话诗带上古典的音韵与意蕴，「仿徨」与「雨巷」「姑娘」的「ang」韵呼应，更使全诗音节回环，如徘徊的脚步声。从思想史看，「仿徨」又是那个时代的症候词——鲁迅有《彷徨》集，大革命失败后的知识分子普遍「仿徨」于十字街头，《雨巷》中的「仿徨」正是这一时代心绪的诗化表达：在雨巷中仿徨，即是在理想幻灭后的迷途中仿徨。