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唐 Tang · 诗 Poem

二月二日

The Second Day of the Second Month

李商隐

Li Shangyin

羁旅sojourn 伤春spring sorrow

二月二日江上行，东风日暖闻吹笙。
花须柳眼各无赖，紫蝶黄蜂俱有情。
万里忆归元亮井，三年从事亚夫营。
新滩莫悟游人意，更作风簷夜雨声。

On the second day of the second month I sail upon the river; the east wind is warm, the sun bright, and faintly I hear the playing of sheng pipes.
The flower stamens and willow buds each are charmingly wayward; the purple butterflies and yellow bees all seem full of feeling.
Ten thousand li away I dream of returning to Yuanliang's old well; for three years I have served in Yafu's camp.
The new shoals cannot fathom the traveler's heart, and only add the sounds of night rain upon the wind-swept eaves.

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Meaning

On the second day of the second month the poet sails upon the river: the east wind is mild, the sunlight warm, and in the distance he hears the music of sheng pipes. The flower stamens and the newly opened willow buds are each enchantingly lovely, while purple butterflies and yellow bees seem charged with feeling. Ten thousand li from home, he longs to return to the well of Yuanliang (Tao Yuanming), yet for three years he has served in a military camp abroad, like Zhou Yafu at the willow encampment. The newly risen shoals, deaf to the traveler's sorrow, only add the desolate sound of night rain beating on the eaves. The poem unfolds bright spring scenery in its first couplets and bitter homesickness in its last, the joyous scene deepening the grief—a classic instance of Li Shangyin's art of setting sorrow against delight.

二月二日江上行，东风日暖闻吹笙。花须柳眼各无赖，紫蝶黄蜂俱有情。万里忆归元亮井，三年从事亚夫营。新滩莫悟游人意，更作风簷夜雨声。

Appreciation

Vernacular reading: On the second day of the second month, sailing the river, the east wind warm and the sun bright, one hears the distant playing of sheng. The flower stamens and willow eyes are each bewitchingly lovely; the purple butterflies and yellow bees are all full of feeling. Ten thousand li away I remember returning to Yuanliang's well; for three years I have served in Yafu's camp. New shoals, unaware of the traveler's heart, make instead the sound of night rain on the windy eaves. Images and technique: This is a famous lyric of sojourning and homesickness. The first two couplets paint the spring seen on the river; the latter two turn to the lament of homesickness. 'Flower stamens and willow eyes each wayward, purple butterflies and yellow bees all feeling' is a line for the ages. Emotion and theme: Likely written around 851, when Li Shangyin had served three years in the Zizhou幕府. The bright spring only sharpens his longing; the allusions to Yuanliang and Yafu voice the conflict between homecoming and long service. Closing on the shoals' rain-like sound, the poem is a masterpiece of 'sorrow set against joy.'

【白话串讲】李商隐写《二月二日》：“二月二日江上行，东风日暖闻吹笙”——“花须柳眼各无赖，紫蝶黄蜂俱有情”——“万里忆归元亮井，三年从事亚夫营”——“新滩莫悟游人意，更作风簷夜雨声”——他在蜀地思念家乡。【意象与手法】此诗是李商隐写羁旅思乡的名篇，写二月二日江行所见之春景与所感之归思，是李商隐七律中「以乐景写哀情」的代表作。前两联写江行的春景：「二月二日江上行，东风日暖闻吹笙」写江行时的和暖春景；「花须柳眼各无赖，紫蝶黄蜂俱有情」写花须柳眼、紫蝶黄蜂的春意，是千古名句。后两联写思乡的感慨：「万里忆归元亮井，三年从事亚夫营」以陶渊明、周亚夫的典故写思归与久役；「新滩莫悟游人意，更作风簷夜雨声」以新滩的流水写愁绪的加深。全诗前写乐景、后写哀情，以乐景写哀情，哀更见哀，是李商隐七律中「沉郁顿挫」的名篇。【情感与主旨】此诗约作于唐宣宗大中五年（851）前后，时李商隐在梓州（今四川三台）幕府供职，已是第三年。李商隐一生仕途失意，长期辗转于各地幕府（如桂管、徐州、梓州等），客居异乡、思归不得。此诗写于梓州，时值二月二日（蜀中踏青节），李商隐在江上行舟，见春日融融、花柳含情，却触动了思归的愁绪。诗中「二月二日江上行，东风日暖闻吹笙」写江行的和暖春景——东风日暖、笙歌隐约，正是蜀中春日的融融景象；「花须柳眼各无赖，紫蝶黄蜂俱有情」写花柳蜂蝶的春意——花须（花蕊）、柳眼（柳芽）娇媚撩人，紫蝶黄蜂含情飞舞，那春意越浓，越反衬出诗人的思乡；「万里忆归元亮井」用陶渊明（元亮）之典写思归——陶渊明弃官归田，李商隐「忆归」而不得归；「三年从事亚夫营」用周亚夫（亚夫）之典写久役——周亚夫驻军细柳营，李商隐以「亚夫营」指幕府，写其三年来客居幕府、久役不归；「新滩莫悟游人意，更作风簷夜雨声」写新滩的流水不懂游人心事，偏作那屋檐夜雨的凄清之声——那滩声如雨声，更添愁绪。全诗以乐景写哀情：春景越浓，思乡越切；那「元亮井」「亚夫营」的典故，写尽思归与久役的矛盾；那「新滩」的流水，更以「风簷夜雨声」的凄清加深了愁绪。此诗是李商隐羁旅诗的代表作，也是理解其晚年幕府生涯与思乡心绪的关键作品。【名句点睛】常考“花须柳眼各无赖，紫蝶黄蜂俱有情”写江行春意，是千古名句；“新滩莫悟游人意，更作风簷夜雨声”以新滩流水写归思之加深。

Background

This poem was likely composed around the fifth year of Dazhong (851) of Emperor Xuānzong, when Li Shangyin was in his third year of service in the幕府 of Liu Zhongying, military governor of Dongchuan, at Zizhou (present-day Santai, Sichuan). Li's official career was troubled: after early examination failures he moved among various regional幕府—Guiguan in 847, back to Chang'an in 849, then Dongchuan in 851, henceforth a sojourner in Zizhou. The poem was written in his third year there, on the second day of the second month (the Sichuan 'spring outing' festival). Sailing the river, he saw the warm Sichuan spring yet was seized by homesick grief. The opening lines fix the time and place; 'flower stamens' (slender as threads) and 'willow eyes' (buds like eyes) are described as 'wayward'—a word meaning both endearing and helpless, as in Xin Qiji's 'most I love the roguish child.' The couplet on Yuanliang's well and Yafu's camp sets the distant longing of 'ten thousand li' against the long service of 'three years.' The closing shoals, unaware, make the desolate sound of eaves in night rain—deepening the sorrow. It stands as a representative sojourn poem and a key to Li's late years.

此诗约作于唐宣宗大中五年（851）前后，时李商隐在梓州（今四川三台）东川节度使柳仲郢幕府供职。李商隐一生仕途坎坷：早年应举不第，后辗转于各幕府——大中元年（847）入桂管观察使郑亚幕，大中三年（849）返长安，大中五年（851）入东川节度使柳仲郢幕，从此客居梓州。此诗写于梓州的第三个年头（「三年从事亚夫营」），时值二月二日（蜀中以二月二日为踏青节），李商隐在江上行舟，见蜀中春景融融，却触动了思归的愁绪。诗中「二月二日江上行」写江行的时间（二月二日）与地点（江上）；「东风日暖闻吹笙」写东风和暖、笙歌隐约的春景；「花须柳眼各无赖」写花须（花蕊细长如须）、柳眼（柳芽初绽如眼）的娇媚撩人——「无赖」本指纠缠、无奈，此处写花柳的娇媚惹人，令人想起辛弃疾「最喜小儿无赖」的「无赖」用法；「紫蝶黄蜂俱有情」写紫蝶黄蜂的含情飞舞——那春日的生机，仿佛都含着情意。这两联写乐景，正是为后两联的哀情作反衬。「万里忆归元亮井」用陶渊明之典——陶渊明字元亮，其《归园田居》有「井灶有遗处，桑竹残朽株」之句，「元亮井」借指故乡的井，也暗用陶渊明弃官归田的典故，写李商隐的思归；「三年从事亚夫营」用周亚夫之典——周亚夫驻军细柳，军纪严明，世称「细柳营」，「亚夫营」借指幕府军营，写李商隐三年客居幕府。这两句以「万里」写归思之远，以「三年」写久役之久，写尽思归不得的无奈。「新滩莫悟游人意，更作风簷夜雨声」写新滩的流水不懂游人心事，偏作那屋檐夜雨的凄清之声——「莫悟」写流水不解人意，「更作」写其偏偏作声，那滩声如雨声，正添愁绪。全诗以乐景写哀情、以典故写久役，是李商隐羁旅诗的代表作，也是理解其晚年幕府生涯与思乡心绪的关键作品。

Art

The art of this poem may be read on four levels. First, the design of setting sorrow against joy: the first two couplets lavishly paint the mild spring—east wind, sheng music, coquettish flowers, feeling bees—so that the later grief strikes the harder; the brighter the scene, the deeper the longing. Second, personification: 'flower stamens and willow eyes each wayward, purple butterflies and yellow bees all feeling' lends human 'waywardness' and 'feeling' to blossoms and insects, which only throws the poet's loveless melancholy into relief—all things feel, only the traveler is sorrowful. Third, allusion: 'Yuanliang's well' (Tao Yuanming) and 'Yafu's camp' (Zhou Yafu) condense the twin themes of homecoming and long service. Fourth, the scenic close: the poem ends on the new shoals whose sound is like night rain on the eaves, binding feeling to scene with endless resonance. These four maneuvers make it a paradigm of 'sorrow against joy' in Li Shangyin's regulated verse.

此诗的艺术特色可从四个层面解析。其一，以乐景写哀情的构思。全诗前两联写江行的乐景——东风日暖、笙歌隐约、花柳娇媚、蜂蝶含情，那春意融融的乐景写得越足，后两联的哀情越显——正因春景如此美好，思乡才如此深切，以乐景写哀情、哀更见哀，是李商隐「反衬」艺术的典范。其二，拟人的运用。「花须柳眼各无赖，紫蝶黄蜂俱有情」以拟人写花柳蜂蝶——「无赖」写花柳的娇媚撩人（如辛弃疾「最喜小儿无赖」），「有情」写蜂蝶的含情飞舞，那花柳蜂蝶的「无赖」「有情」，正反衬出诗人的「无情」愁绪——万物有情，唯我思乡。其三，典故的运用。「万里忆归元亮井，三年从事亚夫营」用陶渊明（元亮）、周亚夫（亚夫）的典故——陶渊明弃官归田、周亚夫驻军细柳，以「元亮井」写思归、以「亚夫营」写久役，两个典故一写归、一写役，写尽思归不得的无奈。其四，以景结情的收束。「新滩莫悟游人意，更作风簷夜雨声」以新滩流水作结——那流水不懂游人心事，偏作屋檐夜雨的凄清之声，以景结情、余味无穷，那「风簷夜雨声」的凄清，正是诗人愁绪的深化。四重手法层层推进，使此诗成为李商隐七律中「以乐景写哀情」的代表作。

Allusions

The imagery and allusions root themselves in the tradition of sojourn and homesickness. 'The second day of the second month' was Sichuan's spring-outing festival, akin to the central-plains Shangsi. 'Hearing the sheng' recalls the Classic of Poetry's 'I have fine guests, who play the se and blow the sheng' and Du Fu's Sichuan music. 'Flower stamens, willow eyes' evoke He Zhizhang's willow and Du Fu's spring couplets; 'wayward' (endearing, helpless) recalls Xin Qiji and Du Fu. 'Purple butterflies and yellow bees all feeling' echoes Du Fu's 'lingering butterflies dance, carefree orioles sing.' 'Yuanliang's well' borrows Tao Yuanming's 'well and hearth remain, mulberries and bamboos decay' to signify the native well and his retirement from office; 'Yafu's camp' borrows Zhou Yafu's disciplined willow encampment for the military幕府. The closing shoals recall Du Fu's night rain and Wen Tingyun's rain of parting. Drawing on the Shi Jing, Tao Yuanming, and Du Fu, the poem transforms ancient motifs into personal feeling—Li Shangyin's gift for 'writing emotion through antiquity.'

此诗的意象与典故深植于羁旅与思乡的传统。「二月二日江上行」写江行的时间与地点——二月二日是蜀中的踏青节（蜀人以二月二日为踏青之节，与中原的上巳节类似），「江上行」写其江行舟中；「东风日暖闻吹笙」写东风和暖、笙歌隐约——「闻吹笙」令人想到《诗经·小雅》「我有嘉宾，鼓瑟吹笙」的欢乐与杜甫「锦城丝管日纷纷」的蜀地笙歌。「花须柳眼各无赖」写花柳——「花须」写花蕊细长如须，「柳眼」写柳芽初绽如眼，令人想到贺知章「不知细叶谁裁出」的咏柳与杜甫「红入桃花嫩，青归柳叶新」的写春；「无赖」写花柳的娇媚撩人（此「无赖」为可爱、无奈之义，令人想到辛弃疾「最喜小儿无赖」与杜甫「无赖春色到江亭」）；「紫蝶黄蜂俱有情」写蜂蝶的含情——令人想到杜甫「留连戏蝶时时舞，自在娇莺恰恰啼」的写春。「万里忆归元亮井」用陶渊明之典——陶渊明字元亮，其《归园田居》「井灶有遗处，桑竹残朽株」写故园之井，「元亮井」借指故乡的井，也暗用陶渊明「不为五斗米折腰」、弃官归田的典故，写李商隐的思归（《归来》「归去来兮，田园将芜胡不归」）；「三年从事亚夫营」用周亚夫之典——周亚夫驻军细柳，军纪严明，世称「细柳营」（事见《史记·绛侯周勃世家》），「亚夫营」借指幕府军营，写李商隐三年客居幕府，令人想到杜甫「三年笛里关山月」的羁旅。「新滩莫悟游人意，更作风簷夜雨声」写新滩流水——「新滩」是蜀地江中的滩名（或泛指新出的滩），「游人意」写游子的心事，「莫悟」写流水不解人意，「更作」写其偏偏作声，「风簷夜雨声」写那滩声如屋檐夜雨之声，令人想到杜甫「随风潜入夜，润物细无声」的夜雨与温庭筠「梧桐树，三更雨，不道离情正苦」的夜雨愁绪。全诗化用《诗经》、陶渊明、杜甫的意象与传统，以乐景写哀情、以典故写久役，正是李商隐「以古写情」的本领。

Commentary

This poem has long been ranked among Li Shangyin's finest sojourn lyrics and is the source of the immortal line 'Flower stamens and willow eyes each wayward, purple butterflies and yellow bees all feeling.' Critics have esteemed it highly: the Qing scholar He Chuo noted 'first joyous scene, then sorrowful feeling—the reverse contrast is exquisite,' while modern readers stress its allusive weight of Tao Yuanming and Zhou Yafu. Its special value lies in voicing deep homesickness through Sichuan spring scenery: the warmer the scene, the keener the longing; the couplet on Yuanliang and Yafu states the dilemma of 'wishing to return' versus 'long service.' The closing shoals, 'unaware of the traveler's heart,' deepen the sorrow and exemplify 'ending on scene.' Together with 'A Note on a Rainy Night to the North' and 'The An'ding Tower,' it charts Li's sojourning heart. For modern readers it is a window onto his late幕府 years and a model of the 'joy-scene, sorrow-feeling' tradition.

此诗历来被推为李商隐羁旅诗的代表作，也是「花须柳眼各无赖，紫蝶黄蜂俱有情」这一千古名句的出处。历代论者对此诗评价极高：清人何焯评此诗「前写乐景，后写哀情，反衬入妙」，近人更指出此诗以乐景写哀情，以陶渊明、周亚夫的典故写思归与久役，是李商隐七律中「沉郁顿挫」的佳作。在文学史上，此诗的特殊价值在于：它以「二月二日」的蜀中春景，写出了羁旅思乡的深沉感慨——那东风日暖、笙歌隐约的春景，那花须柳眼、紫蝶黄蜂的春意，写得越是美好，思乡越是深切；而「万里忆归元亮井，三年从事亚夫营」两句，更以陶渊明、周亚夫的典故，写出了「思归」与「久役」的矛盾——他想象陶渊明那样弃官归田，却不得不在幕府中三载供职。诗中「新滩莫悟游人意，更作风簷夜雨声」以新滩流水作结，那「风簷夜雨声」的凄清，正是羁旅愁绪的深化，也是「以景结情」的典范。此诗与李商隐的其他羁旅诗（如《夜雨寄北》《安定城楼》）一样，写尽了客居异乡的孤独与思归的渴望。对于今日读者，此诗是理解李商隐晚年幕府生涯与羁旅心绪的窗口，也是感受中国诗歌「以乐景写哀情」传统的典范——那无赖的花柳、有情的蜂蝶、莫悟的新滩，穿越千年，仍在诉说着游子的乡愁。

Prosody

Form Seven-character regulated verse (level-onset, first line enters rhyme).七言律诗（平起首句入韵）

Rhyme Rhymes with the lower-level 庚 category; rhyme words are 行, 笙, 情, 营, 声. The first-line 行 enters the rhyme in level tone, a 'first-line-enters-rhyme' form. All belong to the 庚 class; the long, clear sound suits the poem's lingering sojourn mood.押下平八庚韵，韵脚为「行」「笙」「情」「营」「声」。首句「行」字平声入韵，属首句入韵之格。韵脚「行」「笙」「情」「营」「声」皆属庚部，韵音悠长清亮，正合其羁旅的绵长意境。

Tone pattern 二月二日江上行 (仄仄仄仄平仄平); 东风日暖闻吹笙 (平平仄仄平平平); 花须柳眼各无赖 (平平仄仄仄平仄); 紫蝶黄蜂俱有情 (仄仄平平平仄平); 万里忆归元亮井 (仄仄仄平平仄仄); 三年从事亚夫营 (平平平仄仄平平); 新滩莫悟游人意 (平平仄仄平平仄); 更作风簷夜雨声 (仄仄平平仄仄平). The tonal pattern largely conforms to the qilü standard, with polished antithesis and fluent rhythm.二月二日江上行，仄仄仄仄平仄平；东风日暖闻吹笙，平平仄仄平平平；花须柳眼各无赖，平平仄仄仄平仄；紫蝶黄蜂俱有情，仄仄平平平仄平；万里忆归元亮井，仄仄仄平平仄仄；三年从事亚夫营，平平平仄仄平平；新滩莫悟游人意，平平仄仄平平仄；更作风簷夜雨声，仄仄平平仄仄平。全诗平仄大体合于七律格律，对仗精工，音节流畅。

Reading note A level-onset, first-line-rhyming seven-character regulated verse, rhyming on the level 庚 category, strictly formed with exquisite antithesis—a representative 'sorrow-against-joy' qilü. The four couplets are clearly structured: the opening sets the riverine spring (second day, warm east wind); the second paints flowers, willows, bees; the third voices homesickness (ten-thousand-li return, three-year service); the close brings the shoals' sorrowful sound. The first two couplets are joyous scene, the latter two sorrowful feeling, in orderly composition. Recite the bright spring of the first couplets briskly, the homesick third couplet gravely, and the closing shoals with lingering melancholy—especially 'new shoals unaware… night-rain sound'—to convey Li Shangyin's sojourning heart.此诗是平起首句入韵的七言律诗，押平声庚韵，格律严整，对仗精工，是李商隐七律中「以乐景写哀情」的代表作。全诗四联结构分明：首联写江行的春景（二月二日、东风日暖），颔联写花柳蜂蝶的春意（花须柳眼、紫蝶黄蜂），颈联写思归的感慨（万里忆归、三年从事），尾联写新滩的愁声（新滩莫悟、更作风簷夜雨声）。前两联写乐景，后两联写哀情，章法井然。声调上，全诗以平声庚韵为韵脚，韵音悠长清亮，配合「花须柳眼」的春意与「风簷夜雨声」的愁绪，全篇音节流畅而不失沉郁。诵读此诗，宜以明快的语调读前两联的春景，以沉郁的语调读颈联的思归，以低回的语调读尾联的新滩，尤其「新滩莫悟游人意，更作风簷夜雨声」两句，要读得愁绪绵长，方能传达出李商隐羁旅思乡的深意。李商隐七律以「深情绵邈」著称，此诗正是其羁旅七律的经典。

Line by line

花须柳眼各无赖，紫蝶黄蜂俱有情。

These two lines are a celebrated depiction of spring's vitality through personified scenery and a famous couplet for the ages. 'Flower stamens and willow eyes each wayward' describes the coquettish charm of blossoms—stamens slender as threads, willow buds like opening eyes—'wayward' meaning endearingly, helplessly lovely, like a flirtatious girl. 'Purple butterflies and yellow bees all feeling' lends amorous consciousness to the insects flitting among flowers. One line on 'wayward' flora, one on 'feeling' fauna, personifies spring's abundance. Their deeper meaning lies in the reverse contrast: the wayward, feeling world only highlights the poet's loveless melancholy—all creatures enjoy the spring, only the traveler broods. The richer the spring, the sharper the homesickness. Writing 'wayward' for charm and 'feeling' for affection is precisely Li Shangyin's art of sorrow-against-joy, making this a perennial master-line on spring.

花须柳眼，各自娇媚撩人；紫蝶黄蜂，都含着情意。

The flower-stamens and willow-eyes are each wantonly charming; the purple butterflies and yellow bees are all alive with feeling.

这两句是写春日生机与拟人写景的名句，也是千古名句，以「无赖」「有情」写花柳蜂蝶的春意，以乐景反衬哀情。「花须柳眼各无赖」写花柳的娇媚——花须（花蕊细长如须）、柳眼（柳芽初绽如眼），各自娇媚撩人，「无赖」写花柳的娇媚可爱、惹人怜爱（此「无赖」为可爱的意思），那花须柳眼在春风中舒展，如少女的眉眼般撩人；「紫蝶黄蜂俱有情」写蜂蝶的含情——紫蝶黄蜂，都含着情意在花间飞舞，「有情」写蜂蝶的含情脉脉——那紫蝶黄蜂在花间穿梭，仿佛都懂春情。两句一写「无赖」的花柳、一写「有情」的蜂蝶，以拟人写春日的生机，把春天写得热闹而多情。这两句的深意在于：它以乐景反衬哀情——那花柳蜂蝶的「无赖」「有情」，正反衬出诗人的「无情」愁绪：万物都在享受春光、各含其情，唯有诗人独抱乡愁、无心赏春；那春意越浓，乡思越切。以「无赖」写娇媚、以「有情」写含情，正是李商隐「以乐景写哀情」的本领，也让这两句成为写春景的千古名句。

The opening line writes the flower-stamens and willow-eyes are each wantonly charming; the purple butterflies and yellow bees are all alive with feeling, the spring's bustle. The words flower-stamens and willow-eyes write the spring growth, wantonly charming the teasing, purple butterflies and yellow bees the insects, all alive with feeling the tenderness. The line writes to the full the feeling of the wanton growth and the feeling-laden insects. Rising through the spring, the poem's opening.

万里忆归元亮井，三年从事亚夫营。

These two lines form the emotional core, voicing homecoming and long service through the allusions to 'Yuanliang's well' and 'Yafu's camp.' 'Ten thousand li away I remember returning to Yuanliang's well'—Yuanliang is Tao Yuanming, whose poem names the native well; it stands for the home well and his retirement from office—'ten thousand li' the distance, 'remember returning' the keenness. 'For three years I have served in Yafu's camp'—Zhou Yafu's willow encampment figures the military幕府; 'three years' the duration, 'served' the resignation. The paired 'ten thousand li' / 'three years,' 'Yuanliang's well' / 'Yafu's camp,' state the dilemma: wishing to return yet unable, wishing to withdraw yet bound. The contrast of 'remembering return' against 'serving' is the sojourner's double bind—the ideal home versus the real entanglement. Through Tao and Zhou, Li reveals his situation: he would retire like Tao yet must serve in the camp, the very picture of 'body in Cao, heart in Han.'

万里之外，我想归去那元亮的故井；三年以来，我一直供职于亚夫的军营。

Ten thousand li away, I long to return to Yuanliang's old well; three years I have served in Yafu's camp.

这两句是全诗情感的核心，以「元亮井」「亚夫营」的典故写思归与久役，含蓄深沉。「万里忆归元亮井」写思归之深——万里之外，我想归去那「元亮井」（陶渊明字元亮，其诗写故园之井，「元亮井」借指故乡的井，也暗用陶渊明弃官归田的典故），「万里」写距离之远，「忆归」写思归之切——那万里之外的故乡，正是我魂牵梦萦的归处；「三年从事亚夫营」写久役之久——三年以来，我一直供职于「亚夫营」（周亚夫驻军细柳营，「亚夫营」借指幕府军营），「三年」写时间之久，「从事」写供职的无奈——那三年的幕府生涯，正是我久役不归的原因。两句以「万里」对「三年」、「元亮井」对「亚夫营」，写尽思归与久役的矛盾：想归而不得归（万里之外），想退而不能退（三年从事），那「忆归」与「从事」的对照，正是羁旅者的两难。这两句的深意在于：它以陶渊明（弃官归田）与周亚夫（军旅生涯）的典故，写出了李商隐的处境——他想象陶渊明那样归隐故园，却不得不在幕府中供职；那「元亮井」是理想的归处，那「亚夫营」是现实的羁绊，正是其「身在曹营心在汉」的写照。以「元亮井」写归思、以「亚夫营」写久役，正是李商隐用典的本领，也让这两句成为写羁旅的名句。

The closing line writes ten thousand li away, I long to return to Yuanliang's old well; three years I have served in Yafu's camp, the contrast of longing and service. The words ten thousand li away write the distance, long to return to Yuanliang's old well the Tao Yuanming allusion, three years I have served in Yafu's camp the Zhou Yafu allusion. The line writes to the full the feeling of the longing and the service. Writing the longing through the two allusions, the poem's eye-dotting close.

Study

Word focus

无赖 The two characters 无赖 are the key to describing the flowers' charm—writing their endearing waywardness with novel, vivid precision. 无赖 originally means 'rascally, importunate'; here it is reversed to mean 'endearing, helpless.' Li Shangyin writes 'flower stamens and willow eyes each wayward': the word carries at least two senses—first, the blossoms' coquetry, so lovely one cannot help but look and love, lovable to the point of helplessness; second, spring's importunity, clinging like a roguish child. Writing 无赖 instead of the usual 'charming' or 'ravishing' is Li's distinctive diction: it recalls Xin Qiji's 'most I love the roguish child' in the same endearing sense. Substituted words would lose either its novelty or its clinging depth; only 无赖 captures both the blossoms' allure and spring's entanglement, making the line immortal. 「无赖」二字是写花柳娇媚的关键字，以「无赖」写花柳的可爱撩人，新颖而传神。无赖，本指强横无赖、纠缠不休，此处反用为「可爱、无奈」之义。李商隐以「花须柳眼各无赖」写花柳，一个「无赖」，至少有双重意味：其一，写花柳之娇媚——花须柳眼在春风中舒展，娇媚撩人，令人无可奈何（不忍不看、不忍不爱），那「无赖」写尽花柳的可爱——爱到令人无奈，正是「无赖」的深意；其二，写春意之撩人——「无赖」写春意之纠缠——那春光撩人，如无赖小儿般缠着你不放，令人想赏又怕触动乡愁，正见「无赖」的复杂。以「无赖」写花柳，正是李商隐炼字的独到：他不写「娇媚」「可爱」等常语，而以「无赖」写之——那「无赖」的意味，令人想起辛弃疾「最喜小儿无赖，溪头卧剥莲蓬」的「无赖」用法，都是「可爱到无奈」的意思。若换作「娇媚」「妖娆」等词，则或失其「无赖」的新颖，或失其「撩人」的深意；唯「无赖」二字，以一字写尽花柳的可爱撩人与春意的纠缠，也让「花须柳眼各无赖」成为写春景的千古名句。

莫悟 The two characters 莫悟 are the finishing touch on the new shoals, writing the water's failure to understand the human heart with blame-laced feeling,含蓄 yet deep. 莫悟 means 'does not comprehend.' Li writes 'new shoals unaware of the traveler's heart': the word carries two senses—first, the water's heartlessness, blindly flowing, heedless of the sojourner's grief, phrased as a reproach; second, the traveler's loneliness, not understood even by the stream, so that not a thing in heaven and earth fathoms his homesickness. Writing 莫悟 of the shoals is Li's art of 'scene expressing feeling': he does not say 'I grieve' but 'the shoals do not understand,' an 'unreasonable yet wonderful' stroke—water has no mind, yet in his extremity he blames it. 莫悟 thus reveals both the water's heartlessness and the traveler's solitude, making the line a classic scenic close. 「莫悟」二字是写新滩流水的点睛之笔，以「莫悟」写流水不解人意，怨中含情，含蓄深沉。莫悟，不理解、不明白也。李商隐以「新滩莫悟游人意」写新滩，一个「莫悟」，至少有双重意味：其一，写流水之无情——新滩的流水不懂得游子的心事，「莫悟」写流水之不解人意——那流水只顾奔流，哪里懂得游人的乡愁？「莫悟」二字，以怨的口气写流水的无情；其二，写游人之孤独——「莫悟」写游人的孤独——不仅人不懂他（客居异乡、无人知心），连流水也不懂他，那「莫悟」写尽羁旅的孤独——天地间竟无一人一物能解其乡愁。以「莫悟」写新滩，正是李商隐「以景写情」的本领：他不直写「我愁」，而写「新滩莫悟游人意」——那流水不解人意、偏作雨声，正是「无理而妙」的写法——流水本无心，何谈「悟不悟」？但正因诗人愁极，才怨流水「莫悟」，那「莫悟」的怨，正是愁极的流露。若换作「不解」「不知」等词，则或失其「悟」的拟人，或失其怨中含情的深意；唯「莫悟」二字，以一字写尽流水的无情与游人的孤独，也让「新滩莫悟游人意」成为以景结情的名句。