唐 Tang · 诗 Poem
无题·飒飒东风细雨来
Untitled: The Rustling East Wind Brings Fine Rain
飒飒东风细雨来，芙蓉塘外有轻雷。
金蟾啮锁烧香入，玉虎牵丝汲井回。
贾氏窥帘韩掾少，宓妃留枕魏王才。
春心莫共花争发，一寸相思一寸灰。
The golden toad gnaws the lock, yet incense steals within; the jade tiger draws the rope, and the well-water comes again.
Lady Jia peeped the screen for young Han the clerk's bright face; Mi Fei left her pillow to the gifted Wei prince's embrace.
Let not the spring heart race the blossoms into bloom—each inch of longing burns to ash, each inch a tomb.
Meaning
A rustling east wind carries fine rain and faint thunder sounds beyond the lotus pond. Behind locked doors incense burns and the well-rope turns, yet heart and lover cannot meet. Two love allusions tell of bold desire and deep devotion; the poem ends warning that spring longing should not rival the blossoms, for every inch of love becomes an inch of ash.
飒飒的东风送来了细雨，芙蓉塘外隐隐有轻雷。金蟾咬锁，香烟可以烧入；玉虎牵丝，汲井可以打回。贾氏窥帘，爱慕韩掾的年轻；宓妃留枕，倾心魏王的才华。春心不要与春花争着萌发，一寸相思，一寸灰烬。
Appreciation
One of Li Shangyin's most famous 'Untitled' poems, it evokes love's barrier and the ashes of longing. The first two couplets set a spring mood and the seclusion of a chamber; the later lines turn to passion and awakening through allusions, closing with the famous warning that love ends in ash. Dense imagery and obscure allusions make it the very model of his 'profound, far-reaching' style.
【白话串讲】 李商隐写《无题·飒飒东风细雨来》：“飒飒东风细雨来，芙蓉塘外有轻雷”——“春心莫共花争发，一寸相思一寸灰”——相思如花，一寸相思一寸灰——他把相思写成了灰。 【意象与手法】 此诗是李商隐《无题》诗中最著名的一首，写爱情的阻隔与相思的灰烬，是李商隐爱情诗的代表作。前两联写景起兴：「飒飒东风细雨来，芙蓉塘外有轻雷」以东风细雨、芙蓉轻雷写春日的氛围，暗含爱情的萌动；「金蟾啮锁烧香入，玉虎牵丝汲井回」以金蟾玉虎写深闺的幽闭，香可烧入而心不能通，井可汲回而人不能见。后两联写情与悟：「贾氏窥帘韩掾少，宓妃留枕魏王才」以贾氏窥帘、宓妃留枕的典故写爱情的主动与深情；「春心莫共花争发，一寸相思一寸灰」以警句作结——春心莫与春花争发，一寸相思一寸灰。全诗意象繁密、典故深奥，是李商隐「无题」诗「深情绵邈、寄托遥深」风格的典范。 【情感与主旨】 此诗约作于唐文宗开成年间（836-840），是李商隐《无题》诗的代表作，写爱情的阻隔与相思的痛苦。李商隐一生在牛李党争的夹缝中挣扎，其爱情与仕途都充满阻隔与遗憾，此诗即写这种「可望而不可即」的悲剧：飒飒东风、细雨轻雷，是春日爱情的萌动；金蟾啮锁、玉虎牵丝，是深闺的幽闭与爱情的阻隔；贾氏窥帘、宓妃留枕，是爱情的主动与深情；「春心莫共花争发，一寸相思一寸灰」，是相思成灰的绝望。全诗以「无题」为题，正因其情感与寄托难以言说——它写的是爱情，却可能寄托着更深的隐痛（政治理想的破灭、人生的阻隔）。诗中「金蟾啮锁烧香入，玉虎牵丝汲井回」写爱情的努力与阻隔，「春心莫共花争发，一寸相思一寸灰」写相思的绝望——那「一寸相思一寸灰」的警句，写尽了爱而不得的痛楚，是李商隐爱情诗中最著名的句子之一。此诗是理解李商隐「无题」诗与「深情绵邈」风格的关键作品，也是中国爱情诗中最深沉的作品之一。 【名句点睛】 常考“春心莫共花争发，一寸相思一寸灰”把相思写成灰烬，是千古警句；“飒飒东风细雨来，芙蓉塘外有轻雷”写爱情萌动的春日氛围。
Background
Written around 837 (the Kaicheng reign), this is a representative 'Untitled' poem. Li Shangyin coined 'Untitled' because the feeling and subtext defy naming. Scholars debate 'love' versus 'allegory': the love reading sees his tragic romance; the allegory reading sees his frustrated career amid the Niu-Li factional strife. The allusions—Lady Jia peeping young Han Shou, and Mi Fei leaving her pillow to Cao Zhi—both show love's pursuit and fruitlessness. The closing lines write the despair of love unrequited. With 'Untitled: Parting Is Hard' and 'Last Night's Stars' it crowns his 'Untitled' series.
此诗约作于唐文宗开成二年（837）前后，是李商隐《无题》诗的代表作。「无题」是李商隐独创的诗题——他不以「寄怀」「有感」等为题，而直以「无题」名之，正因其诗的情感与寄托难以言说，故「无题」。关于此诗的主旨，历来有「爱情说」与「寄托说」之争：爱情说认为此诗写李商隐的爱情悲剧（其与王氏的婚姻、与宫女或道姑的恋情）；寄托说认为此诗寄托其仕途的失意（在牛李党争中进退维谷、理想难伸）。诗中「贾氏窥帘韩掾少，宓妃留枕魏王才」用两个爱情典故：贾氏窥帘——晋代韩寿（韩掾）年少貌美，贾充的女儿贾午从帘后窥见而爱慕之，遂私通，贾充知后以女妻之（事见《世说新语·惑溺》）；宓妃留枕——曹植（魏王）思念甄氏（宓妃），甄氏死时留枕以赠，曹植作《洛神赋》以寄情（事见《文选·洛神赋》注）。两个典故一写「窥帘」的主动，一写「留枕」的深情，都写爱情的追求与无果。而「春心莫共花争发，一寸相思一寸灰」则以警句作结——春心不要与春花争着萌发，因为一寸相思，便是一寸灰烬，写尽爱而不得的绝望。此诗与《无题·相见时难别亦难》《无题·昨夜星辰昨夜风》等同为李商隐「无题」诗的巅峰，是理解其「深情绵邈、寄托遥深」风格的核心作品。
Art
Four layers: (1) scene as prelude, feeling as close—spring scene opens, the ash line closes; (2) dense, symbolic imagery—east wind, rain, lotus pond, thunder, golden toad, jade tiger, spring heart, blossom, longing, ash, all interweave scene and emotion; (3) allusion—the two love tales, one bold, one deep; (4) the force of the closing aphorism—'let not the spring heart race the flowers; each inch of longing, an inch of ash' startles with despair, a timeless line.
此诗的艺术特色可从四个层面解析。其一，景语起兴、情语作结的结构。全诗以「飒飒东风细雨来，芙蓉塘外有轻雷」的春景起兴——东风细雨、芙蓉轻雷，写春日爱情的氛围与萌动；以「春心莫共花争发，一寸相思一寸灰」的警句作结——相思成灰，写爱情的绝望，由景入情、层层深入。其二，意象的繁密与象征。全诗意象繁密：东风、细雨、芙蓉塘、轻雷、金蟾、玉虎、春心、春花、相思、灰，这些意象既写景，又写情——金蟾啮锁写深闺的幽闭，玉虎牵丝写汲井的往复，春心与春花写爱情的萌动与春光的易逝，相思成灰写爱情的绝望，意象与情感相互交织，正是李商隐「意象密集」的本领。其三，典故的运用。「贾氏窥帘韩掾少，宓妃留枕魏王才」用两个爱情典故——韩寿窥帘写爱情的主动（贾午爱慕韩寿而私通），宓妃留枕写爱情的深情（甄氏留枕、曹植作赋），两个典故一写主动、一写深情，都写爱情的追求与无果，暗含诗人自身的爱情或身世之叹。其四，以警句作结的力度。「春心莫共花争发，一寸相思一寸灰」以「莫共」的劝诫与「一寸相思一寸灰」的警句作结——春心不要与春花争发，因为一寸相思便是一寸灰烬，把相思的绝望写得触目惊心，是千古名句。四重手法层层推进，使此诗成为李商隐「无题」诗中最著名的代表作。
Allusions
The imagery and allusions root in myth and love tradition. 'Rustling east wind, fine rain' echoes the Chu Ci's wind and rain, a metaphor for love (Gaotang's cloud-rain). 'Faint thunder beyond the lotus pond' recalls the Shi Jing tryst and Sima Xiangru's 'Long Gate' (the queen hears thunder, thinking the king's carriage). 'Golden toad gnaws the lock' is a censer—incense enters though the lock bites, hinting the lady's seclusion; 'jade tiger draws the rope' is a windlass—water returns though she cannot see her lover, marking love's barrier. 'Lady Jia peeps the curtain' uses Han Shou's tale (she loved him, they secretly met, her father wed them); 'Mi Fei leaves the pillow' uses Zhen Shi's tale (she gave Cao Zhi her pillow; he wrote 'Goddess of the Luo'). Both show love's pursuit and tragedy. 'Spring heart' (Chu Ci) and 'each inch of longing an inch of ash' borrow Li He. The whole poem transforms Chu Ci, yuefu, and myth into feeling and subtext.
此诗的意象与典故深植于神话与爱情传统。「飒飒东风细雨来」写东风送雨，「飒飒」写风雨之声（《楚辞》「风飒飒兮木萧萧」），「东风细雨」令人想到宋玉《高唐赋》「旦为朝云，暮为行雨」的巫山云雨之典——东风细雨，正是爱情的隐喻；「芙蓉塘外有轻雷」写荷塘轻雷，「芙蓉塘」写荷塘（芙蓉即荷花），「轻雷」写隐隐的雷声，令人想到《诗经·邶风·静女》「静女其姝」的约会与司马相如《长门赋》「雷殷殷而响起兮，声象君之车音」——陈皇后在长门宫闻雷声以为君王车驾来临，李商隐以「轻雷」写爱情的期待，正用此典。「金蟾啮锁烧香入」写香炉——金蟾（蟾蜍形的香炉）啮锁（香炉的锁钮），香烟可以烧入，写深闺焚香之景，暗写闺中女子的幽居；「玉虎牵丝汲井回」写辘轳——玉虎（玉虎形的辘轳）牵丝（井绳），汲井可以打回，写汲水之景，暗写深闺的日常。两句以金蟾、玉虎写深闺的幽闭——香可烧入而心不能通，井可汲回而人不能见，写爱情的阻隔。「贾氏窥帘韩掾少」用韩寿之典：晋代韩寿年少貌美，贾充之女贾午从帘后窥见而爱慕，遂私通，贾充知后以女妻之（事见《世说新语·惑溺》），李商隐以「贾氏窥帘」写爱情的主动与大胆；「宓妃留枕魏王才」用甄氏（宓妃）之典：曹植思念甄氏，甄氏死时留枕相赠，曹植作《洛神赋》以寄情，世传甄氏即洛神宓妃（事见《文选·洛神赋》注），李商隐以「宓妃留枕」写爱情的深情与无果。两个典故一写「窥帘」的主动，一写「留枕」的深情，都写爱情的追求与悲剧。「春心莫共花争发」的「春心」写怀春之心（《楚辞·招魂》「目极千里兮伤春心」），「花争发」写春花争相开放，令人想到刘希夷《代悲白头翁》「年年岁岁花相似」的春光易逝；「一寸相思一寸灰」化用李贺《恼公》「一寸相思一寸灰」——相思如香，寸寸烧尽、寸寸成灰，写尽爱而不得的绝望。全诗化用《楚辞》、乐府、神话的意象与典故，以意象写情、以典故寄慨，正是李商隐「深情绵邈、寄托遥深」的本领。
Commentary
Long ranked Li Shangyin's most famous 'Untitled' poem and the source of 'each inch of longing an inch of ash.' He Zhuo (Qing) praised its 'scene opening, feeling closing, allusions between, utmost twists.' Its value: with dense imagery and deep allusions it conveys profound emotion—the spring scene, the secluded objects, the love allusions, and the ash line layer longing's stir, barrier, pursuit, and despair. The closing is a timeless masterpiece. Regardless of the love-versus-allegory reading, its despair transcends the specific and speaks for all. With 'Parting Is Hard' it crowns his 'Untitled' peak. For readers today it opens his 'profound' style and the Chinese love poem's 'object-for-feeling' tradition.
此诗历来被推为李商隐《无题》诗中最著名的代表作，也是「一寸相思一寸灰」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「起二句写景，末二句言情，中间用事，极尽曲折」，近人更指出此诗以金蟾、玉虎、贾氏、宓妃的意象与典故，写出了爱情的阻隔与相思的绝望，是李商隐「无题」诗「深情绵邈、寄托遥深」风格的典范。在文学史上，此诗的特殊价值在于：它以极繁密的意象与极深奥的典故，写出了极深沉的情感——那飒飒东风、芙蓉轻雷的春景，那金蟾啮锁、玉虎牵丝的幽闭，那贾氏窥帘、宓妃留枕的典故，那「一寸相思一寸灰」的警句，把爱情的萌动、阻隔、追求与绝望层层写出，是李商隐「以意象写情」的巅峰。诗中「春心莫共花争发，一寸相思一寸灰」以「春心」与「花争发」的对照、「一寸相思」与「一寸灰」的递进，写尽爱而不得的痛楚，成为千古名句。此诗的主旨虽有「爱情说」与「寄托说」之争，但无论作何解，那「一寸相思一寸灰」的绝望，都超越了具体的爱情或身世，成为人类普遍情感的写照。此诗与《无题·相见时难别亦难》等共同构成李商隐「无题」诗的巅峰。对于今日读者，此诗是理解李商隐「无题」诗与「深情绵邈」风格的窗口，也是感受中国爱情诗「以物写情」传统的典范——那寸寸成灰的相思，穿越千年，仍在诉说着爱而不得的永恒之痛。
Prosody
Line by line
金蟾啮锁烧香入，玉虎牵丝汲井回。
The golden toad gnaws the lock, yet incense steals within; the jade tiger draws the cord, and the well-water comes again. — A famous line for seclusion and love's barrier: the censer's 'gnawing lock' shows the chamber's closure, yet incense enters—things connect while hearts cannot. The windlass draws water back, yet the lover stays unseen. The contrast 'incense in but heart barred, water back but man unseen' is precisely love's separation, written through ordinary objects—Li Shangyin's 'object-for-feeling' mastery.
金蟾咬锁，香烟可以烧入；玉虎牵丝，汲井可以打回。
The golden toad bites the lock, yet incense smoke can enter; the jade tiger pulls the rope, yet the well water can be drawn up.
这两句是写深闺幽闭与爱情阻隔的名句，以金蟾、玉虎的意象写幽闭之深与阻隔之远，含蓄而深沉。「金蟾啮锁烧香入」写香炉——金蟾（蟾蜍形的香炉）啮锁（锁钮），香烟可以烧入炉中，「金蟾啮锁」写香炉的造型，那「啮锁」写香炉之闭锁，而香烟却能「烧入」——香可烧入而人不能通，写深闺的幽闭与爱情的阻隔；「玉虎牵丝汲井回」写辘轳——玉虎（玉虎形的辘轳）牵丝（井绳），汲水可以打回，「玉虎牵丝」写辘轳的造型，那「牵丝」写井绳之垂放，而水却能「汲回」——井可汲回而人不能见，写深闺的幽闭与爱情的阻隔。两句以「金蟾」「玉虎」写深闺的器物，以「烧香入」「汲井回」写日常的往复，暗写闺中女子的幽居生活；而那「香可入而人不可通」「水可回而人不可见」的对照，正是爱情的阻隔——器物可以相通，人心却无法相通。这两句的深意在于：它以最日常的器物写最幽深的阻隔——深闺中的女子，日日烧香、汲井，却无法与心爱的人相见，那金蟾玉虎的意象，正是她幽闭生活的象征。以器物写阻隔、以日常写幽怨，正是李商隐「以物写情」的本领，也让这两句成为《无题》诗中最含蓄深沉的名句。
These two lines are the famous couplet on the deep boudoir's seclusion and love's barrier, using golden toad and jade tiger to write the seclusion's depth and the barrier's distance, reserved and deep. The golden toad bites the lock, yet incense smoke can enter writes the censer: the golden toad (toad-shaped censer) biting the lock (clasp), incense smoke can be burned into it; golden toad biting the lock writes the censer's form, biting the lock its closedness, yet the smoke can enter - smoke can enter, yet person cannot pass; writing the deep boudoir's seclusion and love's barrier. The jade tiger pulls the rope, yet the well water can be drawn up writes the well winch: the jade tiger (jade-tiger winch) pulling the rope, water drawn up; the form, the rope hanging, yet water returns - the well can be drawn, yet person cannot be seen; writing the seclusion and barrier. The two lines use golden toad and jade tiger for boudoir objects, incense entering and water drawn for daily routines, secretly writing the secluded woman's life; the contrast smoke enters yet person cannot pass, water returns yet person cannot be seen, is precisely love's barrier - objects can connect, hearts cannot. The lines' deep meaning: using the most daily objects to write the deepest barrier - the woman in the deep boudoir, burning incense and drawing water day after day, yet unable to meet the beloved; the golden toad and jade tiger are the symbols of her seclusion. Writing barrier through objects, grievance through the daily - precisely Li Shangyin's power of writing feeling through things, making these lines the untitled poems' most reserved and deep famous couplet.
春心莫共花争发，一寸相思一寸灰。
Let the spring heart not race the blossoms into bloom; each inch of longing, an inch of ash. — The poem's climax and a timeless line: 'spring heart' (longing) is told not to rival the flowers, for blossoms fade and longing turns to ash; the more it blooms, the faster it burns. 'Each inch of longing an inch of ash' (borrowing Li He) shows love consumed inch by inch—the despair of loving without return, the most desperate line in Chinese love poetry.
春心不要与春花争着萌发，一寸相思，一寸灰烬。
Spring heart, do not compete with the flowers for blooming; an inch of longing is an inch of ashes.
这两句是全诗的点睛之笔，也是千古名句，以「莫共花争发」的劝诫与「一寸相思一寸灰」的警句写爱情的绝望，触目惊心。「春心莫共花争发」写劝诫——春心（怀春之心）不要与春花争着萌发，「莫共花争发」写春心与春花的对照：春花盛开，是春光的灿烂；春心萌发，是爱情的萌动——诗人劝那春心「莫共花争发」，因为春花会谢、春心会灰，萌发得越盛，灰烬得越快，那「莫」字的劝诫，写尽过来人的沉痛；「一寸相思一寸灰」写结局——一寸相思，便是一寸灰烬，化用李贺「一寸相思一寸灰」——相思如香，寸寸烧尽、寸寸成灰，那「一寸」对「一寸」的递进，写尽相思的消耗与绝望：每相思一分，便成灰一分；相思无尽，灰烬无尽。这两句的深意在于：它写尽了爱而不得的绝望——春心萌发之时，正是相思成灰之始；那「莫共花争发」的劝诫，是绝望者对后来者的告诫，那「一寸相思一寸灰」的警句，是绝望者对相思的总结。以「春心」对「春花」、以「一寸相思」对「一寸灰」，正是李商隐炼字的功力，也让这两句成为中国爱情诗中最绝望、最著名的名句。
These two lines are the poem's eye and the immortal line, using the spring heart do not compete with flowers for blooming and the inch of longing is an inch of ashes to write love's despair, startling. Spring heart, do not compete with the flowers for blooming writes the admonition: the spring heart (heart in love's spring) should not compete with spring flowers for blooming; do not compete writes the contrast of spring heart and spring flowers - flowers in bloom are spring's splendor; spring heart sprouting is love's stirring; the poet admonishes the spring heart not to compete, because flowers fade and the spring heart turns to ash - the more fiercely it sprouts, the faster it burns to ash; the admonition of do not exhaust the seasoned one's grief. An inch of longing is an inch of ashes writes the end: an inch of longing is an inch of ashes, adapting Li He; longing like incense, inch by inch burned, inch by inch ash - the progression of inch against inch exhausts longing's consumption and despair: each bit of longing becomes ash; longing endless, ashes endless. The lines' deep meaning: exhausting the despair of loving yet not attaining - when the spring heart sprouts, it is the start of longing turned to ash; the admonition do not compete is the despairing one's warning to those who come after; the inch of longing is an inch of ashes is the despairing one's summary of longing. Spring heart against spring flowers, an inch of longing against an inch of ashes - precisely Li Shangyin's refining diction, making these lines the most despairing, most famous line in Chinese love poetry.
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《无题·相见时难别亦难》「春蚕到死丝方尽，蜡炬成灰泪始干」以春蚕、蜡炬写爱情的执着，是李商隐「无题」诗中最著名的代表作。此诗《无题·飒飒东风细雨来》则「春心莫共花争发，一寸相思一寸灰」，以春心、春花写爱情的绝望，是李商隐「无题」诗的又一代表作。同为「无题」爱情诗，一写「春蚕到死」的执着（相见时难），一写「相思成灰」的绝望（飒飒东风）；一写至死不渝的深情，一写爱而不得的灰烬。两诗对读，可见李商隐爱情诗的两种境界——执着的深情与绝望的灰烬，都是「深情绵邈」的不同呈现。
锦瑟 The Jeweled Zither 李商隐 · 同诗人同朦胧，一写华年一写相思 Same poet, same haze—one on lost youth, one on longingThe 'Jeweled Zither' ('fifty strings without cause... this feeling might wait to be recalled, yet even then was already lost') writes the passing of fine years and life's bewilderment—Li's most hazy, famous poem. This 'Untitled' writes longing's ash through the spring heart. Both are 'profound, far-reaching' works: one on lost youth (the zither), one on longing's ash (untitled); one a life in 'fifty strings,' one a feeling in 'an inch of ash.' Read together they show the common haziness of Li's verse and the inner link between his love and life poetry.
《锦瑟》「锦瑟无端五十弦，一弦一柱思华年」「此情可待成追忆，只是当时已惘然」以锦瑟写华年之逝与人生之惘，是李商隐最朦胧、最著名的诗篇。此诗《无题·飒飒东风细雨来》则「春心莫共花争发，一寸相思一寸灰」，以春心写相思之灰，是李商隐「无题」诗的代表作。同为「深情绵邈、寄托遥深」之作，一写「华年」的追忆（锦瑟），一写「相思」的灰烬（无题）；一以「五十弦」写一生，一以「一寸灰」写一情。两诗对读，可见李商隐诗「朦胧多义」的共同特质，也可见其爱情诗与人生诗的内在相通。
春望 Spring View 杜甫 · 同为伤春，一写家国一写相思 Both mourn spring—one for state, one for loveDu Fu's 'Spring View' ('feeling the times, the flowers shed tears; grieving parting, the birds startle the heart') writes the grief of a fallen state through spring flowers and birds—the peak of Du Fu's 'spring-for-sorrow.' Li Shangyin's 'Untitled' writes love's despair through spring heart and flowers. Both write of spring: Du Fu's 'flowers shed tears' for the state, Li's 'longing ash' for love; one solemn, one lingering. Read together they show the two uses of 'spring' in Tang poetry—Du Fu for state, Li for love.
杜甫《春望》「感时花溅泪，恨别鸟惊心」以春花、春鸟写国破家亡的悲痛，是杜甫「以春写忧」的巅峰。李商隐《无题·飒飒东风细雨来》则「春心莫共花争发，一寸相思一寸灰」，以春心、春花写爱情的绝望，是李商隐「以春写情」的巅峰。同为写春日，杜甫「花溅泪」写家国之痛，李商隐「相思灰」写爱情之痛；一「感时」的沉痛，一「相思」的缠绵。两诗对读，可见「春」这一意象在唐诗中的两种用法——杜甫以春写国，李商隐以春写情，也可见唐诗「以景写情」的丰富。