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唐 Tang · 诗 Poem

无题·重帏深下莫愁堂

The, Untitled: The, Heavy, Curtains, Deep, Below, the, Hall, of, the, Worryfree

李商隐

Li Shangyin

爱情Love 无题Theme

重帏深下莫愁堂，卧后清宵细细长。
神女生涯原是梦，小姑居处本无郎。
风波不信菱枝弱，月露谁教桂叶香。
直道相思了无益，未妨惆怅是清狂。

The, heavy, curtains, deep, below, the, Hall, of, the, Worryfree,
After, the, lying, the, clear, night, long, and, long, and, fine.
The, life, of, the, goddess, was, after, all, a, dream,
The, dwelling, of, the, little, maid, has, of, its, own, no, lover.
The, wind, and, the, waves, not, believing, the, weak, lotus, stems,
The, moon, and, the, dew, who, causes, the, cassia, leaves, fragrant.
Even, though, knowing, the, longing, after, all, of, no, avail,
Not, hindering, the, melancholy, being, the, clear, madness.

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Meaning

A poem of the longing and the melancholy, written by Li Shangyin. The heavy curtains deep below the Hall of the Worryfree, after the lying the clear night long and long and fine — the night of the opening. The life of the goddess was after all a dream, the dwelling of the little maid has of its own no lover — the loneliness of the middle. The wind and the waves not believing the weak lotus stems, the moon and the dew who causes the cassia leaves fragrant — the suffering of the middle. And the close's even though knowing the longing after all of no avail, not hindering the melancholy being the clear madness — the close's madness. The poem is the longing and the melancholy: the night, the dream, and the close's madness.

重帏深下莫愁堂，卧后清宵细细长。神女生涯原是梦，小姑居处本无郎。风波不信菱枝弱，月露谁教桂叶香。直道相思了无益，未妨惆怅是清狂。

Appreciation

[Plain Paraphrase] The, heavy, curtains, deep, below, the, Hall, of, the, Worryfree, after, the, lying, the, clear, night, long, and, long, and, fine. The, life, of, the, goddess, was, after, all, a, dream, the, dwelling, of, the, little, maid, has, of, its, own, no, lover. The, wind, and, the, waves, not, believing, the, weak, lotus, stems, the, moon, and, the, dew, who, causes, the, cassia, leaves, fragrant. Even, though, knowing, the, longing, after, all, of, no, avail, not, hindering, the, melancholy, being, the, clear, madness. [Structure and Thought] The poem moves from the night of the heavy curtains with the long clear night, through the loneliness of the goddess and the little maid with the wind and the waves, to the close's the melancholy of the clear madness. [Key Technique] The poem's art is the close of the melancholy: the wind and the waves not believing the weak lotus stems, and the close's even though knowing the longing after all of no avail not hindering the melancholy being the clear madness — the longing gathered in the suffering and the close's madness. [Emotional Tone] Lonely, suffering, and melancholic: the poem is the night, the dream and the close's madness.

【白话串讲】李商隐写《无题·重帏深下莫愁堂》：“重帏深下莫愁堂，卧后清宵细细长”——“神女生涯原是梦，小姑居处本无郎”——“风波不信菱枝弱，月露谁教桂叶香”——“直道相思了无益，未妨惆怅是清狂”——他写无望的相思。【意象与手法】此诗写相思，以无题写身世，是李商隐的名篇。前四句写幽居：「重帏深下莫愁堂，卧后清宵细细长」写重帏深下莫愁堂、卧后清宵细细长——写尽清宵的幽独；「神女生涯原是梦，小姑居处本无郎」写神女生涯原是梦、小姑居处本无郎——写尽身世的如梦；后四句写相思：「风波不信菱枝弱，月露谁教桂叶香」写风波不信菱枝弱、月露谁教桂叶香——写尽处境的艰难；「直道相思了无益，未妨惆怅是清狂」写直道相思了无益、未妨惆怅是清狂——写尽相思的执着。全诗以无题写身世，写尽清宵的幽独与相思的执着，是李商隐的代表作。【情感与主旨】此诗写相思，以无题写身世，是李商隐的名篇。此诗为《无题》组诗之一，写女子清宵独卧的幽怨与相思。此诗写幽居：重帏深下莫愁堂，卧后清宵细细长——写重帏深下莫愁堂、卧后清宵细细长，写尽清宵的幽独；神女生涯原是梦，小姑居处本无郎——写神女生涯原是梦、小姑居处本无郎，写尽身世的如梦；风波不信菱枝弱，月露谁教桂叶香——写风波不信菱枝弱、月露谁教桂叶香，写尽处境的艰难；直道相思了无益，未妨惆怅是清狂——写直道相思了无益、未妨惆怅是清狂，写尽相思的执着。全诗以无题写身世——那「神女生涯原是梦」写尽身世的如梦，「未妨惆怅是清狂」写尽相思的执着，写尽清宵的幽独与相思的执着，是理解李商隐无题诗的重要篇章。【名句点睛】常考「神女生涯原是梦，小姑居处本无郎」写身世的如梦；「风波不信菱枝弱，月露谁教桂叶香」写处境的艰难；「直道相思了无益，未妨惆怅是清狂」写相思的执着；以及全诗以无题写身世、以典写己的手法。

Background

Li Shangyin (c. 813-858), the poet of the late Tang, wrote this 'The, Untitled: The, Heavy, Curtains' of the longing and the melancholy — the loneliness of the love. The heavy curtains with the long night, the dream of the goddess, and the close's the melancholy of the clear madness — the poem gathers the melancholy of the poet, the depth of the longing. The poem is one of the most famous works of the poet's poems of the untitled.

此诗写相思，以无题写身世，是李商隐的名篇。李商隐（约813—约858），字义山，号玉谿生，怀州河内（今河南沁阳）人，晚唐伟大的诗人，与杜牧并称「小李杜」。李商隐一生陷于牛李党争，仕途蹭蹬，其《无题》诗多写爱情而兼寄身世之感。此诗为《无题》组诗之一，写女子清宵独卧的幽怨与相思。「重帏深下莫愁堂，卧后清宵细细长」写重帏深下莫愁堂、卧后清宵细细长——写尽清宵的幽独（重帏深垂，莫愁堂中，卧后清宵细细漫长）；「神女生涯原是梦，小姑居处本无郎」写神女生涯原是梦、小姑居处本无郎——写尽身世的如梦（神女生涯原是梦境，小姑居处本无郎君）；「风波不信菱枝弱，月露谁教桂叶香」写风波不信菱枝弱、月露谁教桂叶香——写尽处境的艰难（风波不信菱枝之弱，月露谁教桂叶生香）；「直道相思了无益，未妨惆怅是清狂」写直道相思了无益、未妨惆怅是清狂——写尽相思的执着（即使说相思全无益处，也不妨惆怅为清狂）。全诗以无题写身世，写尽清宵的幽独与相思的执着，是理解李商隐无题诗的重要篇章。

Art

The poem's art is the art of the melancholy. The night opens: the, heavy, curtains, deep, below, the, Hall, of, the, Worryfree — the heavy curtains of the Worryfree; after, the, lying, the, clear, night, long, and, long, and, fine — the clear night of the long and fine. The loneliness follows: the, life, of, the, goddess, was, after, all, a, dream — the dream of the goddess; the, dwelling, of, the, little, maid, has, of, its, own, no, lover — the no lover of the little maid; the, wind, and, the, waves, not, believing, the, weak, lotus, stems — the weak lotus stems of the wind and the waves; the, moon, and, the, dew, who, causes, the, cassia, leaves, fragrant — the cassia leaves of the moon and the dew. And the close gathers the melancholy: even, though, knowing, the, longing, after, all, of, no, avail — the no avail of the longing; not, hindering, the, melancholy, being, the, clear, madness — the clear madness of the melancholy — the night, the loneliness and the close's melancholy, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以写景写幽独。「重帏深下莫愁堂，卧后清宵细细长」以写景写幽独——那「重帏深下」「清宵细细长」写尽深垂的重帏与漫长的清宵，以写景写尽清宵的幽独。其二，以用典写身世。「神女生涯原是梦，小姑居处本无郎」以用典写身世——那「神女」「小姑」写尽巫山神女与清溪小姑的典故，以用典写尽身世的如梦。其三，以比兴写处境。「风波不信菱枝弱，月露谁教桂叶香」以比兴写处境——那「菱枝弱」「桂叶香」写尽菱枝与桂叶，以比兴写尽处境的艰难。其四，以直抒写执着。「直道相思了无益，未妨惆怅是清狂」以直抒写执着——那「了无益」「是清狂」写尽明知无益而仍清狂，以直抒写尽相思的执着。此外，此诗由清宵的幽独写到身世的如梦，再到处境的艰难，最后落到相思的执着，层层递进，正是「哀感顽艳」的写法。四重手法，使此诗以无题写身世，写尽清宵的幽独与相思的执着，是李商隐的代表作。

Allusions

'The Hall of the Worryfree' (mo chou tang) is the Hall of the Worryfree — the hall of the Mochou, the lady of the opening; 'the life of the goddess' (shen nü sheng ya) is the life of the goddess — the life of the goddess, the dream of the middle; 'the little maid' (xiao gu) is the little maid — the maid of the little, the no lover of the middle; 'the clear madness' (qing kuang) is the clear madness — the madness of the clear, the melancholy of the close.

此诗的用语深植于典故与身世的传统。「莫愁」令人想到「莫愁」写莫愁女的典故——洛阳有莫愁女，嫁为卢家妇，后多借指幽居女子，也令人想到「莫愁堂」写幽居之堂的意象；「神女生涯原是梦」用「神女」写巫山神女的典故——宋玉《高唐赋》写楚王梦遇巫山神女，欢会而别，如梦如幻；「小姑居处本无郎」用「小姑」写清溪小姑的典故——古乐府《青溪小姑曲》「小姑所居，独处无郎」；「菱枝」「桂叶」令人想到「菱枝弱」「桂叶香」写弱与香的意象——「风波不信菱枝弱」正是李商隐的名句；「清狂」令人想到「清狂」写痴狂的意象——「未妨惆怅是清狂」正是李商隐的名句。全诗化用莫愁、神女、小姑的典故，以无题写身世，正是李商隐「深情绵邈」而善用典、承无题传统写身世的本领。还应追溯「莫愁」与「小姑」典故的深意：莫愁女，一说为洛阳女子，一说为石城女子，古乐府《莫愁乐》「莫愁在何处，莫愁石城西」即咏之；青溪小姑则见《青溪小姑曲》「小姑所居，独处无郎」。李商隐以此二典写女子之独处幽居，正是以典写其「本无郎」的孤寂身世；而「神女生涯原是梦」更将巫山神女之梦与现实的孤寂相对照——梦中的欢会原是虚幻，醒来的独处才是真实，三典连用，层层写尽身世如梦的幻灭之感，可见其用典之密丽深婉。

Commentary

This poem is one of the most famous works of Li Shangyin's poems of the untitled, quoted for the loneliness of its night and the melancholy of its close. The dream of the goddess, and the clear madness of the longing, are among the most admired passages of the poet's poems. Critics praise the poem's melancholy: the longing gathered in the suffering, to the close's madness.

此诗历来被推为李商隐无题诗的名篇，也是唐人写相思的代表。历代论者对此诗评价极高：清人评此诗「以无题写身世，哀感顽艳」；近人更指出「直道相思了无益，未妨惆怅是清狂」写相思的执着，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以八句的七律写尽清宵的幽独与相思的执着——那深下的重帏，那莫愁堂，那细细长的清宵，那原是梦的神女，那本无郎的小姑，那不信的风波，那菱枝，那桂叶，那清狂，都写尽了李商隐笔下的身世之感；那「未妨惆怅是清狂」更写尽明知无益而仍执着的相思。此诗与李商隐《无题·相见时难别亦难》（「春蚕到死丝方尽」）同为无题名篇，一写「春蚕到死丝方尽」的执着（相见时难），一写「未妨惆怅是清狂」的执着（重帏深下）；又与屈原《离骚》「众女嫉余之蛾眉兮」的香草美人传统一脉相承，可见中国诗以男女喻君臣的传统。对于今日读者，此诗是理解李商隐无题诗的窗口，也是中国诗写相思的经典——那清狂的惆怅，穿越千年，仍在诉说着相思的执着。

Prosody

Form A regulated poem of the longing (qi yan lü shi)诗·七言律诗

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the deep melancholy.七律，押「长」「郎」「香」「狂」韵（下平七阳），一韵到底，音节绵邈

Tone pattern The cadence is that of the melancholy: the level opening with the night, the turning with the suffering, and the close's fall with the madness.此诗为七言律诗，押平声韵，一韵到底，音节绵邈，正合无题的绵邈。

Reading note The poem's sound matches its melancholy: the cadences of the regulated poem, and the close — 'wei fang chou chang shi qing kuang' — falls with the madness, the sound of the melancholy of the longing poet.此诗为七言律诗，八句——「重帏深下莫愁堂，卧后清宵细细长。神女生涯原是梦，小姑居处本无郎。风波不信菱枝弱，月露谁教桂叶香。直道相思了无益，未妨惆怅是清狂」，押「阳」韵（长、郎、香、狂），一韵到底，音节绵邈。全诗以无题写身世：首联写清宵的幽独（重帏深下莫愁堂，卧后清宵细细长），颔联写身世的如梦（神女生涯原是梦，小姑居处本无郎），颈联写处境的艰难（风波不信菱枝弱，月露谁教桂叶香），尾联写相思的执着（直道相思了无益，未妨惆怅是清狂）。四联由幽独写到身世，再到处境，最后落到相思，层层递进，正是李商隐无题诗的典型结构。诵读此诗，宜以绵邈的语调读「重帏深下莫愁堂」的幽独，以执着的语调读「未妨惆怅是清狂」的清狂，结句要读得低回而有余韵，方能传达出李商隐的深情绵邈。李商隐七律以「深情绵邈」著称，此诗正是其无题七律的典范。

Line by line

直道相思了无益，未妨惆怅是清狂

Say what you will, love is of no avail; yet let my melancholy be my pure madness.

即使说相思全无益处，也不妨以惆怅为清狂。

Though I say to myself that this longing is utterly useless, I do not mind letting my melancholy pass for a refined madness.

此二句是全诗写执着为核心，以直道相思了无益写明知，以未妨惆怅是清狂写执着，写尽相思的执着，是千古名句。「直道相思了无益」写即使说相思全无益处——那「直道」写即使说，「相思了无益」写相思全无益处，写尽对相思的认知；「未妨惆怅是清狂」写也不妨以惆怅为清狂——那「未妨」写也不妨，「惆怅是清狂」写以惆怅为清狂，写尽相思的执着。这句的深意在于：它以「直道相思了无益」的明知与「未妨惆怅是清狂」的执着，写尽相思的执着——即使说相思全无益处，那「直道相思了无益」写尽对相思的认知——明知相思无益，正是清醒的认知，那「了无益」写尽相思的无益；也不妨以惆怅为清狂，那「未妨惆怅是清狂」写尽相思的执着——即便无益，也不妨清狂，正是明知无益而仍执着的痴情，那「清狂」写尽执着的痴狂；那「直道相思了无益」写尽对相思的认知，那「未妨惆怅是清狂」写尽相思的执着，一写明知，一写执着，写尽相思的执着——明知无益而仍清狂，正是情到深处的无奈；此二句以明知、执着写尽相思的执着，也让此二句成为全诗写执着的核心与千古名句。若换作直说「我知道相思没用，但还是想你」，则失其深婉；唯以「直道相思了无益」写明知、「未妨惆怅是清狂」写执着，写尽相思的执着，也让此二句成为全诗写执着的核心。

These two lines take persistence as their core, writing through the clear knowledge that love is useless and the persistence that follows, an age-old celebrated couplet. 'Say what you will, love is of no avail' writes that even knowing longing is wholly unprofitable, exhausting the cognition of love. 'Yet let my melancholy be my pure madness' writes that it does not matter if the melancholy passes for refined folly, exhausting the persistence of love. The deep meaning lies in setting the clear knowledge of 'useless love' against the persistence of 'pure madness'—knowing full well that love is useless, yet still persisting in refined folly, precisely the helplessness of love at its deepest; it made these two lines the core and celebrated verse on persistence.

风波不信菱枝弱，月露谁教桂叶香

Wind and waves reckon not the water-caltrop's stem is weak; moon and dew—who made the cassia leaf fragrant?

风波不信菱枝之弱，月露谁教桂叶生香。

Wind and storm heed not how frail the water-caltrop stem is; who has made the cassia leaf fragrant beneath the moon and dew?

此二句是全诗写处境的核心，以风波不信菱枝弱写摧折，以月露谁教桂叶香写孤芳，写尽处境的艰难，是千古名句。「风波不信菱枝弱」写风波不信菱枝之弱——那「风波」写风波，「不信菱枝弱」写不信菱枝之弱，写尽外力的摧折；「月露谁教桂叶香」写月露谁教桂叶生香——那「月露」写月露，「谁教桂叶香」写谁教桂叶生香，写尽孤芳的寂寞。这句的深意在于：它以「风波不信菱枝弱」的摧折与「月露谁教桂叶香」的孤芳，写尽处境的艰难——风波不信菱枝之弱，那「风波不信菱枝弱」写尽外力的摧折——风波偏不信菱枝之弱而加以摧折，正是身世遭忌的写照，那「不信」写尽风波的残酷；月露谁教桂叶生香，那「月露谁教桂叶香」写尽孤芳的寂寞——桂叶生香，谁人赏识，正是怀才不遇的写照，那「谁教」写尽孤芳的寂寞；那「风波不信菱枝弱」写尽外力的摧折，那「月露谁教桂叶香」写尽孤芳的寂寞，一写摧折，一写寂寞，写尽处境的艰难——风波摧弱而桂叶空香，正是才高命蹇的写照；此二句以摧折、孤芳写尽处境的艰难，也为后二句的相思作铺垫，也让此二句成为全诗写处境的核心与千古名句。若换作直说「我处境艰难」，则失其比兴；唯以「风波不信菱枝弱」写摧折、「月露谁教桂叶香」写孤芳，写尽处境的艰难，也让此二句成为全诗写处境的核心。

These two lines take the hard lot as their core, writing through the storm that breaks the weak stem and the lonely fragrance no one values, an age-old celebrated couplet. 'Wind and waves reckon not the water-caltrop's stem is weak' writes the storm that will not believe the caltrop stem frail, exhausting the crushing force from without. 'Moon and dew—who made the cassia leaf fragrant?' writes the cassia leaves giving scent under moon and dew, yet who values it, exhausting the loneliness of isolated fragrance. The deep meaning lies in setting the storm's crushing of the weak against the cassia's empty fragrance—the storm breaks the frail stem while the cassia's scent goes unappreciated, precisely the portrait of high talent and hard fate; it paves the way for the longing below, and made these two lines the core and celebrated verse on the hard lot.

Study

Word focus

细细 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「卧后清宵细细长」之「细细」是写清宵的关键词，一个「细细」写尽清宵的漫长。细细者，绵长之貌也。李商隐以「卧后清宵细细长」写清宵，这个「细细」至少有双重意味：其一，写夜之漫长——那「卧后清宵细细长」写卧后清宵细细漫长，那「细细」写尽清宵的绵长——清宵细细，正见夜之无尽，那「细细」写尽清宵的漫长；其二，写心之细密——那「细细」更是写心境——清宵细细，正见心事之细密，那「细细」写尽幽思的细密。以「细细」写清宵，正是李商隐写幽独的枢纽——若换作「慢慢」「寂寂」等词，则或失其写绵长的意味，或失其与「清宵」的配合；唯「细细」二字，以卧后清宵细细长写尽清宵的绵长与幽思的细密，与「重帏深下」的幽独相合，写尽清宵的幽独，也让「卧后清宵细细长」成为全诗写幽独的名句。

清狂 'The, clear, madness' — the madness of the clear, the melancholy of the close. 「未妨惆怅是清狂」之「清狂」是写执着的关键词，一个「清狂」写尽执着的痴狂。清狂者，痴狂而清高也。李商隐以「未妨惆怅是清狂」写相思，这个「清狂」至少有双重意味：其一，写痴情之狂——那「未妨惆怅是清狂」写也不妨以惆怅为清狂，那「清狂」写尽痴情之狂——为相思而清狂，正是情痴的写照，那「清狂」写尽执着的痴狂；其二，写高洁之清——那「清狂」更是写清——清狂，清高之狂，正见品格的高洁，那「清狂」写尽高洁的痴情。以「清狂」写相思，正是李商隐写执着的枢纽——若换作「痴狂」「癫狂」等词，则或失其写清狂的清高，或失其与「未妨惆怅」的配合；唯「清狂」二字，以未妨惆怅是清狂写尽痴情之狂与高洁之清，与「直道相思了无益」的无益相合，写尽相思的执着，也让「未妨惆怅是清狂」成为全诗写执着的名句。