68. 长相思·其一（李白）
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现代汉语译文
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长相思，在长安，络纬秋啼金井阑。
现代汉语译文
长相思，在长安；络纬在秋天的金井栏边啼叫。
起句把「长相思」当作一个地名来用，先说在哪里。络纬是秋虫，一开声就是秋。
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微霜凄凄簟色寒，孤灯不明思欲绝。
现代汉语译文
微霜清冷，竹席的颜色也发寒；孤灯不明，思念几乎断绝。
霜、簟、灯三样东西，一样比一样冷。「思欲绝」是还没断。
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卷帷望月空长叹，美人如花隔云端。
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卷起帷帘望月，白白地长叹；美人像花一样，隔着云端。
「美人」出自《楚辞》，可以指君主，也可以指理想。这里不必定死。
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上有青冥之长天，下有渌水之波澜。
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上面有青苍长远的天，下面有清澈水面的波澜。
两句把天和水拉满，中间的人被隔得很小。这是承接上句「隔云端」的。
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天长路远魂飞苦，梦魂不到关山难。
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天那么长，路那么远，魂魄飞去也很苦；梦魂到不了关山，实在太难。
「梦魂不到」是全诗最重的一句：连梦里都到不了，剩下的就只有想。
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长相思，摧心肝。
现代汉语译文
长相思，摧折心肝。
四个字收住全篇，没有转折，也没有出路。开头三个字和这里是同一句，一前一后把诗夹住。
赏析 · Commentary
「美人」指的是谁，李白没有说死 · Who the Beautiful One Is, Li Bai Does Not Settle
「美人如花隔云端」的「美人」，在《楚辞》里向来可以两解：一说指君主，一说指所追求的理想或人。李白不交代，全诗的写法也支持这种两可——前面是霜、簟、孤灯的实景，是一个人在夜里睡不着；后面「天长路远魂飞苦」又笼统得像在说别的。相思的对象越是模糊，诗就越是能装下更多东西。如果要给它一个明确的所指，反而把这首诗缩小了。汉魏以来的文人用「美人」寄托君臣或理想，是常见的做法，李白沿用这一路数。
The beautiful one in the beautiful one, like a flower, is cut off at the edge of cloud has two long-standing readings in the Chu elegies: the ruler, or the ideal or person one seeks. Li Bai does not settle it, and the poem's method supports the ambiguity — before, the concrete scene of frost, mat and lone lamp belongs to a man awake at night; after, the sky is long and the road far, and the soul flies bitterly sounds general enough to be about something else. The vaguer the object of longing, the more the poem can hold. Pin it to one referent and the poem shrinks. Since the Han and Wei, writers have used the beautiful one to figure forth ruler or ideal, and Li Bai works in that line.
秋虫、霜、孤灯：三样东西越来越冷 · Insect, Frost, Lone Lamp: Three Things Growing Colder
开头六句里有三样冷的东西，排得很规矩。第一句是络纬的啼声，还只是听见秋；第二句是「微霜凄凄」，冷到了体感；紧接着「簟色寒」和「孤灯不明」，冷到了器物和光。三样东西从声音到温度到光线，一层层逼近床上的人。等到「思欲绝」，读者已经跟着冷了三回。李白很少这样细致地铺陈环境，这一首是例外，因为实在没有别的事情可写——思念没有动作，只能靠周围的东西来量。
The first six lines hold three cold things, arranged in order. The first line is the katydid's cry, which only lets you hear autumn; the second is thin frost lies chilly, cold felt on the body; then the bamboo mat has a cold color and the lone lamp burns dim, cold reaching the objects and the light. The three move from sound to temperature to illumination, closing in on the person in the bed. By comes near to breaking off, the reader has been made cold three times. Li Bai seldom builds environment this carefully; this poem is an exception, because there is truly nothing else to write about — longing has no action, and can only be measured by the things around it.
同一句话开头结尾各一次 · The Same Words Open and Close the Poem
「长相思」在开头出现一次，在结尾又出现一次，中间隔了五句。开头一句是「长相思，在长安」，还带着一个地名，像是在说一件事情的所在；结尾一句是「长相思，摧心肝」，地名没有了，只剩下结果。同一句话，第二次出现时重了。这种把乐府题目嵌进正文、首尾呼应的做法，从《诗经》的复沓到后来的词牌都有，用在这么短的篇制里，等于把整首诗做成了一个闭合的圈——中间五句是圈里的东西，出不去。
Endless longing appears once at the opening and once at the close, five lines apart. The first, endless longing — in Chang'an, still carries a place name, as if naming where a thing is; the last, endless longing — it breaks the heart and liver, has no place name, only the result. The same words weigh more the second time. Weaving the yuefu title into the body and matching head to tail runs from the refrains of the Book of Songs to later cipai forms; in a piece this short it makes the poem one closed loop — the five lines inside are what is in the loop, and there is no way out.