69. 长相思·其二（李白）

正文

现代汉语译文

日（rì）色（sè）已（yǐ）尽（jìn）花（huā）含（hán）烟（yān），（）月（yuè）明（míng）欲（yù）素（sù）愁（chóu）不（bù）眠（mián）。（）

日色已经落尽，花上含着雾气；月色明亮得近乎素白，愁得睡不着。

两句是黄昏到入夜。「欲素」是说月光白得像要化掉颜色。

赵（zhào）瑟（sè）初（chū）停（tíng）凤（fèng）凰（huáng）柱（zhù），（）蜀（shǔ）琴（qín）欲（yù）奏（zòu）鸳（yuān）鸯（yāng）弦（xián）。（）

赵地的瑟刚刚在凤凰柱上停下，蜀地的琴又要奏起鸳鸯弦。

一停一奏，是同一双手在换琴。凤凰、鸳鸯都成双，暗示她是一个人。

此（cǐ）曲（qǔ）有（yǒu）意（yì）无（wú）人（rén）传（chuán），（）愿（yuàn）随（suí）春（chūn）风（fēng）寄（jì）燕（yān）然（rán），（）忆（yì）君（jūn）迢（tiáo）迢（tiáo）隔（gé）青（qīng）天（tiān）。（）

这支曲子有情意却没有人传过去；但愿随着春风寄到燕然山，想你隔着遥远的青天。

一句里换了三个方向：曲子没人带、托春风、隔着天。燕然是边地，说明想念的人在远方打仗。

昔（xī）日（rì）横（héng）波（bō）目（mù），（）今（jīn）成（chéng）流（liú）泪（lèi）泉（quán）。（）

从前的眼睛像横流的水波，如今成了流泪的泉。

两句写同一样东西的前后：眼睛。一联之内完成一次变形。

不（bù）信（xìn）妾（qiè）肠（cháng）断（duàn），（）归（guī）来（lái）看（kàn）取（qǔ）明（míng）镜（jìng）前（qián）。（）

不信我肝肠寸断，就回来在明镜前看看吧。

结尾是邀约，也是试探。「看取」两个字把判断交给镜子，不交给自己。

赏析 · Commentary

两首《长相思》的分别 · What Separates the Two Endless Longings

通行本把这两首编在一起。第一首写长安，主角没有明确性别，全程是一个人在夜里，靠霜、簟、孤灯和月亮来量距离；第二首写一个女子，有瑟、有琴、有燕然、有镜子，全是闺中器物。一首是悬空的，一首是落在具体生活里的。李白写同一题目的两首，往往就是这样互补：一首往外看天，一首往里看屋子。读的时候不必强求它们讲同一个故事，两首各自成立的对照，比合成一条线更能看出他对「思」这件事的处理。

The current editions print these two together. The first is set in Chang'an, its speaker's gender unmarked, all of it one person at night measuring distance with frost, mat, lamp and moon; the second has a woman, with zither, lute, Yanran and a mirror — all boudoir objects. One hangs in the air, one stands in concrete life. When Li Bai writes two poems on one title they are usually complementary like this: one looks out at the sky, one looks into the room. There is no need to force them into one story; the contrast with each standing on its own shows more about how he handles longing than fusing them into a single thread.

「愿随春风寄燕然」：声音怎么寄 · Sending a Tune on the Spring Wind

她想把曲子送出去，可「此曲有意无人传」——曲子有情，缺的是送的人。于是诗给了两条替代路线：托春风，和隔着青天望。春风是能到的，青天是到不了的，两个意象并排出现，等于先给了一个办法，又立刻拆掉它。汉唐之间写思妇寄远，多用鱼雁、用书信，李白不用这些现成的载体，用的是风。风无凭，所以最后还得回到「看取明镜前」——把话交给一面镜子。

She wants to send the tune out, but this tune carries feeling, and no one carries it — the tune has the feeling, what is missing is a carrier. So the poem offers two substitutes: entrust it to the spring wind, and gaze across the blue sky. The wind can arrive; the sky cannot be crossed. The two images stand side by side, which gives a method and immediately takes it away. Between Han and Tang, writing a wife sending word far off usually uses fish and geese or letters; Li Bai passes up the ready-made carriers and uses wind. Wind has no guarantee, and so at the end he must fall back on look in the bright mirror — handing the words to a mirror.

结尾把判断交给了镜子 · The Ending Hands the Verdict to a Mirror

「不信妾肠断，归来看取明镜前」，这句可以读作撒娇，也可以读作断言。她说的是：你不信，就回来看。看什么？看镜子里的人瘦成什么样。她把证据准备在一面镜子里，人不必在场，镜子会替她说。这种写法省掉了一整段诉说，也把最后的决定权推给了对方——回来不回来，是对方的事。全诗五句到此收住，前面那些瑟、琴、燕然、春天的风，全为了让这五个字落下来。

If you do not believe my heart is broken, come back and look in the bright mirror can be read as coaxing or as assertion. What she says is: if you do not believe me, come back and look. Look at what? At how thin the person in the mirror is. She has prepared her evidence in a mirror; the person need not be present, the mirror will speak for her. The device saves a whole passage of pleading and pushes the last decision onto the other party — whether to come back is his affair. The poem stops at five lines, and all the zither, lute, Yanran and spring wind exist so that these few words can land.

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