153. 春宫怨（杜荀鹤）
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现代汉语译文
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早被婵娟误，欲妆临镜慵。
现代汉语译文
很早就被美貌耽误了，想梳妆，对着镜子却懒得动手。
「婵娟」在这里指美好的容貌。「慵」是懒。首句是宫女的自我判断：错在长得好。
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承恩不在貌，教妾若为容。
现代汉语译文
得到恩宠并不靠容貌，那叫我怎么打扮才好？
「若为容」是怎么打扮。这一问说明标准变了：既然不靠脸，化妆就没有意义。句中的怨气由此透出。
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风暖鸟声碎，日高花影重。
现代汉语译文
风暖，鸟声细碎；太阳升高，花影重重。
两句是全诗最工的对仗，也是唯一的景语。「碎」写鸟声的断续，「重」写花影的层叠。
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年年越溪女，相忆采芙蓉。
现代汉语译文
年复一年，越溪边的女子，还记得当年一同采摘芙蓉的情景。
「越溪女」指西施，也泛指越地的民间女子；「采芙蓉」是自由的劳作。此句写越溪女年复一年思念宫女（或彼此）采莲的往事，以民间生活对照宫廷生活。
赏析 · Commentary
宫怨诗的写法 · How a Palace-Resentment Poem Works
宫怨是唐诗的常见题目，杜荀鹤这首诗抓住了其中最要命的一点：不是失宠，是不知道规则。梳妆本是取悦的手段，可「承恩不在貌」，手段就失效了。第二联的提问没有答案，正是全诗的核心。前四句写心理，第三联忽然插进一段明亮春景，把封闭的内廷与外界的生机分开。
Palace resentment is a common Tang subject, and Du Xunhe's poem takes its most fatal point: not the loss of favour but not knowing the rules. Adorning is the usual means of pleasing, and if favour does not turn on beauty, the means fail. The question in the second couplet has no answer and is the poem's centre. Four lines of psychology, then a bright spring scene cuts in, separating the closed inner court from life outside.
第三联为什么写景 · Why the Third Couplet Turns to Scenery
「风暖鸟声碎，日高花影重」是典型的春景，热闹、明亮、充满生机。把它放在一首宫怨诗里，作用是对照：外面的春天这么饱满，里面的宫女却懒于梳妆。杜荀鹤不评论，只把两种状态并列。景写得越好看，人的处境越显得闷。这是宫怨诗常用的手法，也是最有效的。
"Warm wind, birdsong breaking; high sun, shadows heavy" is a typical spring scene, lively, bright, full of life. In a poem of palace resentment it works by contrast: the spring outside is so full and the woman within cannot be bothered to dress. Du Xunhe does not comment, only sets the two states side by side. The prettier the scenery, the more stifling her position looks. It is the commonest device in such poems and the most effective.
末句的民间女子 · The Country Girls in the Last Line
"年年越溪女，相忆采芙蓉" 把越地采莲女子引进来，她们在旧诗里常与西施相关。这一句等于说：宫里的容貌是资本，溪边的劳作却是自由。杜荀鹤没有直接说宫里的生活不好，只给了另一个画面。宫怨诗写到这种地方，怨气才落到实处——不是争宠失败，是根本没有别的选择。
"Year after year the girls of the Yue stream, remembered, picking lotuses" brings in the lotus-pickers of Yue, long associated in older verse with Xi Shi. The line amounts to this: a face is capital in the palace and labour by the stream is freedom. Du Xunhe never says palace life is bad, only offers another picture. Palace poems reach solid ground here — the grievance is not a lost contest but the absence of any alternative.