191. 遣悲怀·其一（元稹）
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现代汉语译文
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谢公最小偏怜女，自嫁黔娄百事乖。
现代汉语译文
你是谢公最怜爱的小女儿，自从嫁给黔娄（自比贫士）这样的我，百事不顺。
谢公句以谢安最疼的侄女谢道韫比妻子韦丛（韦夏卿幼女）。黔娄是战国贫士——用两个典故说清一门婚事的落差：相府千金嫁给了穷书生。
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顾我无衣搜荩箧，泥他沽酒拔金钗。
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见我没有衣服可换，就翻遍草编的衣箱；我缠着她买酒，她拔下金钗去换。
泥（nì）是软缠。荩箧是草箱——穷人家的箱子；金钗是富家女的陪嫁。一只箱子一支钗，把婚后的贫穷与她的委屈全写活了。
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野蔬充膳甘长藿，落叶添薪仰古槐。
现代汉语译文
野菜充饭食，她把长长的豆叶吃得甘美；添柴靠落叶，仰头望着古槐树。
甘字最要紧：吃豆叶还说甘——不是豆叶真的甘，是她不肯让丈夫难堪。仰古槐的仰是等叶子落，穷到连柴火都要仰仗天气。
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今日俸钱过十万，与君营奠复营斋。
现代汉语译文
如今我的俸钱超过了十万，却只能用来为你办祭奠、请僧人做斋事。
过十万是唐代高官的月俸水平——她死后他才富起来。营奠复营斋：祭奠之外再做法事，钱能做的只剩这些。
赏析 · Commentary
悼亡诗为什么先写贫穷：三首的分工 · Why a Poem of Mourning Begins in Poverty: the Division of Labor Among Three
《遣悲怀》三首分写三个阶段：其一写生前之贫（这首），其二写死后之思，其三写自悲之叹。第一首的难度在于：悼亡要动人，必须让读者相信这段婚姻本身值得悼——元稹的办法是写清妻子「亏了什么」：相府小女儿，嫁给自己以后搜荩箧、拔金钗、吃豆叶、等落叶。四个细节全是她「本不必受」的委屈。这样写还有一个更深的效果：它把愧疚设定为全组诗的基调——「百事乖」三个字里，娶她的人才是原因。悼亡诗写到这种程度，就不只是抒情，是还债。
The three Dispelling Grief poems cover three stages: the poverty of her life (this one), the longing after her death, and the poet's own lament. The difficulty of the first is that a mourning poem moves us only if the marriage itself was worth mourning — so Yuan Zhen sets out precisely what she forfeited: a chancellor's youngest daughter who after marrying him searched the rush chest, pulled the golden pin, ate bean-leaves, waited under the tree for leaves. Every detail is a hardship she need never have known. And this sets the key of the whole group: guilt — inside the three characters nothing went right, the marrying man is the cause. Mourning at this pitch is no longer lyric only; it is repayment.
两个典故与四件小事：雅与俗的配比 · Two Allusions and Four Small Deeds: the Ratio of the Refined to the Plain
首联用谢道韫、黔娄两个典故交代身份落差，是「雅」的一端；颔颈两联的四件小事（搜箱、拔钗、吃豆叶、望槐树）是「俗」的一端。悼亡诗最怕两头失衡：通篇用典就冷，通篇写实就轻。元稹的配比是二比四——身份交代从简，生活细节从重。泥他沽酒拔金钗的泥字尤其要紧：软缠是夫妻间的私密动作，外人看不见——读者忽然被放进这个婚姻的内部。这种「带读者进屋」的写法，是元稹悼亡诗在唐诗里独树一帜的原因：他与妻子之间没有一个旁观者。
The opening couplet's two allusions, Xie Daoyun and Qian Lou, state the social gap — the refined end; the four small deeds of the next two couplets — searching the chest, pulling the pin, eating bean-leaves, watching the tree — are the plain end. Mourning poems fail when either side wins alone: all allusion grows cold, all plain fact grows light. Yuan Zhen's ratio is two to four — identity sketched briefly, life at full weight. The word wheedled matters most: to wheedle is an intimacy outsiders never see, and the reader is suddenly inside the marriage. This gift for bringing the reader into the room is why his mourning poems stand alone in Tang verse: between him and his wife there was never a bystander.
俸钱过十万：迟到的钱与还不了的债 · A Salary Past a Hundred Thousand: Money Come Too Late, Debt Unpayable
韦丛二十岁嫁给元稹，七年后病逝，年仅二十七——死后两个月，元稹才因得罪宦官被贬；此后十年他一路升迁，最终官至宰相之位附近（同平章事未及真拜）。今日俸钱过十万的今日，是记忆里最残忍的一个词：她受穷的时候没有它，它来的时候她不在。营奠复营斋的复字写出了滥——祭奠之外再做法事，法事之外还有什么呢？钱在悼亡里的全部用途就是把无意义的花销反复举行。元稹后来续娶、纳妾，历来因此争议其悼亡的诚意；但这首诗里的账是清楚的：欠债的人在，债主不在，还的方式只剩烧钱与写诗。
Wei Cong married Yuan Zhen at twenty and died at twenty-seven, seven years on — two months after her death he himself was banished for offending the eunuchs; in the decade after he rose steadily toward the chancellorship. The word today in today my salary passes a hundred thousand is the cruelest in memory: it was absent through her poverty, and when it arrived she was not there. The and then of offerings, and the services after them records excess — beyond offerings, rites; beyond rites, what else? Money's entire use in mourning is to repeat the meaningless spending. Yuan Zhen later remarried and took a concubine, and his sincerity has been argued ever since; but this poem's ledger is plain: the debtor lives on, the creditor is gone, and repayment narrows to burning money and writing poems.