193. 遣悲怀·其三（元稹）
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现代汉语译文
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闲坐悲君亦自悲，百年都是几多时。
现代汉语译文
闲坐时悲悼你，也为自己悲：人生百年，多的又能多出多少时光？
悲君亦自悲是组诗第三首的起点：由悼亡转向自悼。百年多是几多时——就算活满百年，又能比百年多多少？
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邓攸无子寻知命，潘岳悼亡犹费词。
现代汉语译文
邓攸终究没有儿子，这是命；潘岳的悼亡诗写得再多，也是白费笔墨。
邓攸为保侄儿舍弃自己的儿子，终生无嗣；潘岳是西晋悼亡诗的始祖。两个典故都是「无解」：命与词，都换不回人。
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同穴窅冥何所望，他生缘会更难期。
现代汉语译文
死后同葬一穴，幽深昏暗里又能指望什么？来生再结缘分，更是难以期待。
同穴、他生是悼亡的两大精神出口（死后合葬、来世重逢），元稹把两个出口都堵上了：窅冥无望，难期无凭。
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惟将终夜长开眼，报答平生未展眉。
现代汉语译文
只能用整夜整夜睁着的长眼，报答你一生没有舒展过的眉头。
长开眼暗用鳏鱼（鱼不闭目）之典，暗示终身不娶。未展眉呼应其一的百事乖：她这一生因贫苦而皱的眉头，是他唯一的报答对象。
赏析 · Commentary
把出口一个个堵上：第三首的结构 · Sealing Every Exit: the Architecture of the Third Poem
悼亡诗的常规出路有三：寄托于子女（她的血脉延续）、寄托于文字（诗可传情）、寄托于来世（他生再会）。第三首把三条路逐一封死：邓攸无子——无后；潘岳悼亡犹费词——文字无用；他生缘会更难期——来世渺茫。这种「自断退路」的写法逼出尾联唯一剩下的行为：不睡。整夜睁着眼不是抒情姿态，是把所有出口堵上之后剩下的唯一动作。三首《遣悲怀》由此形成完整的心理结构：其一还债（写她的亏欠），其二清点（写遗物与梦），其三绝望（写无路）——绝望被写尽，组诗才完成。
Mourning conventionally has three outlets: children (the blood continues), writing (the poems carry feeling), the next life (meeting again). The third poem seals them one by one: Deng You childless — no heir; Pan Yue's ink wasted — writing useless; the next life beyond hope — no future meeting. This closing of every road forces the couplet's one remaining act: sleeplessness. Eyes open all night is not a lyric pose but what remains after every exit is blocked. The three Dispelling Grief poems thus complete a psychological architecture: the first repays (her forfeits), the second inventories (relics and dreams), the third despairs (no road left) — and only with despair fully written is the set done.
鳏鱼与未展眉：两个意象的锁扣 · The Widower-Fish and the Unrelaxed Brow: How Two Images Lock
尾联两个意象各有出处又互相咬合。长开眼用《释名》鳏鱼夜不闭目之说——鳏与寡的鳏正是从此鱼得名，暗示诗人自比鳏夫、终不再娶；未展眉直接从第一首的百事乖与豆叶甘里生长出来：她因家贫而皱的眉头，到死没有舒展。一个是诗人自己的身体状态（不闭眼），一个是留给她的记忆形象（不展眉）——两个「不」字对锁，构成组诗的终点：他用不眠报答她的不乐。这个报答当然是无用的，但悼亡诗的功能从来不是有用，是把无用坚持成一种身体习惯。
The closing images have separate sources and interlock. Eyes open all night draws on the widower-fish that never closes its eyes — the very word widower in Chinese descends from that fish, the vow to wed no more; the brows never eased grows straight from the first poem's nothing went right and the sweet bean-leaves: the frown her poverty wore, unrelaxed to the end. One is the poet's bodily state (no closing eye), the other the image he keeps of her (no easing brow) — two negatives locked together as the set's terminus: he repays her joyless life with his sleepless one. The repayment is useless, of course; but the work of mourning poetry was never to be useful — it is to persist in uselessness until it becomes a habit of the body.
「诚知」「惟将」：元稹悼亡诗的语气 · I Know Well, I Have Only: the Voice of Yuan Zhen's Mourning
三首《遣悲怀》的句子几乎不用感叹，全是陈述与让步：诚知此恨人人有、惟将终夜长开眼——先承认极限，再交出仅有的东西。这种语气的效果是可信：不渲染的人说的话，读者倾向全信。元稹的悼亡诗在文学史上地位极高（陈寅恪考订其与韦丛婚姻始末，认为悼亡是真情），靠的不是辞藻是语气：一个把贫穷细节记得这么清楚的人，不太可能是在表演。当然，语气终究是语气——他后来的续娶与终身未娶的暗示并不一致；但诗的好坏与诗人的操守向来是两笔账，这组诗按诗算，是唐人悼亡的顶点。
Across the three poems there is almost no exclamation, only statement and concession: I know well this grief is everyone's; I have only these eyes open all night — admit the limit first, then hand over what little remains. The effect is credibility: what a man who does not dramatize says, readers tend to believe whole. The standing of these poems in literary history (Chen Yinke traced the marriage in detail and judged the grief genuine) rests not on ornament but on voice: a man who remembers the details of poverty this exactly is unlikely to be performing. The voice is still only a voice — his later remarriage sits uneasily beside the widower's vow; but a poem's worth and its author's conduct have always been separate ledgers, and judged as poems, these are the summit of Tang mourning verse.