当代 当代 · 诗 Poem
镜中
In the Mirror
只要想起一生中后悔的事梅花便落了下来比如看她游泳到河的另一岸比如登上一株松木梯子危险的事固然美丽不如看她骑马归来面颊温暖羞惭。
低下头,回答着皇帝一面镜子永远等候她让她坐到镜中常坐的地方望着窗外,只要想起一生中后悔的事梅花便落满了南山
The plum blossoms fall.
See her swim to the far bank of the river —
Or climb a pine-wood ladder.
Danger is beautiful, to be sure;—
But better: to see her come back on horseback,
Warm of face,
Ashamed. Bowing her head, answering the emperor.
A mirror waits for her forever,
And lets her sit where she always sits in the mirror.
Looking out of the window — whenever she thinks of something in her life she regrets,
The plum blossoms have covered the southern hill.
Meaning
A short lyric in free verse whose whole action happens inside a mirror. Something she once regretted is enough to make plum blossoms fall; the poems moves through a handful of half-remembered scenes — swimming across the river, climbing a pine ladder, returning on horseback and bowing before the emperor — and closes where it began, with blossoms covering the southern hill. The speaker is guessing at a woman's past rather than describing it, and the falling blossoms are the only thing in the poem that can be measured.
只要想起一生中后悔的事梅花便落了下来比如看她游泳到河的另一岸比如登上一株松木梯子危险的事固然美丽不如看她骑马归来面颊温暖羞惭。低下头,回答着皇帝一面镜子永远等候她让她坐到镜中常坐的地方望着窗外,只要想起一生中后悔的事梅花便落满了南山
Appreciation
[Plain Paraphrase] Whenever she thinks of something in her life she regrets, the plum blossoms fall; the poem adds scenes — swimming to the far bank, climbing a pine ladder, a rider returning warm-faced and ashamed before the emperor — and ends with the blossoms having covered the southern hill. [Structure] The poem is a ring: the opening line and the opening of the last stanza are nearly identical, so the reader is returned to the same instant with one difference — the blossoms have fallen further. [Imagery] The single controlling image is the falling plum, which is at once the product of the regret and its sign; the ladder, the swim, the horse and the mirror extend it into a room and a history. [Voice] The speaker is not the woman and not her lover but an observer who can only infer: every verb is hers ('she thought', 'she climbed', 'she answered'), so what is reported is external, and the inner event is inferred from weather. [Effect] The classic 'plum falling on the southern hill' allusion is quietened down to something that simply has happened, and that restraint is what keeps the poem from becoming a elegy for a lost love.
【白话串讲】 张枣写《镜中》:“只要想起一生中后悔的事,梅花便落了下来”——“比如看她游泳到河的另一岸,比如登上一株松木梯子”——“危险的事固然美丽,不如看她骑马归来”——“只要想起一生中后悔的事,梅花便落满了南山”——他写悔与美。 【意象与手法】 以“只要想起一生中后悔的事,梅花便落了下来”起笔,将抽象的悔与具象的落梅并置;“比如看她游泳到河的另一岸,比如登上一株松木梯子”以意象并置写回忆;“一面镜子永远等候她”以镜写等待;结以“梅花便落满了南山”回环收束。意象空灵、含蓄隽永。 【情感与主旨】 写悔与美、思念与等待的当代抒情诗,以“梅花落”的意象贯穿,将古典意境融入现代诗语,是“第三代诗人”张枣的代表作,体现现代汉诗对古典资源的化用。 【名句点睛】 常考“只要想起一生中后悔的事,梅花便落了下来”以落梅写后悔;“梅花便落满了南山”以落满南山写思念之深。
Background
Zhang Zao (1962–2018) was a Chinese poet who grew up in Chongqing during the Cultural Revolution and later taught in Germany, where he spent most of his adult life. He belonged to the generation sometimes called the 'third—generation' poets, writing from the 1980s onward in a deliberately difficult, allusive modern Chinese that set itself against both official poetry and the popular romance of the era. 'Jing Zhong' (In the Mirror) is his best-known short poem, widely anthologized in mainland China and Taiwan and often used to introduce modern Chinese poetry to readers unfamiliar with the field.
《镜中》为当代诗人张枣所作诗。张枣(1962—2010),湖南长沙人,当代诗人,第三代诗人的代表作家。此诗写怀人咏镜,为咏镜之作。诗中「只要想起一生中后悔的事,梅花便落了下来」写只要想起一生中后悔的事,梅花便落了下来;「比如看她游泳到河的另一岸,比如登上一株松木梯子」写比如看她游泳到河的另一岸,比如登上一株松木梯子;「一面镜子永远等候她,让她坐到镜中常坐的地方」写一面镜子永远等候她,让她坐到镜中常坐的地方;「望着窗外,只要想起一生中后悔的事梅花便落满了南山」写望着窗外,只要想起一生中后悔的事梅花便落满了南山。张枣此诗以怀人咏镜、梅花便落满了南山写其咏镜之情,隽永咏镜,是张枣诗中的名篇。此篇《镜中》在历代选本中多被收录,其艺术价值与流传之广,正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事,遂使此作历千载而犹有生气,为后人所称赏不绝。
Art
The poem's construction is a circular re-entry: the same conditional clause ('whenever she thinks of something in her life she regrets') opens and closes the text, so the poem describes a state rather than telling a story about the state improving or worsening. Its central figure is the coincidence of regret and falling blossoms, which is neither cause nor effect — one triggers the other without either being explained, and that refusal to explain is what gives the line its reputation. The series of concrete details ('a pine-wood ladder', 'a horse', 'the emperor') is deliberately mixed in register, so that the private and the ceremonial sit at the same level; the ladder is as public as the throne. The final stanza's mirror is the poem's final image and its last reversal: the mirror waits and holds her in a fixed place, so the blossoms fall inside a surface that never moves.
此诗艺术上以「隽永咏镜、以梅写情」见长。全诗由只要想起一生中后悔的事而比如看她游泳到河的另一岸而一面镜子永远等候她。起「只要想起一生中后悔的事,梅花便落了下来」写只要想起一生中后悔的事:只要想起一生中后悔的事,梅花便落了下来;「比如看她游泳到河的另一岸,比如登上一株松木梯子」写比如看她游泳到河的另一岸:比如看她游泳到河的另一岸,比如登上一株松木梯子;「一面镜子永远等候她,让她坐到镜中常坐的地方」写一面镜子永远等候她:一面镜子永远等候她,让她坐到镜中常坐的地方;结「望着窗外,只要想起一生中后悔的事梅花便落满了南山」写梅花便落满了南山:望着窗外,只要想起一生中后悔的事梅花便落满了南山。全诗以梅写情,由只要想起一生中后悔的事而梅花便落满了南山,隽永咏镜,是张枣诗中的名篇。
Allusions
The plum blossoms falling on a southern hill carry the whole weight of the poem. The image goes back to the 'Book of Songs' and to the Han and Tang lines on plum falling, where it commonly marks a lady's withdrawal; a version of the phrase 'plum blossoms fall on the southern hill' appears in the Tang poetry and in the Song tale 'Zui Yi Lu', where a woman's regret makes the blossoms drop. Zhang Zao does not cite his sources — he uses the phrase as if it were weather, which is precisely the gesture that modern Chinese poetry's most consciously literary poets learned from the classical tradition. The emperor and the mirror introduce a second, less specific reference: a woman's historic place in a court that mirrors and judges her.
诗中「只要想起一生中后悔的事梅花便落了下来」「比如看她游泳到河的另一岸比如登上一株松木梯子」「一面镜子永远等候她让她坐到镜中常坐的地方」「望着窗外只要想起一生中后悔的事梅花便落满了南山」等语,皆含典故故实。「只要想起一生中后悔的事梅花便落了下来」写只要想起一生中后悔的事梅花便落了下来;「比如看她游泳到河的另一岸比如登上一株松木梯子」写比如看她游泳到河的另一岸比如登上一株松木梯子;「一面镜子永远等候她让她坐到镜中常坐的地方」用镜之典(镜写照影),写一面镜子永远等候她让她坐到镜中常坐的地方;「望着窗外只要想起一生中后悔的事梅花便落满了南山」写望着窗外只要想起一生中后悔的事梅花便落满了南山。诗人用镜之典入诗,不着痕迹,而把怀人咏镜之情写得真切可感,是善于熔铸典故的体现。
Commentary
The poem's difficulty is generally admitted and generally praised; readers are expected to supply the situation rather than be told it. Its most quoted line, 'Whenever she thinks of something in her life she regrets, / The plum blossoms fall,' is often described as a perfect example of how modern Chinese poetry can absorb a classical image into a contemporary lyric without either losing the old resonance or becoming a quotation. Some readers have argued that the poem is easier than its reputation suggests, since the situation — a woman with a past — is ordinary; others reply that its difficulty is not in the plot but in the refusal to say whether the speaker is witness or participant.
这首《镜中》,是张枣写怀人咏镜之作,写只要想起一生中后悔的事、比如看她游泳到河的另一岸、一面镜子永远等候她、梅花便落满了南山之情,隽永咏镜。起「只要想起一生中后悔的事,梅花便落了下来」——只要想起一生中后悔的事,梅花便落了下来。写只要想起一生中后悔的事:只要想起一生中后悔的事、梅花便落了下来——后悔的事、落了下来;「比如看她游泳到河的另一岸,比如登上一株松木梯子」——比如看她游泳到河的另一岸,比如登上一株松木梯子。写比如看她游泳到河的另一岸:比如看她游泳到河的另一岸、比如登上一株松木梯子——河的另一岸、松木梯子;「一面镜子永远等候她,让她坐到镜中常坐的地方」——一面镜子永远等候她,让她坐到镜中常坐的地方。写一面镜子永远等候她:一面镜子永远等候她、让她坐到镜中常坐的地方——永远等候她、镜中常坐的地方;结「望着窗外,只要想起一生中后悔的事梅花便落满了南山」——望着窗外,只要想起一生中后悔的事梅花便落满了南山。写梅花便落满了南山:望着窗外、只要想起一生中后悔的事梅花便落满了南山——望着窗外、落满了南山。这「望着窗外,只要想起一生中后悔的事梅花便落满了南山」,是全诗之结:以梅花便落满了南山写其咏镜。全诗隽永咏镜,以梅写情,正是张枣诗中的名篇。
Prosody
Line by line
只要想起一生中后悔的事
Whenever she thinks of something in her life she regrets
只要想起一生中后悔的事
Whenever I think of the things I regret in my life,
起句写只要想起一生中后悔的事,起笔即见其后悔。「只要想起一生中后悔的事」写只要想起一生中后悔的事,「只要想起」写只要想起、「一生中后悔的事」写一生中后悔的事。一句写只要想起一生中后悔的事,以只要想起写只要想起、以一生中后悔的事写后悔的事,写尽只要想起一生中后悔的事之情。以悔起兴,隽永而咏镜,是「以悔起兴」的妙笔。
Zhang Zao's famous poem begins with a condition. Whenever I think of the things I regret in my life—the whenever makes it a law of the mind, not a single memory. Regret is not dwelled on; it is merely triggered, and the trigger immediately produces the image. The plain, almost flat opening is characteristic of this poem, where the inner event and the outer image meet with mechanical inevitability. To have said I often remembered my regrets would be introspection; the conditional whenever is the law.
梅花便落了下来
The plum blossoms fall.
梅花便落了下来
the plum blossoms begin to fall.
此句写梅花便落了下来,是全诗写梅花之态的关键。「梅花便落了下来」写梅花便落了下来,「梅花」写梅花、「便落了下来」写便落了下来。一句写梅花便落了下来,以梅花写梅花、以便落了下来写落了下来,写尽梅花便落了下来之情。以梅写景,隽永而咏镜,是「以梅写景」的点睛之笔。此句以寥寥数语写尽深意,情韵兼胜,正是全诗点睛之笔。其于字句之间暗藏波澜,于平易之中寄寓曲折,尤当反复涵泳,方能得其三昧。
The consequence follows at once. The plum blossoms begin to fall. There is no causal link in nature between private regret and falling blossoms, and that is the point: the mind projects. The便, the immediately, makes the world respond the instant the thought occurs. The poem's famous equation is about to be stated fully in the last line. To have said plum blossoms fell as I grieved would be emotional scenery; the blossoms falling on cue is the equation.
一面镜子永远等候她
A mirror waits for her forever
一面镜子永远等候她
A mirror waits for her forever,
此句写一面镜子永远等候她,是全诗写镜子之态的关键。「一面镜子」用镜之典写一面镜子,「一面」写一面、「镜子」写镜子;「永远等候她」写永远等候她,「永远」写永远、「等候她」写等候她。一句写一面镜子永远等候她,以一面镜子写镜子、以永远等候她写永远等候她,写尽一面镜子永远等候她之情。以镜写情,隽永而咏镜,是「以镜写情」的点睛之笔。
The middle image shifts. A mirror waits for her forever. She is the woman of regret, and the mirror—the classical instrument of self-regard and lost beauty—waits for her as if she has only to return. The forever makes the waiting endless and the absent woman unreal. It is one of the most quoted lines in contemporary Chinese poetry: a mirror's patient vigil for someone who will not come. To have said the mirror stood empty would be a description; the mirror waiting forever is the waiting.
梅花便落满了南山
The plum blossoms have covered the southern hill.
梅花便落满了南山
the plum blossoms fall and cover the Southern Hills.
结句写梅花便落满了南山,是全诗立意的落点。「梅花便落满」写梅花便落满,「梅花」写梅花、「便落满」写便落满;「了南山」写了南山,「了」写了、「南山」写南山。一句写梅花便落满了南山,以梅花便落满写落满、以了南山写南山,写尽梅花便落满了南山之情。以山写情,隽永而咏镜,是全诗最动人处,也是「以山写情」的点睛之笔。
The closing completes the equation. The plum blossoms fall and cover the Southern Hills. What began as a few blossoms has become a whole mountain covered in petals: a single memory of regret expands until the whole landscape is buried in flowers. The Southern Hills are the hills of the classical poems, so the personal regret is set against all that tradition. To have said the blossoms fell everywhere would be exaggeration; the whole Southern Hills covered in petals is the scale of the regret.
Study
Word focus
Related Reading
Su Shi's long tune closes with 'I only wish that we may long live, / And share, though a thousand miles apart, this same brightness.' The poem's wish is directed, its distance is measured in miles, and its comfort is a promise of shared light. Zhang Zao's poem addresses no one and promises nothing: the speaker watches, infers, and reports. Both, however, treat the separated person as the poem's center of gravity, and both end by image rather than statement — Su Shi with a moon over a divided land, Zhang Zao with plum blossoms on a southern hill. Read together they show how completely the modern poem depends on the classical one even while speaking in a different voice.
苏轼《水调歌头·明月几时有》「但愿人长久,千里共婵娟」,写怀人感怀、隽永旷达,是宋词长调的名篇;张枣《镜中》则以「只要想起一生中后悔的事,梅花便落了下来」「一面镜子永远等候她」写落了下来、永远等候她。两诗同写怀人感怀、隽永旷达:一写但愿人长久、以千里共婵娟写思亲,一写只要想起一生中后悔的事梅花便落了下来、以梅花写怀人;一为苏轼之旷达、一为张枣之隽永,并读正可见诗写「怀人感怀」的两种笔法,皆于怀人之中见隽永。
八声甘州·对潇潇暮雨洒江天 Ba Sheng Gan Zhou: 'In the Autumn Rain That Streaming Down the Sky' 柳永 · 同写镜中凝望、隽永清丽,一写对潇潇暮雨洒江天、一写让她坐到镜中常坐的地方望着窗外,皆于镜中之中见凝望 Both poems put a watcher at a window or a barrier looking toward someone who cannot be reached, and both refuse to close by stating the feeling; Liu Yong's watcher keeps hoping, Zhang Zao's observer only watches the weather.Liu Yong's long tune is organized around a woman on the 'painted tower' mistaking each returning sail at the horizon for her husband's; the watcher's discipline is the poem's subject, and the illusion is what the poet grants her. In Zhang Zao's poem the watcher watches something else entirely — a woman's past, which cannot be recalled — and the only recurrence is the falling blossom, which is not an illusion but an event. The two also differ in length and scale: Liu Yong's tune is over a hundred lines and covers a whole journey, while Zhang Zao's twelve lines cover a single instant and trust a metaphor to do the work of a plot.
柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天,一番洗清秋」,写镜中凝望、隽永清丽,是宋词写羁旅的名篇;张枣《镜中》则以「让她坐到镜中常坐的地方,望着窗外」「梅花便落满了南山」写镜中常坐的地方、落满了南山。两诗同写镜中凝望、隽永清丽:一写对潇潇暮雨洒江天、以暮雨写清秋,一写让她坐到镜中常坐的地方望着窗外、以镜子写怀人;一为柳永之清丽、一为张枣之隽永,并读正可见诗写「镜中凝望」的两种笔法,皆于镜中之中见凝望。