我用残损的手掌·版本

Meaning

This is an earlier, shorter version of the same famous poem, ending at the remembering of the poet's lakeside home instead of continuing to the untouched corner of the country. It keeps the whole apparatus of the longer poem — the maimed hand, the broken land, the remembered spring — but stops before the promise of a surviving part of China. Read on its own it is a poem about a man in a prison cell who finds, in the middle of a ruined map, the one place still worth naming: his own home town.

我用受伤残缺的手掌，缓缓摸索这辽阔广大的土地：这一角土地已经变成灰烬，那一角土地只是血和泥；这一片湖应该就是我的家乡啊，春天的时候，堤岸上繁花似锦，如同锦绣屏障。

Appreciation

[Plain Paraphrase] This version is the opening movement and nothing more. The hand goes out, touches two ruined corners, and then stops at a lake it half-recognises and describes in one brilliant word — 'brocade screens'. What the truncation loses in scope it gains in concentration: the reader watches a single gesture, and the gesture does not reach an answer. [Structure] Three touches, and then silence. The colon opens the field, the semicolons separate the touches, and the poem simply ends on a picture, without the turning line that the longer version supplies. The abrupt ending is therefore part of the meaning: the hand stops where memory stops. [Imagery] The image list is shorter and even plainer than in the longer version: ash, blood, mud, lake, bank, flowers. There is no willow, no fragrance; the sensory field is narrowed to one comparison, 'like brocade screens', which carries the whole of the remembered past in a single simile. Because there is so little, each word is load-bearing — and this is why the short version is often the one taught first.

【白话串讲】 戴望舒写《我用残损的手掌》：“我用残损的手掌，摸索这广大的土地”——“这一角已变成灰烬，那一角只是血和泥”。“这一片湖该是我的家乡”——“江南的水田，你当年新生的禾草，是那么细，那么软”——他写沦陷的土地。 【意象与手法】以「摸索」的动作为线索贯穿全诗，意象并置（灰烬、血和泥、繁花），对比鲜明；通感与象征并用，手掌的触觉转化为家国之痛。 【情感与主旨】在民族危亡之际，以残损之身贴近残损之土，表达对祖国深沉的爱与对收复山河的信念。 【名句点睛】「我用残损的手掌，摸索这广大的土地」开篇即立起「残损—广大」的对比，是抗战诗歌中最动人的意象之一。

Allusions

Because the text is modern and unpretending, its references are informal rather than scholarly. 'Brocade screens' goes back past the modern poems to the wealthy amusements of the old capitals, where silk screens were set up along a road for a spring outing; using that word for a bank of flowers is the poem's single act of quotation, and it brings a whole courtly past into a prison cell. The lake and its bank descend from the long Chinese habit of describing the home province in terms of water, dyke and blossom — the same vocabulary as the southern-town poets. And the act of feeling one's way over a map carries the old master-image of the blind seeker, 'the road is long and hard, and I will seek above and below', here changed into a wounded man feeling for his country with the tips of his fingers.

此诗意象之妙，在古典典故与西方象征的融合。「繁花如锦障」用《晋书·石崇传》「锦步障」典故：西晋石崇与王恺斗富，以锦缎作步障五十里，此处借「锦障」喻春天繁花似锦、如锦绣屏障，写家乡之美，是记忆中最绚烂的一笔——以「锦障」之华美写记忆之绚烂，以古典之典写现代之痛，虚实相生；「这一片湖」指杭州西湖（诗人故乡），湖、堤、繁花皆江南记忆的核心意象，承中国古典「西湖」诗词传统（苏轼「欲把西湖比西子」）而注入民族苦难的新内涵；「血和泥」直写日寇铁蹄下的惨象，与「锦障」之美形成今昔、破碎与完好的双重对照。「手掌—土地」的触觉意象承欧洲象征派（波特莱尔「应和」论）的感官通感传统，而注入民族内容；全诗以地图为「触摸对象」，暗合中国「舆图—家国」的文化象征——望地图如望山河，抚舆图即抚家国，把个人之身与家国之土同构，情深而意厚。又「摸索」一词亦有「在黑暗中寻找光明」的深意——山河虽暗，而手掌不停，正见诗人对光明力量的信念，与节选之外「在那上面，我用残损的手掌轻抚，像恋人的柔发，婴孩手中乳」的温暖意象遥相呼应，暗中有光、痛中有望。

Commentary

This version is the earliest form of a poem that became one of the standard texts of the war. Its importance is less that it is a different text than that it shows how a poem is made: the same hand, the same map, the same ash, and only the ending different. Critics who quote the longer line 'only the far corner is still whole' are praising what this version withholds, and that is a measure of how strong the shorter one already is. It survives in textbooks precisely because it is complete in itself and needs no explanation of the rest of China; the reader is given a wounded hand, a ruined map and one beautiful memory, and left to supply the rest. Whatever later versions added, this is the poem at its most concentrated, and it remains the clearest single illustration of Dai Wangshu's late manner.

此诗是戴望舒抗战时期的代表作，也是中国现代爱国诗歌的经典，标志其由《雨巷》式的个人哀怨转向民族苦难的书写，被论者视为其诗艺与人格的双重成熟。与郭沫若《炉中煤》、艾青《我爱这土地》等抗战爱国诗相比，此诗以「残损—摸索」的触觉意象独树一帜：不喊口号、不写战火，而以一只受伤的手掌轻轻抚过地图，哀而不伤、痛而有光；诗人在狱中的真实经历使「残损的手掌」成为有体温的象征，故能动人至深。此诗1948年收入《灾难的岁月》，后广泛入选教材与选本，「残损的手掌」已成民族伤痕与不屈精神的文学符号。评论界（如袁可嘉、蓝棣之）盛赞其意象的独创性与情感的节制之美，认为它是「现代派诗艺与时代精神结合」的典范——现代诗的个人化技巧（象征、通感、内省）在此诗中与民族国家的宏大主题完美融合，为抗战诗歌提供了超越标语化的抒情范式。

Prosody

Line by line

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