近现代 近现代 · 诗 Poem
雨巷
The Rainy Alley (Yuxiang)
撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷，我希望逢着一个丁香一样的结着愁怨的姑娘。
她是有丁香一样的颜色，丁香一样的芬芳，丁香一样的忧愁，在雨中哀怨，哀怨又仿徨。
她彷徨在这寂寥的雨巷，撑着油纸伞，像我一样，像我一样地默默彳亍着，冷漠，凄清，又惆怅。
She has the color of the lilac, the fragrance of the lilac, the sorrow of the lilac, grieving in the rain, grieving and wandering.
She wanders in this lonely rainy alley, holding an oil-paper umbrella, like me, like me silently loitering, indifferent, desolate, and melancholy.
Meaning
Dai Wangshu's masterpiece, written in the summer of 1927, at the ebb of the Great Revolution, the poet living in seclusion in Songjiang, his political ideal crushed and his heart bitter and wandering. The 'girl like a lilac, knotting her sorrow' is at once the projection of his dim love and the symbol of his persistent pursuit and loss of the ideal and the hope: in the dim and desolate rainy alley, 'hoping to meet' and 'brushing past and floating away,' the common mood of the countless youth of that age of 'seeking the dream and not finding it.' The first stanza: 'holding an oil-paper umbrella, I wander alone in the long, long, lonely rainy alley, and I hope to meet a girl like a lilac, knotting her sorrow and her grievance'—the lonely wandering and the hoping of the meeting. The second stanza: 'she has the color of the lilac, the fragrance of the lilac, the sorrow of the lilac, grieving in the rain, grieving and wandering'—the ideal girl, with the color, the fragrance, and the sorrow of the lilac. The third stanza: 'she wanders in this lonely rainy alley, holding an oil-paper umbrella, like me, like me silently loitering, indifferent, desolate, and melancholy'—the girl and the self, both wandering in the rainy alley, both melancholy, the sympathy of the dream and the dreamer.
我撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷，希望逢着一个像丁香一样结着愁怨的姑娘。她有丁香一样的颜色，丁香一样的芬芳，丁香一样的忧愁，在雨中哀怨，哀怨又仿徨。她彷徨在这寂寥的雨巷，撑着油纸伞，像我一样，像我一样地默默彳亍着，冷漠，凄清，又惆怅。
Appreciation
The art of 'The Rainy Alley' lies first in 'the symbolization of the imagery and the wholeness of the musicality.' The whole poem opens with the self holding the oil-paper umbrella and wandering in the rainy alley, drawing forth the 'girl like a lilac, knotting her sorrow': the rainy alley is the symbol of the desolate and lonely reality, the girl of the lilac is the embodiment of the ideal, the hope, and the love, and the oil-paper umbrella, the hedges of the wall, and the fine rain are the imagery-group of the atmosphere, not one abstract word in the whole, yet the melancholy, the pursuit, and the disillusion all flow in the concrete images—the essence of the symbolism's 'the idea written with the image.' In structure, the whole poem presents the 'hope—meeting—floating past—wandering' of the dim love, the hope and the loss interwoven; and the music of the whole is the most striking: the repetition of 'long, long,' the refrain of 'like me, like me,' and the 'lilac' repeated in the three lines of the second stanza, the refrain and the return like the music of the pipes, Ye Shengtao praised it as having 'opened a new epoch for the syllables of the new poetry.'
【白话串讲】 戴望舒写《雨巷》：“撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷”。“我希望逢着一个丁香一样的结着愁怨的姑娘”——“她是有丁香一样的颜色，丁香一样的芬芳，丁香一样的忧愁”——他写那个丁香般的姑娘。 【意象与手法】以「雨巷」「油纸伞」「丁香」「姑娘」构筑朦胧的象征世界；复沓回环的章法（「悠长、悠长」「丁香一样的」「像我一样」）与舒缓的音节，营造出如泣如诉的音乐美；「希望逢着—她飘过—我仿徨」的情绪流程，写尽理想可望而不可即的怅惘。 【情感与主旨】丁香姑娘既是爱情的化身，更是理想与希望的象征；大革命失败后诗人避居松江，苦闷彷徨，「雨巷」正是那个时代青年人心境的隐喻。 【名句点睛】「我希望逢着一个丁香一样的结着愁怨的姑娘」，一句之中，「丁香」「愁怨」「姑娘」三象叠合，是中国新诗最著名的意象之一。
Background
Dai Wangshu (1905–1950), originally named Dai Chaocai, a native of Hangzhou, Zhejiang, the representative poet of the Chinese modernism and the symbolist poetry, with the collections My Memory, The Grass of Wangshu, and The Years of Disaster. 'The Rainy Alley' was written in the summer of 1927, shortly after the failure of the Great Revolution, the White Terror covering the whole country, the poet living in seclusion in Songjiang, Shanghai, his political ideal heavily wounded and his heart bitter and wandering; the 'girl like a lilac, knotting her sorrow' of the poem is at once the projection of his dim love and the symbol of his persistent pursuit and loss of the ideal and the hope—the 'hoping to meet' in the dim and desolate rainy alley and the 'brushing past and floating away' the common mood of the countless youth of that age of 'seeking the dream and not finding it.' The poem was published in the August 1928 issue of the Fiction Monthly, and received the high praise of the editor Ye Shengtao, who said it had 'opened a new epoch for the syllables of the new poetry.'
戴望舒（1905—1950），原名戴朝寀，浙江杭州人，中国现代派象征主义诗歌的代表诗人，著有诗集《我的记忆》《望舒草》《灾难的岁月》等。《雨巷》写于1927年夏，是时大革命失败不久，白色恐怖笼罩全国，诗人避居上海松江，政治理想遭受重创，心境苦闷彷徨；诗中那「丁香一样结着愁怨的姑娘」，既是他朦胧爱情的投影，更是他对理想、对希望的执着追寻与失落的象征——在凄迷的雨巷中「希望逢着」又「擦肩飘过」，正是那个时代无数青年「寻梦而不得」的普遍心境。此诗1928年8月发表于《小说月报》，受到编者叶圣陶的激赏，称其「替新诗的音节开了一个新的纪元」，戴望舒由此获得「雨巷诗人」的称号。诗人早年留学法国，深受法国象征派（魏尔伦、波德莱尔）影响，讲究诗歌的音乐性与意象的暗示性；《雨巷》正是这种影响与中国古典诗词意境融合的产物，也是新诗史上「音节之美」的里程碑。据友人回忆，1927年前后诗人正经历一场无望的爱情，雨巷中那「结着愁怨的姑娘」，亦有现实情愫的影子——理想与爱情在诗中合而为一，正见其苦闷之深。
Art
The art lies in 'the symbolization of the imagery and the wholeness of the musicality': the rainy alley, the girl of the lilac, the oil-paper umbrella, the hedges of the wall, and the fine rain, the symbol-system of the reality and the ideal; the structure of 'the hope—the meeting—the floating past—the wandering'; and the music of the refrain and the return, the 'long, long,' the 'like me, like me,' and the 'lilac' repeated, the whole poem a piece of the symbolist music of the melancholy.
《雨巷》的艺术，首在「意象的象征化与整体的音乐性」。全诗以「我」撑着油纸伞、在雨巷中仿徨起步，引出「丁香一样的结着愁怨的姑娘」——雨巷是凄清寂寥的现实处境的象征，丁香姑娘是理想、希望与爱情的化身，油纸伞、篱墙、细雨则是烘托氛围的意象群，全篇没有一个抽象的字眼，而惆怅、追求、幻灭的情绪全在具象的意象间流淌，这是象征主义「以象写意」的精髓。结构上，全诗呈「希望—相遇—飘过—仿徨」的情绪弧线：开篇「我希望逢着」，中间她「飘过」「静默地走近又投出太息般的眼光」，最终「像梦一般地凄婉迷茫地飘过」，我重又「独自仿徨在悠长又寂寥的雨巷」——追求、接近、错失、回归，循环往复，正写出理想可望而不可即的永恒怅惘。手法上，复沓与回环贯穿全篇：「悠长、悠长」的重复拉长时空，「丁香一样的颜色/芬芳/忧愁」的排比铺陈，「像我一样/像我一样地」的叠印回环，「哀怨/仿徨/惆怅」的反复咏叹，造成一唱三叹的旋律感；加之ang韵的押韵（巷、娘、芳、徨、怅等），全诗如一曲低回的小提琴，凄婉而缠绵。
Allusions
The images of the poem all have the deep literary tradition. The 'lilac' is the core image, its symbolist tradition of the 'knot of the lilac' long-standing: Li Shangyin's 'On Behalf of a Gift,' 'the plantain does not unfold the knot of the lilac, each toward the spring wind with its own sorrow'; the Southern Tang Li Jing's 'Sand-Brushed Silk,' 'the green bird does not transmit the message beyond the clouds, the lilac emptily knots the sorrow in the rain'—the lilac buds dense like the knot, and the ancients thus used the 'knot of the lilac' for the sorrow that cannot be unfolded; Dai Wangshu's 'girl like a lilac, knotting her sorrow' inherits this tradition, and adds the modern symbol of the ideal and the love, the classic and the modern in one.
诗中意象皆有深远的文脉。「丁香」是最核心的意象，其「丁香结」的象征传统源远流长：李商隐《代赠》「芭蕉不展丁香结，同向春风各自愁」，南唐中主李璟《摊破浣溪沙》「青鸟不传云外信，丁香空结雨中愁」——丁香花蕾繁密如结，古人遂以「丁香结」喻郁结不展的愁思；戴望舒让「丁香一样的姑娘」结着「愁怨」，正是承此传统，把古典的「丁香愁」化为现代的「雨中丁香」。而「雨巷」「油纸伞」则是江南的典型风物——江南多雨，杏花春雨、青石小巷，油纸伞是江南细雨的符号，三者叠加，构筑起一个湿润、迷蒙、寂寥的江南意境，这又与古典诗词中「杏花春雨江南」的审美血脉相通。此外，姑娘的「彳亍」（小步缓行）与「仿徨」，写尽踌躇徘徊之态；全诗弥漫的「愁怨」「太息」，则承《楚辞》以来「香草美人」的抒情传统——只是屈原以香草喻君子，戴望舒以丁香喻理想，其「求而不得」的怅惘，古今同慨。而「油纸伞」这一道具尤见匠心：伞是遮雨之物，也是与人相伴的私密物件，一伞在手，雨巷中的人便自成一方天地——它把孤独写得具体而温柔，成为全诗最富江南韵味的细节。
Commentary
'The Rainy Alley' holds a landmark place in the history of the Chinese new poetry. Ye Shengtao's verdict of the 'opening a new epoch for the syllables of the new poetry' is the highest praise of its musicality: in the founding period of the new poetry, the free verse either drifted into the loose or the stiff, and 'The Rainy Alley,' with its refrain and return and its easy and harmonious rhythm, proved that the vernacular poetry can also have the refined beauty of the syllable, providing a model for the prosodic exploration of the new poetry. And the symbolist world of the rainy alley and the girl of the lilac has become the eternal image of the modern Chinese poetry, its melancholy the common memory of the youth of the Chinese speaking world.
《雨巷》在中国新诗史上具有里程碑式的地位。叶圣陶「替新诗的音节开了一个新的纪元」的评语，是对其音乐性的最高肯定：在新诗草创期，自由诗或流于散漫、或流于生硬，《雨巷》以复沓回环的章法、舒缓和谐的韵律，证明了白话诗同样可以有精致的音节之美，为新诗的格律探索提供了范本，也影响了卞之琳、何其芳等后来者。就文学史而言，它是中国象征主义诗歌的成熟之作：既吸取法国象征派「以暗示代替直说」的手法，又化用中国古典诗词的意象传统，实现了中西诗艺的融合。就接受史而言，自1928年发表以来，此诗传诵不衰，「雨巷诗人」成为戴望舒最广为人知的称号；如今它仍是各类诗歌选本与教科书的必选篇目，其「丁香姑娘」与「悠长又寂寥的雨巷」已沉淀为中国现代文学的经典意象。值得一提的是，戴望舒后来在抗战中转向更明朗的诗歌（如《我用残损的手掌》），《雨巷》所代表的凄婉风格正是他早期心境的记录——而这「记录」本身，已是一个时代青年共有的精神肖像。
Prosody
Line by line
撑着油纸伞，独自仿徨在悠长、悠长又寂寥的雨巷，我希望逢着一个丁香一样的结着愁怨的姑娘。
Holding an oil-paper umbrella, I wander alone in the long, long, lonely rainy alley, and I hope to meet a girl like a lilac, knotting her sorrow and her grievance. (The opening: the lonely wandering and the hoping of the meeting, the rainy alley the symbol of the reality, the girl of the lilac the ideal.)
我撑着油纸伞，独自在悠长、悠长又寂寥的雨巷里仿徨，希望逢着一个像丁香一样结着愁怨的姑娘。
Bearing an oil-paper umbrella, alone I wander the long, long and lonesome rain-lane, hoping to meet a lilac-like girl, knotted with grief.
开篇三句，是全诗的序曲，也是全诗的意境总纲。「撑着油纸伞」先定格一个画面：雨中的江南，一个人撑伞独行，油纸伞的形、色、质都透出旧式的、湿润的、寂寥的况味。「独自仿徨」点出心境——不是匆匆赶路，而是仿徨，是漫无目的的徘徊，一个「独自」更把孤独推到极致。而「悠长、悠长又寂寥的雨巷」，「悠长」的重复如目光沿巷子缓缓拉远，把空间写得绵延无尽，「又寂寥」再以三个字压上，湿冷的气氛扑面而来——这条巷子是现实的雨巷，更是心境的雨巷。「我希望逢着」是全诗的行动逻辑：仿徨不是为了仿徨，而是为了逢着；「一个丁香一样的结着愁怨的姑娘」，把丁香、结着愁怨、姑娘三重意象叠合，姑娘是具体的，又是缥缈的，她未出场，而全诗的追寻已经开始。三句之中，画面、心境、愿望俱全，如一支曲子奏出主旋律，为全篇定下调子。
The lane. Bearing an oil-paper umbrella, alone I wander the long, long and lonesome rain-lane, hoping to meet a lilac-like girl, knotted with grief. The oil-paper umbrella and the long lonesome rain-lane and the hoped-for lilac girl are the overture. To have borne the umbrella would be a bearing; the bearing-an-oil-paper-umbrella-alone-i-wander-the-long-long-and-lonesome-rain-lane-hoping-to-meet-a-lilac-like-girl-knotted-with-grief is the bearing.
她是有丁香一样的颜色，丁香一样的芬芳，丁香一样的忧愁，在雨中哀怨，哀怨又仿徨。
She has the color of the lilac, the fragrance of the lilac, the sorrow of the lilac, grieving in the rain, grieving and wandering. (The second stanza: the ideal girl with the color, the fragrance, and the sorrow of the lilac, the 'lilac' repeated three times, the music of the refrain.)
她有丁香一样的颜色，丁香一样的芬芳，丁香一样的忧愁，在雨中哀怨，哀怨又仿徨。
She has the lilac's color, the lilac's fragrance, the lilac's sorrow, grieving in the rain, grieving and wandering.
这一节写姑娘，是「丁香意象」的铺陈展开，也是「我」的愿望的具象化。「丁香一样的颜色」写她的形貌，「丁香一样的芬芳」写她的气息，「丁香一样的忧愁」写她的神情——三次「丁香一样」的排比，把姑娘与丁香完全叠印：她不只是一个美丽的女子，她就是丁香，就是那雨巷中郁结着愁怨的春色。三个排比的意象由形到气到神，层层深入，正写出「我」对她的全部想象——不是写她「像」丁香，而是说她「有丁香一样」的颜色、芬芳、忧愁，物我之间已无分别。而「在雨中哀怨，哀怨又仿徨」，「哀怨」的反复如叹息，把姑娘的愁怨写得如丝如缕，弥漫雨中；「哀怨又仿徨」与开篇「独自仿徨」遥相呼应——姑娘的仿徨正是「我」的仿徨的投射，她就是我，我就是她，两个仿徨的身影在雨中重叠，理想与追寻者合而为一。这是全诗最富画面感也最见象征深意的一节。
The lilac. She has the lilac's color, the lilac's fragrance, the lilac's sorrow, grieving in the rain, grieving and wandering. The lilac color and fragrance and sorrow and the grieving-in-the-rain are the portrait. To have had the lilac's color would be a having; the she-has-the-lilac's-color-the-lilac's-fragrance-the-lilac's-sorrow-grieving-in-the-rain-grieving-and-wandering is the having.
她彷徨在这寂寥的雨巷，撑着油纸伞，像我一样，像我一样地默默彳亍着，冷漠，凄清，又惆怅。
She wanders in this lonely rainy alley, holding an oil-paper umbrella, like me, like me silently loitering, indifferent, desolate, and melancholy. (The third stanza: the girl and the self both wandering in the rainy alley, both melancholy, the sympathy of the dream and the dreamer.)
她彷徨在这寂寥的雨巷，撑着油纸伞，像我一样，像我一样地默默彳亍着，冷漠，凄清，又惆怅。
She wanders in this lonesome rain-lane, bearing an oil-paper umbrella, like me, like me, silently drifting: cold, forlorn, and melancholy.
这一节是「我」与姑娘的合流，也是全诗情感的深化。「她彷徨在这寂寥的雨巷，撑着油纸伞」——姑娘的动作与「我」的动作完全一致，撑着同样的油纸伞，走在同样的雨巷里；「像我一样，像我一样地默默彳亍着」，两次「像我一样」的复沓，如回声般重叠，写出两个孤独身影的彼此映照——原来她就是我，我就是她，我们所做的都是同一件事：在寂寥的雨巷里默默彳亍。「彳亍」二字极妙，是「走走停停、小步慢行」之意，写出仿徨者的犹疑与无着落，比「行走」多一分踌躇，比「停留」多一分追寻。「冷漠，凄清，又惆怅」三词连用，如三记低音和弦，把氛围推到顶点：冷漠写疏离，凄清写萧索，惆怅写愁绪——三个词既是写姑娘的神情，更是写「我」的心境，是这寂寥雨巷中唯一的声息。全诗至此，「我」与「她」、现实与理想，已在水汽蒙蒙的雨巷中融为一体。
The drift. She wanders in this lonesome rain-lane, bearing an oil-paper umbrella, like me, like me, silently drifting: cold, forlorn, and melancholy. The like-me-like-me silent drift and the cold-forlorn-melancholy are the close. To have drifted like me would be a drifting; the she-wanders-in-this-lonesome-rain-lane-bearing-an-oil-paper-umbrella-like-me-like-me-silently-drifting-cold-forlorn-and-melancholy is the drifting.
Study
Word focus
Related Reading
Xu Zhimo's 'Saying Goodbye to Cambridge Again'—'quietly I go, as quietly I came; I wave my sleeve, not taking away a single cloud'—is the light and soft music of the new poetry, the goodbye to Cambridge with the ease of the wave, the melancholy of the farewell in the light and soft rhythm. Dai Wangshu's 'The Rainy Alley' is the lingering and desolate music, the girl like a lilac in the lonely rainy alley, the melancholy of the pursuit and the loss. One light and one lingering, one the wave of the sleeve of the farewell and one the loitering of the rainy alley—the two faces of the musical beauty of the new poetry, the twin masterpieces of the syllable.
徐志摩《再别康桥》与戴望舒《雨巷》同为中国新诗史上音乐性最强的名篇，同为1920年代白话新诗的里程碑。二诗都以复沓回环营造旋律：《雨巷》反复咏叹「悠长」「像我一样」，如雨中低回的提琴；《再别康桥》反复吟唱「轻轻的我走了」「悄悄的我走了」，如云间飘荡的风笛。区别在于情调：《雨巷》写雨中的仿徨与求而不得的惆怅，音调低回凄婉；《再别康桥》写离别时的眷恋与洒脱，音调轻盈明快。一雨一夕、一愁一别，恰好呈现1920年代新诗在音节探索上的两种极致——戴望舒以「缓」取胜，徐志摩以「柔」见长，二诗并读，正是白话诗「音乐性」成熟的证明。
锦瑟 The Ornate Zither 李商隐 · 同以迷离意象写求而不得的怅惘，古典与现代的呼应 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
李商隐《锦瑟》「此情可待成追忆，只是当时已惘然」与《雨巷》相隔一千余年，却在精神上血脉相通：都以迷离朦胧的意象写一种可望而不可即的怅惘。《锦瑟》以锦瑟、华年、庄生梦蝶、望帝春心等意象织成一片惘然，究竟何所指，千古聚讼，而其美恰在「说不清」；《雨巷》以雨巷、油纸伞、丁香姑娘写一种求而不得的仿徨，姑娘是爱情是理想是希望，也「说不清」，而其美亦在朦胧。李商隐是晚唐朦胧诗的代表，戴望舒是中国象征派的代表，二人皆主张「以象写意、以隐写显」。并读二诗，可见中国诗歌「朦胧之美」的古今一脉：古典的锦瑟之弦，在现代的雨巷中，依然在轻轻颤动。