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唐 Tang · 诗 Poem

怨情

The, Feeling, of, the, Resentment

李白

Li Bai

闺怨Theme

美人卷珠帘，深坐颦蛾眉。
但见泪痕湿，不知心恨谁。

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Meaning

A poem of the woman and the resentment, written by Li Bai. The beautiful woman rolling up the beaded curtain, deep seated the knitted moth eyebrows — the woman of the opening. But seeing the traces of the tears wet, not knowing the heart hating whom — the resentment of the close. The poem is the woman and the resentment: the curtain, the tears, and the close's hating.

美人卷珠帘，深坐颦蛾眉。但见泪痕湿，不知心恨谁。

Appreciation

[Plain Paraphrase] The, beautiful, woman, rolling, up, the, beaded, curtain, deep, seated, the, knitted, moth, eyebrows. But, seeing, the, traces, of, the, tears, wet, not, knowing, the, heart, hating, whom. [Structure and Thought] The poem moves from the woman of the rolling up the curtain with the knitted eyebrows, through the seeing of the tears, to the close's the hating of the not knowing. [Key Technique] The poem's art is the close of the hating: deep seated the knitted moth eyebrows, and the close's but seeing the traces of the tears wet not knowing the heart hating whom — the woman gathered in the tears and the close's hating. [Emotional Tone] Fine, sorrowful, and tender: the poem is the curtain, the tears and the close's hating.

【白话串讲】李白写《怨情》：“美人卷珠帘，深坐颦蛾眉”——“但见泪痕湿，不知心恨谁”——她卷起珠帘，久久独坐，眉头紧蹙——只见泪痕，不知恨谁——他写深闺的幽怨。【意象与手法】此诗写闺怨，以含蓄写闺怨，是李白的名篇。前二句写深坐：「美人卷珠帘，深坐颦蛾眉」写美人卷珠帘、深坐颦蛾眉——写尽深坐的愁容；后二句写泪痕：「但见泪痕湿，不知心恨谁」写但见泪痕湿、不知心恨谁——写尽无言的怨情。全诗以含蓄写闺怨，写尽深坐的愁容与无言的怨情，是李白的代表作。【情感与主旨】此诗写闺怨，以含蓄写闺怨，是李白的名篇。此诗写一位深闺美人独自卷帘、深坐颦眉、泪痕暗湿的怨情。李白不写怨情本身，只写卷帘、深坐、颦眉、泪痕的动作，而以「不知心恨谁」点出怨恨的无名，正是「含不尽之意于言外」的写法。此诗写深坐：美人卷珠帘，深坐颦蛾眉——写美人卷珠帘、深坐颦蛾眉，写尽深坐的愁容；但见泪痕湿，不知心恨谁——写但见泪痕湿、不知心恨谁，写尽无言的怨情。全诗以含蓄写闺怨——那「深坐颦蛾眉」写尽深坐的愁容，「不知心恨谁」写尽无言的怨情，写尽深坐的愁容与无言的怨情，是理解李白闺怨诗的重要篇章。【名句点睛】常考「美人卷珠帘，深坐颦蛾眉」写深坐的愁容；「但见泪痕湿，不知心恨谁」写无言的怨情；以及全诗以含蓄写闺怨、以动作写情的手法。

Background

Li Bai (701-762), the great poet of the Tang, wrote this 'The, Feeling, of, the, Resentment' of the woman and the resentment — the resentment of the lonely beauty. The rolling up the curtain with the knitted eyebrows, and the close's the hating of the not knowing — the poem gathers the sympathy of the poet, the tenderness of the resentment. The poem is one of the famous works of the poet's poems of the woman.

此诗写闺怨，以含蓄写闺怨，是李白的名篇。李白（701—762），字太白，号青莲居士，又号谪仙人，祖籍陇西成纪（今甘肃秦安），生于碎叶城，唐代浪漫主义诗人，被誉为「诗仙」。此诗写一位深闺美人独自卷帘、深坐颦眉、泪痕暗湿的怨情。李白不写怨情本身，只写卷帘、深坐、颦眉、泪痕的动作，而以「不知心恨谁」点出怨恨的无名，正是「含不尽之意于言外」的写法。此诗写深坐：「美人卷珠帘，深坐颦蛾眉」写美人卷珠帘、深坐颦蛾眉——写尽深坐的愁容（美人卷珠帘，深坐颦蛾眉）；「但见泪痕湿，不知心恨谁」写但见泪痕湿、不知心恨谁——写尽无言的怨情（但见泪痕湿，不知心恨谁）。全诗以含蓄写闺怨，写尽深坐的愁容与无言的怨情，是理解李白闺怨诗的重要篇章。李白闺怨诗多托美人以写情思，此诗不着一字写怨由，纯以动作与细节见情。李白一生漫游天下、好任侠纵酒，诗中亦常托闺怨以寄感慨，如《玉阶怨》《长相思》皆是。此诗写美人独坐卷帘、颦眉垂泪，其怨情之无名无由，正见李白「怨而不怒」的诗教传统与含蓄笔法。

Art

The poem's art is the art of the hating. The woman opens: the, beautiful, woman, rolling, up, the, beaded, curtain — the beautiful woman of the rolling up; deep, seated, the, knitted, moth, eyebrows — the knitted moth eyebrows of the deep seated. The resentment follows: but, seeing, the, traces, of, the, tears, wet — the traces of the tears; not, knowing, the, heart, hating, whom — the hating of the not knowing — the woman, the tears and the close's hating, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以动作写愁容。「美人卷珠帘」以动作写愁容——那「卷珠帘」写尽卷帘的动作，以动作写尽深坐前的愁容。其二，以白描写深坐。「深坐颦蛾眉」以白描写深坐——那「深坐」「颦蛾眉」写尽深坐的颦眉，以白描写尽独处的愁容。其三，以细节写泪痕。「但见泪痕湿」以细节写泪痕——那「泪痕湿」写尽泪痕的潮湿，以细节写尽无言的怨情。其四，以发问写含蓄。「不知心恨谁」以发问写含蓄——那「不知」「心恨谁」写尽怨恨的无名，以发问写尽含蓄的怨情。此外，此诗前二句写深坐的愁容，后二句写无言的怨情，由形及心，正是闺怨诗「由外及内」的写法。四重手法，使此诗以含蓄写闺怨，写尽深坐的愁容与无言的怨情，是李白的代表作。此诗还善于以「卷」「坐」「颦」「泪」四个动作写怨情——卷珠帘而欲望，深坐而自伤，颦蛾眉而含愁，泪痕湿而难言，四个动作层层递进，由形及心。又善以「不知心恨谁」收束——怨而不指其人，正是「怨而不怒」的含蓄，使全诗于二十字中见无限情思。

Allusions

'The beaded curtain' (zhu lian) is the beaded curtain — the curtain of the beads, the rolling up of the opening; 'the moth eyebrows' (e mei) are the moth eyebrows — the eyebrows of the moth, the knitted of the opening.

此诗的用语深植于闺怨与含蓄传统。「珠帘」令人想到「珠帘」写珠帘的意象——也令人想到「却下水晶帘」（李白）的意象；「蛾眉」令人想到「蛾眉」写眉毛的意象——也令人想到「螓首蛾眉」（《诗经》）的意象；「泪痕」令人想到「泪痕」写泪痕的意象——也令人想到「泪痕红浥鲛绡透」（陆游）的意象；「颦」令人想到「颦」写皱眉的意象——也令人想到「东施效颦」的意象。全诗化用珠帘、蛾眉、泪痕、颦的意象，以含蓄写闺怨，正是李白「清新」而善含蓄、承闺怨传统写怨情之本领。「珠帘」令人想到《西京杂记》「昭阳殿织珠为帘」的华贵意象，也令人想到李白《玉阶怨》「却下水晶帘」的帘意象。「颦蛾眉」令人想到《诗经·卫风·硕人》「螓首蛾眉」的美人意象，也令人想到《庄子》「西施病心而颦」的东施效颦典故。李白以珠帘、蛾眉写美人，正承汉乐府写美人的传统。又「泪痕湿」令人想到《古诗十九首》「泣涕零如雨」的泣涕意象，也令人想到《长恨歌》「玉容寂寞泪阑干」的泪痕意象，李白以泪痕写怨情，正承乐府写闺怨的传统。

Commentary

This poem is one of the famous works of Li Bai's poems of the woman, quoted for the fineness of its opening and the tenderness of its close. The knitted moth eyebrows, and the hating of the not knowing, are among the admired passages of the poet's poems. Critics praise the poem's sympathy: the beauty gathered in the tears, to the close's hating.

此诗历来被推为李白闺怨诗的名篇，也是五绝写闺怨的代表。历代论者对此诗评价极高：清人评此诗「以含蓄写闺怨，意在言外」；近人更指出「不知心恨谁」写无言的怨情，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽深坐的愁容与无言的怨情——那美人，那珠帘，那深坐，那颦蛾眉，那泪痕，那湿，那心恨，都写尽了李白笔下的怨情；那「不知心恨谁」更以发问写尽含蓄的怨情。此诗与李白《玉阶怨》（「玉阶生白露」）同为闺怨名篇，一写「却下水晶帘，玲珑望秋月」的玉阶（玉阶怨），一写「不知心恨谁」的珠帘（怨情）；又与王昌龄《闺怨》「悔教夫婿觅封侯」的闺怨传统一脉相承，可见唐人写闺怨的传统。对于今日读者，此诗是理解李白闺怨诗的窗口，也是中国诗写闺怨的经典——那暗湿的泪痕，穿越千年，仍在诉说着无言的怨情。又此诗「美人卷珠帘」与崔颢《长干行》「君家何处住」的委婉一问异曲同工，皆以不言情而情自见；又与《古诗十九首·行行重行行》「相去日已远」的闺怨传统一脉相承。李白此诗以二十字写怨情而不着一怨字，正是「不着一字，尽得风流」的典范，后世论者多以「意在言外」评之。

Prosody

Form A quatrain of the resentment (wu yan jue ju)诗·五言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the tender resentment.五绝，押「眉」「谁」韵（上平四支），一韵到底，音节含蓄

Tone pattern The cadence is that of the hating: the level opening with the woman, the turning with the tears, and the close's fall with the whom.此诗为五言绝句，押平声韵，一韵到底，音节含蓄，正合闺怨的含蓄。

Reading note The poem's sound matches its tenderness: the cadences of the quatrain, and the close — 'bu zhi xin hen shui' — falls with the whom, the sound of the resentment of the beauty poet.此诗为五言绝句，四句——「美人卷珠帘，深坐颦蛾眉。但见泪痕湿，不知心恨谁」，押「支」韵（眉、谁），一韵到底，音节含蓄。全诗以含蓄写闺怨：前二句写深坐的愁容（美人卷珠帘、深坐颦蛾眉），后二句写无言的怨情（但见泪痕湿、不知心恨谁）。四句短章，前写愁容，后写怨情，以「不知心恨谁」写尽无言的怨情，正见李白「清新」的本色。诵读此诗，宜以含蓄的语调读「深坐颦蛾眉」的愁容，以低回的语调读「不知心恨谁」的怨情，结句要读得含蓄而有余韵，方能传达出李白的意在言外。李白绝句以「清新俊逸」著称，此诗正是其闺怨绝句的典范。

Line by line

但见泪痕湿，不知心恨谁

Only the tear-wet traces are seen; who is it she hates in her heart?

但见泪痕湿，不知心恨谁。

One sees only the tear-traces wet; who is it, I wonder, that her heart hates?

此二句是全诗写怨情的核心，以但见泪痕湿写泪痕，以不知心恨谁写心恨，写尽无言的怨情，是千古名句。「但见泪痕湿」写但见泪痕湿——那「但见」写但见，「泪痕湿」写泪痕湿，写尽泪痕的潮湿；「不知心恨谁」写不知心恨谁——那「不知」写不知，「心恨谁」写心恨谁，写尽心恨的无名。这句的深意在于：它以「但见泪痕湿」的泪痕与「不知心恨谁」的心恨，写尽无言的怨情——但见泪痕湿，那「但见泪痕湿」写尽泪痕的潮湿——但见泪痕湿，正是无语凝噎的写照，那「泪痕湿」写尽无言的怨情；不知心恨谁，那「不知心恨谁」写尽心恨的无名——不知心恨谁，正是怨恨难言的写照，那「不知」写尽含蓄的怨情；那「但见泪痕湿」写尽泪痕的潮湿，那「不知心恨谁」写尽心恨的无名，一写泪痕，一写心恨，写尽无言的怨情——但见泪痕而不知恨谁，正是含而不露的写照；此二句以泪痕、心恨写尽无言的怨情，也让此二句成为全诗写怨情的核心与千古名句。若换作直说「她恨一个人」，则失其含蓄；唯以「但见泪痕湿」写泪痕、「不知心恨谁」写心恨，写尽无言的怨情，也让此二句成为全诗写怨情的核心。

These two lines are the core of the poem's grievance, a famous line through the ages. 'Only the tear-wet traces are seen' the wet tears; 'who is it she hates in her heart?' the nameless hate. Tears seen, yet the hate's object unknown, the grievance reserved. Only the tears and the question make the line the poem's core.

美人卷珠帘，深坐颦蛾眉

The beauty rolls up the pearl curtain; sitting long, she frowns her moth eyebrows.

美人卷珠帘，深坐颦蛾眉。

The fair one rolls up the pearl curtain; sitting deep, she knits her moth-eyebrows.

此二句是全诗写愁容的核心，以美人卷珠帘写卷帘，以深坐颦蛾眉写深坐，写尽深坐的愁容，是千古名句。「美人卷珠帘」写美人卷珠帘——那「美人」写美人，「卷珠帘」写卷珠帘，写尽美人的卷帘；「深坐颦蛾眉」写深坐颦蛾眉——那「深坐」写深坐，「颦蛾眉」写颦蛾眉，写尽深坐的颦眉。这句的深意在于：它以「美人卷珠帘」的卷帘与「深坐颦蛾眉」的深坐，写尽深坐的愁容——美人卷珠帘，那「美人卷珠帘」写尽美人的卷帘——卷起珠帘，正是独处的写照，那「卷珠帘」写尽卷帘的孤寂；深坐颦蛾眉，那「深坐颦蛾眉」写尽深坐的颦眉——深坐而颦眉，正是愁思的写照，那「颦蛾眉」写尽深坐的愁容；那「美人卷珠帘」写尽美人的卷帘，那「深坐颦蛾眉」写尽深坐的颦眉，一写卷帘，一写深坐，写尽深坐的愁容——卷帘而深坐，正是闺中独处的写照；此二句以卷帘、深坐写尽深坐的愁容，也为后文的泪痕作铺垫，也让此二句成为全诗写愁容的核心与千古名句。若换作直说「她很忧郁地坐着」，则失其形象；唯以「美人卷珠帘」写卷帘、「深坐颦蛾眉」写深坐，写尽深坐的愁容，也让此二句成为全诗写愁容的核心。

These two lines are the core of the poem's sorrowful face, a famous line through the ages. 'The beauty rolls up the pearl curtain' the rolling up of the curtain; 'sitting long, she frowns her moth eyebrows' the long sitting, the knitted brows. The rolled curtain and the deep sitting writing the solitary boudoir sorrow - the curtain rolled, the brow frowned, the solitude and longing within, priming the tears below.

Study

Word focus

深 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「深坐颦蛾眉」之「深」字是写愁容的关键词，一个「深」字写尽深坐的孤寂。深者，深深、长久也。李白以「深坐颦蛾眉」写愁容，这个「深」字至少有双重意味：其一，写坐之深——那「深坐颦蛾眉」写深坐颦蛾眉，那「深」字写尽深坐的久长——深坐，正是久坐独处的写照，那「深」字写尽深坐的孤寂；其二，写情之深——那「深」字更是写情——深，正见怨情的深重，那「深」字写尽闺怨的深长。以「深」字写愁容，正是李白写闺怨的枢纽——若换作「久」「长」等字，则或失其与「坐」「颦蛾眉」的配合，或失其写深的意味；唯「深」字，以深坐颦蛾眉写尽深坐的久长与怨情的深重，与「但见泪痕湿」的泪痕湿相合，写尽深坐的愁容，也让「深坐颦蛾眉」成为全诗写愁容的名句。

湿 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「但见泪痕湿」之「湿」字是写怨情的关键词，一个「湿」字写尽泪痕的潮湿。湿者，潮湿、浸湿也。李白以「但见泪痕湿」写怨情，这个「湿」字至少有双重意味：其一，写泪之湿——那「但见泪痕湿」写但见泪痕湿，那「湿」字写尽泪痕的潮湿——泪痕湿，正是久泣的写照，那「湿」字写尽无言的怨情；其二，写情之深——那「湿」字更是写情——湿，正见泪痕之深，那「湿」字写尽闺怨的深重。以「湿」字写怨情，正是李白写闺怨的枢纽——若换作「新」「多」等字，则或失其与「但见」「泪痕」的配合，或失其写湿的意味；唯「湿」字，以但见泪痕湿写尽泪痕的潮湿与泪痕之深，与「深坐颦蛾眉」的深坐相合，写尽无言的怨情，也让「但见泪痕湿」成为全诗写怨情的名句。

怨情