李商隐的悼亡诗

李商隐的悼亡诗（精选5篇）

李商隐的悼亡诗 篇1

在中国文学史上, 悼亡诗以其特殊的题材在中国古典文学中占有一席之地。这类诗歌的主要内容多突出表现妻子生前的贤、惠、笃, 以及作者对亡妻的深切追思。其表达方式是由景到人, 睹物思情, 超越时空, 物我统一。诗篇的基调表现为一种凄婉沉痛、孤寂落寞、缠绵悱恻的悲情美。其中潘岳追悼亡妻的诗以其情真意切、缠绵悱恻见长, 千百年来叩动人们的心弦, 后影响唐代元稹等人, 而元稹的悼亡诗则多一些俊朗直率、浅切通畅, 正是他们二人使悼亡诗成为专指悼念亡妻的诗歌门类, 并确定了悼亡诗在中国古代文学中的地位。为此, 笔者将潘岳的《悼亡》与元稹《遣悲怀》悼亡诗进行对比, 探讨在同一题材下, 他们诗歌的艺术手法和艺术风格的异同点及元稹对潘岳的继承与发展。

潘岳 (247—300年) , 字安仁, 祖籍荥阳中牟 (今属河南) , 是西晋著名的文学家。刘勰曾这样评价说:“晋世群才, 稍入轻绮;张潘左陆, 比肩诗衢。采缛于正始, 力柔于建安。或忻文以为妙, 或流靡以自妍, 此其大略也。” (《文心雕龙.明诗》) 。与当时的陆机并称, 并被前人屡加比较, 或说“潘文浅而净, 陆文深而芜”, 或说“陆才如海, 潘才如江”。虽各有得失, 亦不无高下。但潘岳“善为哀之文”, 这是古今一致的公论, 《悼亡》之作, 传诵千古。潘岳的妻子杨氏是西晋书法家戴侯杨肇的女儿, 潘岳十二岁时与杨氏订婚, 结婚之后, 夫妻两人大约共同生活了二十多年, 杨氏于晋惠帝元康八年 (298) 卒。二人感情甚笃, 杨氏去世后, 潘岳除了《悼亡诗》三首外, 还作有《杨氏七哀诗》等悼亡她, 情深义重可见于此。

《悼亡诗三首》 (之一) 是诗人为哀悼亡妻所作《悼亡诗》三首中的第一首, 也是三首中最让人动容的一首。诗歌给读者展示了一个哀伤的永恒时空, 充满生死两茫茫的悲痛之情。诗中诗人以时间为经回顾了与妻子生前“如彼翰林鸟, 如彼游川鱼”, 如胶似漆般浓炽的爱, 伤吟现如今物是人非、阴阳相隔“双栖一朝只、比目中路析”的孤单落寂之感, 以及不因“光阴荏苒”、“寒暑流易”, 而改变诗人对亡妻的“寝息何时忘, 沉忧日盈积”的永恒哀念, 反而越来越沉重。但由于伤悲难遣, 孤寂难耐, 情思无依, 因此他发出了“庶几有时哀”的慨叹。面对这种无奈的悲苦, 诗人开始羡慕庄周犹有缶可击, 因此也希望自己有朝一日能像庄子那样从感情的重压下解脱出来。而这种企图, 则又暗示出诗人的这种哀伤不仅剥夺了他的今天, 而且将吞噬着他的明天、后天……读罢全诗, 一个陷入永恒哀痛之中的诗人形象粲然浮现在眼前。同时, 诗人又以空间为纬, 使妻子生前的景物随着自己的步履移动逐次展示出来:庐舍、居室、帷幕、屏风、翰墨的余迹、檐头的滴水等, 物是人非, 睹物思人, 这些连续的空间场景弥漫着阴沉凄凉的气氛, 在沉寂中倾诉着诗人丧妻的悲痛、孤单的追思, 流露着低沉、伤感的情绪。这首诗情至深而意至切, 悼亡的深情婉转地流淌于字里行间。

在潘岳悼亡诗中, 诗人擅长于用精密而细腻的文思编织着对妻子无尽的追思和自己的孤寂之苦, 而这种情思诗人能巧妙地通过不同时间、不同地点的意象淋漓尽致地宣泄出来。同时, 这种表现手法的运用也达到了情景交融令人震撼的艺术效果。这些意象看似信手拈来, 即景生情, 实则不然, 此物此象在诗中皆成了诗人寄托哀思的载体, 承载着诗人浓浓的、深深的情思。因此, 潘岳的悼亡诗都写得情真意切, 以致李商隐说:“只有安仁能作诔, 何曾宋玉解招魂。”但由于受当时魏晋文风的影响, 潘岳的悼亡诗辞藻过于华丽, 倒掩盖了不少真情实感, 正如元稹所评“潘安悼亡犹费词”。

元稹的悼亡诗深受潘岳的影响又超越了潘岳, 也正是元稹诗的出现, 才使得悼亡诗的风韵气势最终成型。

元稹 (779—831年) , 唐代文学家, 字微之, 河南洛阳人。元稹在文学上以写传奇和艳诗闻名, 但他的悼亡诗也同样让人感动。元稹的妻子韦丛是太子太保韦夏卿的幼女, 二十岁时嫁给元稹, 那时元稹没有功名利禄, 虽然是“贫贱夫妻百事哀”, 但“野蔬充膳甘长藿”, 俩人恩爱有加, 度过了七年艰苦却幸福的生活。七年后, 元稹已经当上了监察御史, 韦氏却离他而去, 元稹十分悲痛, 为她写了很多可称为千古绝唱的悼亡诗, 包括《遣悲怀》三首及那首著名的《离思》。

我们来看看元稹的《遣悲怀》三首。

“谢公最小偏怜女, 自嫁黔娄百事乖。顾我无衣搜荩箧, 泥他沽酒拔金钗。野蔬充膳甘长藿, 落叶添薪仰古槐。今日俸钱过十万, 与君营奠复营斋。”“昔日戏言身后意, 今朝都到眼前来。衣裳已施行看尽, 针线犹存未忍开。尚想旧情怜婢仆, 也曾因梦送钱财。诚知此恨人人有, 贫贱夫妻百事哀。”“闲坐悲君亦自悲, 百年都是几多时。邓攸无子寻知命, 潘岳悼亡犹费词。同穴窅冥何所望, 他生缘会更难期。惟将终夜长开眼, 报答平生未展眉。”

在三首悼亡诗中, 元稹几乎没有对环境的直接描写, 主要运用叙述和议论的表达方式直叙其事、直抒其情, 但同样达到追思抚昔的“悼”的效果, 同样情真意切, 读来令人哀动于衷, 潸然泪下, 字字透露着诗人对亡妻椎心泣血的思念。亡妻韦丛聪颖美丽, 在元稹出仕之前就已亡故。“自嫁黔娄百事乖”、“贫贱夫妻百事哀”, 都隐含着诗人的无奈自责:妻子生前未能尽享自己给其营造的温暖和幸福, 反是随着自己一道尽尝生活的艰辛与悲苦。

三首诗按过去、现在、将来的时间顺序展开, 以一个“悲”字贯穿始终, 题为《遣悲怀》, 实际上则是越“遣”越悲, 越遣越不能忘怀, 越欲罢不已。悲痛中夹杂着愧疚、遗憾和报答无门的复杂心情。如:第一首以叙述的手法刻画出韦氏“顾我无衣搜荩箧, 泥他沽酒拔金钗。野蔬充膳甘长藿, 落叶添薪仰古槐。”对我无微不至的关怀、勤俭持家、任劳任怨、相濡以沫的品德, 使韦氏贤惠的形象跃然纸上。第二首写物是人非、思念不已, 只好通过“托衣裳”、“存针线”、“怜婢仆”来弥补对亡妻的愧疚之心, 以慰藉亡妻, 寄托自己对亡妻的思念之情。第三首主要以议论的方式倾诉着对亡妻的日炽的追思, 仍导致“自悲”, “自悲”的是生前没有使妻子过上好生活, “自悲”的是自己日后难遣的孤寂、悲苦, 以至于发出了“同穴窅冥何所望, 他生缘会更难期”的慨叹, 而只能无奈地以“惟将终夜长开眼, 报答平生未展眉”的方式来抚慰自己对亡妻的追思和愧疚。在诗中诗人同时运用对比的手法, 以今昔之反差来强调往日之贫、欢, 妻子之惠, 反衬今日自己之“悲”、“愧”、“责”。昔日妻子“野蔬充膳食”, 今日诗人“俸钱过千万”;昔日妻子“泥他沽酒拔金钗”, 今日诗人“因梦送钱财”;昔日是妻子“添薪仰古槐”, 今日是诗人“针线未忍开”;昔日是妻子“平生未展眉”, 今日是诗人“终夜长开眼”。一鬼一人, 一昔一今, 一虚一实, 一死一生, 处处对照使得字里行间流露出的尽是艰辛与沉重、悲恸与深沉。同时, 元稹的悼亡诗中微观上细致刻画, 极为真实具体, 在这方面元稹的诗要较潘岳显得更为悲痛深沉, 而且为了表达自己的感情, 往往从日常小事、真事入手, 小处着笔, 通过某些极具感染力的细节描写表达出来。在这些诗中, 元稹用浅切的语言, 通过平凡的琐碎的家常事, 表达了对亡妻深深的追思, 使自己波涛汹涌的情感潮水般倾泻奔腾而来, 拨动着诗人的心弦, 撕扯着诗人的愁肠, 在诗人那早已枯竭的心灵上又榨出了最后的一滴眼泪。妻子走了, 留下的是孤零销魂的诗人;妻子走了, 留下的是诗人对妻子深深的追忆和思念。

唐人崔颢有诗云:“黯然销魂者, 惟别而已矣。”世界上最痛苦的莫过于生离死别。悼亡诗作为一种主情的诗歌体裁, 完全靠真挚的情感动人。潘岳和元稹都是在相同的境遇下有感而发, 故而他们的情感都是真挚感人, 写出来的诗歌也是动人心魄。难怪清代的纳兰性德在笔记中, 把唐代元稹的《离思》、宋代苏轼的《江城子》、宋代贺铸《鹧鸪天·半死桐》与潘岳的《悼亡诗》并列为四大悼亡诗, 可见潘、元二人的悼亡诗在中国文学史上的地位之高。

悼亡诗始于潘岳, 但是真正意义上把悼亡诗推向更高境界的却是元稹。潘岳的悼亡诗为后世悼亡诗人提供了一个范本, 文风追求绮丽、喜欢铺写, 文字连接比较紧密, 然而具体就诗歌艺术特色分析此诗, 就会发现虽然诗句通顺流畅, 语句连接紧密, 但是缺少精美工致、深于刻炼的句子, 在语言的创造方面显得比较平庸, 语言堆砌过多, 意思重复明显, 缺少一些亮点和闪光点。而元稹从潘岳的诗作中汲取了不少艺术营养和创作灵感, “潘岳悼亡犹费词”, 元稹既深受潘岳的影响又超越了潘岳, 也正是元稹的出现, 才使得悼亡诗的风韵气势最终成型。《离思》三首也延续了他一贯的诗歌作风, 语言平易浅近, 流露的情感却真实动人, 感人肺腑。其中诗句“贫贱夫妻百事哀”, “同穴窅冥何所望, 他生缘会更难期”更是广为流传。清代蘅塘退士评论元稹这首诗时说:“古今悼亡诗充栋, 无能出此三首范围者, 勿以浅近忽之。”潘岳和元稹的悼亡诗不仅打动了世人, 更深深地影响了后来的苏轼、纳兰性德的悼亡词创作。

摘要：潘岳和元稹的悼亡诗是中国古代文学领域的一朵奇葩, 本文拟从二者悼亡诗的所表现出来的思想感情、表达方式和写作风格入手, 分析二者悼亡诗的异同点和元稹对潘岳悼亡诗的继承和发展。

关键词：潘岳,元稹,悼亡诗,比较

参考文献

[1]辞源[M]. (修订本1-4合订本) 北京:商务印书馆, 1979.

[2]刘勰.文心雕龙.明诗[M].文渊阁四库全书电子版.

[3]隋书.经籍志[M].北京:商务印书馆, 1995.

[4]袁行霈中国古代文学史[M].北京:高等教育出版社, 1999.

悼亡诗 篇2

2.我思古人，实获我心

绿兮衣兮，绿衣黄里;心之忧矣，曷维其已。

绿兮衣兮，绿衣黄裳;心之忧矣，曷维其亡。

绿兮丝矣，女所治兮;我思古人，俾无忧兮。

絺兮络兮，凄其以风;我思古人，实获我心。

——《诗经·邶风·绿衣》

《诗经》中的这首绿衣，与下文的《葛生》都可以算是悼亡诗的鼻祖。本诗以男性视角，来写对亡妻的思念。丈夫看到妻子当年身着的绿衣，勾起了对亡妻的眷恋。

3.百岁之后，归于其居!百岁之后，归于其室!

葛生蒙楚，蔹蔓于野。予美亡此，谁与?独处!

葛生蒙棘，蔹蔓于域。予美亡此，谁与?独息!

角枕粲兮，锦衾烂兮。予美亡此，谁与?独旦!

夏之日，冬之夜。百岁之后，归於其居!

冬之夜，夏之日。百岁之后，归於其室!

——《诗经·唐风·葛生》

悼亡诗原文及赏析 篇3

原文：

荏苒冬春谢，寒暑忽流易。

之子归穷泉，重壤永幽隔。

私怀谁克从，淹留亦何益。

僶俛恭朝命，回心反初役。

望庐思其人，入室想所历。

帏屏无髣髴，翰墨有馀迹。

流芳未及歇，遗挂犹在壁。

怅恍如或存，回惶忡惊惕。

如彼翰林鸟，双栖一朝只。

如彼游川鱼，比目中路析。

春风缘隙来，晨霤承檐滴。

寝息何时忘，沉忧日盈积。

庶几有时衰，庄缶犹可击。

皎皎窗中月，照我室南端。

清商应秋至，溽暑随节阑。

凛凛凉风升，始觉夏衾单。

岂曰无重纩，谁与同岁寒。

岁寒无与同，朗月何胧胧。

展转盻枕席，长簟竟床空。

床空委清尘，室虚来悲风。

独无李氏灵，髣髴覩尔容。

抚衿长叹息，不觉涕沾胸。

沾胸安能已，悲怀从中起。

寝兴目存形，遗音犹在耳。

上惭东门吴，下愧蒙庄子。

赋诗欲言志，此志难具纪。

命也可奈何，长戚自令鄙。

曜灵运天机，四节代迁逝。

凄凄朝露凝，烈烈夕风厉。

奈何悼淑俪，仪容永潜翳。

念此如昨日，谁知已卒岁。

改服从朝政，哀心寄私制。

茵帱张故房，朔望临尔祭。

尔祭讵几时，朔望忽复尽。

衾裳一毁撤，千载不复引。

亹亹朞月周，戚戚弥相愍。

悲怀感物来，泣涕应情陨。

驾言陟东阜，望坟思纡轸。

徘徊墟墓间，欲去复不忍。

徘徊不忍去，徙倚步踟蹰。

落叶委埏侧，枯荄带坟隅。

孤魂独茕茕，安知灵与无。

投心遵朝命，挥涕强就车。

谁谓帝宫远，路极悲有余。

赏析：

潘岳《悼亡诗》是诗人悼念亡妻杨氏的诗作，共有三首。杨氏是西晋书法家戴侯杨肇的女儿。潘岳十二岁时与她订婚，结婚之后，大约共同生活了二十四个年头。杨氏卒于公元2(晋惠帝元康八年)。潘岳夫妇感情很好，杨氏亡后，潘岳写了一些悼亡诗赋，除《悼亡诗》三首之外，还有《哀永逝文》《悼亡赋》等，表现了诗人与妻子的深厚感情。在这些悼亡诗赋中，《悼亡诗》三首都堪称杰作，而在三首《悼亡诗》中，第一首传诵千古，尤为有名。这里选析第一首。

这一首《悼亡诗》写作时间大约是杨氏死后一周年，即公元2(晋惠帝永康九年)。何焯《义门读书记》说：“安仁《悼亡》，盖在终制之后，荏苒冬春，寒暑忽易，是一期已周也。古人未有丧而赋诗者。”结合诗的内容考察，是可以相信的。这首诗，从内容看，可以分为三个部分：

“”是第一部分，写诗人为妻子守丧一年之后，即将离家返回任所时的心情。开头四句点明妻子去世已经一年。诗人说，时光流逝，爱妻离开人世已整整一年，层层的土壤将他们永远隔绝了。“私怀”四句，写诗人即将离家返回任所的心理活动。就个人对亡妻的思念之情来说，诗人十分愿意留在家中，可是有公务在身，朝廷不会依从，这个愿望是难以实现的。再说，人已死了，就是再继续留在家中，也是没有用。这里提出留与不留的矛盾。矛盾的解决办法是，勉强遵从朝廷之命，转变念头，返回原来任职的地方。

“”是第二部分，写诗人就要离家返回任所，临行之前，触景生情，心中有说不出的悲哀和痛苦。看到住宅，自然想起亡妻，她的音容笑貌宛在眼前;进入房间，自然忆起与爱妻共同生活的美好经历，她的一举一动，使诗人永远铭记在心间。可是，在罗帐、屏风之间再也见不到爱妻的形影。见到的是墙上挂的亡妻的笔墨遗迹，婉媚依旧，余香未歇。眼前的情景，使诗人的神志恍恍忽忽，好像爱妻还活着，忽然想起她离开人世，心中不免有几分惊惧。这一段心理描写，十分细腻的表现了诗人思念亡妻的感情，真挚动人。这是全诗的最精彩的部分。

应该指出，“流芳”“遗挂”二语，注家尚有不同看法。有人认为“流芳”是指杨氏的化妆用品，有人认为“遗挂”是杨氏的遗像，都是猜测，缺乏根据。余冠英说：“‘流芳’‘遗挂’都承翰墨而言，言亡妻笔墨遗迹，挂在墙上，还有余芳。”(《汉魏六朝诗选》)比较可信。又，“回惶忡惊惕”，意思是由惶惑不安转而感到惊惧。“回”，一作“周”。前人如陈祚明、沈德潜等人多谓此句不通，清人吴淇说：“此诗‘周惶忡惊惕’五字似复而实一字有一字之情，‘怅恍’者，见其所历而犹为未亡。‘周惶忡惊惕’，想其所历而已知其亡，故以‘周惶忡惊惕’五字，合之‘怅恍’，共七字，总以描写室中人新亡，单剩孤孤一身在室内，其心中忐忐忑忑光景如画。”(《六朝选诗定论》)剖析入微，亦颇有理。

“寝息何时忘，沈忧日盈积。”是第三部分，写诗人丧偶的孤独和悲哀。“翰林鸟”，指双飞于林中的鸟。比目鱼，水中一种成对的鱼。《尔雅·释地》说：“东方有比目鱼，不比不行。”传说比目鱼身体很扁，头上只一侧有眼睛，必须与眼睛生在另一侧的比目鱼并游。不论“翰林鸟”，还是“比目鱼”，都是古人常用来比喻夫妻合好。“一朝只”、“中路析”，写出诗人丧偶以后的.孤独与凄凉。冬去春来，寒暑流易，爱妻去世，忽已逾周年。又是春风袭人之时，檐下晨霤点点滴滴，逗人哀思，难以入眠。深沉的忧愁，难以消却，如同三春细雨，绵绵无休，盈积心头。要想使哀思衰减，只有效法庄周敲击瓦盆(一种古代乐器)了。《庄子·至乐》说，战国时代宋国人庄周妻死了，惠施去吊丧，见庄周两腿伸直岔开坐在那里敲着瓦盆唱歌。惠施说，妻子死了，不哭也罢，竟然唱起歌来，未免太过分了。庄周说，妻子刚死时，他很悲伤。后来想想，人本无生、无形，由无到有，又由有到无，正如四季循环，就不必要悲伤了。潘岳想效法庄周，以达观的态度消愁，殊不知“此情无计可消除，才下眉头，却上心头”。

潘岳的悼亡诗赋有一个明显的特点，即富于感情。此诗也不例外。陈祚明说：“安仁情深之子，每一涉笔，淋漓倾注，宛转侧折，旁写曲诉，刺刺不能自休。夫诗以道情，未有情深而语不佳者;所嫌笔端繁冗，不能裁节，有逊乐府古诗含蕴不尽之妙耳。”(《采菽堂古诗选》卷十一)这里肯定潘岳悼亡诗的感情“淋漓倾注”，又批评了他的诗繁冗和缺乏“含蕴不尽之妙”，十分中肯。沈德潜对潘岳诗的评价不高，但是对悼亡诗，也指出“其情自深”(《古诗源》卷七)的特点。的确，潘岳悼亡诗感情深沉，颇为感人。

李商隐的悼亡诗 篇4

河阳诗

作者：李商隐朝代：唐体裁：七古 黄河摇溶天上来，玉楼影近中天台。龙头泻酒客寿杯，

主人浅笑红玫瑰。梓泽东来七十里，长沟复堑埋云子。

可惜秋眸一脔光，汉陵走马黄尘起。南浦老鱼腥古涎，

真珠密字芙蓉篇。湘中寄到梦不到，衰容自去抛凉天。

忆得蛟丝裁小卓，蛱蝶飞回木绵薄。绿绣笙囊不见人，

一口红霞夜深嚼。幽兰泣露新香死，画图浅缥松溪水。

楚丝微觉竹枝高，半曲新辞写绵纸。巴西夜市红守宫，

后房点臂斑斑红。堤南渴雁自飞久，芦花一夜吹西风。

晓帘串断蜻蜓翼，罗屏但有空青色。玉湾不钓三千年，

莲房暗被蛟龙惜。湿银注镜井口平，鸾钗映月寒铮铮。

不知桂树在何处，仙人不下双金茎。百尺相风插重屋，

李商隐的悼亡诗 篇5

关键词：悼亡诗,苏轼,哈代,《江城子》,爱玛组诗

Hardy and Su Shi,living in different countries and ages,yet suffering the similar toil of losing wife,expressed their yearning and missing to their deceased wives with similar exquisite style of writing,and also described the permanent motif of literature of home and abroad from ancient to present---love and death.Both sublimed their deep love and grief to deceased wives to well accepted and remembered poems.Chinese way of expressing love is originally different from that of British in that the former is implicative and euphemistic while the latter is bold and unrestrained and passionate,yet poets of different nations expressed their feelings in the same form of literature with surprisingly similar exquisite style of writing.This paper probes into the deep Occidental and Oriental differences of implied meaning in terms of discourse.

1 Definition of Memorial Poetry

Memorial poetry,in a broad sense,refers to all the poems written to memorize the deceased,and in a narrow sense,refers to poems written by a husband or a wife to mourn his or her wife or husband.[1]Combining the subject of love and death,memorial poetry could be taken as a unique kind of love poetry which relates to the love between the alive and the dead and the living's yearning for the dead.Love and death has always been the eternal motif of litterateur both home and abroad.The earliest Chinese memorial poetry appeared in The Book of Poetry,and since Pan Yue of Xi Jin Dynasty wrote poetry to memorize his passed wife,memorial poetry became the exclusive reference to the poems of mourning deceased wives.From then on,there are many excellent memorial poetry and poets,like Wei Yingwu,Meng Jiao of Tang dynasty,Huang Tingjian,Lu You of Song dynasty,Yu Qian,Li Zhi of Ming dynasty and Wang Fuzhi of Qing dynasty and the like.

In Britain,"a country emphasizing freedom,equality,freedom of love,individuality liberation"[2],lyrical poems are numerous,yet the number of memorial poetry is greatly less than that of China,in spite of which,there are still many a good excellent works,such as John Milton's On his deceased wife;Thomas Hardy's Emma poetry including Afterwards,The Walk,After A Journey,The Voice and etc.;Robert Browning's Prospice etc.A-mong the western memorial poetry,maybe only Hardy's are an exception because about his 100 memorial poetry on his wife are different form others'in that they are full of romanticism illusions and rich in scenes of daily life,the feelings in which are sincere and genuine but not euphuistical.Readers often gasp in admiration when reading his memorial poems,some of which are surprisingly similar to Chinese ones,like Su Shi's JiangChengZi.

2 Comparative Analysis on Hardy's Emma Poetry and Su Shi's JiangChengZi

2.1 Analysis on Su Shi's JiangChengZi

《江城子·乙卯正月二十日夜记梦》

苏轼

十年生死两茫茫,/不思量,自难忘。/千里孤坟,/无处话凄凉。/纵使相逢应不识,/尘满面,鬓如霜。/夜来幽梦忽还乡/小轩窗,正梳妆。/相顾无言,/惟有泪千行。/料得年年肠断处,/明月夜,短松冈。

English version:

Ten years,dead and living dim and draw apart.

I don't try to remember,

But forgetting is hard.

Lonely grave a thousand miles off,

Cold thoughts,where can I talk them out?

Even if we met,you wouldn't know me,

Dust on my face,

Hair like frost.

In a dream last night suddenly I was home.

By the window of the little room,

You were combing your hair and making up.

You turned and looked,not speaking,

Only lines of tears coursing down.

Year after year will it break my heart?

The moonlit grave,

The stubby pines.1

2.1.1 Background

This poem was written to mourn Su Shi's ex-wife Wang Fu who was 3 years younger than Su Shi and married him at her 16.What's a pity is that she left at her 27 leaving a seven year old child to Su Shi.It's easy to see what Su Shi suffered from this loss.After 10 years'involving in official career,due to the unsatisfactory achievement of his political ideal and excessive official business,the only 40 years old Su Shi got an early aging,being like"Dust on my face,Hair like frost.",can he still remember his deceased wife from time to time?Yet,in his sub-consciousness,Wang Fu was always there.As a result,on a night of 20th day of 1stmonth in terms of Chinese lunar calendar(actually,it was in 1075 at Su Shi's 39),a dream realized their reunion and consequently,came out this outstanding memorial poem.

The poem was written after the dream,the first sentence"Ten years,dead and living dim and draw apart."Expressed his deep feeling of grief and unhelplessness that he couldn't go across the line between living and death to meet with her wife,and then what's in his mind in the time of"Ten years,dead and living dim and draw apart."?"I don't try to remember,but forgetting is hard"is the answer.As a mundane man,Su Shi had to deal with numerous trifles,let alone to muse over her long deceased wives,the rather that the passing of time will also gradually water one's memory down,so"I don't try to remember,"is really telling the truth.But his missing of his wife was still clearly in his sub-consciousness,though similarly inexistent in his consciousness,"but forgetting is hard"expressed his incapability to forget his wife.The dead was gone,even though the living and the dead could communicate and the couples were able to meet again like a miracle,but the man before her was almost a middle-aged toil worn stranger,instead of that who had been young with elegance and talent.Seeing this,wouldn't they be speechless.It seems that the deceased is relatively lucky,because the living is still suffering from her departing and missing of her.At this extremely grievous moment,a dream came to abate his pain,yet even in the dream,the happiness was limited---"You turned and looked,not speaking,only lines of tears coursing down",the misery without any word but only tears covered the temporarily happiness.Then,the poet came back to the dismal reality:"Year after year will it break my heart?The moonlit grave,The stubby pines."Su Shi imagined that his beloved wife would still have to lie in the grave alone before his death years after years and day by day,what kind of heartbroken torturing is it!

2.2 Analysis on Hardy's Emma poetry

Compared with Su Shi's memorial poem,missing also constituted Hardy's Emma poetry,and the proportion was also not small,at the same time,it touched readers with authentic and profound feelings,but the most protruding features of Hardy's Emma poetry is its abundant reflection and illusion,like in The Shadow on the Stone

I went by the Druid stone

That broods in the garden white and lone,

And I stopped and looked at the shifting shadows That at some moments fall thereon

From the tree hard by with a rhythmic swing,And they shaped in my imagining

To the shade that a well-known head and shoulders Threw there when she was gardening.

I thought her behind my back,

Yea,her I long had learned to lack,

And I said:"I am sure you are standing behind me,Though how do you get into this old track?"

And there was no sound but the fall of a leaf As a sad response;and to keep down my grief I would not turn my head to discover

That there was nothing in my belief.

Yet I wanted to look and see

That nobody stood at the back of me;

But I thought once more:"Nay,I'll not univision A shape which,somehow,there may be."

So I went on softly from the glade,

And left her behind me throwing her shade,As she were indeed an apparition

My head unturned lest my dream should fade.

In this poem,the shadow behind the stone was imagined as the shadow of his deceased wife which was always behind his back.In Su Shi'poem,it is"Even if we met,you wouldn't know me,Dust on my face,Hair like frost",but Hardy's wife still remained fresh in his memory,he said"I am sure you are standing behind me,Though how do you get into this old track?"knowing that it was illusion,but unbearable to break it,and repressed his fierce longing for looking back,"and to keep down my grief,I would not turn my head to discover""So I went on softly from the glade,""lest my dream should fade."In his poem,Hardy didn't see her wife's appearance again and he implied reader it was on a moonlit night by shadow,while Su Shi clearly said that"The moonlit grave".In Hardy's poem,there were image of shadow of tree,fallen leaves,while in Su Shi'he used"The moonlit grave,The stubby pines"to create a kind atmosphere of loneliness,piteousness and melancholy.The feature of illusion and imagination of Emma poetry can be roughly seen from the simple analysis of the above poem,and its another feature is deep recalling and reflection which is greatly different from Chinese memorial poetry.

Memorial poetry is to memorize the lost love and express missing to deceased wives[3],as a result,recalling is inevitable which is also one of what Hardy liked to do in his poems.As a matter of fact,Emma poetry is his confession on his marriage.In all these poems,Hardy frankly recalled the long unhappy marriage as well as his sweet days with Emma.In the After a Journey,he said to his wife“what have you now found to say of our past""summer gave us sweets,but autumn wrought division?""Things were not lastly as firstly well with us twain,you tell?"Spring and summer represented respectively the season that they got to know each other and fell in love with each other,they implied sweetness in Hardy's poem.Autumn signified grief and pains because Emma died in autumn.Hardy tried his best to beautify and idealize the sceneries in his mind to make a contrast with the present.The early Emma was"with your nut-colored hair,and grey eyes,and rose-flush coming and going(After a Journey)".At that time,their love is harmonious"While Life unrolled us its very best(The Going)"and"the faint scent of the bordering flowers swam unheeded away,and I marked not the charm in the changes of day as the cloud-colors came and went(After The Visit)".And then he began to describe the later unhappiness,the beautiful image of Emma was replaced with"apparition""ghost",returning from the past to the present,from the dream to the reality.In the poem of The Going,Hardy pondered on the estrangement between Emma and him:"Why,then,latterly did we not speak,Did we not think of those days long dead,And ere your vanishing strive to seek that time's renewal?We might have said,‘in this bright spring weather,we'll visit together those places that once we visited'."It's really rare that a poet will retrospect his own love experience so frankly.The best poem that reflects Hardy's repent and retrospection is the poem An Upbraiding written in the perspective of Emma which was actually his own repent:

Now I am dead you sing to me

The songs we used to know,

But while I lived you had no wish Or care for doing so.

Now I am dead you come to me In the moonlight,comfortless;

Ah,what would I have given alive To win such tenderness!

When you are dead,and stand to me Not differenced,as now,

But like again,will you be cold As when we lived,or how?

This poem took the dead as the first person narrator,creating a new perspective of narration and expression of emotions,which broke the traditional memorial poetry's restriction of taking the alive as the first person.This kind of style is rare in Chinese history of memorial poetry as well as in that of Western.At her living,Hardy wrote so few poems about her,yet he wrote so tremendous about her after her death,so what's the point here?Could he make up for anything?As Hardy was writing all those poems,he realized it and became dissatisfied with himself.He stood in Emma's shoes to think about what he had done,and expressed his repent and regret through Emma's heckling to him.Seeing from this,we can see that Hardy's memorial poetry was filled with rational retrospection over his past behavior as he was recalling the past days.Just because of this rational retrospection on death,some scholars said that"it is the death of Emma that enables Hardy to complete what he didn't finish in her living:his best love poems were created not at the time when he was pursuing his sweetheart at his 30,nor at the time when he got married at his 34,but at the time when he was frail at his 72"which also verifies Hardy's Memorial poetry's value of retrospection.

3 Cultural Difference behind Chinese and Western Memorial Poetry

Chinese memorial poetry has always been influenced by realism,and it always chooses the usual image of daily life to imply death,and at the same time,reflecting poet's death awareness and expressing poet's resentfulness on other things[4].In Su Shi's JiangChengZi,the image of"lonely grave"and"wife coming hair before the mirror at her living"both implied the cruelty of death Yet in Emma poetry,there is little such image,instead,Hardy utilized more imagination and illusion,the choice of image was much more free and extensive,such as"the breeze in its listlessness""the wet mead""wind oozing from norward""the thorn"This is due to the romantic tradition's influence to British literature inn the result that images in memorial poetry are always full of imagination and philosophy,stressing the expression of retrospection.

In a country where people widely believe in Christianity or Catholics,death is the beckoning of God,and is the follower's real end-result breaking away from the profane world,also,at certain time in the future,everyone will meet again in the heaven[5].This kind of belief originated from the western original sin that people are born sinfully,the purpose they come to the world is to bear tribulation and get atonement,by doing like this,their ghost will finally go to the paradise,the eternal world,realizing the significance of life.Admittedly,it is the inspiration of religion that makes western litterateur's imaging wings fly to the rose wreath in paradise,like a freely galloping angel,or in the hell,or on the dream,as a result of which,western poets are detached,broadminded,taking desperation as happy hope,death as eternal living.Consequently,they can face death of their beloved,friends and relatives calmly and serenely,exceeding the barrier of death and living,removing the affliction in their hearts.Though,Chinese memorial poetry is also simple and touching,but its grief to death is always too thick,and comparatively speaking,their imagination can't be compared with western memorial poems which is decided by Chinese people's attitude towards death.In Chinese mind,the existence of body can't be substituted by any other matters,and their heavy relying on living also lies in their indifference to the concept of the Other World and the Psyche The ancient Chinese simple materialism was the main stream in the ideology,few people seriously considered the question of whether Psyche exists after death or where it goes.In the opinion of Confucians,there is even a saying like"You don't yet understand this life,how can you understand the afterlife?"[6]Chinese poets think that death is the end of life,"A man dies the way a lamp goes out",so the situation faced to death is to situated oneself in a longing condition where they hope the deceased would one day come back.Different from Chinese people's heavy relying on living,westerners traditionally take death as the aim of life,namely,live to die,living is toilsome tillage,and death is happy harvest and safe enjoyment.As a result,they pay more attention to the understanding and perception of death,imagining and describing various objective sceneries after the death.In their heart,death,as the terminator of the whole shoot,is nothing to be feared,contrarily,death has the power of overwhelming everything,because of its eternality,because of its inevitability,because of the inaccessibility to get the true feeling of it in theworld of living.Therefore,it leaves people with unlimited space of imagination,and poets endow it various transcendental and sacred significance for some kind of inspiration to get spiritual extrication finally and completely.

Hardy and Su Shi,two versed writers,while writing the magnum opus,wrote the touching and euphemistic memorial poems with authentic emotions,giving a good and vivid description of love the eternal motif of literature.Obviously,human being's sentimen attached to families,pursuit of love,longing for happiness is the same,without the limit of time or space.

4 Conclusion

Comparing the memorial poems of Chinese poet of Song Dynasty,Su Shi's Jiang Chengzi with Thomas Hardy's Emma poetry,this paper finds that Chinese memorial poetry is featured with missing of the past life,whereas the English poetry lays great stress on illusion and imagination of the future as well as the deep reflection on death.In addition,Chinese's fear of death and Westerners'accept and understanding of death is also clearly presented.The last but not the least,Chinese memorial poetry is always to express the poet's resent,disappointment and depression in life,it's just an outlet of unhappiness;yet,the British memorial poetry is the poet's deep ponderation on death.

参考文献

[1]Wang Zuoliang.An Anthology of English Verse,Edited With an Introduction[M].Shanghai:Shanghai Translation Publishing House,1993.

[2]Merryn Williams.哈代导读[M].北京:北京大学出版社,2005.

[3]狄兆俊.中英比较诗学[M].上海:上海外语教育出版社,1992.

[4]张中载.托马斯·哈代——思想与创作[M].北京:外语教学与研究出版社,1982.

[5]飞白,吴笛.梦幻时刻:哈代抒情诗选[M].北京:中国文联出版公司,1992.