无题·昨夜星辰昨夜风
昨夜星辰昨夜风，
画楼西畔桂堂东。
身无彩凤双飞翼，
心有灵犀一点通。
隔座送钩春酒暖，
分曹射覆蜡灯红。
嗟余听鼓应官去，
走马兰台类转蓬。
Last night, the stars; last night, the breeze that blew —
West of the painted tower, east of the cassia hall.
My body lacks the paired wings of the phoenix, true;
My heart, like the rhino's horn, threads one pulse through all.
Seat to seat the hook was passed, the spring wine warm;
In rival teams we guessed hid things by candlelight.
Alas! the morning drum calls me to official form —
To the Orchid Terrace I ride, a thistle in flight.
逐句注释
昨夜星辰昨夜风，
以景起兴，追忆昨夜欢会之时。“昨夜”叠用，回环往复，强化记忆之深刻与此刻的回味怅惘。星辰与风点出春夜清美氛围，不写人而人在其中，含蓄蕴藉。
The poem opens with a doubled “last night,” fixing the memory of the revel in a loop that deepens both its vividness and the ache of recall. Stars and wind set a clear spring night's mood — no person is named, yet the beloved is present in the scene.
画楼西畔桂堂东。
承上句点明相逢之地。“画楼”“桂堂”皆华美之词，映衬宴集之盛与所遇之贵；以西畔、东对称，方位隐约，既见地点具体又带朦胧感。“桂”暗含芬芳高洁之意。
The setting is named: west of the painted tower, east of the cassia hall. “Painted tower” and “cassia hall” are terms of luxury, suggesting a splendid banquet and a noble company. The paired directions give precision yet keep a veil of vagueness, and cassia carries a fragrance of refinement.
身无彩凤双飞翼，
比喻。彩凤双飞翼喻比翼同飞、长相厮守之愿；“无”字一转，写出形体阻隔、身不由己的遗憾。以神话意象写现实困境，典丽而不失痛切。
A metaphor of thwarted desire: the phoenix's paired wings figure the wish to fly forever side by side; the word “lack” turns it into the sorrow of bodily separation. Mythic imagery serves a very real frustration.
心有灵犀一点通。
传说犀角中有白纹如线贯通两端，感应灵异，故曰“灵犀”。此句以之比两心暗通、无待言语。与上句对仗工稳，一“无”一“有”，构成形体隔绝与精神契合的强烈张力，成为千古名句。
Legend held that a rhinoceros horn contains a white thread running through it, making it wondrously sensitive — hence “wondrous rhino.” The line figures two hearts that understand each other without words. In neat parallel with the previous line, “lacking” against “having,” it sets bodily separation against spiritual union, and has become one of the most quoted couplets in Chinese poetry.
隔座送钩春酒暖，
写宴席之乐。“送钩”即藏钩之戏，隔座传递以藏钩为戏；“春酒暖”既写酒温，亦写人情之暖与席间暧昧温存，感官细节使场景鲜活。
A scene of banquet pleasure. The “hook-passing” is the game of hiding a hook and passing it from seat to seat; “spring wine warm” records both the temperature of the drink and the warmth — and tender ambiguity — of the company. Sensuous detail makes the scene live.
分曹射覆蜡灯红，
续写夜宴游戏。“分曹”谓分组为两队，“射覆”为猜度覆盖之物的酒令；“蜡灯红”以暖色调收束，见宴饮之久与夜深之欢。与上句同为对仗工整之句，铺陈而不滞。
More banquet games: “divided teams” for the guessing game of “shooting at covered things,” a drinking wager in which objects are hidden and guessed. The red of the wax candles closes the line in a warm hue, marking how long the revel lasted. Like the line before, it is a tight parallel, elaborating the scene without dullness.
嗟余听鼓应官去，
全诗陡转。“嗟”字一声长叹，欢愉顿断；晨鼓报晓，须应官府点卯供职。“听鼓应官”四字写出官身不自由，将上文温柔富贵之境一笔推入现实。
Here the poem turns sharply. The exclamation “Alas!” cuts off the joy; the dawn drum signals that he must report for official duty. “Hearing the drum, answering the office” writes the unfreedom of a salaried official, shoving the tender, gilded scene of the lines above into raw reality.
走马兰台类转蓬。
以比喻作结。“兰台”为秘书省别称，李商隐时任职其中；“转蓬”即随风飘转的蓬草，喻身不由己、漂泊无定。奔波之状与前述画楼桂堂形成贫富、自由与束缚的对照，余味苍凉。
The poem ends in simile. “Orchid Terrace” is a name for the Secretariat, where Li Shangyin then served; “rolling thistle” is the tumbleweed blown at the wind's will, an image of a life not one's own. The hurry of the ride is set against the painted towers and cassia halls above, contrasting splendour with servitude, and leaving a desolate aftertaste.
今日赏析
此诗作于李商隐任职秘书省（诗中“兰台”）期间，约在唐文宗开成年间（836—840）。李商隐中进士后仅得校书郎、正字一类微职，位卑事繁，须按时听鼓应卯，漂泊如蓬。诗中前六句追忆一次贵族宴集：席间藏钩射覆，灯红酒暖，他与一位女子相遇，虽不能并肩同飞，却心意暗通；末二句以晨鼓催人、走马趋府作结，欢会顿成前尘，身世飘零之感与私情追忆交织。关于所恋对象，旧有宫嫔、女冠、贵家姬妾诸说，皆无确证；李商隐“无题”诗本多托意隐晦，读者亦可将其中的阻隔与契合读作对理想、对知遇的寄托。无论本事如何，“身无彩凤双飞翼，心有灵犀一点通”已凝为中国文学中写心灵默契的至语。
The poem dates from Li Shangyin's years in the Secretariat — the “Orchid Terrace” of the closing line — roughly during the Kaicheng era (836–840) of Emperor Wenzong. Having passed the examinations, he held only minor posts such as collator and proofreader: low in rank, heavy in duty, obliged to answer the dawn drum, drifting like a tumbleweed. The first six lines recall a noble banquet — the hidden-hook game, the guessing game, red candles and warm wine — where he met a woman; unable to fly wing to wing, they nevertheless understood each other without words. The last two lines break off with the morning drum and the ride to office, turning joy into memory and mingling the sorrow of thwarted love with the sorrow of an unsettled career. Later tradition variously identified the woman as a palace lady, a Daoist priestess, or a courtesan of a great household; no evidence settles the question, and Li's “Untitled” poems are by nature reticent. Readers may also hear in the tension between separation and unspoken communion a figure for ideals and for the recognition he longed for in public life. Whatever the original circumstance, the couplet “My body lacks the paired wings of the phoenix; my heart, like the rhino's horn, threads one pulse through all” has become the classic expression of wordless understanding between kindred hearts.
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