【摘要】 李贺部分古诗特别是七古中存在的“断片”现象往往导致注家的无解或歧解，这种现象并非如古今诗论家所谓因锦囊中碎句的凑合所致，而是出于诗人自觉的创作意图。仔细寻绎这部分七古中内藏的意脉，可以发现其中内在的理路大致有三类：一是因典故意象的重组或融化成情景而隐蔽的脉理；二是在意象大幅度跳跃中暗藏的思路转折；三是在密集细节时断时续的堆砌中暗示的情思。这三种理路是李贺对七古跳跃跨度的探底，其意义在于部分打破了古诗和律诗在基本表现方式上的界限，从某些角度拓展了七古的表现空间，并以富有暗示性和跳跃性的意象组合技巧丰富了晚唐诗词的艺术。更多还原

【Abstract】 The phenomenon of “fragmentation” in some of Li He’s(李贺) ancient-style poems, especially in his Qigu poems(七古,ancient-style seven-character poem), has often led to incomprehension or disagreements among the exegetes. However, this phenomenon was not a patchwork of delicate poetic fragments according to both ancient and contemporary poetic critics, but it came from the poet’s self-conscious intention of creation. Through careful search and interpretation of the connotation contained in these Qigu poems, we may find that there are roughly three types of internal texture. First, the internal logic of these poems is invisible because their images and allusions have been reorganized or incorporated into poetic scenes. Second, turns of thought are hidden in image fluctuations by a wide margin. Third, emotions are implied in the intermittent combination of intensive details. In the three types above lay Li He’s exploration of the fluctuation span within Qigu poems. Li He’s attempt partly broke through the boundary between ancient-style poems and regulated poems in terms of their basic modes of expression, and expanded the expressive space of Qigu poems from certain angles. And his skill of image combination was both suggestive and saltatorial, which also enriched the art of poem and Ci-poem creation in the late Tang Dynasty.更多还原