溫庭筠有「花間鼻祖」之稱，在詞史上佔有非常重要地位，他曾創作過十四首〈菩薩蠻〉，歷來都有極高的評價。這是一組脈絡極為潛隱複雜的文本，作者不直接陳述女子內心的情懷，而是藉由一個個柔美的視覺意象呈現閨中女子的孤寂無奈。由於本組詞作具有非常強烈的視覺特色及空間跳躍，所以本文採取電影「蒙太奇」的概念，對它進行特寫、精神、鏡像三種空間向度的解析。在「特寫空間」部分，主要分析女子的特寫鏡頭與外在空間的配置關係，產生了渺小無力、緊張……等等效果；而「精神空間」為詞中人物精神狀態中的空間型態，如夢境、回憶……等，當它與現實空間交錯穿插後，形成一種恍惚迷離的空間蒙太奇；至於「鏡像空間」則專指女子的照鏡動作，女子藉由鏡子觀看自己與直接觀看外物間，形成鏡內與鏡外的跳躍，對照出女子內心複雜的情緒。在上述三種空間的遞換並列中，從未明說的寂寞情懷被隱約的暗示出來。

Wen Tingyun, known as the originator of ”Hua-jian (Flower) school”, plays an important role in the history of lyrics (ci). He wrote ”Fourteen. Pusaman Ci Poems”, which have been highly appraised in history. ”Fourteen. Pusaman Ci Poems” are a set of texts which contain implicit and complicated meanings and contexts. The author does not directly describe the inner feelings of a young maiden, but presents her loneliness and no-way-out state of mind by delicate and beautiful visual images. Because of this strong visual language and the shift in space in the ”Fourteen. Pusaman Ci Poems,” this article adopts the concept of ”montage” and analyze these lyrics through three different dimensions: close-up, spirituality and mirror image. In the dimension of close-up, the relation between the close-ups of the maiden and the outer space creates the effect of insignificance, powerlessness, nervousness and so on. The dimension of spirituality discusses the spatial forms of the character's spirituality, such as dreams and recollections; when these forms interlock with the space in reality, they formulate a blurred, trancelike spatial montage. As for the dimension of mirror image, it specifically refers to the maiden looking in the mirror: she looks at herself in the mirror as well as directly looking at the environment. These two different looks create a shift between the spaces in the mirror and outside the mirror, and reflect her complicated inner feelings simultaneously. Through the transformation and juxtaposition of these three dimensions, her never-spoken loneliness is indistinctively alluded.