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宋 Song · 词 Ci lyric

长相思·桥如虹

Tune: 'Chang Xiang Si' — The Bridge Like a Rainbow

陆游

Lu You

渔父Fisherman 闲适Leisure

桥如虹，水如空，一叶飘然烟雨中。
天教称放翁。
侧船篷，使江风，蟹舍参差渔市东。
到时闻暮钟。

The bridge like a rainbow, the water like the void; a single leaf drifts free amid the mist and rain.
Heaven bids me bear the name 'Carefree Old Man.'
I tilt the boat's awning, let the river wind drive; crab-huts straggle east of the fishers' market.
Arriving, I hear the evening bell.

Listen

Meaning

A light fisherman's lyric of carefree ease. The opening paints a misty river — bridge arched like a rainbow, water clear as emptiness, a small boat drifting in the rain. The poet takes his self-given name 'Carefree Old Man' as heaven's decree, then tilts the awning to the wind and rows toward the scattered crab-huts by the fish market, where an evening bell ends the day. It is a portrait of released, unhurried contentment.

桥如虹，水如空，一叶飘然烟雨中。天教称放翁。侧船篷，使江风，蟹舍参差渔市东。到时闻暮钟。

Appreciation

Lu You, better known for passionate patriotic verse, here writes in the lighter fisherman's vein, and the 'Chang Xiang Si' turns wholly to ease. [Plain Paraphrase] The bridge is like a rainbow, the water like emptiness; a single leaf drifts free in the mist and rain — and heaven bids me bear the name 'Carefree Old Man.' I tilt the awning, let the river wind drive, past crab-huts straggling east of the fishers' market; arriving, I hear the evening bell. [Structure] The upper stanza is pure scene plus a wry self-naming: the rainbow bridge and void-like water frame the drifting leaf, and the poet accepts his 'Carefree Old Man' title as heaven-sent. The lower stanza is motion and arrival: tilting the awning, riding the wind to the fishers' market, then the evening bell. [Imagery] The paired similes 'like a rainbow / like the void' open a luminous, weightless world; the 'single leaf' boat and the 'carefree old man' fuse nature and self. The closing bell gathers the day into quiet. The whole piece is fresh, plain, and free — Lu You's relaxed alternative voice.

【白话串讲】陆游写《长相思·桥如虹》：“桥如虹，水如空，一叶飘然烟雨中”——“天教称放翁”——“侧船篷，使江风，蟹舍参差渔市东”——“到时闻暮钟”——他写渔乡——天教称放翁。【意象与手法】此词写渔父，以闲适写渔父，是陆游的名篇。上阕写烟雨：「桥如虹，水如空，一叶飘然烟雨中。天教称放翁」写桥如虹、水如空、一叶飘然烟雨中——写尽一叶飘然的烟雨中；下阕写江风：「侧船篷，使江风，蟹舍参差渔市东。到时闻暮钟」写侧船篷、使江风、蟹舍参差渔市东——写尽蟹舍参差的渔市东。全词以闲适写渔父，写尽一叶飘然的烟雨中与蟹舍参差的渔市东，是陆游的代表作。【情感与主旨】此词写渔父，以闲适写渔父，是陆游的名篇。此词为陆游写其江上渔父生活而作，写其放舟烟雨的闲适。陆游晚年多闲居，此词写其江上放舟的逍遥。此词写桥如虹，水如空，一叶飘然烟雨中；天教称放翁；侧船篷，使江风，蟹舍参差渔市东；到时闻暮钟。此词写烟雨：桥如虹，水如空，一叶飘然烟雨中——写桥如虹、水如空、一叶飘然烟雨中，写尽一叶飘然的烟雨中；天教称放翁——写天教称放翁，写尽天教称的放翁；侧船篷，使江风，蟹舍参差渔市东——写侧船篷、使江风、蟹舍参差渔市东，写尽蟹舍参差的渔市东；到时闻暮钟——写到时闻暮钟，写尽到时闻的暮钟。全词以闲适写渔父——那「一叶飘然烟雨中」写尽一叶飘然的烟雨中，「蟹舍参差渔市东」写尽蟹舍参差的渔市东，写尽一叶飘然的烟雨中与蟹舍参差的渔市东，是理解陆游渔父词的重要篇章。【名句点睛】常考「桥如虹，水如空，一叶飘然烟雨中」写一叶飘然的烟雨中；「侧船篷，使江风，蟹舍参差渔市东」写蟹舍参差的渔市东；以及全词以闲适写渔父、以白描写江景的手法。

Background

Lu You (1125–1210), courtesy name Wuquan, art name Fangweng ('Carefree Old Man'), was born in Shanyin (modern Shaoxing, Zhejiang). A Southern Song patriot-poet of prodigious output, he is grouped with You Mao, Yang Wanli, and Fan Chengda as the 'Four Great Poets of the Restoration.' Though famous for fervent laments on the lost north, in later life he often wrote of leisure, and this fisherman lyric reflects his freed, idle hours on the river. The self-name 'Carefree Old Man' — adopted after political frustration — here becomes, with a laugh, a heavenly appointment, the very emblem of his released spirit.

此词写渔父，以闲适写渔父，是陆游的名篇。陆游（1125—1210），字务观，号放翁，越州山阴（今浙江绍兴）人，南宋爱国诗人，与尤袤、杨万里、范成大并称「中兴四大诗人」。此词为陆游写其江上渔父生活而作，写其放舟烟雨的闲适。陆游晚年多闲居，此词写其江上放舟的逍遥。此词写桥如虹，水如空，一叶飘然烟雨中；天教称放翁；侧船篷，使江风，蟹舍参差渔市东；到时闻暮钟。此词写烟雨：「桥如虹，水如空，一叶飘然烟雨中」写桥如虹、水如空、一叶飘然烟雨中——写尽一叶飘然的烟雨中（桥如虹，水如空，一叶飘然烟雨中）；「天教称放翁」写天教称放翁——写尽天教称的放翁（天教称放翁）；「侧船篷，使江风，蟹舍参差渔市东」写侧船篷、使江风、蟹舍参差渔市东——写尽蟹舍参差的渔市东（侧船篷，使江风，蟹舍参差渔市东）；「到时闻暮钟」写到时闻暮钟——写尽到时闻的暮钟（到时闻暮钟）。全词以闲适写渔父，写尽一叶飘然的烟雨中与蟹舍参差的渔市东，是理解陆游渔父词的重要篇章。

Art

The craft is light and exact. First, simile for bridge and water: 'the bridge like a rainbow, the water like the void' opens with two luminous comparisons that make the scene weightless and bright. Second, plain sketch for the misty drift: 'a single leaf drifts free amid the mist and rain' unrolls the boat without ornament, the freedom belonging to the craft and the heart alike. Third, minute detail for the river-run: 'I tilt the boat's awning, let the river wind drive' captures the physical ease of sailing by the wind. Fourth, scene-painting for the close: 'crab-huts straggle east of the fishers' market' and 'arriving, I hear the evening bell' gather the journey into quiet arrival. The upper stanza is scene and self-naming, the lower motion and homecoming; from view to act, the poem 'writes joy through leisure.' A special touch is the line 'heaven bids me bear the name “Carefree Old Man”' — the 'heaven bids' turns a self-chosen name into destiny, while 'carefree old man' encapsulates the released spirit; and the final 'hear the evening bell' lets the sound arrive at the ear, closing the day in peace.

此词的艺术特色可从四个方面解析。其一，以比喻写桥水。「桥如虹」以比喻写桥水——那「水如空」写尽水如空的水，以比喻写尽桥如虹的桥。其二，以白描写烟雨。「一叶飘然烟雨中」以白描写烟雨——那「天教称放翁」写尽天教称的放翁，以白描写尽一叶飘然的烟雨中。其三，以细节写江行。「侧船篷」以细节写江行——那「使江风」写尽使江的风，以细节写尽蟹舍参差的渔市东。其四，以写景写暮归。「蟹舍参差渔市东」以写景写暮归——那「到时闻暮钟」写尽到时闻的暮钟，以写景写尽到时闻的暮钟。此外，此词上阕写一叶飘然的烟雨中，下阕写蟹舍参差的渔市东，由景及情，正是渔父词「以闲写乐」的写法。四重手法，使此词以闲适写渔父，写尽一叶飘然的烟雨中与蟹舍参差的渔市东，是陆游的代表作。此外，此词还善于以「天教称放翁」的「天教」写天教之放翁——那「天教」写尽天教的放翁，正是以天写命，以「称放翁」写尽天教称的放翁。又善以「到时闻暮钟」的「闻暮钟」写到时之闻钟——到时闻暮钟，正见暮钟到耳的写照，以「暮钟」写尽到时闻的暮钟。

Allusions

The language belongs to the fisherman and leisure tradition. 'Bridge like a rainbow' evokes the old image of 'a long bridge lying on the waves'; 'water like the void' the 'water and sky one color' topos; 'a single leaf' the 'single leaf, a small boat' figure; 'drifts free' the 'drifting like an immortal' mood; 'mid the mist and rain' Du Mu's 'how many towers and terraces amid the mist and rain.' 'Carefree Old Man' is Lu You's own art name. 'Boat's awning' recalls the black-awning boat; 'river wind' the 'river breeze gentle' phrase; 'crab-huts' and 'fishers' market' the fishing-village topos; 'evening bell' Zhang Ji's 'the midnight bell reaches the traveler's boat.' Drawing on this store, Lu You writes leisure through the fisherman's life, his plain, fresh manner carrying the fisherman tradition into his own released voice.

此词的用语深植于渔父与闲适传统。「桥如虹」令人想到「桥如虹」写虹桥的意象——也令人想到「长桥卧波」的意象；「水如空」令人想到「水如空」写水空的意象——也令人想到「水天一色」的意象；「一叶」令人想到「一叶」写小舟的意象——也令人想到「一叶扁舟」的意象；「飘然」令人想到「飘然」写飘然的意象——也令人想到「飘然若仙」的意象；「烟雨中」令人想到「烟雨中」写烟雨的意象——也令人想到「多少楼台烟雨中」（杜牧）的意象；「放翁」令人想到「放翁」写陆游的意象——陆游自号放翁，也令人想到「放翁自号」的意象；「船篷」令人想到「船篷」写船篷的意象——也令人想到「乌篷船」的意象；「江风」令人想到「江风」写江风的意象——也令人想到「江风习习」的意象；「蟹舍」令人想到「蟹舍」写渔舍的意象——也令人想到「蟹舍渔村」的意象；「渔市」令人想到「渔市」写渔市的意象——也令人想到「渔市孤烟」的意象；「暮钟」令人想到「暮钟」写暮钟的意象——也令人想到「夜半钟声到客船」（张继）的意象。全词化用桥如虹、水如空、一叶、飘然、烟雨中、放翁、船篷、江风、蟹舍、渔市、暮钟的意象典故，以闲适写渔父，正是陆游「沉郁」而善白描、承渔父传统写闲适之本领。

Commentary

Long esteemed as a fine fisherman lyric of Lu You and a representative Song treatment of boating at ease, the piece earns warm praise: Qing critics called it 'leisure through the fisherman, fresh and natural,' and modern readers prize 'the bridge like a rainbow, the water like the void; a single leaf drifts free' as its famous opening. Its special worth is the small tune holding both luminous scene and a self-mocking destiny — the drifting leaf above, the fishers' market below, all under the 'Carefree Old Man' name. It pairs with Lu You's 'Que Qiao Xian · A Pole of Wind and Moon' ('a pole of wind and moon, a coat of mist and rain'): one 'fears to sell fish near the city gate,' the other 'crab-huts east of the market'; both fisherman lyrics, one on the pole, one on the bridge. Read together they show his two fisherman faces. For today's reader it opens his leisure verse, and those crab-huts by the market still speak of the carefree old man across the ages.

此词历来被推为陆游渔父词的名篇，也是宋词写江上放舟的代表。历代论者对此词评价极高：清人评此词「以闲适写渔父，清新自然」；近人更指出「桥如虹，水如空，一叶飘然烟雨中」写一叶飘然的烟雨中，是此词的名句。在诗歌史上，此词的特殊价值在于：它以小令写尽一叶飘然的烟雨中与蟹舍参差的渔市东——那桥如虹，那水如空，那一叶，那飘然，那烟雨中，那天教，那称放翁，那侧船篷，那使江风，那蟹舍，那参差，那渔市东，那到时，那闻暮钟，都写尽了陆游笔下的长相思桥如虹；那「天教称放翁」更以白描写尽天教称的放翁。此词与陆游《鹊桥仙·一竿风月》「一竿风月，一蓑烟雨」同为渔父名篇，一写「卖鱼生怕近城门」的鹊桥仙，一写「蟹舍参差渔市东」的长相思；一写一竿风月，一写桥如虹。两词对读，可见陆游渔父词的两面。对于今日读者，此词是理解陆游渔父词的窗口，也是宋词写江上放舟的经典——那蟹舍参差的渔市东，穿越千年，仍在诉说着天教称的放翁。

Prosody

Form Lyric (ci) — tune 'Chang Xiang Si' (Everlasting Longing)词·长相思

Rhyme The tune rhymes on the Dong rhyme throughout: upper stanza '虹' (hong), '空' (kong), '中' (zhong), '翁' (weng); lower stanza '篷' (peng), '风' (feng), '东' (dong), '钟' (zhong); one rhyme sustained.长相思，上阕押「虹」「空」「中」「翁」，下阕押「篷」「风」「东」「钟」（东韵），一韵到底

Tone pattern A short lyric in level-tone rhyme sustained throughout, with a light, brisk cadence that suits the carefree, leisurely mood.此词为长相思小令，押平声韵，一韵到底，音节轻快，正合闲适的轻快。

Reading note A short 'Chang Xiang Si' in two stanzas — upper: 'The bridge like a rainbow... heaven bids me bear the name Carefree Old Man'; lower: 'I tilt the awning... I hear the evening bell.' It rhymes on the Dong rhyme (hong, kong, zhong, weng, peng, feng, dong, zhong) throughout, light in rhythm. The upper dwells on the misty scene and the self-name, the lower on the river-run and arrival; short as it is, it closes on the evening bell, revealing Lu You's fresh ease. Read the opening lightly, the close with tranquil calm.此词为长相思小令，上下两阕——上阕「桥如虹，水如空，一叶飘然烟雨中。天教称放翁」，下阕「侧船篷，使江风，蟹舍参差渔市东。到时闻暮钟」，押东韵（虹、空、中、翁、篷、风、东、钟），一韵到底，音节轻快。全词以闲适写渔父：上阕写一叶飘然的烟雨中（桥如虹、天教称放翁），下阕写蟹舍参差的渔市东（侧船篷、到时闻暮钟）。小令短章，前写烟雨，后写江行，以「天教称放翁」写尽天教称的放翁，正见陆游「沉郁」的本色。诵读此词，宜以轻快的语调读「桥如虹，水如空」的烟雨，以闲逸的语调读「蟹舍参差渔市东」的渔市东，结句要读得轻快而有余韵，方能传达出陆游的清新自然。陆游小令以「清新」著称，此词正是其渔父词的典范。

Line by line

桥如虹，水如空，一叶飘然烟雨中

The bridge like a rainbow, the water like the void; a single leaf drifts free amid the mist and rain.

桥如虹，水如空，一叶飘然烟雨中。

The bridge is like a rainbow, the water like the sky; one leaf drifts away in the misty rain.

此三句是全词写烟雨的核心，以桥如虹写如虹，以水如空写如空，以一叶飘然烟雨中写烟雨中，写尽一叶飘然的烟雨中，是千古名句。「桥如虹」写桥如虹——那「桥」写桥，「如虹」写如虹，写尽桥的如虹；「水如空」写水如空——那「水」写水，「如空」写如空，写尽水的如空；「一叶飘然烟雨中」写一叶飘然烟雨中——那「一叶飘然」写一叶飘然，「烟雨中」写烟雨中，写尽一叶飘然的烟雨中。这句的深意在于：它以「桥如虹」的如虹、「水如空」的如空与「一叶飘然烟雨中」的烟雨中，写尽一叶飘然的烟雨中——桥如虹，那「桥如虹」写尽桥的如虹——桥如虹，正是桥拱如虹的写照，那「如虹」写尽一叶飘然的烟雨中；水如空，那「水如空」写尽水的如空——水如空，正是水天一空的写照，那「如空」写尽一叶飘然的烟雨中；一叶飘然烟雨中，那「一叶飘然烟雨中」写尽一叶飘然的烟雨中——一叶飘然烟雨中，正是舟泛烟雨的写照，那「烟雨中」写尽一叶飘然的烟雨中；那「桥如虹」写尽桥的如虹，那「水如空」写尽水的如空，那「一叶飘然烟雨中」写尽一叶飘然的烟雨中，一写如虹，一写如空，一写烟雨中，写尽一叶飘然的烟雨中——桥拱如虹而舟泛烟雨，正是江景的写照；此三句以如虹、如空、烟雨中写尽一叶飘然的烟雨中，也为下文的放翁作铺垫，也让此三句成为全词写烟雨的核心与千古名句。若换作直说「桥像虹，水像天空，一叶小舟飘然在烟雨中」，则失其清新；唯以「桥如虹」写如虹、「水如空」写如空、「一叶飘然烟雨中」写烟雨中，写尽一叶飘然的烟雨中，也让此三句成为全词写烟雨的核心。

Lu You's ci is a painter's triptych. The bridge arcs like a rainbow; the water is indistinguishable from the sky; and on that blank unity of water and air, one leaf—a boat—drifts off into the misty rain. The two similes erase the boundaries (rainbow bridge, sky-water), so that by the third image the single boat floats in a world with no ground and no horizon, utterly free. The leaf is the poet himself, the old exile, adrift on his home river. To have said the bridge arched over the river in the rain would be scene-setting; the dissolution of sky into water is the freedom.

侧船篷，使江风，蟹舍参差渔市东

I tilt the boat's awning, let the river wind drive; crab-huts straggle east of the fishers' market.

侧船篷，使江风，蟹舍参差渔市东。

Tilting the boat's awning, taking the river wind, past the crabshell huts scattered east of the fishing market.

此三句是全词写江行的核心，以侧船篷写船篷，以使江风写江风，以蟹舍参差渔市东写渔市东，写尽蟹舍参差的渔市东，是千古名句。「侧船篷」写侧船篷——那「侧」写侧，「船篷」写船篷，写尽侧的船篷；「使江风」写使江风——那「使」写使，「江风」写江风，写尽使的江风；「蟹舍参差渔市东」写蟹舍参差渔市东——那「蟹舍参差」写蟹舍参差，「渔市东」写渔市东，写尽蟹舍参差的渔市东。这句的深意在于：它以「侧船篷」的船篷、「使江风」的江风与「蟹舍参差渔市东」的渔市东，写尽蟹舍参差的渔市东——侧船篷，那「侧船篷」写尽侧的船篷——侧船篷，正是侧转船篷的写照，那「船篷」写尽蟹舍参差的渔市东；使江风，那「使江风」写尽使的江风——使江风，正是借风行驶的写照，那「江风」写尽蟹舍参差的渔市东；蟹舍参差渔市东，那「蟹舍参差渔市东」写尽蟹舍参差的渔市东——蟹舍参差渔市东，正是渔市东舍的写照，那「渔市东」写尽蟹舍参差的渔市东；那「侧船篷」写尽侧的船篷，那「使江风」写尽使的江风，那「蟹舍参差渔市东」写尽蟹舍参差的渔市东，一写船篷，一写江风，一写渔市东，写尽蟹舍参差的渔市东——侧篷使风而渔市在东，正是江行的写照；此三句以船篷、江风、渔市东写尽蟹舍参差的渔市东，也为下文的暮钟作铺垫，也让此三句成为全词写江行的核心与千古名句。若换作直说「侧转船篷，借着江风，蟹舍参差在渔市东边」，则失其清新；唯以「侧船篷」写船篷、「使江风」写江风、「蟹舍参差渔市东」写渔市东，写尽蟹舍参差的渔市东，也让此三句成为全词写江行的核心。

The second triptych is all hand and wind. He tilts the awning, takes the river wind, and glides past the crabshell huts scattered east of the fishing market. The three short clauses are the body at work: tilting, taking, passing—each a small, skilled gesture of a man who knows his boat. The world he passes is humble: shell huts, a fish market, no grand scenery. The poem's freedom is precisely this lowliness; the poet does not need mountains to be happy. To have said he sailed past the fishing village would be reportage; the three small gestures are the competence of release.

Study

Word focus

虹虹 (hong, 'rainbow'): The key word of the misty opening. The bridge is likened to a rainbow, conveying both the arched shape of the span and the luminous beauty of the river scene — the whole bright, weightless mood springs from this image. 「桥如虹」之「虹」字是写烟雨关键词，一个「虹」字写尽桥的如虹。虹者，彩虹、如虹也。陆游以「桥如虹」写烟雨，这个「虹」字至少有双重意味：其一，写桥之如虹——那「桥如虹」写桥如虹，那「虹」字写尽桥的如虹——如虹，正是桥拱如虹的写照，那「虹」字写尽桥的如虹；其二，写景之美——那「虹」字更是写美——虹，正见桥水如虹的美景，那「虹」字写尽陆游的闲适。以「虹」字写烟雨，正是陆游写渔父的枢纽——若换作「月」「弓」等字，则或失其与「桥如虹」「水如空」的配合，或失其写虹的意味；唯「虹」字，以桥如虹写尽桥拱之如虹与江景之美好，与「水如空」的如空相合，写尽桥的如虹，也让「桥如虹」成为全词写烟雨的名句。

飘飘 (piao, 'drift / float'): The key word of the drifting boat. 'A single leaf drifts free' fuses the small craft with the free, untroubled mind — the poet's carefree ease made visible in the mist and rain. 「一叶飘然烟雨中」之「飘」字是写烟雨关键词，一个「飘」字写尽一叶飘然的烟雨中。飘者，飘然、飘荡也。陆游以「一叶飘然烟雨中」写烟雨，这个「飘」字至少有双重意味：其一，写舟之飘——那「一叶飘然烟雨中」写一叶飘然烟雨中，那「飘」字写尽一叶飘然的烟雨中——飘然，正是舟飘如叶的写照，那「飘」字写尽一叶飘然的烟雨中；其二，写心之逸——那「飘」字更是写逸——飘，正见飘然物外的闲逸，那「飘」字写尽陆游的闲适。以「飘」字写烟雨，正是陆游写渔父的枢纽——若换作「泛」「浮」等字，则或失其与「一叶飘然」「烟雨中」的配合，或失其写飘的意味；唯「飘」字，以一叶飘然烟雨中写尽烟雨之飘舟与心境之闲逸，与「天教称放翁」的放翁相合，写尽一叶飘然的烟雨中，也让「一叶飘然烟雨中」成为全词写烟雨的名句。