桂林山水歌

Meaning

He Jingzhi celebrates the sublime hills and waters of Guilin, then lets the landscape enter his breast as personal and patriotic feeling. From mythic peaks and the Lijiang's dreamlike beauty the poem expands into a soldier's love of the motherland and a call to sing new songs. It fuses folk-ballad form with socialist lyric to make nature itself an ode to the new era.

云中的神啊，雾中的仙，神姿仙态桂林的山！情一样深啊，梦一样美，如情似梦漓江的水！水几重啊，山几重？水绕山环桂林城……是山城啊，是水城？都在青山绿水中……啊！此山此水入胸怀，此时此身何处来？……黄河的浪塞外的风，此来关山千万重。马鞍上梦见沙盘上画：「桂林山水甲天下」……啊！是梦境啊，是仙境？此时身在独秀峰！心是醉啊，还是醒？水迎山接入画屏！画中画——漓江照我身千影，歌中歌——山山应我响回声……招手相问老人山，云罩江山几万年？——伏波山下还珠洞，室珠久等叩门声……鸡笼山一唱屏风开，绿水白帆红旗来！大地的愁容春雨洗，请看穿山明镜里——啊！桂林的山来漓江的水——祖国的笑容这样美！桂林山水入胸襟，此景此情战士的心——是诗情啊，是爱情，都在漓江春水中！三花酒兑一滴滴滴，三杯酒笑三江……百年情，千年爱，青春如酒百样香……江山多娇人多情，使我白发永不生！对此江山人自豪，使我青春永不老！七星岩去赴神仙会，招呼刘三姐啊打从天上回……人间天上大路开，要唱新歌随我来！三姐的山歌十万八千箩，战士啊，指点江山唱祖国……红旗万梭织锦绣，海北天南一望收！塞外的风沙呵黄河的浪，春光万里到故乡。红旗下：少年故乡遍地锦，蘸水漓山皆华章……

Appreciation

[Plain Paraphrase] He Jingzhi sings Guilin: hills divine as gods in clouds, waters deep as love and beautiful as dream. He asks how many folds of water and hill embrace the city, whether it is a city of hills or waters. The landscape enters his breast; he stands on Duxiu Peak, doubting dream or fairyland. Waters and hills receive him like a painted screen; the Lijiang mirrors him a thousand times. He greets Old Man Mountain, sees the frontier's wind and the Yellow River's waves, and ends by merging the soldier's heart, the motherland's smile, and a call to sing new songs. [Structure] The poem proceeds from natural praise (hills, waters) to personal fusion ('these hills enter my breast'), then to historical-political expansion (Liu Sanjie, red flags, the motherland), closing on a summons to sing. Folk repetition ('啊', '是…是…') drives the rise. [Imagery] 'Gods in clouds, immortals in mist' and 'like love, like dream' give the scenery mythic, emotional weight; 'red flag, ten-thousand shuttles, weave brocade' transposes landscape into the new era's collective labor.

【白话串讲】 贺敬之写《桂林山水歌》：“云中的神啊，雾中的仙，神姿仙态桂林的山”——“情一样深啊，梦一样美，如情似梦漓江的水”——他唱桂林山水——神姿仙态桂林的山。 【意象与手法】 以“云中的神啊，雾中的仙”写山，“情一样深啊，梦一样美”写水，运用民歌式复沓与比喻；“红旗万梭织锦绣，海北天南一望收”由山水转入时代抒情。句式回环、音节铿锵，熔民歌与政治抒情于一炉。 【情感与主旨】 歌唱桂林山水之美，由自然之美升华为对新时代的赞颂。以浪漫主义笔法将山水与时代精神结合，是贺敬之政治抒情诗名篇，体现十七年诗歌“抒情与写景交融”的特色。 【名句点睛】 常考“云中的神啊，雾中的仙，神姿仙态桂林的山”以神姿仙态写桂林之山；“情一样深啊，梦一样美，如情似梦漓江的水”以如情似梦写漓江之水。

Allusions

The poem's phrases carry local and civic reference. 'Gods in clouds, immortals in mist, mountains of Guilin, divine in bearing' mythologizes the karst peaks. 'Like love, like dream, the waters of the Lijiang' lends the river emotional personification. 'How many folds of water, how many ranges of hill; waters wind and hills embrace the city of Guilin' maps the actual geography. 'Guilin's hills and waters are the finest under heaven' cites the famous old saying 桂林山水甲天下. 'Duxiu Peak' (独秀峰, the solitary-splendor peak) and 'Sister Liu San' (刘三姐, the Zhuang singing immortal) are real Guilin place and folklore; 'Seven-Star Cave' and 'Fubo Hill, the Cave of the Returned Pearl' are local sites. He Jingzhi folds these topographical and folk allusions into the verse so the civic celebration feels rooted in place.

诗中「云中的神啊雾中的仙神姿仙态桂林的山」「情一样深啊梦一样美如情似梦漓江的水」「水几重啊山几重水绕山环桂林城」「是山城啊是水城都在青山绿水中」「啊此山此水入胸怀此时此身何处来」「黄河的浪塞外的风此来关山千万重」「马鞍上梦见沙盘上画桂林山水甲天下」「啊是梦境啊是仙境此时身在独秀峰」「心是醉啊还是醒水迎山接入画屏」「画中画漓江照我身千影歌中歌山山应我响回声」「招手相问老人山云罩江山几万年」「伏波山下还珠洞室珠久等叩门声」「鸡笼山一唱屏风开绿水白帆红旗来」「大地的愁容春雨洗请看穿山明镜里」「啊桂林的山来漓江的水祖国的笑容这样美」「桂林山水入胸襟此景此情战士的心」「是诗情啊是爱情都在漓江春水中」「三花酒兑一滴滴滴三杯酒笑三江」「百年情千年爱青春如酒百样香」「江山多娇人多情使我白发永不生」「对此江山人自豪使我青春永不老」「七星岩去赴神仙会招呼刘三姐啊打从天上回」「人间天上大路开要唱新歌随我来」「三姐的山歌十万八千箩战士啊指点江山唱祖国」「红旗万梭织锦绣海北天南一望收」「塞外的风沙呵黄河的浪春光万里到故乡」「红旗下少年故乡遍地锦蘸水漓山皆华章」等语，皆含典故故实。「云中的神啊雾中的仙神姿仙态桂林的山」写云中的神啊雾中的仙神姿仙态桂林的山；「情一样深啊梦一样美如情似梦漓江的水」写情一样深啊梦一样美如情似梦漓江的水；「水几重啊山几重水绕山环桂林城」写水几重啊山几重水绕山环桂林城；「马鞍上梦见沙盘上画桂林山水甲天下」写马鞍上梦见沙盘上画桂林山水甲天下；「此时身在独秀峰」用独秀峰之典（独秀峰为桂林名峰），写此时身在独秀峰；「七星岩去赴神仙会招呼刘三姐啊打从天上回」用刘三姐之典（刘三姐为壮族歌仙），写七星岩去赴神仙会招呼刘三姐啊打从天上回；「红旗万梭织锦绣海北天南一望收」写红旗万梭织锦绣海北天南一望收。诗人以独秀峰、刘三姐等典入诗，不着痕迹，而把写景山水之情写得真切可感，是善于熔铸典故的体现。

Commentary

'Song of Guilin's Hills and Waters' is a celebrated set-piece of He Jingzhi's landscape-political lyric and a representative modern topographical poem. Critics praise its 'limpid grandeur' and its seamless marriage of folk song and civic feeling. Its special value is lifting a tourist's landscape into a soldier's and a nation's emotion—'these hills enter my breast… a soldier's heart… all within the spring waters of the Lijiang,' then 'red flags, ten-thousand shuttles, weave brocade.' Read beside Su Shi's 'Shuidiao' (one 'I would ride the wind and go' vs. this 'gods in clouds') and Liu Yong's 'Basheng Gan Zhou' (one 'on the misty rain falling on river and sky' vs. this 'like love, like dream, the Lijiang'), the poem shows how modern verse reclaims the landscape-lyric for collective, patriotic feeling. For readers it remains a vivid entry into mid-century Chinese landscape song.

这首《桂林山水歌》，是贺敬之写写景山水之作，写云中的神啊、情一样深啊、水几重啊、啊此山此水入胸怀、塞外的风沙呵黄河的浪之情，清丽壮阔。起「云中的神啊，雾中的仙，神姿仙态桂林的山」——云中的神啊，雾中的仙，神姿仙态桂林的山。写云中的神啊：云中的神啊、雾中的仙、神姿仙态桂林的山——神、仙、桂林的山；「情一样深啊，梦一样美，如情似梦漓江的水」——情一样深啊，梦一样美，如情似梦漓江的水。写情一样深啊：情一样深啊、梦一样美、如情似梦漓江的水——情一样深、如情似梦漓江的水；「水几重啊，山几重？水绕山环桂林城」——水几重啊，山几重？水绕山环桂林城。写水几重啊：水几重啊、山几重、水绕山环桂林城——水几重、山几重、桂林城；「啊！此山此水入胸怀，此时此身何处来」——啊！此山此水入胸怀，此时此身何处来。写啊此山此水入胸怀：此山此水入胸怀、此时此身何处来——入胸怀、何处来；结「红旗万梭织锦绣，海北天南一望收。塞外的风沙呵黄河的浪，春光万里到故乡」——红旗万梭织锦绣，海北天南一望收，塞外的风沙呵黄河的浪，春光万里到故乡。写塞外的风沙呵黄河的浪：红旗万梭织锦绣、海北天南一望收、塞外的风沙呵黄河的浪、春光万里到故乡——织锦绣、一望收、风沙黄河浪、春光到故乡。这「塞外的风沙呵黄河的浪，春光万里到故乡」，是全诗之结：以春光万里到故乡写其山水。全诗清丽壮阔，以景写情，正是贺敬之诗中的名篇。

Prosody

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