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自嘲

Self-Mockery

鲁迅

Lu Xun

近现代modern (early 20th c.) 自嘲self-mockery 鲁迅Lu Xun 七言律诗seven-character regulated verse (lüshi)

运交华盖欲何求，未敢翻身已碰头。
破帽遮颜过闹市，漏船载酒泛中流。
横眉冷对千夫指，俯首甘为孺子牛。
躲进小楼成一统，管他冬夏与春秋。

I have met with the canopy of ill fate — what more can I seek?
Before I dare to turn, I have already knocked my head.
In a tattered hat I hide my face and pass through the busy market,
Like a leaking boat bearing wine adrift in midstream.
With lowered brows I coldly face a thousand pointing fingers,
With bowed head I gladly become the ox for the children.
I retreat into my small tower and make my own domain,
Caring nothing for winter, summer, autumn, or spring.

Listen

Meaning

Written under the White Terror, the poem uses self-mockery to show Lu Xun holding firm: coldly defying his enemies while willingly serving the people, with a calm and unyielding spirit.

交了华盖运还想求得什么呢，还没敢翻身就已经碰了头。戴着破帽遮住脸面穿过闹市，如漏船载着酒在急流中漂浮。横眉冷对千夫所指，俯首甘愿做孺子的牛。躲进小楼自成一统，管他什么冬夏与春秋。

Appreciation

The poem opens with self-mocking images of ill fate — the unlucky 'canopy,' the bowed head in a tattered hat, the leaking boat — yet these very images show composure amid danger. The central couplet sets 'lowered brows' against 'bowed head,' a sharp contrast between cold defiance of enemies and willing service to the people. Its parallel structure is tight and forceful. Behind the jest runs a steady resolve: to withdraw into his study yet remain unmoved by the seasons of persecution. The famous lines have become a lasting emblem of Lu Xun's clear-cut love and hatred.

【白话串讲】 “运交华盖欲何求，未敢翻身已碰头”——鲁迅写自嘲：命运多舛。“破帽遮颜过闹市，漏船载酒泛中流”——“横眉冷对千夫指，俯首甘为孺子牛”——这句成了他一生的写照。“躲进小楼成一统，管他冬夏与春秋”——他躲进小楼，管他春夏秋冬。【意象与手法】以「华盖」「破帽」「漏船」自嘲险境，谐谑中见清醒；「横眉」对「俯首」、「千夫指」对「孺子牛」形成峻烈对照，对仗精工，爱憎分明。【情感与主旨】此诗作于1932年10月，时居上海，处白色恐怖之中。全诗以自嘲写坚守：既对敌人横眉冷对，又对人民俯首奉献，于险恶环境中豁达而坚毅，是鲁迅人格精神的诗化写照。【名句点睛】核心考点为颈联「横眉冷对千夫指，俯首甘为孺子牛」——爱憎分明，为千古名句，常考查其对仗艺术与精神内涵。

Background

Lu Xun wrote this poem in Shanghai in 1932, during the White Terror, using self-mockery to express his steadfastness.

鲁迅（1881—1936），原名周树人，字豫才，浙江绍兴人，中国现代文学的奠基人。此诗作于1932年10月，时居上海。1932年是白色恐怖最严重的时期之一：国民党当局对左翼文化进行疯狂围剿，鲁迅被当局秘密通缉，著作屡遭查禁，人身安全受到严重威胁，甚至有左翼作家被秘密处决。据许广平、郁达夫等人回忆，1932年10月5日，郁达夫夫妇在上海聚丰园设宴款待鲁迅，席间鲁迅戏作此诗；次日，鲁迅将其书赠柳亚子。诗中「运交华盖」为自嘲语，写尽身处险境、动辄得咎的处境；然自嘲背后，是清醒的立场与坚韧的战斗精神——对敌人横眉冷对，对人民俯首奉献。此诗是鲁迅面对文化围剿时人格精神与斗争艺术的集中写照，亦是其旧体诗中的代表作。鲁迅旧体诗多作于三十年代，多为抒怀言志之作；此诗1933年编入《集外集》时始题名《自嘲》，鲁迅曾自注此诗缘起：达夫赏饭，闲人打油，偷得半联，凑成一律——自谦为「打油」，实则以游戏之笔写严肃之志，嬉笑怒骂皆成文章，正是鲁迅式的斗争艺术。

Art

It joins self-mockery with symbolism (the canopy, the leaking boat), and its antithetical couplet (lowered brows / bowed head) is stark and powerful.

全诗以自嘲为表、以战斗为里，谐谑与严肃高度统一。首联「运交华盖欲何求，未敢翻身已碰头」以「华盖运」自嘲处境之艰，「未敢翻身已碰头」更以夸张的笔法写动辄得咎、处处碰壁的险恶，幽默中含着辛酸。颔联「破帽遮颜过闹市，漏船载酒泛中流」承上写险境中的从容：破帽遮颜是隐于闹市的自我保护，漏船载酒则是明知危殆而坦然自适的豁达，两个比喻形象奇崛。颈联「横眉冷对千夫指，俯首甘为孺子牛」是全诗灵魂，以「横眉」对「俯首」、「千夫指」对「孺子牛」，峻烈对照，把对敌人的恨与对人民的爱凝为两座人格高峰。尾联「躲进小楼成一统，管他冬夏与春秋」以戏谑语写坚定立场：不随世浮沉，不与浊世同流，躲进书斋笔耕不辍，自成一统。全诗对仗精工、用喻奇警，自嘲之语愈谦，战斗之志愈坚，是鲁迅杂文笔法入诗的典范。全诗「以俗为雅」：破帽、漏船、小楼皆寻常物事，一经点化，即成险境中斗士的象征；「管他」「躲进」等口语的运用，更使严整的律诗获得口语的活泼与谐趣，旧形式中灌注新精神，正见鲁迅对旧体诗「推陈出新」的创造性改造。

Allusions

'Canopy' is an astrological term for a fate of loneliness and poverty, here mocking his own ill luck; 'ox for the child' comes from the Zuo Zhuan, 'for the sake of his child.'

诗中典故与意象皆有深意。「华盖」本为星名，星命家谓人交华盖运主孤穷厄运，鲁迅借以自嘲——运交华盖，百事不顺，欲何所求！佛经又以华盖为尊贵之相，鲁迅反用俗说，自嘲中含自负。「破帽遮颜」化用古时隐者、狂士的形象，写乱世中藏身保命而志不可夺。「漏船载酒」以漏船喻险境，以载酒写旷达，暗含「明知山有虎，偏向虎山行」的勇气。「千夫指」出《汉书·王嘉传》「千人所指，无病而死」，指为众人所指斥，此处指敌人的攻击咒骂；「孺子牛」出《左传·哀公六年》：齐景公尝衔绳装牛，让幼子牵着走，因跌折牙齿，后以「甘为孺子牛」喻甘愿为儿女、为人民作牛作马，鲁迅反其意而用之，自甘俯首，无私奉献。全诗用典皆翻出新意，古语今用，正见鲁迅「拿来主义」的精神。尤可注意者，古代狂士避世多隐于山林，鲁迅却「破帽遮颜」隐于闹市，于人群之中自全其志；「漏船载酒」亦暗含《庄子》「泛若不系之舟」的逍遥意象而反其意用之——不是出世逍遥，而是入世抗争，旧典新用，脱胎换骨，正是「拿来主义」的绝佳示范，也使此诗在古雅的形式下跃动着现代的灵魂。

Commentary

This couplet is taken as a portrait of Lu Xun's spirit and is widely recited.

此诗是鲁迅精神的诗化结晶，被誉为鲁迅旧体诗的代表作。1942年，毛泽东《在延安文艺座谈会上的讲话》引用「横眉冷对千夫指，俯首甘为孺子牛」两句，称「应该成为一切革命者的座右铭」，并号召一切共产党员、革命家学习鲁迅的这一精神，使此诗在革命年代产生了广泛深远的影响。「横眉」与「俯首」的对立统一，凝练地概括了鲁迅一生的爱憎：对敌人之冷酷如铁，对人民之温柔如水，这种峻烈而深情的人格，正是鲁迅精神的精髓。此诗以自嘲写坚守，与同期杂文《为了忘却的记念》《辱骂和恐吓决不是战斗》互为表里，共同构成三十年代鲁迅韧的战斗姿态。后世论者常以「横眉俯首」四字概括鲁迅人格，可见此诗影响之深，其思想价值与艺术价值皆足称现代旧体诗的典范。此诗问世后即不胫而走，入选多种教材与选本，「横眉冷对千夫指，俯首甘为孺子牛」一联更被镌刻于上海鲁迅纪念馆，成为鲁迅人格的公共象征；九十年来，论鲁迅者莫不引此联，论爱国者莫不诵此诗，其以十四字写尽一代文豪的爱憎，足为现代旧体诗的最高成就之一。

Prosody

Form Seven-character regulated verse (lüshi)七言律诗（首句入韵）

Rhyme qiu, tou, liu, niu, qiu, in the you rhyme group押下平十一尤韵，韵脚：求、头、流、牛、秋

Tone pattern level-tone opening, first line enters rhyme平起首句入韵；中二联对仗精工：「破帽」对「漏船」、「遮颜」对「载酒」、「过闹市」对「泛中流」；「横眉」对「俯首」、「千夫指」对「孺子牛」，工稳天成。

Reading note The middle two couplets are finely antithetical; love and hatred are stark.此诗为七言律诗，首句入韵，押下平十一尤韵，韵脚「求、头、流、牛、秋」皆为平声，韵调舒展悠长，与自嘲语气的从容戏谑相谐。全诗格律严谨：平起首句入韵，平仄谐和；中间两联严格对仗——颔联「破帽遮颜过闹市，漏船载酒泛中流」，名词对名词、动词对动词，「过」对「泛」尤为精切；颈联「横眉冷对千夫指，俯首甘为孺子牛」更是字字相对、工稳天成，「横」对「俯」、「冷对」对「甘为」、「千夫指」对「孺子牛」，对仗之工与情感之烈相得益彰，遂成名联。尾联「躲进小楼成一统，管他冬夏与春秋」以口语入诗，「管他」二字轻松俏皮，于严整的格律中见活泼，正是鲁迅「旧瓶装新酒」的功夫。全诗中二联对仗精工，爱憎峻烈，声情随内容起伏：前四句自嘲，语调从容；颈联转峻，声情激越；尾联复归洒脱，余韵悠长。此诗是鲁迅旧体诗中格律最精、影响最大的作品之一，其以传统律诗形式承载现代战斗精神的成功，足证旧体诗在现代语境下的强大生命力。

Line by line

运交华盖欲何求，未敢翻身已碰头。

With a Canopy over my fate, what more could I seek? Before I dare turn over, I have already struck my head.

交了华盖运还想求得什么呢，还没敢翻身就已经碰了头。

With the Canopy star crossing my fate, what could I still seek? Before I dare turn over, I have already bumped my head.

首联以自嘲开篇，写尽险恶处境。「运交华盖」以星命家语自嘲命运多舛，「欲何求」三字更以退为进——既然运交华盖，还敢有什么奢求？自嘲中已见愤激。「未敢翻身已碰头」以夸张的漫画笔法写动辄得咎：连翻身都未敢，便已碰头，极言环境之逼仄、罗网之密布。两句以自嘲的轻快写现实的沉重，幽默底下是清醒的痛感，恰是鲁迅式的冷峭。首联定下全诗「自嘲」基调，而嘲讽之下，战斗的锋芒已隐然可见。

The self-mockery. With a Canopy over my fate, what more could I seek? Before I dare turn over, I have already struck my head. The Canopy star (bad fortune) and the bump-before-I-dare-turn are the mocking opening. To have said his luck was terrible would be a complaint; the Canopy-over-my-fate-what-more-to-seek against the before-I-dare-turn-over-already-struck-my-head is the complaint.

破帽遮颜过闹市，漏船载酒泛中流。

A tattered cap hides my face as I cross the busy market; a leaking boat, laden with wine, drifts in midstream.

戴着破帽遮住脸面穿过闹市，如漏船载着酒在急流中漂浮。

Hiding my face under a tattered cap, I cross the noisy market; like a leaking boat loaded with wine, I drift in midstream.

颔联承上，以两个奇崛的比喻写险境中的从容。「破帽遮颜过闹市」写藏身之术：在白色恐怖中隐于市井，破帽遮面，是自我保护，也是不与浊世同流的孤高；「漏船载酒泛中流」以漏船喻危局、以载酒写旷达——明知船漏将沉，偏要载酒中流，正是知其不可而为之的勇毅。两句一写人一写己，一隐一显，形象鲜明，把险恶处境写得诗意盎然，苦中作乐，悲中见豪，是鲁迅「韧的战斗」的诗化写照。

The metaphors. A tattered cap hides my face as I cross the busy market; a leaking boat, laden with wine, drifts in midstream. The hidden face in the market and the leaking boat in the current are the reckless steadiness. To have described hiding and drifting would be images; the tattered-cap-hiding-face-crossing-the-market against the leaking-boat-laden-with-wine-in-midstream is the image.

横眉冷对千夫指，俯首甘为孺子牛。

Bristling brows, I coldly face a thousand pointing fingers; bowing my head, I willingly serve as the child's ox.

横眉冷对千夫所指，俯首甘愿做孺子的牛。

With bristling brows I coldly face the thousand pointing fingers; bowing my head, I willingly become the ox for the children.

全诗核心，千古名句。「横眉冷对」写对敌人之恨：千夫所指，举世咒骂，而我横眉相对，寸步不让——「冷」字写出蔑视之冷峻，不为所动；「俯首甘为」写对人民之爱：甘愿俯下身子，作人民大众的牛马——「甘」字写出奉献之自觉，无怨无悔。两句对仗精工，横与俯、冷对与甘为、千夫指与孺子牛，字字相对，而爱与憎、刚与柔、傲与谦皆在其中，凝练至极。此联以最简练的语言概括了鲁迅人格的全部内涵，爱憎分明，界限判然，是中华民族脊梁精神最凝练的诗化表达。

The couplet. Bristling brows, I coldly face a thousand pointing fingers; bowing my head, I willingly serve as the child's ox. The cold defiance against the multitude and the willing service to the people are Lu Xun's whole character. To have said he defied enemies and served the people would be a summary; the bristling-brows-cold-facing-thousand-fingers against the bowing-head-willingly-the-child's-ox is the summary.

躲进小楼成一统，管他冬夏与春秋。

I hide in my small tower, a realm apart; what care I for winter, summer, or the turning years?

躲进小楼自成一统，管他什么冬夏与春秋。

I hide in my small tower and make my own realm; what do I care whether it is winter, summer, or the turning of the year?

尾联以戏谑语收束，写坚定立场。「躲进小楼成一统」反用「天下定于一统」之意：外面世界虽浊，我自小楼一统——不是逃避退缩，而是拒绝同流合污，在书斋中坚持独立的精神世界；「管他冬夏与春秋」更以「冬夏春秋」暗喻政治气候的变化无常，任它时局如何翻覆，我自笔耕不辍、坚守立场。此联语似玩世不恭，实则大义凛然：自嘲之中见自守，戏谑之中见坚定。全诗由自嘲起、以自守结，首尾呼应，把鲁迅在黑暗年代的坚韧与清醒写得入木三分。

The close. I hide in my small tower, a realm apart; what care I for winter, summer, or the turning years? The small tower as a separate realm, indifferent to the political seasons, is the final stand. To have said he withdrew to his study would be a posture; the hide-in-my-small-tower-a-realm-apart against the what-care-I-for-winter-summer-or-the-turning-years is the posture.

Study

Word focus

华盖 The 'canopy' of an astrologer's fate, said to bring loneliness and poverty; here it mocks his own ill luck. 「运交华盖」之「华盖」，本为星名，星命家谓人交华盖运主孤穷厄运，鲁迅借以自嘲厄运当头。「华盖」一词兼有两层深意：从星命俗说看，是自嘲命运不济、动辄得咎；从佛典看，华盖本是尊贵之相，暗含对自身价值的自信——运交华盖，看似倒霉，实则是「顶天立地」的象征。一词而褒贬并存，自嘲与自负交织，正是鲁迅式幽默的典范：愈是自贬，愈见骨气。此词亦为全诗定下「自嘲」基调，其含混多义，最见炼字功力。

漏船 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「漏船载酒泛中流」之「漏船」，是全诗最奇崛的比喻之一。漏船喻处境之危：船已漏水，随时将沉，正如三十年代白色恐怖下的生存绝境；然而「载酒泛中流」，明知将沉，偏要载酒畅游，以酒写旷达，以中流写勇敢——把危亡之境写得从容自适，正是鲁迅「明知山有虎，偏向虎山行」的韧的战斗精神。漏船与载酒、危殆与自适，相反相成，意象奇峭，与「破帽遮颜」的隐忍相映，一明一暗，把险境中的姿态写得摇曳生姿。

横眉、俯首 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「横眉冷对千夫指，俯首甘为孺子牛」之「横眉」「俯首」，一扬一抑，一刚一柔，是全诗情感的两极。「横眉」写眉峰耸起、怒目而视之态，是战士面对敌人的凛然之姿；「俯首」写俯下身子、甘为人仆之态，是公仆面对人民的谦卑之姿。二字对举，把对敌人的恨与对人民的爱凝为两个雕塑般的姿态，爱与憎、刚与柔、傲与谦，皆在其中。「冷对」之冷与「甘为」之甘，更是两个情感浓烈的字眼，一冷到极点，一甘到极点，爱憎分明，界限判然，堪称炼字的绝唱。

自嘲