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浪淘沙·北戴河

Waves Washing Sand: Beidaihe

毛泽东

Mao Zedong

名篇Masterpiece 咏史On History 豪放Heroic and Bold

大雨落幽燕，白浪滔天，秦皇岛外打鱼船。
一片汪洋都不见，知向谁边？
往事越千年，魏武挥鞭，东临碣石有遗篇。
萧瑟秋风今又是，换了人间。

The great rain falls on Youyan,
The white waves rise to the sky,
And off Qinhuangdao the fishing boats.
All the boundless sea is lost to sight—
Whither have they gone?

The past goes back a thousand years,
Wei Wu lashed his whip,
And facing east climbed Jieshi, leaving a poem.
The bleak autumn wind blows again as of old—
But the world is changed.

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Meaning

Written by Mao Zedong in the summer of 1954 at Beidaihe. The first half writes the present scene: a great rain over the ancient land of Youyan, white waves rising to the sky, and the fishing boats off Qinhuangdao lost to sight in the boundless sea—'whither have they gone?' The second half turns to the past: a thousand years ago Wei Wu (Cao Cao) lashed his whip, climbed Jieshi facing east, and left his poem 'The Great Sea'; 'the bleak autumn wind blows again as of old'—but 'the world is changed.' The same autumn sea, the same Jieshi rock, yet the age is new: the poem sets the old China of Cao Cao's age against the new China of 1954, the 'world changed' four characters carrying both the remembrance of history and the praise of the new age.

大雨倾落在幽燕大地，白色的浪涛汹涌滔天，秦皇岛外海面上有打鱼的船只。一片汪洋中渔船都已看不见，不知飘向何方？往事跨越千年，魏武帝曹操策马挥鞭，东临碣石留有《观沧海》的诗篇。萧瑟秋风如今又吹起，而人间已经换了模样。

Appreciation

The ci, in fifty-four characters across two stanzas, is built on 'the contrast of time and space, the present set against the past.' The first half writes purely the scene before the eyes: 'the great rain falls on Youyan' opens with a breath that swallows ten thousand miles, the 'Youyan' fixing the place in ancient solemnity; 'the white waves rise to the sky' pushes the waves to the utmost; the verb 'rise' (tao) as if the waves surge before your eyes; 'off Qinhuangdao the fishing boats' turns from the vast scene to a detail, one fishing boat, the smoke of human life, set against the mad waves; 'all the boundless sea is lost to sight, whither have they gone?' writes the boats' vanishing in a question, both realistic (the eyes cannot reach through the storm) and carrying a concern for the fishermen, the question left hanging, its resonance long. The second half turns to the past: 'the past goes back a thousand years' turns time in a film-cut; 'Wei Wu lashed his whip' writes Cao Cao not through his achievements but through the action of lashing his whip, spirited and alive; 'and facing east climbed Jieshi, leaving a poem' points to 'The Great Sea,' overlaying the present sea with the poem of a thousand years; 'the bleak autumn wind blows again as of old' turns directly on Cao Cao's own line, and 'the world is changed' closes.

【白话串讲】毛泽东在北戴河写《浪淘沙》：“大雨落幽燕，白浪滔天，秦皇岛外打鱼船”。“往事越千年，魏武挥鞭，东临碣石有遗篇”——他想起曹操。“萧瑟秋风今又是，换了人间”——他写今昔之变。【意象与手法】全词以「今昔对照」为骨架：上片今景，下片怀古；「往事越千年」一句穿越时空，「换了人间」四字如惊雷收束。写景宏阔（大雨、白浪、汪洋），用典自然（曹操《观沧海》），字字铿锵，气吞山河。【情感与主旨】词人站在新时代的潮头回望历史，既赞颂曹操的功业，更以「换了人间」宣告旧时代的终结与新时代的到来，抒发革命者改天换地的豪情。【名句点睛】「萧瑟秋风今又是，换了人间」是千古名句：前句承曹操诗意，后句翻出新境，以自然之「又是」反衬人间之「换了」，历史感与时代感在此交织，掷地有声。

Background

'Waves Washing Sand: Beidaihe' was written in the summer of 1954, while Mao Zedong was resting at Beidaihe. Beidaihe, on the coast of Qinhuangdao, Hebei, is a famous summer resort; in the summer of 1954 Mao presided there over discussions of the drafting of the constitution and other great affairs of state, and in his leisure often swam in the sea; his staff recalled that he insisted on swimming even in the wild wind and rain, and recited this ci after coming ashore. Five years had passed since the founding of the People's Republic: the economy restored, the War to Resist U.S. Aggression and Aid Korea won, and the First Five-Year Plan in full swing; the poet, sixty-one years old, battling the waves, was the very emblem of that age of 'daring to make the sun and moon a new sky.' Qinhuangdao was of old the land of Youyan, where Cao Cao, climbing Jieshi in the twelfth year of Jian'an after his northern campaign against the Wuhuan, wrote 'The Great Sea.' Mao, driving up Jieshi to visit the ancient site, faced the vast sea and the relics of a thousand years, and the thought of past and present came to him.

《浪淘沙·北戴河》作于1954年夏，毛泽东在北戴河海滨疗养期间。北戴河位于河北秦皇岛，依山傍海，为避暑胜地；1954年夏，毛泽东在此主持讨论宪法起草等重大国事，公务之暇常下海游泳，据其身边工作人员回忆，他曾在狂风暴雨中坚持畅游，上岸后吟成此词。此时新中国已成立五年，国民经济恢复、抗美援朝胜利、第一个五年计划全面展开，诗人以六十一岁之龄搏击风浪，正是那个「敢教日月换新天」的时代的缩影。秦皇岛古属幽燕之地，曹操曾于此东临碣石，作《观沧海》；毛泽东驱车登临碣石山访古，面对浩渺沧海与千年遗迹，抚今追昔，遂有「往事越千年，魏武挥鞭」之思。词中「换了人间」四字，既是对曹操时代「白骨露于野，千里无鸡鸣」的旧中国的对照，也是对新中国的礼赞——同是秋海、同是碣石，而天下已非旧观。此词后收入《毛泽东诗词》，与《沁园春·雪》《七律·长征》并列为毛词气象最宏阔的作品。

Art

The art is built on 'the contrast of time and space, the present set against the past.' The first half writes purely the scene: 'the great rain falls on Youyan' opens with a breath that swallows ten thousand miles; 'the white waves rise to the sky' pushes the waves to the utmost; 'off Qinhuangdao the fishing boats' turns to a detail, one fishing boat against the mad waves; 'all the boundless sea is lost to sight, whither have they gone?' writes the vanishing boats in a question, the concern for the fishermen and the long resonance in one hanging question. The second half turns to the past: 'the past goes back a thousand years' turns time in a cut; 'Wei Wu lashed his whip' writes Cao Cao through the single action, spirited and alive; 'and facing east climbed Jieshi, leaving a poem' overlays the present sea with the poem of a thousand years; 'the bleak autumn wind blows again as of old' turns directly on Cao Cao's line, and 'the world is changed' closes the whole—the same sea, the same autumn wind, and the world of men changed, the contrast of past and present carrying the whole meaning.

全词两片五十四字，艺术上以「时空对照、以古衬今」为骨架。上片纯写眼前景：「大雨落幽燕」起笔即气吞万里，以「幽燕」点地，古意苍茫；「白浪滔天」极言浪高，动词「滔」如见其涌；「秦皇岛外打鱼船」由宏景转出细节，一点渔舟，人间烟火，与狂涛巨浪相映；「一片汪洋都不见，知向谁边」以设问写渔船隐没，既是写实（暴雨中目力不及），又暗含对民生（渔人）的关切，一问悬空，余韵悠长。下片转入怀古：「往事越千年」五字如电影蒙太奇，时空骤转；「魏武挥鞭」四字写曹操，不写其功业而写其「挥鞭」的动作，英姿飒爽，凝练传神；「东临碣石有遗篇」点出《观沧海》，把眼前沧海与千年诗篇叠印；「萧瑟秋风今又是」直接化用曹诗「秋风萧瑟，洪波涌起」，一字未改其风神；结句「换了人间」四字，以最朴素的语言说出最巨变的历史，举重若轻，如雷收万壑。全词写景、怀古、抒情三线交织，而以「换了人间」一锤定音。

Allusions

The allusions are few, concentrated, and natural, the core being Cao Cao's 'The Great Sea.' 'Facing east climbed Jieshi, leaving a poem' points directly to Cao Cao's 'facing east, climbing Jieshi, to view the great sea'; 'the bleak autumn wind blows again as of old' turns on his 'the autumn wind is bleak, the waves surge'; and 'leaving a poem' (yipian) means both the poem and the legacy—Cao Cao's northern campaign that unified the north. Jieshi mountain, in Changli county, Qinhuangdao, is said to be where the First Emperor of Qin and Emperor Wu of Han carved inscriptions on their eastern tours; in the twelfth year of Jian'an, Cao Cao, returning victorious from the northern campaign against the Wuhuan, climbed it to view the sea and wrote 'The Great Sea'—'the sun and moon move as if within it; the milky way sparkles as if from within it,' the first complete landscape poem in the history of Chinese poetry. In 1954 Mao climbed Jieshi, and a thousand years later came again to the same sea and the same autumn wind, while the world had passed from chaos and feudal darkness to the new age.

本篇用典集中而自然，核心是曹操《观沧海》。「东临碣石有遗篇」直指曹操「东临碣石，以观沧海」之诗，「萧瑟秋风今又是」化用其「秋风萧瑟，洪波涌起」，「遗篇」二字既指诗篇，亦暗含「遗业」——曹操北征乌桓、统一北方的功业。碣石山在秦皇岛昌黎县境，相传为秦始皇、汉武帝东巡刻石处，曹操建安十二年北征乌桓凯旋经此，登临观海，写下《观沧海》，「日月之行，若出其中；星汉灿烂，若出其里」，是中国诗歌史上第一首完整的山水诗。毛泽东1954年夏登碣石山，千年之后重临此地，面对同一片沧海、同一阵秋风，而天下已由乱世、封建、战乱，变为人民当家作主的新中国——「换了人间」四字，正是对这种历史巨变的凝练概括。词中「幽燕」亦为古地名（河北北部古属幽州、燕地），与「碣石」呼应，共筑苍茫的北方时空；「秦皇岛」之名更暗含秦皇东巡的典故，使「秦皇岛外打鱼船」一句于现代地名中透出千年历史纵深。用典而不隔，化古为今，是毛词的一大特色。

Commentary

'Waves Washing Sand: Beidaihe' is one of Mao Zedong's ci with the most majestic breadth and the deepest historical feeling, and together with 'Spring in a Pleasure Garden: Snow' forms the twin jade of his 'remembering the past and praising the present.' 'Spring in a Pleasure Garden: Snow' weighs the First Emperor of Qin, Emperor Wu of Han, Tang Taizong, and Song Taizu, surveying two thousand years of feudal emperors; 'Waves Washing Sand: Beidaihe' reaches directly to Cao Cao, making a thousand years the axis and the vast sea the mirror, and lands on 'the world is changed'—one weighs the merits of the ancients, the other proves the transformation of the present, each the counterpart of the other. Its art has always been highly rated: the poet Zang Kejia praised its 'grandeur unmatched by any predecessor'; critics hold it the model of 'poetry with painting, and painting with history'—the first half a scene, the second a history, and the 'world changed' four characters a summary of the age.

《浪淘沙·北戴河》是毛泽东词作中气象最宏阔、历史感最深沉的名篇之一，与《沁园春·雪》并称毛词「怀古咏今」的双璧。《沁园春·雪》评秦皇汉武、唐宗宋祖，纵论两千年封建帝王；《浪淘沙·北戴河》则直追曹操，以千年为轴，以沧海为镜，落笔「换了人间」——一评古人之短长，一证今朝之巨变，互为表里。此词的艺术成就，历来评价甚高：诗人臧克家赞其「气魄之大，前无古人」；评论家多以其为「诗中有画、画中有史」的典范——上片是泼墨山水，下片是千古兴亡。全词「往事越千年」「换了人间」等句，更成为当代汉语中表达历史巨变的经典语句。就文学史而言，此词以旧体词牌写新时代气象，证明传统词体在现代语境中仍有强大的生命力，是「旧瓶装新酒」的成功范例；其「今昔对照」的结构与「以景结情、以史衬今」的手法，也深刻影响了当代旧体诗词的创作，至今仍为中学语文必读、毛泽东诗词中的压卷之作。

Prosody

Form Tune 'Waves Washing Sand' (small ci, fifty-four characters, four level rhymes to each stanza)词（《浪淘沙》小令，双调五十四字，上下片各五句四平韵）

Rhyme Following the standard form of Li Yu, rhyming on the an rhyme through to the end: tian, chuan, bian, nian, bian, pian, jian—the sound broad and resounding, fitting the vastness of the sea; level rhymes long and slow, carrying the solemn turn of history依《浪淘沙》正体（李煜体）填制，押「an」韵，一韵到底：天（tiān）、船（chuán）、边（biān）、年（nián）、鞭（biān）、篇（piān）、间（jiān），音色开阔洪亮，正合大海的苍茫气势；平声韵绵长舒缓，宜于咏叹。

Tone pattern The first half is written in broad, pressing rhythm, 'the great rain falls on Youyan, the white waves rise to the sky' urgent and rising; 'the past goes back a thousand years, Wei Wu lashed his whip' shifts time in a cut; and 'the bleak autumn wind blows again as of old, the world is changed' falls in a measured close, the tone from broad to solemn句式长短相间，五七言交错：起拍「大雨落幽燕」五言短句，急促有力；「秦皇岛外打鱼船」七言长句，舒展开阔；「知向谁边」「换了人间」以四字短句收束各片，顿挫铿锵。上片写景，句句落实，语势渐沉；下片怀古，「越千年」陡起，至「换了人间」如钟声骤鸣。全词一韵到底，声情激越而气度从容。

Reading note The tune's even level rhymes give the whole a broad, slow sound, fitting the sea and the historical meditation.《浪淘沙》本为唐教坊曲，五代李煜填「帘外雨潺潺」遂成经典词牌，双调五十四字，上下片各四平韵，句式以「五四七」为骨架，长短错落，最宜抒发苍茫感慨。毛泽东此词严守词律而自出机杼：一韵到底的「an」韵（天、船、边、年、鞭、篇、间），韵脚疏密相间，读来如潮水拍岸，一浪接一浪；上片五言起拍（大雨落幽燕）如重锤击鼓，七言承之（秦皇岛外打鱼船）如长歌舒卷，四字收片（知向谁边）如悬钟待撞；下片「往事越千年」五字陡起，把词境从眼前推向千年，而「换了人间」四字如钟锤落下，余音袅袅。全词无一处拗口，无一处凑韵，音韵之宏亮与意境之苍茫浑然一体，是「词律为意服务」的典范——格律不是束缚，而成为气势的一部分，故能「以旧体写新天」而气韵流转，千载之下犹闻其声。

Line by line

大雨落幽燕，白浪滔天，秦皇岛外打鱼船。

The great rain falls on Youyan, the white waves rise to the sky, and off Qinhuangdao the fishing boats. (The first half opens on the present scene: the great rain over the ancient land, the waves rising to the sky, and one detail of the fishing boats against the mad waves.)

大雨倾落在幽燕大地，白色的浪涛汹涌滔天，秦皇岛外的海面上有打鱼的船只。

Great rain falls on Youyan; white waves rise to the sky; beyond Qinhuang Island, fishing boats.

起拍三句，先声夺人，为一篇立下苍茫宏阔的基调。「大雨落幽燕」五字破空而来：「落」字见雨势之急，「幽燕」以古地名写今地，一开篇便将北国海天的辽阔与历史的苍茫并置；「白浪滔天」四字承雨势写浪势，「滔天」极言浪高，如见白浪翻滚直逼苍穹，声势夺人；「秦皇岛外打鱼船」笔锋一转，由巨浪转到一叶渔舟，宏景中缀以细节，狂涛与孤舟相对，写出海天之间的生命搏击。三句由天及海、由海及船，层次分明，既是实景的描绘，又为下片「知向谁边」的追问与「换了人间」的喟叹蓄势，是全词的总起。

The rain. Great rain falls on Youyan; white waves rise to the sky; beyond Qinhuang Island, fishing boats. The great rain on Youyan and the sky-high white waves and the fishing boats are the opening. To have fallen on Youyan would be a falling; the great-rain-falls-on-youyan-white-waves-rise-to-the-sky-beyond-qinhuang-island-fishing-boats is the falling.

一片汪洋都不见，知向谁边？

All the boundless sea is lost to sight—whither have they gone? (The boats vanish in the boundless sea, the question writes both the reality of the storm and the concern for the fishermen, its resonance long.)

一片汪洋中渔船都看不见了，不知它们驶向了何方？

The vast waste is all gone from sight—whither have they gone?

两句一问，是全词上片的收束，也是情绪由景入情的转折。「一片汪洋都不见」承「打鱼船」而来：暴雨滂沱、白浪滔天，渔舟早已隐没于苍茫海面，「都不见」三字写目力之穷，也写牵挂之深；「知向谁边」以设问收束，问渔舟去向，实则关念海上渔人的安危——一代领袖于壮阔海景中，念念不忘的仍是民生。此问悬空不答，余韵悠长：浪涛可吞没渔舟，却吞没不了对人民的牵挂。两句由景转情，为下片「往事越千年」的历史之思作了情感铺垫，使怀古不空、咏今有据，全词的气脉于此一转。

The question. The vast waste is all gone from sight—whither have they gone? The vanished fishing boats and the whither-have-they-gone question are the turn. To have asked whither the boats went would be a question; the the-vast-waste-is-all-gone-from-sight-whither-have-they-gone is the question.

往事越千年，魏武挥鞭，东临碣石有遗篇。

The past goes back a thousand years, Wei Wu lashed his whip, and facing east climbed Jieshi, leaving a poem. (The second half turns to the past: a thousand years to Cao Cao, written through the single action of lashing his whip, the present sea overlaid with the poem of a thousand years.)

往事跨越千年，魏武帝曹操策马挥鞭，东临碣石留下了诗篇。

Bygone deeds stretch back a thousand years; Wei Wu swung his whip and, east at Jieshi, left his verses.

过片三句，由今入古，是全词的转折枢纽。「往事越千年」五字以「越」字写时间的飞越，举重若轻，一下拉开千年时空；「魏武挥鞭」四字写曹操，不铺陈其功业，只取「挥鞭」这一动作——策马扬鞭、鞭指沧海，一代枭雄的英姿飒爽、气吞万里的气概，尽在四字之中；「东临碣石有遗篇」点出《观沧海》，「有遗篇」三字既实指诗篇尚存，又暗含「千年之后，我亦临此」的对话意味。毛泽东与曹操，一位是诗人政治家，一位是政治家诗人，隔千年而同临碣石、同对沧海，历史在此刻交叠。三句由现实跳入历史，却不觉突兀，正是「越」字的妙用——千年不过是沧海一瞬。

The whip. Bygone deeds stretch back a thousand years; Wei Wu swung his whip and, east at Jieshi, left his verses. The thousand years and the Cao Cao swinging his whip at Jieshi are the historical turn. To have swung the whip would be an allusion; the bygone-deeds-stretch-back-a-thousand-years-wei-wu-swung-his-whip-and-east-at-jieshi-left-his-verses is the allusion.

萧瑟秋风今又是，换了人间。

The bleak autumn wind blows again as of old—but the world is changed. (The closing turns directly on Cao Cao's 'the autumn wind is bleak' and closes on 'the world is changed'—the same sea and the same autumn wind, and the world of men changed, the contrast of past and present carrying the whole meaning.)

萧瑟的秋风如今又吹起来了，而人间已经换了模样。

The bleak autumn wind blows again today, and the world has been remade.

结拍两句，是全词的点睛之笔，也是毛泽东诗词中最著名的收束之一。「萧瑟秋风今又是」直接化用曹操「秋风萧瑟，洪波涌起」——同是碣石、同是秋海、同是萧瑟秋风，景物千年未变；「今又是」三字以自然之「不变」作铺垫，反衬出下句人间之「大变」：「换了人间」四字，如惊雷收束全篇。短短四字，说尽两千年的兴亡更替——曹操的乱世已成陈迹，封建的、战乱的、屈辱的旧中国已被新中国取代，「换了」二字是历史判断，也是时代宣言。全词以景起、以古承、以今结，而「换了人间」以最朴素的语言说出最伟大的事实，举重若轻，余响千年。

The remaking. The bleak autumn wind blows again today, and the world has been remade. The same bleak autumn wind and the world-remade are the close. To have remade the world would be a remaking; the the-bleak-autumn-wind-blows-again-today-and-the-world-has-been-remade is the remaking.

Study

Word focus

滔天 Rising to the sky. The word of the waves: 'the white waves rise to the sky' pushes the waves to the utmost, the verb 'rise' (tao) as if the waves surge before your eyes, the vastness of the sea written in two characters. 「白浪滔天」之「滔天」，极言浪高接天，是写海景的传神之笔。「滔」本为「水漫过」之义（如《尚书》「浩浩怀山襄陵，浩浩滔天」），与「天」连用，构成夸张的修辞，把白浪写得如巨墙直立、直触苍穹，视觉冲击力极强。与「大雨落幽燕」的「落」字相配，一「落」一「滔」，天上地下，雨浪相接，天地之间全是动势。此词源于上古洪水意象，暗含「荡荡怀山襄陵」的苍茫气魄，用在这里，既写实景之狂暴，又暗衬海之雄浑、人之渺小，为后文「知向谁边」的关切与「换了人间」的浩叹蓄势。二字之工，尽显毛词炼字的气魄。

挥鞭 Lashed his whip. The word of Cao Cao: not his achievements but the single action of lashing his whip, the martial bearing and the vigor of the age in four characters, spirited and alive. 「魏武挥鞭」之「挥鞭」，是写曹操的传神动作，也是全词最有画面感的二字。「挥」字见其挥洒自如，「鞭」字见其马上英姿——不写曹操「挥军」「挥师」，而写「挥鞭」，一个动作便把这位北征乌桓、扫平群雄的乱世英雄写活了：策马扬鞭、鞭指沧海，豪迈之气扑面而来。与「东临碣石有遗篇」相承，「挥鞭」是武略，「遗篇」是文采，一文一武，写尽曹操「横槊赋诗」的雄才。毛词写古人，从不堆砌功业，而取一动作、一细节传神——「挥鞭」二字，正是「以少总多」的典范，千年枭雄，尽在一鞭之中。

换了人间 The world is changed. The word of the whole ci: the same autumn sea, the same Jieshi, and the world of men changed—the remembrance of history and the praise of the new age gathered into four characters. 「换了人间」四字是全词的词眼，也是理解全词的关键。四字皆极平常，而组合起来却有雷霆万钧之力：「换了」二字是历史判断——旧的人间（军阀混战、列强欺凌、民不聊生）已去，新的人间（人民当家作主）已来，一个「换」字，写尽翻天覆地的质变；「人间」二字指整个社会、整个时代，比「天下」「江山」更朴素，也更贴近人民。与「萧瑟秋风今又是」对读，「今又是」是自然之不变，「换了」是人间之巨变，以不变衬巨变，以天工衬人力，历史的必然与革命者的自信尽在其中。四字收束千年，举重若轻，成为当代汉语中表述「时代巨变」的经典语句，其思想力量与艺术力量，堪称毛词之最。