All poems

近现代近现代 · 诗 Poem

七律·登庐山

Ascending Mount Lu

毛泽东

Mao Zedong

名篇Canonical Masterpiece 七律Seven-Part Octet 政治抒情诗Political Lyric 写景Scene Writing

一山飞峙大江边，跃上葱茏四百旋。
冷眼向洋看世界，热风吹雨洒江天。
云横九派浮黄鹤，浪下三吴起白烟。
陶令不知何处去，桃花源里可耕田。

One mountain rises like a flight and stands at the river's edge; four hundred turns of green ascent carry us up.
A cold eye turned toward the ocean, I look at the world; hot wind and rain are dashed over river and sky.
Clouds lie across the nine streams and the yellow crane floats; waves run down to the Three Wu and raise white smoke.
Mr. Tao, where have you gone? Is there still a field to till inside the Peach Blossom Spring?

Listen

Meaning

The poem was written on Mount Lu in the summer of 1959, on the eve of a party conference held on the mountain, and it joins a climb to two reflections: on the world outside China, which the poet says he observes with a cold eye, and on Chinese history, which he sets against the present. The last couplet is the poem's turn and its softness: where has Tao Qian gone, and is the utopia he imagined still a place where people could work the fields? The poem ends by putting the classical dream of retreat back on the land and asking whether anyone would still want it.

一座山飞一般地耸立在大江边，乘车跃上草木葱茏的山路，经过四百个盘旋弯道。以冷静的目光望着海洋彼岸看世界，热风吹来，雨点洒满江天。云气横亘在长江九派之上，黄鹤楼仿佛浮在云间；浪涛奔涌直下三吴之地，腾起一片白烟。当年的陶渊明不知到哪里去了，如今这桃花源般的天地里，正可以耕田劳作。

Appreciation

[Plain Paraphrase] A mountain rises heavy at the river and four hundred bends of green road bring the climber up. From the top the poet looks out at the oceans and around at the weather, and then at the rivers beneath him. The closing couplet asks where the poet Tao Qian of the past has gone, and whether the Peach Blossom Spring he wrote about is still somewhere a man could plough. [Structure] The four couplets do their work in order: ascent, view, wider view, question. The second couplet carries the poem's temperature — the cold eye and the hot wind — and the third the poem's distance, since the clouds and waves run from the Yangtze to the lower reaches. The last couplet breaks the panorama entirely by introducing a man from the fourth century and a question about land. [Imagery] The images are colossal and almost mechanical: a mountain flying, four hundred bends, clouds across rivers, waves to the sea. Their effect is the opposite of the grandeur one expects, because none of them is allowed to be beautiful for its own sake. What holds the poem together is the pairing of opposites — cold and hot, ascending and falling, yellow crane and white smoke — and the final question, which turns a landscape into a conversation with a man who did not want any of it.

【白话串讲】毛泽东写《七律·登庐山》：“一山飞峙大江边，跃上葱茏四百旋”——庐山拔地而起。“冷眼向洋看世界，热风吹雨洒江天”——“云横九派浮黄鹤，浪下三吴起白烟”——“陶令不知何处去，桃花源里可耕田”——他登庐山思陶渊明。【意象与手法】此诗是七律中「正格」的典范：颔联、颈联对仗精工，「冷眼」对「热风」、「向洋」对「吹雨」、「看世界」对「洒江天」、「云横」对「浪下」、「九派」对「三吴」，虚实相生、动静相济；意象宏阔，飞峙之山、葱茏之路、九派之云、三吴之浪，尽收天地于眼底；用典自然，黄鹤、三吴、陶令、桃花源皆化入眼前景中，不着痕迹；革命浪漫主义与现实主义结合，写景、抒情、言志浑然一体。【情感与主旨】借登庐山纵览江天之景，抒写对世界风云的冷峻观察与对社会主义建设的热烈憧憬，展现诗人「冷眼向洋」的战略气度与「桃花源里可耕田」的理想主义，是毛诗雄浑豪放风格的集中体现。【名句点睛】「冷眼向洋看世界，热风吹雨洒江天」以冷热对举写观察世界与建设祖国的两种姿态，冷眼是战略家的冷静，热风是革命者的激情，一联写尽毛诗「冷峻与豪迈并存」的风格，成为广为传诵的名句。

Background

Mao Zedong (1893–1976) came south from the capital in late June 1959 and climbed Mount Lu on 30 June; the poem followed the next day, with a note describing the view of Poyang Lake and the Yangtze beneath. The Lushan conference opened on 2 July, and the poem's mixture of cold assessment and warm idealism is usually read against those weeks. Mount Lu, in Jiangxi, is a famous retreat of Chinese literati; Tao Qian lived nearby for a time and wrote of the Peach Blossom Spring, and the poet's closing question is aimed at that tradition of withdrawal. The poem belongs to a lifetime of climbing — from “Qinyuan Chun · Changsha” to “Water Melody · Once More on Jinggangshan” — each of which turns a view of country into a statement about the age.

《七律·登庐山》作于1959年7月1日，即中共中央庐山会议开幕前夕。毛泽东（1893—1976），字润之，湖南湘潭人，中国共产党的主要领导人、人民军队的主要缔造者，同时是当代杰出的诗人，其诗词以「旧体诗词写新内容」著称，将革命豪情与传统诗词形式熔于一炉。1959年夏，正值「大跃进」高潮与国民经济困难初现之际，毛泽东于6月底离京南下，6月30日登庐山，次日即兴成此诗，诗前小序云：「一九五九年六月二十九日登庐山，望鄱阳湖、扬子江，千峦竞秀，万壑争流，红日方升，成诗八句。」庐山会议随后在山上召开，此诗所流露的「桃花源里可耕田」的乐观与「冷眼向洋看世界」的沉着，恰是诗人此时心境的写照，亦是研究「庐山时期」毛诗的重要文本。就诗歌背景言，毛诗多作于重大历史时刻，「登山则情满于山」，从《沁园春·长沙》到《水调歌头·重上井冈山》，登临之作贯穿其创作始终，此诗正是这一谱系的代表作。

Art

The poem is a fully worked regulated octave, and its technical finish is the source of its tone. The two middle couplets are built as strict parallels, and each is a table of opposites: cold eye against hot wind, looking out against dashing rain, clouds against waves, the nine streams against the Three Wu. The verbs are chosen for their weight — rising, leaping, lying across, running down — and the whole landscape rises and falls in them. Against this the closing couplet is deliberately unimpressive: a question about a retired poet, in plain words, in the same seven-character measure. The contrast is the poem's best effect. Having taken in the whole continent in the middle lines, the poem ends by asking about one man who wanted to leave it, and the scale drops without loosening the verse.

此诗是七言律诗的典范之作，艺术上以「对仗精工、意象宏阔、用典自然」见长。结构上，首联写登临之景：「一山飞峙大江边」以「飞峙」二字写庐山拔地而起、如自天外飞来的雄姿，「跃上葱茏四百旋」以「跃」写车行山路的轻捷，「葱茏」写草木之盛，「四百旋」极言山道之回环，两句写尽山势之雄与登临之快；颔联写登高之怀：「冷眼向洋看世界，热风吹雨洒江天」，以「冷眼」对「热风」，冷热相映，沉着与豪迈并举，是全诗情感的核心；颈联写俯视之景：「云横九派浮黄鹤，浪下三吴起白烟」，云横浪下、黄鹤白烟，极写江天之壮阔，是毛诗「以景寓雄」的典型；尾联以问作结：「陶令不知何处去，桃花源里可耕田」，以陶渊明之典收束，把历史之问落到现实之答，理想主义油然而生。手法上，对仗尤见功力：颔联「冷眼／热风」以温度对温度，「向洋／吹雨」以动作对动作，「看世界／洒江天」以视野对视野，字字相俪而气脉贯通；颈联「云横／浪下」以状态对状态，「九派／三吴」以地域对地域，「浮黄鹤／起白烟」以动态对动态，虚实相生，境界全出。全诗八句，起承转合，一气呵成，是革命现实主义与革命浪漫主义结合的典范。

Allusions

Four classical resources are folded into the climb. “The nine streams” comes from the Jiang Fu of Guo Pu, who counted the Yangtze branches at Xunyang, and the phrase carries the history of the river down to the poet's own line. “The yellow crane” recalls Cui Hao's poem on the Crane Tower at Wuchang, and the crane that has gone is replaced by one floating in the clouds, so the old regret becomes a landscape. “Three Wu” is the old name for the lower Yangtze provinces, used here to make the water run away from the viewer toward the sea. The last couplet turns to Tao Qian, who held office as a magistrate and then gave it up, and to the “Peach Blossom Spring,” the account he wrote of a village that had escaped the wars; asking whether the fields there could still be tilled is the poem's way of putting the question whether the retreat is still possible.

此诗用典密集而自然，四联皆有出处，皆化入眼前景中。其一是「九派」：语出郭璞《江赋》「流九派乎浔阳」，指长江在浔阳（九江）一带的众多支流，「云横九派」写庐山俯瞰江流云气横亘之景，暗含「茫茫九派流中国」的历史纵深（毛泽东《菩萨蛮·黄鹤楼》「茫茫九派流中国，沉沉一线穿南北」可互证）；其二是「黄鹤」：用崔颢《黄鹤楼》「昔人已乘黄鹤去」之典，「浮黄鹤」写黄鹤楼在云雾中若浮若现，旧典翻新，化仙逝之怅为江山之壮；其三是「三吴」：古以吴兴、吴郡、会稽为三吴，泛指长江下游江浙一带，「浪下三吴」写江水奔涌直下东南，与「云横九派」上下相对，空间铺展极阔；其四是「陶令」「桃花源」：陶令指陶渊明（曾为彭泽令），桃花源用其《桃花源记》之典——「陶令不知何处去，桃花源里可耕田」以问句写古今之变：当年陶渊明笔下逃避战乱的世外桃源，今日已成人民耕田劳作的现实图景，古人之理想在新时代得到实现，用典之妙在于以古映今、以问作结，把历史沧桑化为建设豪情。四联四典，皆熔铸于登临所见之景中，不着痕迹，正是毛诗「旧瓶装新酒」的高明处。

Commentary

The octet is one of the most admired of the later poems, and it is unusual within the collection for having two subjects at once: a landscape and a political reading of it. Readers have generally taken the second couplet as the centre — “A cold eye turned toward the ocean, I look at the world; hot wind and rain are dashed over river and sky” — and it has become the standard formulation of the poet's position in the late 1950s, a mixture of detached judgment about foreign affairs and engaged feeling about the domestic programme. The closing question about the Peach Blossom Spring has proved the most durable part, since it turns the ideal of retirement into something to be tested against whether anyone would still choose it. As an example of the form it is often cited as a late success: the rules are observed without any sense of strain, and the poem is as confident about its allusions as about its view.

《七律·登庐山》是毛泽东诗词中七律一体与登临题材的代表作，历来评价甚高。就诗学价值言，此诗把传统七律的形式美发挥到极致：对仗精工而不失流动，用典密集而不觉堆砌，意象宏阔而情感沉着，「冷眼向洋看世界」的冷峻与「桃花源里可耕田」的乐观并峙，正是毛诗「雄浑豪放」风格（承李白、苏轼、辛弃疾一脉）在建国后的延续与深化。就思想价值言，此诗作于「大跃进」的历史节点，「热风吹雨」「可耕田」的意象折射出诗人对建设事业的热望，而「冷眼向洋」又见其沉着冷静的战略眼光，是研究毛泽东这一时期思想心境的珍贵史料，其「庐山」地理意象与庐山会议的历史纠缠，更使此诗兼具文学与史学的双重价值。就影响言，此诗与《七律·和柳亚子先生》《送瘟神》等同为毛诗七律的代表，哺育了几代人的审美，「冷眼向洋看世界」成为观察国际风云的经典表述；毛诗以旧体写新声的实践，也深刻影响了现当代旧体诗词的创作方向，此诗正是其中承前启后的名篇。

Prosody

Form Seven-part octave (the standard regulated form)七言律诗（近体诗正格）

Rhyme The poem rhymes throughout in the open “xian” class: turns, sky, smoke, field. The rhyme is not broken, and the long open vowels hold the whole octave in a wide, bright key, which is what allows the landscape to be described at scale without ever becoming loud.全诗八句四联，押平声「先」韵（旋、天、烟、田），一韵到底，韵脚疏朗响亮；首句「边」字入韵（平声先韵），为「首句入韵」的正格。平仄合律，粘对无误；颔联、颈联对仗精工（冷眼／热风、九派／三吴等），音律整饬而气脉流动，是七律「正格」的典范。

Tone pattern The voice follows the climb. The first couplet is quick and energetic, with the verbs “rising” and “leaping” in front of the line; the second turns cool and level in the four characters of the cold eye and then rises in “hot wind and rain”; the third is even and full, built as a parallel pair; the fourth drops to a question in two ordinary words. The change in pitch across the four couplets is what gives the poem its shape.句式全为七言，四联起承转合，声情随境而变：首联「飞峙」「跃上」动词领起，音调高亢，写登临之雄；颔联「冷眼」「热风」冷热对举，一抑一扬，写胸怀之阔；颈联「云横」「浪下」对仗铺展，音律浑厚，写江山之壮；尾联「何处去」「可耕田」以问作结，由扬转收，写理想之远。全诗声情由高亢而浑厚而深永，一气贯注。

Reading note The prosody of this poem is a demonstration that the strictest form can carry the loosest feeling. The rhyme is single and open, the two middle couplets are perfect parallels, and yet the poem reads as unhurried rather than composed, because the vowel it rests on is wide and the cadence of the seven-character line is cut at a normal pace. The couplets also sound different from one another without leaving the rules: the second is quiet and descending, the third full and level, the fourth short and rising on the question. When the poem is read aloud the rules are not noticed at all; what is noticed is that a mountain, a conference, a foreign policy and a fourth-century recluse have been made to fit into forty-eight syllables without a seam.作为七律正格，此诗的声律之美在「格律严整而气韵流动」。押韵上，全诗用「先」韵（旋、天、烟、田），韵脚皆平声阳韵，疏朗响亮，宜于抒发高亢豪迈之情；首句「大江边」之「边」亦入韵，是七律「首句入韵」的常格，起句即定下响亮悠长的基调。平仄上，全诗粘对合律，无一处失粘失对，颔联「冷眼向洋看世界，热风吹雨洒江天」、颈联「云横九派浮黄鹤，浪下三吴起白烟」皆平仄相俪、音律铿锵；而「冷眼／热风」「云横／浪下」的声调对照（仄仄／仄平、平平／仄仄），更使对仗在听觉上形成冷暖、起伏的呼应。声情上，四联的语调随内容递变：首联以动词领起（飞峙、跃上），音节急促高亢，如登山起步；颔联「冷眼向洋看世界」七字平仄交替（仄仄仄平平仄仄），声调沉郁，写冷眼之静，「热风吹雨洒江天」转扬，写热风之动；颈联对仗铺展，音律浑厚圆转，如江天在望；尾联「陶令不知何处去」以「去」字问句收束（仄声顿挫），「桃花源里可耕田」以平声悠长收尾，一问一答、一抑一扬，余音袅袅。全诗八句，起承转合，格律与内容相得益彰，诵读时宜先昂后沉、先急后缓，方见毛诗七律「豪放而整饬」的声情之美。

Line by line

一山飞峙大江边，跃上葱茏四百旋。

One mountain rises like a flight and stands at the river's edge; four hundred turns of green ascent carry us up.

一座山飞一般地耸立在大江边，乘车跃上草木葱茏的山路，经过四百个盘旋弯道。首联写庐山雄姿与登临之快。

A mountain flies up by the great river; we leap up the four hundred green bends.

首联以「飞峙」二字立骨，写尽庐山之势。「飞」字极妙：山本静止，而曰「飞峙」，写庐山如自天外飞来、猛然峙立江边，静态的山被赋予了飞动的气势，正是毛诗「笔挟风雷」的本色；「大江边」点出地理位置，庐山雄踞长江之滨，山与大江的对照，先立一个雄浑的舞台。「跃上葱茏四百旋」转写登临之过程：「跃」字写乘车盘旋上山之轻捷，如骏马腾跃，一路向上；「葱茏」写满山草木之青翠，以色彩写生机；「四百旋」极言山路弯道之多、山势之高峻，一个「旋」字，仿佛让读者也随车轮盘旋而上。两句一写山、一写人，山势之雄与登临之快相得益彰；「飞峙」与「跃上」两个动词前后呼应，一静一动，把「人山合一」的豪情写得跃然纸上，为颔联「冷眼向洋看世界」的居高临下之势预作铺垫，起笔即如雷霆，定下全诗雄浑的基调。

The flying peak. A mountain flies up by the great river; we leap up the four hundred green bends. The flying-stand-by-the-river and the leaping-up-four-hundred-bends are the opening. To have flown by the river would be a flying; the a-mountain-flies-up-by-the-great-river-we-leap-up-the-four-hundred-green-bends is the flying.

冷眼向洋看世界，热风吹雨洒江天。

A cold eye turned toward the ocean, I look at the world; hot wind and rain are dashed over river and sky.

以冷静的目光望着海洋彼岸看世界，热风吹来，雨点洒满江天。颔联写登高远望的冷峻观察与热烈情怀。

With a cold eye I watch the world across the ocean; the hot wind blows rain over river and sky.

颔联是全诗的诗眼，以「冷眼」对「热风」，冷热对照，写尽诗人的双重姿态。「冷眼向洋看世界」写冷静的观察：「冷眼」不是冷漠，而是冷峻、清醒，是战略家的目光——登庐山而望海洋彼岸，世界风云尽收眼底，「向洋看世界」五字，空间上由庐山推向全球，写出一种「登高望远、洞观全局」的气度；「热风吹雨洒江天」写热烈的建设：以「热风」对「冷眼」，以「吹雨洒江天」对「看世界」，冷与热、静与动、观察与实践，两两相对——冷眼是思想家的沉着，热风是革命者的激情，冷眼观察世界，热风改造江天，一联之中，见出诗人「既要看清世界，又要改造世界」的完整姿态。对仗之工尤见功力：「冷眼／热风」温度相对，「向洋／吹雨」动作相对，「看世界／洒江天」空间相对，字字相俪而意脉贯通；而「洒」字写雨势之盛、气势之豪，如热风吹雨，遍洒江天，把建设的热潮写得气象万千，遂成毛诗名句，也是理解诗人「冷峻与豪迈并存」风格的关键。

The cold eye. With a cold eye I watch the world across the ocean; the hot wind blows rain over river and sky. The cold eye watching the world and the hot wind blowing rain are the core. To have watched with a cold eye would be a watching; the with-a-cold-eye-i-watch-the-world-across-the-ocean-the-hot-wind-blows-rain-over-river-and-sky is the watching.

云横九派浮黄鹤，浪下三吴起白烟。

Clouds lie across the nine streams and the yellow crane floats; waves run down to the Three Wu and raise white smoke.

云气横亘在长江九派之上，黄鹤楼仿佛浮在云间；浪涛奔涌直下三吴之地，腾起一片白烟。颈联写俯瞰江天的壮阔景象。

Clouds lie across the nine tributaries, the Yellow Crane floats; waves race down to Sanwu, raising white mist.

颈联极写登高俯瞰之景，是全诗气象最宏阔的一联。「云横九派浮黄鹤」写仰视与远望：云气横亘在长江九派（众多支流）之上，黄鹤楼在云雾中若浮若现——「云横」写云之阔，「九派」写江之众，「浮黄鹤」以「浮」字写楼影在云海中沉浮，如海市蜃楼，亦真亦幻，暗用崔颢「昔人已乘黄鹤去」之典而化其仙渺为江山之壮；「浪下三吴起白烟」写俯视：江水奔涌直下三吴之地，浪涛拍岸，腾起一片白烟——「浪下」写水势之疾，「三吴」写地域之广，「起白烟」以「白烟」写浪花飞溅如烟，声色俱壮。两句一云一浪、一上一下、一黄鹤一白烟，色彩交错，空间铺展，把庐山俯瞰的长江图卷写得雄浑壮阔；而「浮」字之虚与「起」字之实相对，更见动静相济之妙。此联承颔联「看世界」而来，把目光从世界风云收回到祖国江山，江山之壮即建设之舞台，为尾联「桃花源里可耕田」的归结点染了宏阔的背景。

The crane. Clouds lie across the nine tributaries, the Yellow Crane floats; waves race down to Sanwu, raising white mist. The clouds across the nine tributaries and the floating Yellow Crane and the white mist at Sanwu are the wide view. To have floated the Yellow Crane would be a floating; the clouds-lie-across-the-nine-tributaries-the-yellow-crane-floats-waves-race-down-to-sanwu-raising-white-mist is the floating.

陶令不知何处去，桃花源里可耕田。

Mr. Tao, where have you gone? Is there still a field to till inside the Peach Blossom Spring?

当年的陶渊明不知到哪里去了，如今这桃花源般的天地里，正可以耕田劳作。尾联以陶渊明之典收束，寄建设新天地的理想。

Where has Lord Tao gone? Here in the Peach Blossom Spring, one may plow.

尾联以问作结，用典而翻新意，是全诗理想的落脚点。「陶令不知何处去」以「陶令」指陶渊明，用其《桃花源记》之典，而着一「不知何处去」的疑问——陶渊明早已作古，其笔下的桃花源亦只是逃避战乱的乌托邦；「桃花源里可耕田」则正面作答：今日的庐山脚下、赣江之滨，人民正在桃花源般的天地里耕田劳作，古人之理想在新时代成为现实——「可耕田」三字，把陶渊明的世外桃源拉回人间，化隐逸之梦为建设之实，历史与现实的对话中，理想主义的豪情喷薄而出。此联的妙处有三：其一，以问作结，问而不答、答在问中，余味悠长；其二，用典翻新，「桃花源」由「避世之乐土」翻为「建设之天地」，古为今用，正是毛诗「旧瓶装新酒」的高明处；其三，首尾呼应——首联「飞峙」「跃上」的登临之势，至此落实为「可耕田」的建设之实，全诗由景入情、由情入志，在「桃花源里可耕田」的乐观中收束，余音袅袅，尽显毛诗雄浑而深远的结尾艺术。

The plowing. Where has Lord Tao gone? Here in the Peach Blossom Spring, one may plow. The where-has-Lord-Tao-gone and the plowing in the Peach Blossom Spring are the close. To have plowed in the Peach Blossom Spring would be a plowing; the where-has-lord-tao-gone-here-in-the-peach-blossom-spring-one-may-plow is the plowing.

Study

Word focus

飞峙 “Flight and standing” is the compact of the poem's first line: the mountain is pictured arriving and remaining at the same time. Flight gives the rock the motion of a bird and of a wave, standing gives it the immovability of a pillar. The two halves of the compound are what make the mountain feel alive and enormous rather than merely high, and they set the climber's own body in motion for the line that follows. 「一山飞峙大江边」之「飞峙」二字，是毛诗炼字的典范，写庐山之势只此二字便足。「飞」写山势之动：庐山本静，着一「飞」字，仿佛整座山自天外飞来、凌空峙立，静态的意象被赋予了飞动的气势，正如李白「飞流直下三千尺」之「飞」，是浪漫主义的想象笔法；「峙」写山势之稳：「峙」本义为耸立、屹立，写山如巨人挺立江边，巍然不动。一「飞」一「峙」，动与静、虚与实相反相成——「飞」见其势之雄，如天外飞来，气吞万里；「峙」见其形之固，如砥柱中流，岿然不移。二字连用，庐山「雄踞大江、拔地摩天」的形象便突兀而起，未写登临而登临之意已足；而「飞峙」的动感又暗含登临者的心潮澎湃——山之势即人之势，物我交融，正是毛诗「以我观物，故物皆着我之色彩」的体现。此二字一出，全诗雄浑的基调立定，其凝练传神处，堪称「一字千金」。

葱茏 “Green and lush” carries the colour of the ascent: four hundred bends winding through thick growth, so that the road itself is green. Beyond the literal it is the season and the programme at once — a country being made green and new — and it is the only warm word in the first half of the poem, which is what makes the “cold eye” of the next couplet land as a deliberate shift. 「跃上葱茏四百旋」之「葱茏」二字，以色彩写生机，是毛诗写景的妙笔。「葱茏」意为草木青翠茂盛，本为双声连绵词，读来音节圆转；用于此处，一写庐山满山之绿——四百旋的山道穿行于葱茏草木之间，车行其上，如游绿海；二写时代之生机——1959年正值建设热潮，「葱茏」的意象暗含山河一新、生机蓬勃的意味，景语即情语。此字的妙处有三：其一，以虚写实，不直写山之形貌而直写山之色彩，葱茏之色扑面而来，境界全出；其二，与「四百旋」形成对照，「葱茏」写山之绿意葱茏，「四百旋」写山道之盘旋曲折，一色一形，相映成趣，登临的视觉感受（绿）与身体感受（旋）交织，如身临其境；其三，承上启下——上句「飞峙」写山之势，此句「葱茏」写山之容，势与容兼备，庐山形象遂完整而生动。后世论毛诗写景之妙，每举「葱茏」为例，正见此二字以少总多、以色彩传神之功。

冷眼 “A cold eye” is the most compacted phrase in the poem. It is a posture as much as a look: not cruel, not aloof, simply unhurried and clear, the eye of a man reading the world rather than being swept by it. Set against “hot wind and rain” in the parallel line, it gives the poem both of its temperatures, and the phrase has outlived the poem as the standard way to describe a cool assessment of world affairs. 「冷眼向洋看世界」之「冷眼」二字，是全诗最富张力的词语，也是理解毛诗风格的关键。「冷眼」意为冷静、冷峻的目光，与「热眼」「白眼」相对，写观察世界时不为表象所惑、不为激情所蔽的清醒态度。此二字有三层深意：其一，写战略家的沉着——登庐山而望海洋彼岸，「冷眼」是居高临下的审视，是洞观全局的清醒，暗含对国际风云的冷静判断，正所谓「冷眼旁观」而心明如镜；其二，与「热风」构成冷热对照——冷眼观察世界，热风建设江天，一冷一热、一静一动，恰是「既要看清世界，又要改造世界」的完整姿态，冷是理性的观察，热是实践的激情，二者缺一不可；其三，见毛诗风格的复杂性——毛诗以豪放著称，而「冷眼」一词正见其豪放之外的冷静沉着，「冷峻与豪迈并存」正是毛诗超越一般豪放诗（如李白之狂放）的独特处。此二字一出，「向洋看世界」便有了战略家的分量，遂成观察国际风云的经典表述，其凝练深永处，令人玩味不尽。

九派 “The nine streams” is from the Jiang Fu of Guo Pu and means the branches of the Yangtze where they spread out at Xunyang — about modern Jiujiang — and it stands for the whole lower river. In the couplet it is what the clouds lie across, so the horizon is measured in water; matched with “the Three Wu” below, the line takes in every direction at once and makes the mountain look as though it were standing over a continent rather than a valley. 「云横九派浮黄鹤」之「九派」二字，是毛诗用典写景的妙笔。「九派」语出郭璞《江赋》「流九派乎浔阳」，指长江在浔阳（九江）一带分流的众多支流，后泛指长江中下游的水系。「九」为虚数，极言支流之众；「派」为水流分支之意。此词的妙处有三：其一，写实与用典结合——庐山俯瞰九江，江流纵横、云气横亘，「九派」既写眼前江流之众，又暗含「茫茫九派流中国」的历史纵深（毛泽东《菩萨蛮·黄鹤楼》「茫茫九派流中国，沉沉一线穿南北」可互证），眼前景与历史感交融；其二，与「三吴」构成对仗——「九派」言长江上游之支流，「三吴」言长江下游之地域，一上一下、一水一地，空间铺展极阔，江山万里尽收一联；其三，「九派」与「云横」相连，写云气横亘于众多江流之上，水天相接、气象苍茫，为「浮黄鹤」营造了浩渺的背景。此一词，既见毛诗用典之熟（融郭璞、崔颢于一炉），又见其写景之阔，是「旧典翻新、熔铸无痕」的范例。