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先秦 Pre-Qin · 诗经 Classic of Poetry

风雨

Wind and Rain (Feng Yu)

诗经

Shi Jing

爱情Love 相思Longing

风雨凄凄，鸡鸣喈喈。
既见君子，云胡不夷。
风雨潇潇，鸡鸣胶胶。
既见君子，云胡不瘳。
风雨如晦，鸡鸣不已。
既见君子，云胡不喜。

Wind and rain, cold and chill; the cock crows clear. Now that I have seen my lord, how could I not be calm?
Wind and rain, whispering loud; the cock crows on. Now that I have seen my lord, how could I not be healed?
Wind and rain, dark as night; the cock crows without end. Now that I have seen my lord, how could I not be glad?

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Meaning

A short love poem: through a windy, rainy night the lover waits, and when at last 'my lord' arrives, worry turns to calm, then to healing, then to joy. The grim weather makes the meeting all the more precious.

风雨凄凄寒凉，鸡鸣声喈喈。已经见到了君子，怎会不平静欢喜。风雨潇潇作响，鸡鸣声胶胶。已经见到了君子，怎会不病愈舒畅。风雨昏暗如夜，鸡鸣声不停。已经见到了君子，怎会不欢喜。

Appreciation

Three stanzas all open with 'wind and rain × + cock crows ×': the wind and rain move from 'cold' to 'whispering' to 'dark as night,' growing wilder and darker; the cock crows from 'clear' to 'on' to 'without end,' never stopping. The grimmer the scene, the more it sets off the preciousness of 'having seen my lord.' The close 'how could I not be calm / healed / glad' turns three ways—from peace of mind, to dispelled sorrow, to full joy, the happiness stepping up. Sorrowful scene for joyful feeling, the contrast mature; short stanzas in refrain, yet with waves in a small frame.

【白话串讲】风雨交加的夜里，鸡叫个不停。忽然见到了想见的人——“既见君子，云胡不喜”？风雨越凄冷，重逢的喜悦越滚烫。这是中国文学里最动人的一次“见你”。【意象与手法】三章皆以「风雨＋鸡鸣」的景物起笔：风雨由「凄凄」而「潇潇」而「如晦」，渐次狂暴昏暗；鸡鸣由「喈喈」而「胶胶」而不已，声声不断。写景愈凄苦，愈反衬「既见君子」的珍贵。结句「云胡不夷／瘳／喜」三转——由心绪平复，到愁病消散，到满心欢喜，欢愉逐层递进。以哀景写乐情，反衬手法圆熟；短章重章，尺幅而有波澜。【情感与主旨】《风雨》为《诗经·郑风》篇什。关于题旨，历来有两说：《毛诗序》以为「思君子也，乱世则思君子不改其度」，系托男女以喻君臣；今人多从情诗解，认为是写女子在风雨交加之夜久候情人、终于相见的喜悦。诗中「风雨」既是实景，也常被读作动荡环境的象征。无论取何种解读，其「既见君子」的由忧转喜结构，都使其成为《诗经》爱情诗中构思精巧的短章。【名句点睛】中高考常考：一、反衬手法——分析「风雨」之哀如何反衬「既见」之喜；二、重章换字——「夷／瘳／喜」的情感递进；三、「风雨如晦，鸡鸣不已」的象征意蕴与后世化用。

Background

'Wind and Rain' is a poem in the 'Airs of Zheng' section of the Book of Songs. On its theme there are two readings: the Mao preface holds it as 'longing for the gentleman—in a troubled age one longs for the gentleman who does not change his measure,' using man-and-woman to stand for ruler-and-minister; most modern readers take it as a love poem—a woman who waits through a windy, rainy night and at last meets her lover. 'Wind and rain' is both real scene and often read as a symbol of a troubled world. Either way, its structure of 'from worry to joy on seeing the gentleman' makes it a finely wrought short piece among the Songs' love poems.

《风雨》为《诗经·郑风》篇什，共三章，章四句，是《诗经》中著名的短章。关于题旨，历来有两说：《毛诗序》以为「思君子也，乱世则思君子不改其度焉」，认为此诗写乱世之中思念君子、赞其守正不移的操守，系托男女之情以喻君臣之义；今人多从情诗解，认为是写一位女子在风雨交加、鸡鸣不已的清晨，久候夜归的情人，终于得见，喜出望外。诗中「风雨」既是实景，写天色昏暗、风雨凄厉的早晨，也常被读作动荡环境、艰难时世的象征；「鸡鸣」则标志长夜将尽、破晓已至，暗含「黎明将至」的意味。郑国地处中原，其风多写男女之情，此诗以风雨鸡鸣起兴，以「既见君子」的欢喜作结，无论取何种解读，其由忧转喜的情感结构都极具感染力，是《诗经》中构思精巧、韵味隽永的名篇。又《郑风》多写男女之情而风气开放，《溱洧》《出其东门》诸篇可证；此诗以风雨鸡鸣起兴，或以为实写清晨相见之景，或以为以风雨喻乱世、以鸡鸣喻守正，二说虽异，而其「既见君子」的由忧转喜之情则一，可见《诗经》比兴传统之丰富，亦可窥郑风情歌与政教解读并存的接受史，是研究《诗经》阐释学的重要文本。

Art

Three stanzas all open with 'wind and rain × + cock crows ×': the wind and rain move from 'cold' to 'whispering' to 'dark as night,' growing wilder and darker; the cock crows from 'clear' to 'on' to 'without end,' never stopping. The grimmer the scene, the more it sets off the preciousness of 'having seen my lord.' The close 'how could I not be calm / healed / glad' turns three ways—peace, then dispelled illness, then joy, the happiness stepping up. Sorrowful scene for joyful feeling, the contrast mature; short stanzas in refrain, yet with waves in a small frame.

此诗艺术之妙，首在以哀景写乐情的反衬，次在重章换字的情感递进。三章皆以「风雨＋鸡鸣」的景物起笔，而层层推进：风雨由「凄凄」（寒凉）而「潇潇」（骤急）而「如晦」（昏暗如夜），渐次狂暴昏暗；鸡鸣由「喈喈」而「胶胶」而不已，声声不断。写景愈凄苦，愈反衬「既见君子」的珍贵难得——正是风雨如晦、鸡鸣不已的漫漫长夜中，那人的到来才显得格外可贵，等待愈久、环境愈恶，相见的欢喜愈是强烈。结句「云胡不夷／瘳／喜」三转：首章「云胡不夷」写心绪由忧而平，次章「云胡不瘳」写愁病因见而愈，末章「云胡不喜」写满心欢喜，由平静到舒畅到狂喜，欢愉逐层递进，情感如潮水般层层涌起。以哀景写乐情，反衬圆熟；短章重章，尺幅而有波澜，是《诗经》比兴手法与章法艺术的典范。全诗三章，章法不变而情感递增，如江水逐浪，一浪高过一浪；且每章皆以景起、以情结，景愈凄而情愈喜，反衬之法纯熟圆融，正合《诗经》「兴而兼比」的用法，是短章之中见波澜的典范，也是《诗经》重章叠唱体最见功力的运用之一。

Allusions

The poem uses no classical allusion, pure image-and-comparison. 'Wind and rain' in the Songs often symbolizes a hard or turbulent time (as in 'the wind and rain beat it' from Bei's Cypress Boat), here carried on to set off the pain of longing; 'cock crows' marks the long night near its end, the time of meeting. The 'how could I not be glad' uses 'yun' as a particle (how, why) and 'hu' also as how—common words, not allusion. The poem's power is again 'no fixed event'—the most ordinary wind, rain, and cock crow for the most common human feeling.

此诗纯用比兴，不涉经史典故，而其感染力正在「无故实」——以最寻常的风雨鸡鸣写最普遍的人情。「风雨」在《诗经》中常为艰险环境或动荡时世的象征，如《邶风·柏舟》「日居月诸，胡迭而微」写忧思之深，《邶风·谷风》「习习谷风，以阴以雨」以风雨写变乱，皆以风雨喻人事之艰；《风雨》承此传统而反用之：风雨愈恶，愈见「既见君子」之可贵，风雨由阻隔离别的象征，转为衬托相见的背景。「鸡鸣」则标记长夜将尽、相会之时，《齐风·鸡鸣》「鸡既鸣矣，朝既盈矣」以鸡鸣写晨起，此处以鸡鸣写破晓，暗含夜尽天明、忧去喜来之意。「云胡不喜」之「云」为语助词（何、怎），「胡」亦何也，皆常语而非典。全诗以寻常景物、常语虚词写深刻情感，正见《诗经》「风」诗本色的浑朴自然。又「鸡鸣喈喈」「鸡鸣胶胶」之「喈喈」「胶胶」，皆以叠字拟鸡鸣之声，而二词音色不同：喈喈清亮，胶胶急促，写鸡鸣由疏而密、长夜将尽的过程；「不已」二字更写鸡鸣相续不断，暗含「天将明」的希望，声情与意境相谐，正是《诗经》以声写景、以声传情的妙笔，也是理解全诗由晦而明的关键。

Commentary

The Mao preface: 'Wind and Rain, longing for the gentleman. In a troubled age one longs for the gentleman who does not change his measure.' Zhu Xi follows the preface yet also admits love-longing. Yao Jihang (Qing): 'wind and rain dark as night, cock crows without end—not only writing wind, rain, and cock, but also the gentleman's unchanging measure.' Modern readers mostly take it as a love poem, praising its craft of 'dark setting off light, bitter setting off joy,' a gem among the short pieces of Zheng.

《风雨》历来为经学家与文学家所重。《毛诗序》：「《风雨》，思君子也。乱世则思君子不改其度焉。」将诗旨归于乱世思贤，为历代解经者所宗；朱熹《诗集传》从序说而兼及情思，谓「风雨晦冥，鸡鸣不已，盖淫奔之诗」虽持论不同，亦承认其为言情之作。清代姚际恒《诗经通论》：「『风雨如晦，鸡鸣不已』，非惟写风雨鸡鸣，乃并写君子之守度不改。」以为风雨鸡鸣正是君子处乱世而不改其节的象征。今人多以情诗视之，赞其「以阴晦反衬光明、以凄苦反衬欢愉」的章法，誉为《郑风》短章之隽。值得一提的是，「风雨如晦，鸡鸣不已」一语后世被广泛引用，以喻处乱世而志节不改之士，抗战时期朱自清等学者即以之自励，可见此诗超越文本的深远影响。又「风雨如晦，鸡鸣不已」一语，后世被广泛引用于乱世守节之喻，唐人有「风雨如晦，鸡鸣不已」入诗者，近代抗战时期，学者常以此语自励，谓处风雨如晦之时，当效鸡鸣不已之志，可见此诗超越爱情题材、具有普遍精神感召力的一面；历代选家几乎无不录此诗，其在《诗经》中的地位，于此可见。

Prosody

Form Book of Songs · Airs of Zheng · Airs of the States诗经·郑风·国风（四言诗）

Rhyme Three stanzas shift rhyme: qi/jie/yi, xiao/jiao/chou, hui/yi/xi, roughly the zhi, you, and zhi groups三章换韵：首章凄、喈、夷（脂部），次章潇、胶、瘳（幽部），末章晦、已、喜（之部），大致合上古音韵部。

Tone pattern Not datable四言二二节拍，如「风雨／凄凄」「鸡鸣／喈喈」，节奏整齐，回环往复；古乐失传，其音调不可考，然以重章叠唱推之，当为反复咏叹之调。

Reading note Four-character refrain, sorrowful scene for joyful feeling, a fine contrast《风雨》为《诗经·郑风》中的四言短章，三章，章四句，章法上采用《诗经》最典型的「重章叠唱」体：三章仅换数字（凄凄／潇潇／如晦，喈喈／胶胶／不已，夷／瘳／喜），而其余字句完全重复，回环往复，一唱三叹，正合乐歌反复咏唱的特点。三章换韵：首章凄、喈、夷叶韵，次章潇、胶、瘳叶韵，末章晦、已、喜叶韵，每章自成一韵，换韵如换境，声情随之而变——风雨由寒而急而昏，音调亦由低回而急促而沉闷，至「云胡不喜」的「喜」字上声收束，声调上扬，恰合欢愉之情的爆发。四言二二节拍，节奏整齐而略显平板，然正因板滞，反衬出结句反诘的跌宕。全诗二十字而情感波澜起伏，以哀景写乐情，反衬精妙，是《诗经》短章中章法、用韵、声情三者结合得最为浑成的篇什之一。

Line by line

风雨凄凄，鸡鸣喈喈。既见君子，云胡不夷。

Wind and rain, chill and chill; cocks crow, oh how they crow. Now I have seen my lord—how could my heart not be at peace?

风雨凄凄寒凉，鸡鸣声喈喈。已经见到了君子，怎会不平静欢喜。

Wind and rain, chill and drear; cocks crow, their calls resounding. Now I have seen my lord—how could my heart not be at peace?

首章起笔设凄清之境，为全诗定调。「风雨凄凄」写风雨寒凉，「凄凄」叠字写风雨之寒、之瑟缩，天色阴晦，寒气袭人；「鸡鸣喈喈」写鸡鸣声起，「喈喈」拟鸡鸣之声，长夜将尽，破晓已临——两句以风雨、鸡鸣写一个风雨交加的清晨，景中有声，声中有寒。正于此凄苦之境，主人公却道「既见君子」：那风雨中夜归的人终于来了。「云胡不夷」以反诘作结：「夷」为平静、安定之义，既然见到了君子，怎么会不平复欢喜？——上两句写境之恶，此两句写情之喜，以哀景写乐情，反衬之下，相见之喜愈显强烈，起笔已见章法之妙。

The chill. Wind and rain, chill and chill; cocks crow, oh how they crow. Now I have seen my lord—how could my heart not be at peace? The wind-rain-chill and the cocks-crow and the seen-my-lord-heart-at-peace are the first joy. To have been chill would be a being; the wind-and-rain-chill-and-chill-cocks-crow-oh-how-they-crow-now-i-have-seen-my-lord-how-could-my-heart-not-be-at-peace is the being.

风雨潇潇，鸡鸣胶胶。既见君子，云胡不瘳。

Wind and rain, drenching down; cocks crow on, ceaselessly. Now I have seen my lord—how could my sickness not be cured?

风雨潇潇作响，鸡鸣声胶胶。已经见到了君子，怎会不病愈舒畅。

Wind and rain, rushing down; cocks crow, their calls unceasing. Now I have seen my lord—how could my illness not be cured?

次章重章换字，情感递进一层。「风雨潇潇」写风雨骤急，「潇潇」拟风雨之声，较首章「凄凄」之寒更进一层，风雨更急；「鸡鸣胶胶」写鸡鸣声声不断，「胶胶」拟其声之杂沓，较「喈喈」更见急迫——环境愈趋恶劣，等待愈见焦灼。而「既见君子」依旧如期而至，「云胡不瘳」以「瘳」字翻新：「瘳」为病愈之义，见到君子，连心中的愁病都霍然而愈——首章言心绪之平，此章言愁病之愈，由「夷」到「瘳」，相思之深、相见之乐，皆在换字之中层层加深，正如久病之人得见良医，沉疴顿起，欢喜更胜于首章。

The drenching. Wind and rain, drenching down; cocks crow on, ceaselessly. Now I have seen my lord—how could my sickness not be cured? The wind-rain-drenching and the cocks-crow-ceaseless and the seen-my-lord-sickness-cured are the deepening joy. To have drenched down would be a drenching; the wind-and-rain-drenching-down-cocks-crow-on-ceaselessly-now-i-have-seen-my-lord-how-could-my-sickness-not-be-cured is the drenching.

风雨如晦，鸡鸣不已。既见君子，云胡不喜。

Wind and rain, dark as night; cocks crow on, never done. Now I have seen my lord—how could I not be glad?

风雨昏暗如夜，鸡鸣声不停。已经见到了君子，怎会不欢喜。

Wind and rain, dark as night; cocks crow, never stopping. Now I have seen my lord—how could I not be glad?

末章是全诗情感的最高潮。「风雨如晦」写风雨昏暗如夜，「如晦」二字写天色暗到极点——风雨交加，白昼竟如黑夜，环境之恶劣至此为极；「鸡鸣不已」写鸡鸣不止，声声相续——「不已」写长夜之漫漫、等待之绵长，然鸡鸣不已正暗含「天将明」的希望。正是在这最黑暗、最漫长的时刻，「既见君子」——那人终于到来，一切等待都有了着落；「云胡不喜」以「喜」字作结，由「夷」之平、到「瘳」之愈、再到「喜」之极，欢愉如潮水涌至顶点。而「风雨如晦，鸡鸣不已」八字，亦因象征君子处乱世不改其度的意蕴，成为千古传诵的名句，激励后世无数志士。

The dark. Wind and rain, dark as night; cocks crow on, never done. Now I have seen my lord—how could I not be glad? The wind-rain-dark-as-night and the cocks-crow-never-done and the seen-my-lord-not-glad are the climax. To have been dark as night would be a being; the wind-and-rain-dark-as-night-cocks-crow-on-never-done-now-i-have-seen-my-lord-how-could-i-not-be-glad is the being.

Study

Word focus

如晦 Dark as night; it writes the wildness of the wind and rain and also symbolizes a dark, perilous age—one word, two meanings. 「风雨如晦」之「如晦」，意为昏暗如黑夜，是《诗经》中以一字写境、以境寓志的典范。「晦」本义为农历月末、天色昏暗，此处写风雨交加、白昼如夜——「如晦」二字把风雨之烈写到极致：不是一般的风雨，而是能使天日无光、昏暗如夜的暴风雨，环境的恶劣至此登峰造极。此字更妙在象征义：风雨如晦，正喻时世之黑暗、环境之艰难，而「鸡鸣不已」暗含黎明将至的希望，君子于此时不改其度、如期而至，愈见其操守之坚。后世遂以「风雨如晦，鸡鸣不已」喻乱世中志节不移之士，一个「晦」字，从写景到写时世，从眼前到象征，双关深远，是理解全诗反衬手法与深层意蕴的关键。

夷 Calm, peaceful; the mind settles from turmoil—precisely the reassurance of the meeting. 「云胡不夷」之「夷」，意为平静、安定，是全诗三章情感递进的起点。「夷」本义为平坦，引申为平静、和悦：见到了久候的君子，动荡不安的心绪顿时平复如夷——一个「夷」字，写尽等待时的忐忑与相见后的释然。此字用得极准：不写「喜」，不写「乐」，先写「夷」，正见相见给人带来的首先是安宁——风雨之夜、独守空闺，心绪本如风雨般起伏，君子既见，心乃安定。由「夷」而「瘳」而「喜」，三字递进，正合情感的层层深化：先平复，再痊愈，终狂喜。「夷」字以最平实的字写最真切的心理，是《诗经》用字浑朴而精当的代表，也可见重章换字法的精心安排。

瘳 Healed (of illness); long sorrow becomes sickness, cured on seeing the lord—extreme writing of how deep the longing was. 「云胡不瘳」之「瘳」，意为病愈，是全诗三章中情感最重的一个字。「瘳」本为医学术语，指疾病痊愈，此处以之写相思：因相思而成病（古人谓「相思成疾」），一见君子，沉疴顿愈——把相思之苦写到「成病」的程度，其深可知；把相见之乐写到「病愈」的程度，其喜可感。此字之妙，在以实写虚：相思本无形，着一「瘳」字便成了可愈之病，思念之深、相见之切，皆具体可感。与首章「夷」字对照：夷写心绪之平，瘳写愁病之愈，由轻而重、由浅而深，正见重章换字并非单纯换韵，而是情感的层层加深，可见《诗经》作者于极短的篇幅中经营情感的功力。

风雨