清 Qing · 词 Ci lyric
醉落魄·咏鹰
Drunk and Downcast · Ode to the Hawk
醉落魄·咏鹰寒山几堵，风低削碎中原路。
秋空一碧无今古。
醉袒貂裘，略记寻呼处。
男儿身手和谁赌？
老来猛气还轩举。
人间多少闲狐兔。
月黑沙黄，此际偏思汝。
The autumn sky, one sheet of blue, knows neither now nor then.
Drunk, I bare my sable coat, and dimly recall the ground where we whistled the hawk in.
With whom shall a man wager his skill?
Grown old, the fierce spirit still soars up.
How many idle foxes and hares there are in this world!
Black moon, yellow sand—just at this hour it is you I think of.
Meaning
A few cold mountains stand up like walls, and the wind sweeping low seems to shave to pieces the great roads of the Central Plain. The autumn sky is one stretch of blue, the same now as in ancient times. In my cups I throw open my sable coat and dimly remember the ground where in other days we whistled the hawk in and rode to the hunt. With whom shall a man match his skill? Old as I am, that fierce spirit still lifts and soars. How many idle foxes and hares there are in the world! On a night of black moon and yellow sand, it is precisely you, my hawk, that I think of.
几座寒山壁立，狂风低掠，仿佛削碎了中原大地的大路。秋日长空一片碧蓝，古今无异。我带着醉意敞开貂裘，依稀记得当年呼鹰逐猎的地方。男儿的身手与谁较量？虽已年老，那股猛气依旧高昂飞举。人间有多少闲散的狐兔之辈。月黑沙黄之夜，此刻偏偏思念起你——鹰。
Appreciation
Chen Weisong, courtesy name Qinian and styled Jialing, from Yixing in Jiangsu, was the son of Chen Zhenhui, one of the four young lords of the late Ming; after the fall of the dynasty he wandered north and south in obscurity, and only in the eighteenth year of the Kangxi reign passed the special examination in broad learning. He was the great master of early Qing lyric, founder of the Yangxian school, following Su Shi and Xin Qiji in a bold and desolate manner. The upper stanza sets the hawk's world and the drunken figure recalling the hunt: cold mountains like walls, and a low wind that shaves the roads of the Central Plain to pieces, a phrase that gives the gale the force to split hills, while the autumn sky, one sheet of blue that knows no now or then, sets human brevity against permanence. The lower stanza passes from hawk to man, a question pouring out the want of anyone to match him, and then the fierce spirit soaring in old age lifts the whole. The close, the idle foxes and hares and the black moon and yellow sand, turns the hawk's hunting into a figure for cutting down the treacherous, and the burden of feeling is heavy and inexhaustible.
【白话串讲】 “寒山几堵，风低削碎中原路”——陈维崧写鹰：寒风削碎中原路。“秋空一碧无今古”——“男儿身手和谁赌？老来猛气还轩举”——一个老去的男儿，猛气还在。“月黑沙黄，此际偏思汝”——他想念那只鹰，也想念自己。 【意象与手法】 上片纯写鹰之环境与人醉袒裘、追忆呼鹰的剪影 【情感与主旨】 陈维崧，字其年，号迦陵，江苏宜兴人，明末四公子之一陈贞慧之子 【名句点睛】 常考“咏物词托物言志”“炼字”“结尾寄托”。命题示例：赏析“寒山几堵，风低削碎中原路”中“削碎”的妙处。答
Background
Chen Weisong, courtesy name Qinian and styled Jialing, a native of Yixing in Jiangsu, was the son of Chen Zhenhui, one of the four young lords of the late Ming. After the fall of the Ming he wandered north and south in frustration and obscurity; in the eighteenth year of the Kangxi reign he passed the special examination in broad learning and vast letters, was appointed a Hanlin examining editor and took part in compiling the History of the Ming, dying not long after. He was the towering figure of early Qing lyric, founder of the Yangxian school, taking Su Shi and Xin Qiji as his models in a bold and desolate manner. This Ode to the Hawk was written about the time of his middle years, when he was down on his luck and his ambition had no outlet; he chants the hawk in order to voice the burden of an old man still unemployed and still eager to act, and it is a famous piece among early Qing object-poems for the personal fate lodged within it.
《醉落魄·咏鹰》为清代陈维崧所作，是咏鹰言志、抒壮志难酬之慨的词。陈维崧（1625—1682），字其年，号迦陵，宜兴人，清代词人。此词：寒山几堵，风低削碎中原路。秋空一碧无今古。醉袒貂裘，略记寻呼处。男儿身手和谁赌？老来猛气还轩举。人间多少闲狐兔。月黑沙黄，此际偏思汝。全词咏鹰言志、抒壮志难酬之慨，是陈维崧词的名篇。
Art
The upper stanza writes purely the hawk's setting and the silhouette of a man baring his sable coat in drink and recalling the hunt: in the cold mountains standing like walls and the low wind that shaves the roads of the Central Plain to pieces, the shaving gives the gale the strength to split hills and cleave the ground, and the atmosphere is vast and wild; the autumn sky, one sheet of blue that knows no now or then, sets the brevity of human affairs against an eternal firmament. The lower stanza passes from hawk to man: the question with whom a man shall wager his skill pours out the difficulty of finding anyone who understands him, and grown old and the fierce spirit still soaring lifts the piece suddenly. The final beat, how many idle foxes and hares there are in the world, black moon, yellow sand, just at this hour it is you I think of, turns the hawk's hunting into a figure for cutting down treacherous men; the burden of feeling is deep and heavy and the aftertaste unexhausted.
《醉落魄·咏鹰》艺术上以鹰之雄姿的描摹与壮志难酬的深慨见长。全词分两片：上片写鹰之雄姿——“寒山几堵，风低削碎中原路”写寒山风低、削碎中原路，“秋空一碧无今古。醉袒貂裘，略记寻呼处”写秋空一碧、醉袒貂裘、寻呼处；下片写壮志难酬——“男儿身手和谁赌？老来猛气还轩举”写男儿身手和谁赌、老来猛气轩举，“人间多少闲狐兔。月黑沙黄，此际偏思汝”写人间闲狐兔、月黑沙黄思汝。全词以咏鹰写壮志难酬，正是陈维崧词深慨的笔法。
Allusions
The lyric takes the hawk as its central image, resting on the traditional symbolism of the bird of prey striking through the vast sky, and quietly continuing the burden of Du Fu's hawk poems, the frost and wind rising from the plain silk and the painted grey hawk beyond compare, and the wish that it might strike the common birds and scatter their blood and feathers over the open plain. It also transforms foxes and hares into a name for treacherous petty men, the old writers regularly using them for the crookedness of the age, as in the phrase about foxes and hares gathering in packs. Baring the sable coat in drink transforms earlier writers' pictures of drunken bravado, and the ground where the hawk was whistled in means the old hunting fields. The whole piece piles up no learned matter but takes the fierce spirit of a bird of prey as a figure for itself, lodging the grief of a scholar in a change of dynasties who wishes to act and cannot.
《醉落魄·咏鹰》用典在“醉落魄”“狐兔”“月黑沙黄”。“醉落魄”为词牌名（醉落魄即一斛珠）；“闲狐兔”写人间狐兔（隐喻小人）；“月黑沙黄”写月黑沙黄之地（边塞射猎之地）。全词以这些意象咏鹰言志，用典自然而深慨自见，正是陈维崧词的笔法。
Commentary
Chen Weisong learned his lyric from Su Shi and Xin Qiji and made a bold manner of his own; Tan Xian, in Lyrics from My Box, said that his work sweeps freely up and down with a vast breath running through it. Modern critics say of the Ode to the Hawk that every line writes the hawk and every line writes the poet, its fierce spirit soaring high, enough to wash away all prettiness. Jialing's long tunes win by sheer power, and this short one too is strong in bone, using the hawk to write the anger of an old man still unemployed and his will to cut down the treacherous: a model of far-reaching lodged meaning among Qing object-chanting lyrics, standing beside Zhang Huiyan's Slow Song of Magnolia on the willow catkin.
《醉落魄·咏鹰》是陈维崧词的名篇，也是清词中咏物言志的代表作。此词咏鹰言志、抒壮志难酬之慨，向为论者称道。论者多赏其鹰之雄姿的描摹与壮志难酬的深慨——“寒山几堵，风低削碎中原路”写寒山风低、削碎中原路，深慨之极；“秋空一碧无今古。醉袒貂裘，略记寻呼处”写秋空一碧、醉袒貂裘，更见其豪；“男儿身手和谁赌？老来猛气还轩举”写男儿身手和谁赌，尤见其慨；“人间多少闲狐兔。月黑沙黄，此际偏思汝”写思鹰击狐兔，尤深。陈维崧为阳羡词派领袖，其词以豪放著称，此词正是其代表——以咏鹰写壮志难酬，正是其词风。
Prosody
Line by line
寒山几堵，风低削碎中原路。
A few walls of cold mountain; the wind dips low, shaving the flatland road to splinters.
寒山几堵，风低削碎中原路。
Cold mountains, a few ramparts; the wind sweeps low, shaving the central plain's road to fragments.
首写寒山风低、削碎中原路，是全词写鹰之雄姿的起点。“寒山几堵”写寒山几堵——“寒山几堵”写寒山几座如堵——寒山几堵；“风低削碎中原路”写风低削碎中原路——“风低削碎中原路”写风低处削碎中原之路——风低削碎中原路。二句写寒山风低、削碎中原路：寒山几堵，风低削碎中原路。以“寒山几堵”写寒山如堵之峻，以“风低削碎中原路”写风低削碎中原路（鹰掠风疾、势如削路），正是陈维崧词写鹰之雄姿的起点——鹰掠寒山，风削中原。
The opening writes the cold mountains and the low wind shaving the plain, the starting point of the ci's writing of the eagle's majesty. Cold mountains, a few ramparts writes the cold mountains like several ramparts of wall. The wind dips low, shaving the flatland road to splinters writes the wind's low passage shaving the plain road. Two lines: the cold mountains like walls, the low wind shaving the plain. Writing the steepness of the cold mountains like ramparts, writing the wind's low shaving of the plain (the eagle skimming the wind, the momentum like shaving the road), precisely the starting point of Chen Weisong's writing of the eagle's majesty — the eagle skimming the cold mountains, the wind shaving the plain.
秋空一碧无今古。醉袒貂裘，略记寻呼处。
The autumn sky, one stretch of green, beyond now and then. Drunk, I bare my sable robe, and faintly recall where I called and hunted.
秋空一碧无今古。醉袒貂裘，略记寻呼处。
The autumn sky, one sheet of blue, without past or present. Drunk, I bare my sable coat, dimly remembering the places where I once called the falcon.
此三句写秋空一碧、醉袒貂裘，是全词写猎鹰之忆的深化。“秋空一碧无今古”写秋空一碧——“秋空一碧无今古”写秋空一碧、无古无今——秋空一碧无今古；“醉袒貂裘，略记寻呼处”写醉袒貂裘——“醉袒貂裘”写醉后袒露貂裘，“略记寻呼处”写略记寻呼之处——醉袒貂裘，略记寻呼处。三句写秋空一碧、醉袒貂裘：秋空一碧无今古，醉袒貂裘，略记寻呼处。以“秋空一碧无今古”写秋空一碧、万古如斯之苍茫，以“醉袒貂裘，略记寻呼处”写醉袒貂裘、忆猎鹰寻呼之处，正是陈维崧词写猎鹰之忆的深化——秋空万里，忆昔呼鹰。
The three lines write the autumn sky one green and the drunk-bared sable, the deepening of the ci's memory of the falcon. The autumn sky, one stretch of green, beyond now and then writes the autumn sky one sheet of green, no now, no then. Drunk, I bare my sable robe, and faintly recall where I called and hunted writes the baring of the sable in drunkenness, and the faint memory of the places of calling the falcon. Three lines: the autumn sky one green, beyond ancient and modern; drunk, baring the sable, faintly recalling the places of the hunt. Writing the autumn sky one green and the vastness beyond the ages, writing the bared sable and the memory of calling the falcon, precisely the deepening of the memory of the hunting falcon — the autumn sky ten thousand li, remembering of old the calling of the eagle.
男儿身手和谁赌？老来猛气还轩举。
A man's prowess — with whom to stake it? In old age, the fierce spirit still soars.
男儿身手和谁赌？老来猛气还轩举。
A man's skill and daring — with whom shall I match them? In old age, the fierce spirit still rises high.
此二句写男儿身手和谁赌、老来猛气轩举，是全词写壮志难酬的核心。“男儿身手和谁赌”写男儿身手和谁赌——“男儿身手和谁赌”写男儿身手与谁赌胜——男儿身手和谁赌；“老来猛气还轩举”写老来猛气轩举——“老来猛气还轩举”写老来猛气依然轩昂高举——老来猛气还轩举。二句写男儿身手和谁赌、老来猛气轩举：男儿身手和谁赌？老来猛气还轩举。以“男儿身手和谁赌”写男儿身手无人可赌、壮志难酬之慨，以“老来猛气还轩举”写老来猛气依然轩举之豪，正是陈维崧词写壮志难酬的核心——身手无俦，猛气犹存。
The two lines write a man's prowess, with whom to stake it? and the fierce spirit of old age still soaring, the core of the ci's unfulfilled ambition. A man's prowess — with whom to stake it? writes the man's skill and daring, with whom to match. In old age, the fierce spirit still soars writes the fierce spirit of age still loftily rising. Two lines: a man's prowess, with whom to stake it? In old age, the fierce spirit still soars. Writing the man's prowess with none to match, the grief of unfulfilled ambition, writing the fierce spirit of age still soaring, the boldness of the old, precisely the core of the unfulfilled ambition — prowess without peer, the fierce spirit yet undimmed.
人间多少闲狐兔。月黑沙黄，此际偏思汝。
How many idle foxes and hares in the world! The moon black, the sand yellow — at this hour, I think of you.
人间多少闲狐兔。月黑沙黄，此际偏思汝。
How many idle foxes and hares are there in the world! Moon dark, sand yellow — at this moment, I think of you.
末写人间闲狐兔、月黑沙黄思汝，是全词写咏鹰言志的归结。“人间多少闲狐兔”写人间闲狐兔——“人间多少闲狐兔”写人间有多少闲游之狐兔（隐喻小人）——人间多少闲狐兔；“月黑沙黄，此际偏思汝”写月黑沙黄思汝——“月黑沙黄”写月黑沙黄（射猎之地），“此际偏思汝”写此刻偏偏思念你（鹰）——月黑沙黄，此际偏思汝。三句写人间闲狐兔、月黑沙黄思汝：人间多少闲狐兔，月黑沙黄，此际偏思汝。以“人间多少闲狐兔”写人间狐兔（小人）横行、正待鹰击，以“月黑沙黄，此际偏思汝”写月黑沙黄之际、偏偏思念雄鹰，正是陈维崧词写咏鹰言志的归结——狐兔横行，思鹰一击。
The closing writes the world's idle foxes and hares, the moon black and the sand yellow, thinking of you, the resolution of the ci's writing of the eagle as resolve. How many idle foxes and hares in the world! writes the idle foxes and hares of the world (metaphor for the petty men). The moon black, the sand yellow — at this hour, I think of you writes the moon-black, sand-yellow (the hunting ground), and this hour precisely thinking of you (the eagle). Three lines: how many idle foxes and hares in the world; moon black, sand yellow, at this hour I think of you. Writing the world's foxes and hares (petty men) running rampant, waiting for the eagle's swoop, writing the hour of the moon-black sand-yellow precisely thinking of the fierce eagle, precisely the resolution of the ode to the eagle as resolve — foxes and hares rampant, longing for the eagle's single strike.
Study
Word focus
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