宋 Song · 诗 Poem
长歌行
A Long Ballad
人生不作安期生，醉入东海骑长鲸。
犹当出作李西平，手杖旄钺清旧京。
金印煌煌未入手，白发种种来无情。
成都古寺卧秋晚，落日偏傍僧窗明。
岂其马上破贼手，哦诗长作寒螀鸣。
兴来买尽市桥酒，大车磊落堆长缾。
哀丝豪竹助剧饮，如巨野受黄河倾。
平时一滴不入口，意气顿使千人惊。
国雠未报壮士老，匣中宝剑夜有声。
何当凯还宴将士，三更雪压飞狐城。
Yet I should go forth as Li Xiping, staff in hand bearing the banners, to cleanse the old capital;
The golden seal blazes bright, yet not in my grasp; white hairs come, one by one, without mercy;
In an old Chengdu temple I lie late in autumn; the setting sun leans by the monk's window, bright;
How can these hands that broke rebels on horseback only croon verses like a cold cricket's cry?
When the mood strikes I buy up all the market-bridge wine; great carts pile high with long-necked bottles;
Mournful strings and bold pipes urge the deep drinking, like the Juye Marsh receiving the Yellow River's pour;
At ordinary times not a drop passes my lips, yet my spirit startles a thousand men;
The national foe unavenged, the brave man grows old; in its case the precious sword sounds at night;
When shall we return in triumph and feast the warriors, as the third watch snow presses on Feihu Fort?
Meaning
The poet declares he will not be the immortal An Qisheng riding a whale drunk into the Eastern Sea, but would rather serve like the Tang general Li Sheng (Li Xiping), staff in hand, to recover the old capital. Yet the golden seal of office has not come to him and white hair arrives mercilessly. Idle in a Chengdu temple, he asks how hands that broke rebels can be reduced to crooning like a cold cricket. He drinks deep to vent his spirit, then laments that the national enemy is unavenged while the hero ages, his sword crying in its case at night, and dreams of a triumph feast as snow weighs on Feihu Fort.
人生不作安期生，醉入东海骑长鲸。犹当出作李西平，手杖旄钺清旧京。金印煌煌未入手，白发种种来无情。成都古寺卧秋晚，落日偏傍僧窗明。岂其马上破贼手，哦诗长作寒螀鸣。兴来买尽市桥酒，大车磊落堆长缾。哀丝豪竹助剧饮，如巨野受黄河倾。平时一滴不入口，意气顿使千人惊。国雠未报壮士老，匣中宝剑夜有声。何当凯还宴将士，三更雪压飞狐城。
Appreciation
A famous 'ballad of will' by Lu You. The first half states his choice—not the immortal's ease but Li Sheng's martial service—then admits the seal ungrasped and white hair come. The second half vents his thwarted spirit in drinking, and closes on the unavenged foe and the sword that sounds at night, a heroic, tragic cry. Through long-ballad exposition it writes patriotic ambition; 'the national foe unavenged, the brave man grows old' is its unforgettable line.
【白话串讲】 陆游写《长歌行》：“人生不作安期生，醉入东海骑长鲸”——“犹当出作李西平，手杖旄钺清旧京”——“金印煌煌未入手，白发种种来无情”——“岂其马上破贼手，哦诗长作寒螀鸣”——“兴来买尽市桥酒，大车磊落堆长瓶”——他写壮志与饮酒。 【意象与手法】 此诗是陆游写长歌言志的名篇，写人生的选择与报国的壮志，是陆游诗中「以歌写志」的名篇。前半写选择：「人生不作安期生，醉入东海骑长鲸」写不作安期、醉骑长鲸；「犹当出作李西平，手杖旄钺清旧京」写出作李晟、杖钺清京，是名句；「金印煌煌未入手，白发种种来无情」写金印未入手、白发来无情；「成都古寺卧秋晚，落日偏傍僧窗明」写成都古寺、落日僧窗。后半写壮志：「岂其马上破贼手，哦诗长作寒螀鸣」写破贼手、寒螀鸣；「兴来买尽市桥酒，大车磊落堆长缾」写买酒剧饮；「哀丝豪竹助剧饮，如巨野受黄河倾」写哀丝豪竹、黄河倾；「平时一滴不入口，意气顿使千人惊」写平时不饮、意气惊人；「国雠未报壮士老，匣中宝剑夜有声」写国雠未报、宝剑有声，是名句；「何当凯还宴将士，三更雪压飞狐城」写凯还宴士、雪压飞狐，是千古名句。全诗以长歌的铺陈写报国的壮志，那「国雠未报壮士老，匣中宝剑夜有声」写尽壮士老而国雠未报的悲壮，是陆游「以歌写志」的名篇。 【情感与主旨】 此诗约作于宋孝宗淳熙元年（1174）前后，时陆游约五十岁，在成都。陆游一生力主抗金、收复中原，却屡遭排挤。此诗写于成都（陆游乾道六年（1170）入蜀，先后在蜀中任职），时陆游在成都任闲职，感怀作此诗。诗中「人生不作安期生，醉入东海骑长鲸」写不作安期生——人生不作安期生（人生不作安期生（安期生是传说中的仙人）），醉入东海骑长鲸（醉入东海，骑长鲸（李白「骑长鲸」的意象）），那「不作安期生」写尽不作仙人的选择、「醉入东海骑长鲸」写尽醉骑长鲸的豪放；「犹当出作李西平，手杖旄钺清旧京」写出作李西平——犹当出作李西平（还应出仕作李西平（李西平即李晟，唐中兴名将，收复长安）），手杖旄钺清旧京（手执旄钺（帅旗与斧钺），澄清旧京（收复京师）），那「犹当出作李西平」写尽以李晟自期的壮志、「手杖旄钺清旧京」写尽澄清旧京的抱负，是名句；「金印煌煌未入手，白发种种来无情」写金印白发——金印煌煌未入手（那金印煌煌却未入手（功名未成）），白发种种来无情（白发种种无情地到来（老了）），那「金印未入手」写尽功名未成、「白发来无情」写尽年老的无奈；「成都古寺卧秋晚，落日偏傍僧窗明」写成都古寺——成都古寺卧秋晚（在成都古寺，卧于秋晚），落日偏傍僧窗明（落日偏照着僧窗，明亮），那「成都古寺卧秋晚」写尽客居的秋晚、「落日偏傍僧窗明」写尽落日僧窗的孤寂；「岂其马上破贼手，哦诗长作寒螀鸣」写破贼手——岂其马上破贼手（难道那马上破贼的能手），哦诗长作寒螀鸣（长作寒螀（寒蝉）的鸣叫（吟诗））？那「岂其马上破贼手」写尽破贼手的壮志（本应马上破贼）、「哦诗长作寒螀鸣」写尽吟诗度日的无奈；「兴来买尽市桥酒，大车磊落堆长缾」写买酒剧饮——兴来买尽市桥酒（兴致来了买尽市桥的酒），大车磊落堆长缾（大车上磊落地堆满长瓶），那「买尽市桥酒」写尽剧饮的豪兴、「大车磊落堆长缾」写尽堆瓶的壮阔；「哀丝豪竹助剧饮，如巨野受黄河倾」写哀丝豪竹——哀丝豪竹助剧饮（哀怨的弦乐与豪壮的管乐助我剧饮），如巨野受黄河倾（如巨野泽受黄河倾注），那「哀丝豪竹助剧饮」写尽剧饮的豪壮、「如巨野受黄河倾」写尽酒量的壮阔；「平时一滴不入口，意气顿使千人惊」写意气惊人——平时一滴不入口（平时一滴酒也不入口），意气顿使千人惊（意气却顿时使千人惊），那「平时一滴不入口」写尽平时的节制、「意气顿使千人惊」写尽意气的惊人；「国雠未报壮士老，匣中宝剑夜有声」写国雠未报——国雠未报壮士老（国仇未报，壮士已老），匣中宝剑夜有声（匣中的宝剑夜里有声（鸣响）），那「国雠未报壮士老」写尽壮士老的悲愤、「匣中宝剑夜有声」写尽宝剑夜鸣的悲壮，是名句；「何当凯还宴将士，三更雪压飞狐城」写凯还飞狐——何当凯还宴将士（何时凯旋归来宴请将士），三更雪压飞狐城（三更雪压着飞狐城（飞狐城是边塞要塞）），那「何当凯还宴将士」写尽凯旋的期待、「三更雪压飞狐城」写尽雪压飞狐的边塞意象，是千古名句。全诗以长歌的铺陈写报国的壮志，那「国雠未报壮士老，匣中宝剑夜有声」写尽壮士老而国雠未报的悲壮，是陆游「以歌写志」的名篇。 【名句点睛】 常考“人生不作安期生，醉入东海骑长鲸”写人生之选择；“犹当出作李西平，手杖旄钺清旧京”写出作李晟、杖钺清旧京的报国壮志。
Background
Likely written around 1174, when Lu You (1125–1210), styled Wu-guan, Hao Fang-weng, of Shanyin, a devoted patriot who urged recovery of the Central Plains yet was often sidelined, was about fifty and serving in Chengdu. He entered Shu in 1170 and held posts there. The poem's 'not An Qisheng' rejects the immortal's ease; 'riding a whale drunk into the Eastern Sea' evokes Li Bai's image of transcendent abandon. 'Yet go forth as Li Xiping' takes the Tang restorer Li Sheng (created Prince of Xiping, who retook Chang'an in 784) as his model, staff bearing the commander's banners to cleanse the old capital (the lost Northern Song seat, Bianjing). 'Golden seal ungrasped, white hair come' writes unearned fame and unwelcome age; 'old Chengdu temple, setting sun by the monk's window' writes lonely exile; 'hands that broke rebels crooning like a cold cricket' writes the gap between martial capacity and a poet's idle days; the drinking and 'Juye Marsh receiving the Yellow River' write wild, Li-Bai-like carouse; 'the national foe unavenged, the brave man grows old; the sword sounds at night' writes the tragedy of a hero past his prime; 'when shall we return in triumph… snow on Feihu Fort' writes the hoped-for border triumph. All stem from Lu You's three decades of unquenched patriotic will.
此诗约作于宋孝宗淳熙元年（1174）前后，时陆游约五十岁，在成都，是陆游写长歌言志的诗。陆游（1125-1210）字务观，号放翁，越州山阴人，是南宋爱国诗人。陆游一生力主抗金、收复中原，却屡遭排挤。乾道六年（1170），陆游入蜀（通判夔州，后任职蜀中），先后在蜀中任职（乾道八年（1172）在南郑前线任职，乾道九年后回成都）。此诗写于成都，时陆游在成都任闲职（或卧病古寺），感怀作此诗。诗中「人生不作安期生，醉入东海骑长鲸」写不作安期生——「人生不作安期生」写人生不作安期生（「安期生」是传说中的仙人（秦始皇东巡，遇安期生，安期生是海上仙人），那「不作安期生」写不作仙人的选择——不作逍遥的仙人），「醉入东海骑长鲸」写醉入东海骑长鲸（那「醉入东海骑长鲸」写醉入东海、骑长鲸（令人想到李白「骑长鲸」的意象——「长鲸」写鲸鱼，骑长鲸正是仙人式的豪放）），那「不作安期生」写尽不作仙人的选择、「醉入东海骑长鲸」写尽醉骑长鲸的豪放；「犹当出作李西平，手杖旄钺清旧京」写出作李西平——「犹当出作李西平」写还应出仕作李西平（「李西平」即李晟（唐中兴名将，封西平郡王，兴元元年（784）收复长安，平朱泚之乱），那「出作李西平」写出仕作李晟——以李晟自期），「手杖旄钺清旧京」写手执旄钺澄清旧京（「旄钺」写帅旗与斧钺（主将的仪仗），「清旧京」写澄清旧京（收复京师（那「旧京」写故都，令人想到北宋的汴京））），那「犹当出作李西平」写尽以李晟自期的壮志、「手杖旄钺清旧京」写尽澄清旧京的抱负；「金印煌煌未入手，白发种种来无情」写金印白发——「金印煌煌未入手」写金印煌煌却未入手（「金印煌煌」写功名的金印（令人想到「金印紫绶」的封侯意象），「未入手」写未到手（功名未成）），「白发种种来无情」写白发种种无情地到来（「白发种种」写白发种种（那「种种」写头发短少、稀疏，令人想到「种种」写白发的意象（「种种」本写头发短而乱）），「来无情」写无情地到来（老了）），那「金印未入手」写尽功名未成、「白发来无情」写尽年老的无奈；「成都古寺卧秋晚，落日偏傍僧窗明」写成都古寺——「成都古寺卧秋晚」写在成都古寺卧于秋晚（那成都的陆游，卧于古寺的秋晚（令人想到「古寺」的意象）），「落日偏傍僧窗明」写落日偏照着僧窗明亮（那「落日偏傍僧窗明」写落日偏偏照着僧窗、明亮（那「偏」写偏偏——落日偏照着僧窗）），那「成都古寺卧秋晚」写尽客居的秋晚、「落日偏傍僧窗明」写尽落日僧窗的孤寂；「岂其马上破贼手，哦诗长作寒螀鸣」写破贼手——「岂其马上破贼手」写难道那马上破贼的能手（「马上破贼手」写马上破贼的能手（本应在马上破贼的将领）），「哦诗长作寒螀鸣」写长作寒螀的鸣叫（那「哦诗」写吟诗（吟哦），「寒螀鸣」写寒蝉的鸣叫（那「寒螀」写寒蝉，「长作寒螀鸣」写长作寒蝉的鸣叫（吟诗如寒螀之鸣））），那「岂其马上破贼手」写尽破贼手的壮志、「哦诗长作寒螀鸣」写尽吟诗度日的无奈；「兴来买尽市桥酒，大车磊落堆长缾」写买酒剧饮——「兴来买尽市桥酒」写兴致来了买尽市桥的酒（「市桥」写市集上的桥（成都的市桥），「买尽市桥酒」写买尽市桥的酒），「大车磊落堆长缾」写大车上磊落地堆满长瓶（那「磊落」写众多错落、「长缾」写长瓶（酒瓶）），那「买尽市桥酒」写尽剧饮的豪兴、「大车磊落堆长缾」写尽堆瓶的壮阔；「哀丝豪竹助剧饮，如巨野受黄河倾」写哀丝豪竹——「哀丝豪竹助剧饮」写哀怨的弦乐与豪壮的管乐助我剧饮（「哀丝豪竹」写弦乐与管乐（「丝」写弦乐、「竹」写管乐，「哀」「豪」写哀怨与豪壮），「助剧饮」写助我剧饮（痛饮）），「如巨野受黄河倾」写如巨野泽受黄河倾注（「巨野」写巨野泽（大泽），「受黄河倾」写承受黄河的倾注），那「哀丝豪竹助剧饮」写尽剧饮的豪壮、「如巨野受黄河倾」写尽酒量的壮阔；「平时一滴不入口，意气顿使千人惊」写意气惊人——「平时一滴不入口」写平时一滴酒也不入口（那「平时一滴不入口」写平时的节制），「意气顿使千人惊」写意气却顿时使千人惊（那「意气顿使千人惊」写意气使千人惊），那「平时一滴不入口」写尽平时的节制、「意气顿使千人惊」写尽意气的惊人；「国雠未报壮士老，匣中宝剑夜有声」写国雠未报——「国雠未报壮士老」写国仇未报壮士已老（那「国雠」写国仇（那金人南侵的国仇），「壮士老」写壮士已老），「匣中宝剑夜有声」写匣中的宝剑夜里有声（那「匣中宝剑夜有声」写宝剑在匣中夜里有声（鸣响——宝剑鸣响，正如壮士的心声）），那「国雠未报壮士老」写尽壮士老的悲愤、「匣中宝剑夜有声」写尽宝剑夜鸣的悲壮；「何当凯还宴将士，三更雪压飞狐城」写凯还飞狐——「何当凯还宴将士」写何时凯旋归来宴请将士（「何当」写何时、「凯还」写凯旋归来（那「凯还」写凯旋，「宴将士」写宴请将士）），「三更雪压飞狐城」写三更雪压飞狐城（「飞狐城」写飞狐城（边塞的要塞（飞狐陉，在今河北涞源），令人想到「飞狐」的边塞意象）），那「何当凯还宴将士」写尽凯旋的期待、「三更雪压飞狐城」写尽雪压飞狐的边塞意象。此诗是陆游「以歌写志」的名篇，那「国雠未报壮士老，匣中宝剑夜有声」写尽壮士老而国雠未报的悲壮，是理解其入蜀时期心境的关键作品。
Art
The art shows in four layers. First, the conception of 'writing will through the ballad': the ambitions—'go forth as Li Xiping,' 'the foe unavenged, the brave man grows old,' 'return in triumph'—are all unfolded in long-ballad exposition, one breath through the line. Second, choice through allusion: 'not An Qisheng' and 'go forth as Li Xiping' set his life-road—not the immortal's ease but the general's deed. Third, the drinking in exposition: 'buy up the market-bridge wine,' 'pile long bottles,' 'urge the deep drink,' 'like Juye Marsh receiving the Yellow River,' 'not a drop at ordinary times'—layered to write both wild carouse and startling spirit. Fourth, the close on 'the sword sounds at night' and 'snow on Feihu Fort,' ending on the border image, leaving the tragedy of a hero old and foe unavenged to linger. Four moves advance in turn, making this a model of Lu You's 'will through song.'
此诗的艺术特色可从四个层面解析。其一，以歌写志的构思。全诗以长歌的铺陈写报国的壮志——那「犹当出作李西平，手杖旄钺清旧京」的壮志、「国雠未报壮士老，匣中宝剑夜有声」的悲愤、「何当凯还宴将士」的期待，都以长歌的铺陈写壮志，以歌写志、气脉贯注。其二，以典故写选择。「人生不作安期生」用安期生之典写不作仙人，「犹当出作李西平」用李晟之典写以名将自期，那「不作安期生」「出作李西平」的典故，写尽人生的选择（不作仙人的逍遥，要作李晟的功业）。其三，以铺陈写剧饮。「兴来买尽市桥酒，大车磊落堆长缾」「哀丝豪竹助剧饮，如巨野受黄河倾」「平时一滴不入口，意气顿使千人惊」以「买尽市桥酒」「堆长缾」「助剧饮」「如巨野受黄河倾」「一滴不入口」的铺陈写剧饮，那铺陈写尽剧饮的豪壮与意气的惊人（平时不饮，兴起剧饮）。其四，以「匣中宝剑夜有声」写收束。「国雠未报壮士老，匣中宝剑夜有声」「何当凯还宴将士，三更雪压飞狐城」以「宝剑夜有声」写壮志的鸣响，以「凯还宴将士」写凯旋的期待，那「三更雪压飞狐城」以边塞的意象收束，写尽壮士老而国雠未报的悲壮，余味悠长。四重手法层层推进，使此诗成为陆游诗中「以歌写志」的名篇。
Allusions
The images root in the patriotic tradition. 'Not An Qisheng, riding a whale drunk into the Eastern Sea': An Qisheng is the sea-immortal of the Records of the Grand Historian; 'riding a whale' evokes Li Bai's legend of catching the moon drunk and riding the whale aloft—Lu You rejects the immortal's ease for bold abandon. 'Go forth as Li Xiping… staff bearing the banners to cleanse the old capital': Li Sheng (727–793), Tang restorer created Prince of Xiping, retook Chang'an; 'banners and axe' are the commander's insignia, 'cleanse the old capital' the recovery of the lost seat, echoing Lu You's own 'the day the northern army takes the Central Plain.' 'Golden seal blazes… white hair comes': the golden seal evokes noble rank, 'white hair' the 'few, scattered' hair of Zuo Zhuan. 'Cold cricket's cry' echoes Liu Yong's 'cold cicada.' 'Like Juye Marsh receiving the Yellow River' evokes Li Bai's 'the Yellow River comes from heaven.' 'The sword sounds at night' echoes Xin Qiji's 'by lamplight I polish my sword.' 'Snow on Feihu Fort' evokes Lu You's own 'tower boats, night snow at Guazhou crossing.' Thus he fuses Li Bai, Li Sheng, Li He, Liu Yong, Xin Qiji into one song of will.
此诗的意象与典故深植于爱国与壮怀传统。「人生不作安期生，醉入东海骑长鲸」写不作安期生——「不作安期生」用安期生之典（安期生是传说中的海上仙人（《史记》载秦始皇东巡见安期生，安期生是琅琊仙人，令人想到「安期生」的仙人与「蓬莱」的意象——那不作安期生，正是陆游的选择：不作逍遥的仙人），「醉入东海骑长鲸」写醉入东海骑长鲸（「骑长鲸」令人想到李白的意象（李白「若教月下乘舟去，何啻风流到剡溪」；传说李白醉入水中捉月、骑鲸升天，令人想到「骑鲸」的豪放意象），那「醉入东海骑长鲸」写尽醉骑长鲸的豪放）。「犹当出作李西平，手杖旄钺清旧京」写出作李西平——「出作李西平」用李晟之典（李晟（727-793），唐中兴名将，封西平郡王，兴元元年（784）收复长安，平朱泚之乱，令人想到「李西平」的中兴功业），「手杖旄钺清旧京」写手执旄钺澄清旧京（「旄钺」写帅旗与斧钺（主将的仪仗，令人想到「杖钺」的主将意象），「清旧京」写澄清旧京（收复故都，令人想到「王师北定中原日」的收复意象）），那「犹当出作李西平」写尽以李晟自期的壮志。「金印煌煌未入手，白发种种来无情」写金印白发——「金印煌煌」写功名的金印（「金印」令人想到「金印紫绶」的封侯意象与「苏秦佩六国相印」的功名意象，「煌煌」写光彩），「白发种种」写白发种种（「种种」写头发短少（《左传》「余发种种」，令人想到「种种」的白发意象）），那「金印未入手」写尽功名未成、「白发来无情」写尽年老的无奈。「成都古寺卧秋晚，落日偏傍僧窗明」写成都古寺——「成都古寺卧秋晚」写成都古寺的秋晚（「古寺」令人想到「姑苏城外寒山寺」（张继《枫桥夜泊》）的古寺意象与「寺」的佛门意象），「落日偏傍僧窗明」写落日偏照僧窗（那「落日」令人想到「夕阳无限好，只是近黄昏」（李商隐《登乐游原》）的落日意象），那「成都古寺卧秋晚」写尽客居的秋晚、「落日偏傍僧窗明」写尽落日僧窗的孤寂。「岂其马上破贼手，哦诗长作寒螀鸣」写破贼手——「马上破贼手」写马上破贼的能手（令人想到「男儿何不带吴钩」（李贺《南园》）的破贼意象），「寒螀鸣」写寒蝉的鸣叫（「寒螀」写寒蝉，令人想到「寒蝉凄切」（柳永《雨霖铃》）的寒蝉意象——那「长作寒螀鸣」写吟诗如寒蝉之鸣的悲凉）。「兴来买尽市桥酒，大车磊落堆长缾」写买酒剧饮——「市桥」写市集上的桥（成都的市桥，令人想到「市桥」的市井意象），「磊落堆长缾」写磊落堆满长瓶（「磊落」写众多错落（令人想到「磊落」的壮阔））。「哀丝豪竹助剧饮，如巨野受黄河倾」写哀丝豪竹——「哀丝豪竹」写弦乐与管乐（「丝」「竹」令人想到「丝竹管弦」的意象与「锦瑟无端五十弦」的弦乐，「哀」「豪」写哀怨与豪壮），「如巨野受黄河倾」写如巨野受黄河倾（「巨野」写巨野泽（大泽，令人想到「巨野」的泽薮意象），「受黄河倾」写承受黄河倾注，令人想到「黄河之水天上来」（李白《将进酒》）的黄河意象——那酒量如巨野受黄河倾，正是李白式的豪饮）。「国雠未报壮士老，匣中宝剑夜有声」写国雠未报——「国雠未报壮士老」写国仇未报壮士已老（「国雠」写国仇，令人想到「国仇未报壮士老」的悲愤意象），「匣中宝剑夜有声」写宝剑夜鸣（「宝剑夜有声」令人想到「剑鸣」的意象（宝剑鸣匣，正是壮志未酬的象征）与「醉里挑灯看剑」（辛弃疾《破阵子》）的看剑意象——那「匣中宝剑夜有声」，正是「匣中宝剑」的悲鸣）。「何当凯还宴将士，三更雪压飞狐城」写凯还飞狐——「凯还宴将士」写凯旋宴请将士（「凯还」令人想到「凯旋」的意象），「三更雪压飞狐城」写三更雪压飞狐城（「飞狐城」写飞狐城（边塞的要塞（飞狐陉，在今河北涞源），令人想到「飞狐」的边塞意象与「楼船夜雪瓜洲渡」的边塞雪意象），那「三更雪压飞狐城」写尽雪压飞狐的边塞意象）。全诗化用李白、李晟、李贺、柳永、辛弃疾（及陆游自己的「王师北定」诗）的意象与典故，以歌写志、以典故写选择，正是陆游「以爱国写壮志」的本领。
Commentary
Long praised as Lu You's model of 'will through song' and the source of famous lines—'go forth as Li Xiping,' 'the foe unavenged, the brave man grows old,' 'return in triumph… snow on Feihu Fort.' Critics note its long-ballad exposition of patriotic ambition, its 'not An Qisheng' stating life's choice, and 'the sword sounds at night' writing unrecognized will. Its special value: it sings both ambition and tragedy—the choice not to be the immortal but to recover the capital, the seal ungrasped and white hair come, the hands that broke rebels reduced to a cricket's cry, the wild carouse and startling spirit, and the sword that sounds at night—a patriot's cry that he is old and the foe unavenged. With 'Indignation' it is a chief poem of thwarted will; for today's readers it opens a window onto Lu You's Shu-period mind and the 'long ballad' tradition.
此诗历来被推为陆游「以歌写志」的名篇，也是「犹当出作李西平，手杖旄钺清旧京」「国雠未报壮士老，匣中宝剑夜有声」「何当凯还宴将士，三更雪压飞狐城」等名句的出处。历代论者对此诗评价较高：论者多指出此诗以长歌的铺陈写报国的壮志，以「不作安期生」写人生的选择，以「匣中宝剑夜有声」写壮志未酬的悲愤，是陆游爱国诗中的代表作。在文学史上，此诗的特殊价值在于：它以长歌写出了报国的壮志与悲壮——那「人生不作安期生，醉入东海骑长鲸」写尽了人生的选择（不作仙人的逍遥，醉入东海骑长鲸的豪放），那「犹当出作李西平，手杖旄钺清旧京」写尽了以李晟自期的壮志（还要出仕作李西平，手执旄钺澄清旧京——以唐中兴名将李晟自期，正是陆游收复中原的抱负），那「金印煌煌未入手，白发种种来无情」写尽了功名未成与年老的无奈（金印煌煌却未入手，白发种种无情地到来），那「岂其马上破贼手，哦诗长作寒螀鸣」写尽了破贼手的壮志与吟诗度日的无奈（难道那马上破贼的能手，只能长作寒蝉的鸣叫），那「兴来买尽市桥酒」「哀丝豪竹助剧饮」「如巨野受黄河倾」「意气顿使千人惊」写尽了剧饮的豪壮与意气的惊人（那买尽市桥酒、如巨野受黄河倾的豪饮，那平时一滴不入口、意气顿使千人惊的意气），那「国雠未报壮士老，匣中宝剑夜有声」写尽了壮士老而国雠未报的悲愤——那「国雠未报壮士老」写尽悲愤（国仇未报，壮士已老），那「匣中宝剑夜有声」写尽悲壮（宝剑在匣中夜里有声，正如壮士的心声——那宝剑夜鸣，正是壮志未酬的鸣响），那「何当凯还宴将士，三更雪压飞狐城」写尽了凯旋的期待与边塞的意象（何时凯旋归来宴请将士，三更雪压飞狐城——那「凯还宴将士」写尽期待的凯旋，那「三更雪压飞狐城」写尽边塞的壮阔）。诗中「犹当出作李西平，手杖旄钺清旧京」写出作李西平，是名句；「国雠未报壮士老，匣中宝剑夜有声」写壮志未酬，更是千古名句。此诗与陆游的《书愤》（「早岁那知世事艰」）一样，都是写壮志未酬的名篇，一写早岁的愤慨，一写长歌的悲壮。对于今日读者，此诗是理解陆游「入蜀时期心境」与「以歌写志」的窗口，也是感受中国诗「长歌行」传统的典范——那不作安期生的选择、出作李西平的壮志、金印未入手的无奈、买尽市桥酒的豪兴、匣中宝剑夜有声的悲鸣、三更雪压飞狐城的边塞，穿越千年，仍在诉说着一个爱国诗人「壮士老而国雠未报」的悲壮。
Prosody
Line by line
犹当出作李西平，手杖旄钺清旧京。
Yet I should go forth as Li Xiping, staff in hand bearing the banners, to cleanse the old capital. — A famous line of life-choice and ambition: 'go forth as Li Xiping' takes the restorer Li Sheng as model; 'staff bearing the banners to cleanse the old capital' writes the will to recover the lost seat—his self-commissioning as a commander, the boldest shout of the poem.
还应出仕作李西平那样的名将，手执旄钺，澄清旧京。
I should still go forth to be a Li Xiping, staff in hand bearing the banner and axe, to cleanse the old capital.
这两句是写人生选择与壮志的名句，也是千古名句，以「出作李西平」写以名将自期，以「手杖旄钺清旧京」写澄清旧京的抱负，慷慨而豪壮。「犹当出作李西平」写以名将自期——还应出仕作李西平那样的名将，「犹当」写还应（那「犹当」写应该、正当——人生应当如此），「出作李西平」写出仕作李西平（那「李西平」即李晟，唐中兴名将、收复长安，那「出作李西平」写出仕作李晟——以李晟自期），那「犹当出作李西平」写尽以名将自期的壮志——人生应当作李晟那样的名将；「手杖旄钺清旧京」写澄清旧京的抱负——手执旄钺、澄清旧京，「手杖旄钺」写手执旄钺（那「旄钺」写帅旗与斧钺——主将的仪仗，那「手杖旄钺」写手执主将的仪仗），「清旧京」写澄清旧京（那「清旧京」写澄清旧京——收复故都，那「旧京」写故都（北宋的汴京）），那「手杖旄钺清旧京」写尽澄清旧京的抱负——手执旄钺，收复故都。这两句的深意在于：它以「出作李西平」与「手杖旄钺清旧京」写出了人生的选择与澄清旧京的抱负——那「犹当出作李西平」写尽以名将自期的壮志（那「出作李西平」用李晟之典——李晟收复长安、中兴大唐，正是陆游收复中原的榜样，那「犹当」写尽人生的选择——不作安期生的逍遥，要作李西平的功业），那「手杖旄钺清旧京」写尽澄清旧京的抱负（那「手杖旄钺」写尽主将的气概，那「清旧京」写尽收复故都的抱负——那旧京（汴京）被金人占据，正是陆游要澄清的）；而更深一层，那「出作李西平」的用典，写尽陆游以李晟自期的壮志——那李晟收复长安，正是陆游收复汴京的梦想（那「犹当出作李西平」的「犹当」，写尽人生的选择——不作仙人的逍遥，要作名将的功业）；那「手杖旄钺清旧京」的「清旧京」，写尽陆游一生的抱负——手执旄钺、澄清旧京，正是「王师北定中原日」的收复之志。以「出作李西平」写自期、以「手杖旄钺清旧京」写抱负，正是陆游「以用典写壮志」的本领，也让这两句成为千古名句。
These two are a famous line on life's choice and lofty ambition, cherished for ages, using 'go forth to be a Li Xiping' for modeling himself on a great general and 'staff in hand bearing the axe, to cleanse the old capital' for the ambition to recover the lost city, impassioned and heroic. 'I should still go forth to be a Li Xiping' writes modeling himself on a general — he should go forth to be a hero like Li Xiping; 'should still' means ought, just now (life ought to be thus); 'go forth to be Li Xiping' — Li Xiping is Li Sheng, the Tang general who restored the dynasty and recovered Chang'an; 'go forth to be Li Sheng' is to model himself on Li Sheng. The line exhausts the ambition of modeling himself on a great general — life ought to be a hero like Li Sheng. 'Staff in hand bearing the banner and axe, to cleanse the old capital' writes the ambition to recover the city — bearing the banner and axe, recovering the old capital; 'staff in hand bearing the axe' writes holding the commander's regalia (banner and battle-axe, the insignia of a commander); 'cleanse the old capital' writes recovering the former capital (the Northern Song's Bianjing). The line exhausts the ambition of recovering the old capital. The depth is that 'go forth to be a Li Xiping' and 'staff in hand, cleanse the old capital' write life's choice and the ambition to recover the city: 'go forth to be Li Xiping' uses the Li Sheng allusion — Li Sheng recovered Chang'an and restored Tang, exactly Lu You's model for recovering the Central Plain, and 'should still' writes the choice of life — not the carefree Anqisheng, but the achievement of Li Xiping; 'cleanse the old capital' exhausts the ambition to recover Bianjing, occupied by the Jin. More deeply, the allusion writes Lu You's ambition to be Li Sheng — Li Sheng's recovery of Chang'an is exactly Lu You's dream of recovering Bianjing; and 'cleanse the old capital' writes the lifelong ambition — bearing the axe and cleansing the old capital is precisely the vow of 'when the royal army north-settles the Central Plain.' Modeling ambition through 'go forth to be Li Xiping' and the aspiration through 'staff in hand, cleanse the old capital' is Lu You's art of 'writing lofty will through allusion,' and makes these lines famous.
国雠未报壮士老，匣中宝剑夜有声。
The national foe unavenged, the brave man grows old; in its case the precious sword sounds at night. — A timeless line on thwarted will: 'foe unavenged, the brave man grows old' sets unavenged against aged in stark contrast; 'the sword sounds at night' makes the blade echo the hero's heart—talent unrecognized, will unextinguished, the most stirring cry of the poem.
国仇未报，壮士已老；匣中的宝剑，夜里有声。
The national vengeance unpaid, the brave man is old; in its scabbard the sword sounds by night.
这两句是写壮志未酬的名句，也是千古名句，以「国雠未报壮士老」写壮士老的悲愤，以「匣中宝剑夜有声」写宝剑夜鸣的悲壮，慷慨而悲凉。「国雠未报壮士老」写壮士老的悲愤——国仇未报、壮士已老，「国雠未报」写国仇未报（那金人南侵的国仇，未报），「壮士老」写壮士已老（那报国的壮士，已经老了），那「国雠未报壮士老」写尽壮士老的悲愤——国仇未报，壮士却已老，那「未报」与「老」的对照，写尽壮志未酬的悲愤；「匣中宝剑夜有声」写宝剑夜鸣的悲壮——匣中的宝剑，夜里有声，「匣中宝剑」写匣中的宝剑（那久藏的宝剑），「夜有声」写夜里有声（那宝剑夜里鸣响），那「匣中宝剑夜有声」写尽宝剑夜鸣的悲壮——宝剑在匣中夜里有声，正如壮士的心声。这两句的深意在于：它以「国雠未报壮士老」与「匣中宝剑夜有声」写出了壮志未酬的悲愤与悲壮——那「国雠未报壮士老」写尽壮士老的悲愤（国仇未报，壮士已老——那「未报」与「老」的对照，写尽时不我待的悲愤），那「匣中宝剑夜有声」写尽宝剑夜鸣的悲壮（宝剑在匣中夜里有声——那「夜有声」写尽宝剑的鸣响，那宝剑鸣匣，正是壮志未酬的象征）；而更深一层，那「匣中宝剑夜有声」正是「国雠未报壮士老」的深化——那宝剑夜鸣，正是壮士的心声（壮士老了，不能上马破贼，那宝剑却在匣中夜鸣，正是壮志未酬的鸣响），那「匣中宝剑夜有声」写尽壮士的心声——那宝剑夜鸣，正如壮士未熄的壮志（正如「醉里挑灯看剑」的辛弃疾，那匣中宝剑夜有声，写尽壮志未酬的悲壮）；那「国雠未报壮士老」与「匣中宝剑夜有声」的对照，写尽陆游壮志未酬的悲愤——那壮士老了，宝剑却还在鸣响，那「夜有声」的宝剑，正是「壮心不已」的鸣响，写尽至死不渝的爱国之情。以「未报」与「老」对照写悲愤、以「夜有声」写悲壮，正是陆游「以物写志」的本领，也让这两句成为千古名句。
These two are a famous line on ambition unrealized, cherished for ages, using 'the national vengeance unpaid, the brave man is old' for the grief of the hero's age and 'in its scabbard the sword sounds by night' for the tragedy of the sword's cry, impassioned yet desolate. 'The national vengeance unpaid, the brave man is old' writes the grief of the aging hero — the national vengeance unpaid, the brave man already old; 'vengeance unpaid' the Jin invasion unavenged; 'the brave man is old' the patriotic warrior aged. The line exhausts the grief of the aging hero — vengeance unpaid, yet the hero old; the contrast of 'unpaid' and 'old' exhausts the grief of ambition unrealized. 'In its scabbard the sword sounds by night' writes the tragedy of the sword's night cry — the sword in its sheath sounding by night; 'sword in its sheath' the long-hidden blade; 'sounds by night' its nocturnal ring. The line exhausts the tragedy of the night-crying sword — the sword in its sheath sounding in the dark, exactly the hero's inner voice. The depth is that 'vengeance unpaid, hero old' and 'sword in the sheath sounds by night' write the grief and tragedy of unrealized ambition: the contrast of 'unpaid' and 'old' exhausts the grief that time runs out; the sword's night cry exhausts tragedy — the sword ringing in its sheath is the symbol of unfulfilled will. More deeply, 'the sword sounds by night' deepens 'vengeance unpaid, hero old': the sword's night cry is the hero's voice — the hero is old and cannot mount to break the foe, yet the sword rings in its sheath by night, the very sound of unfulfilled will; like Xin Qiji's 'drunk, I trim the lamp and look at the sword,' the sheathed sword's night ring exhausts the tragedy of unrealized ambition. The contrast of 'vengeance unpaid, hero old' and 'sword sounding by night' exhausts Lu You's grief — the hero old, yet the sword still rings; that night-ringing sword is the sound of 'a heart undimmed to the last,' writing the undying patriotism. Writing grief through the contrast of 'unpaid' and 'old,' and tragedy through 'sounds by night,' is Lu You's art of 'writing will through objects,' and makes these lines famous.
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'Indignation' ('In youth I knew not the world's hardship… who through ages rivals him') writes early ambition and late regret; this 'Long Ballad' ('the foe unavenged, the brave man grows old') writes the tragedy of a hero old and foe unavenged. Both on thwarted will: one the early-year wrath, one the long-ballad grandeur.
《书愤》「早岁那知世事艰，中原北望气如山」「出师一表真名世，千载谁堪伯仲间」写早岁的壮志与晚年的感慨，是陆游写壮志未酬的名篇。此诗《长歌行》则「国雠未报壮士老，匣中宝剑夜有声」，写壮士老而国雠未报的悲壮，是陆游写壮志未酬的名篇。同为写壮志未酬，一写「早岁那知世事艰」的早岁（书愤），一写「醉入东海骑长鲸」的长歌（长歌行）；一写「千载谁堪伯仲间」的感慨，一写「匣中宝剑夜有声」的悲壮。两诗对读，可见陆游壮志未酬的两种表达——书愤的感慨与长歌的悲壮。
将进酒 Bring in the Wine 李白 · 同为长歌豪饮，一写销愁一写报国 Both long-ballad carouse: one to drown sorrow, one for the unavenged stateLi Bai's 'Bring in the Wine' ('See the Yellow River come from heaven… born my talent, it shall be used') writes wild Tang carouse; Lu You's 'Long Ballad' ('buy up the market-bridge wine… like Juye Marsh receiving the Yellow River') writes Song wild drinking. Both long-ballad carouse: Li Bai's is release of endless sorrow, Lu You's is drinking unavenged. Read together they show two modes of the long-ballad carouse—Li Bai's abandon and Lu You's tragedy.
李白《将进酒》「君不见黄河之水天上来，奔流到海不复回」「天生我材必有用，千金散尽还复来」写长歌豪饮的狂放，是唐人长歌的名篇。陆游《长歌行》则「兴来买尽市桥酒，大车磊落堆长缾」「如巨野受黄河倾」，写剧饮的豪兴，是宋人长歌的名篇。同为写长歌豪饮，李白写「黄河之水天上来」的狂放（将进酒），陆游写「如巨野受黄河倾」的剧饮（长歌行）；一写销万古愁的狂饮，一写报国未成的豪饮。两诗对读，可见长歌豪饮的两种境界——李白的狂放与陆游的悲壮。
猛虎行（拟） Song of the Fierce Tiger 陆游 · 同诗人写宝剑意象，一写猛虎一写匣中 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
陆游《猛虎行》「饥寒之心恻隐亡，剚刃非仇国贼戕」写猛虎的凶恶，是陆游写虎的寓言诗。此诗《长歌行》则「匣中宝剑夜有声」，写匣中宝剑的夜鸣，是陆游写剑的名句。同为写剑（虎），一写猛虎的凶恶（猛虎行），一写宝剑的夜鸣（长歌行）；一写寓言式的讽刺，一写壮志未酬的悲壮。两诗对读，可见陆游笔下「剑」「虎」意象的两种笔法——猛虎的凶恶与宝剑的鸣响。