宋 Song · 词 Ci lyric
鹧鸪天·我是清都山水郎
Partridge in the Sky: I Am the Son of the Clear Capital, the Wanderer of the Mountains and the Waters
我是清都山水郎，天教懒慢带疏狂。
曾批给露支风敕，累奏留云借月章。
诗万首，酒千觞，几曾着眼看侯王？
玉楼金阙慵归去，且插梅花醉洛阳。
The heaven, teaches, the lazy and the slow, with, the wild and the uninhibited.
Once, approved, the edicts of the dew, dispensing, the winds,
Repeatedly, presenting, the memorials of the clouds, retaining, borrowing, the moons.
The poems, ten thousand, the wine, a thousand cups,
How, ever, looked, the eyes, at, the lords and the marquises.
The jade towers, the golden gates, lazy, returning,
Moreover, inserting, the mume blossoms, drunken, in the Luoyang.
Meaning
A lyric of the unrestrained and the proud, written by Zhu Dunru. I am the Son of the Clear Capital, the Wanderer of the mountains and the waters, the heaven teaches the lazy and the slow with the wild and the uninhibited — the self of the poet. Once approved the edicts of the dew dispensing the winds, repeatedly presenting the memorials of the clouds retaining borrowing the moons — the fancies of the poet. The poems ten thousand with the wine a thousand cups, how ever looked the eyes at the lords and the marquises — the pride of the poet. And the close's jade towers with the golden gates lazy returning, moreover inserting the mume blossoms drunken in the Luoyang — the close's mume. The lyric is the unrestrained and the proud: the wanderer, the pride, and the close's mume blossoms.
我是清都山水郎，天教懒慢带疏狂。曾批给露支风敕，累奏留云借月章。诗万首，酒千觞，几曾着眼看侯王？玉楼金阙慵归去，且插梅花醉洛阳。
Appreciation
[Plain Paraphrase] I, am, the Son of the Clear Capital, the Wanderer of the mountains and the waters, the heaven, teaches, the lazy and the slow, with, the wild and the uninhibited. Once, approved, the edicts of the dew, dispensing, the winds, repeatedly, presenting, the memorials of the clouds, retaining, borrowing, the moons. The poems, ten thousand, the wine, a thousand cups, how, ever, looked, the eyes, at, the lords and the marquises. The jade towers, the golden gates, lazy, returning, moreover, inserting, the mume blossoms, drunken, in the Luoyang. [Structure and Thought] The lyric moves from the self of the wanderer and the edicts of the winds and the moons, through the poems and the wine with the pride against the lords, to the close's jade towers lazy returning, the mume blossoms drunken in the Luoyang. [Key Technique] The lyric's art is the close of the mume: the fancies of the edicts and the memorials, and the close's mume blossoms drunken in the Luoyang — the unrestrained gathered in the fancies and the close's mume. [Emotional Tone] Unrestrained, proud, and wild: the lyric is the wanderer, the pride and the close's mume.
【白话串讲】 朱敦儒写《鹧鸪天·我是清都山水郎》：“我是清都山水郎，天教懒慢带疏狂”——“曾批给露支风敕，累奏留云借月章”——“诗万首，酒千觞，几曾着眼看侯王”——“玉楼金阙慵归去，且插梅花醉洛阳”——他自号清都山水郎——且插梅花醉洛阳。 【意象与手法】 “我是清都山水郎，天教懒慢带疏狂”以山水郎自号写疏狂；“曾批给露支风敕，累奏留云借月章”以给露支风敕写仙家气派；“诗万首，酒千觞，几曾着眼看侯王”写蔑视侯王；结以“玉楼金阙慵归去，且插梅花醉洛阳”以插梅醉洛阳写洒脱。旷达豪迈。 【情感与主旨】 朱敦儒写言志隐逸之作，以“清都山水郎”自号写疏狂不羁、蔑视侯王、归隐山水的志趣，体现朱敦儒词旷达豪迈的风格。 【名句点睛】 常考“我是清都山水郎，天教懒慢带疏狂”以山水郎写疏狂；“玉楼金阙慵归去，且插梅花醉洛阳”以插梅醉洛阳写洒脱。
Background
Zhu Dunru (1081–1159), the poet of the unrestrained, wrote this 'Partridge in the Sky: I Am the Son of the Clear Capital, the Wanderer of the Mountains and the Waters' of the unrestrained and the proud — the pride of the poet. The self of the wanderer with the edicts of the winds and the moons, the pride against the lords, and the close's jade towers lazy returning with the mume blossoms drunken in the Luoyang — the lyric gathers the pride of the poet, the unrestrained of the immortal. The lyric is one of the most famous works of the poet's lyrics of the unrestrained.
《鹧鸪天·我是清都山水郎》为南宋词人朱敦儒所作词。朱敦儒（1081—1159），字希真，号岩壑，洛阳（今河南洛阳）人，南宋词人。此词写言志隐逸，为我是清都山水郎之作。词中「我是清都山水郎，天教懒慢带疏狂」写我是清都山水郎，天教懒慢带疏狂；「曾批给露支风敕，累奏留云借月章」写曾批给露支风敕，累奏留云借月章；「诗万首，酒千觞，几曾着眼看侯王」写诗万首，酒千觞，几曾着眼看侯王；「玉楼金阙慵归去，且插梅花醉洛阳」写玉楼金阙慵归去，且插梅花醉洛阳。朱敦儒此词以言志隐逸、且插梅花醉洛阳写其隐逸之情，旷达豪迈，是朱敦儒词中的名篇。此篇《鹧鸪天·我是清都山水郎》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《鹧鸪天·我是清都山水郎》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。
Art
The lyric's art is the art of the unrestrained. The self opens: I, am, the Son of the Clear Capital, the Wanderer of the mountains and the waters — the wanderer of the mountains and the waters; the heaven, teaches, the lazy and the slow, with, the wild and the uninhibited — the wild of the heaven; once, approved, the edicts of the dew, dispensing, the winds — the edicts of the dew; repeatedly, presenting, the memorials of the clouds, retaining, borrowing, the moons — the memorials of the moons. The pride follows: the poems, ten thousand, the wine, a thousand cups — the poems and the wine; how, ever, looked, the eyes, at, the lords and the marquises — the eyes not looking at the lords; the jade towers, the golden gates, lazy, returning — the jade towers lazy. And the close gathers the mume: moreover, inserting, the mume blossoms, drunken, in the Luoyang — the mume blossoms of the close — the self, the pride and the close's mume, gathered in the lyric.
此词艺术上以「旷达豪迈、以仙写志」见长。全词共九句，由我是清都山水郎而曾批给露支风敕而诗万首。起「我是清都山水郎，天教懒慢带疏狂」写我是清都山水郎：我是清都山水郎，天教懒慢带疏狂；「曾批给露支风敕，累奏留云借月章」写曾批给露支风敕：曾批给露支风敕，累奏留云借月章；「诗万首，酒千觞，几曾着眼看侯王」写几曾着眼看侯王：诗万首，酒千觞，几曾着眼看侯王；结「玉楼金阙慵归去，且插梅花醉洛阳」写玉楼金阙慵归去：玉楼金阙慵归去，且插梅花醉洛阳。全词以仙写志，由我是清都山水郎而且插梅花醉洛阳，旷达豪迈，是朱敦儒词中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。
Allusions
'The Clear Capital' (Qing du) is the Clear Capital — the capital of the heaven, the dwelling of the immortals; 'the edicts of the dew' (lu zhi feng) are the edicts of the dew — the edicts dispensing the winds; 'the memorials of the clouds' (liu yun jie yue zhang) are the memorials of the clouds — the memorials retaining and borrowing the moons; 'the Luoyang' (Luo yang) is the Luoyang — the city of the Luoyang, the drunken of the mume.
词中「我是清都山水郎天教懒慢带疏狂」「曾批给露支风敕累奏留云借月章」「诗万首酒千觞几曾着眼看侯王」「玉楼金阙慵归去且插梅花醉洛阳」等语，皆含典故故实。「我是清都山水郎天教懒慢带疏狂」用清都之典（清都为天帝所居），写我是清都山水郎天教懒慢带疏狂；「曾批给露支风敕累奏留云借月章」写曾批给露支风敕累奏留云借月章；「诗万首酒千觞几曾着眼看侯王」写诗万首酒千觞几曾着眼看侯王；「玉楼金阙慵归去且插梅花醉洛阳」用洛阳之典（洛阳为北宋西京），写玉楼金阙慵归去且插梅花醉洛阳。词人以清都、洛阳等典入词，不着痕迹，而把言志隐逸之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。
Commentary
This lyric is one of the most famous works of Zhu Dunru's lyrics of the unrestrained, quoted for the pride of its self and the mume of its close. The edicts of the dew and the winds, and the mume blossoms drunken in the Luoyang, are among the admired passages of the poet's lyrics. Critics praise the lyric's pride: the unrestrained gathered in the self, to the close's mume.
这首《鹧鸪天·我是清都山水郎》，是朱敦儒写言志隐逸之作，写我是清都山水郎、曾批给露支风敕、几曾着眼看侯王、且插梅花醉洛阳之情，旷达豪迈。起「我是清都山水郎，天教懒慢带疏狂」——我是清都山水郎（用清都之典），天教懒慢带疏狂。写我是清都山水郎：我是清都山水郎、天教懒慢带疏狂——清都山水郎、懒慢带疏狂；「曾批给露支风敕，累奏留云借月章」——曾批给露支风敕，累奏留云借月章。写曾批给露支风敕：曾批给露支风敕、累奏留云借月章——支风敕、借月章；「诗万首，酒千觞，几曾着眼看侯王」——诗万首，酒千觞，几曾着眼看侯王。写几曾着眼看侯王：诗万首、酒千觞、几曾着眼看侯王——万首千觞、着眼看侯王；结「玉楼金阙慵归去，且插梅花醉洛阳」——玉楼金阙慵归去，且插梅花醉洛阳（用洛阳之典）。写玉楼金阙慵归去：玉楼金阙慵归去、且插梅花醉洛阳——慵归去、醉洛阳。这「玉楼金阙慵归去，且插梅花醉洛阳」，是全词之结：以且插梅花醉洛阳写其隐逸。全词旷达豪迈，以仙写志，正是朱敦儒词中的名篇。
Prosody
Line by line
我是清都山水郎，天教懒慢带疏狂。
I, am, the Son of the Clear Capital, the Wanderer of the mountains and the waters, the heaven, teaches, the lazy and the slow, with, the wild and the uninhibited.
我是清都山水郎，天教懒慢带疏狂。
I am the Lord of Streams and Hills in the capital of heaven; Heaven made me careless, unruly and free-spirited.
首句写我是清都山水郎，起笔即见其志。「我是清都山水郎」用清都之典写我是清都山水郎，「我是清都」写我是清都、「山水郎」写山水郎；「天教懒慢带疏狂」写天教懒慢带疏狂，「天教懒慢」写天教懒慢、「带疏狂」写带疏狂。两句一写我是清都山水郎、一写天教懒慢带疏狂，以我是清都山水郎写清都山水郎、以天教懒慢带疏狂写懒慢疏狂，写尽我是清都山水郎、天教懒慢带疏狂之情。以仙起兴，旷达而豪迈，是「以仙起兴」的妙笔。
The opening writes 'I am the Lord of Streams and Hills,' his ambition visible from the first stroke. 'I am the Lord of Streams and Hills in the capital of heaven' uses the Qingdu allusion — 'I am of Qingdu' the heavenly capital, 'Lord of Streams and Hills' his title. 'Heaven made me careless, unruly and free-spirited' — 'heaven made me careless' the sloth given by heaven, 'unruly and free-spirited' the wildness. One phrase each: I am the Lord of Streams and Hills, heaven made me careless and wild. Writing the heavenly title through the Lord of Streams and Hills, and the carefree wildness through heaven-made sloth, it exhausts the feeling of being that lord and being made careless and wild. Raising feeling through the immortal, open and bold — a fine stroke of 'raising through the immortal.'
曾批给露支风敕，累奏留云借月章。
Once, approved, the edicts of the dew, dispensing, the winds, repeatedly, presenting, the memorials of the clouds, retaining, borrowing, the moons.
曾批给露支风敕，累奏留云借月章。
I have signed decrees granting dew and allocating wind; I have memorialized petitions to detain clouds and borrow the moon.
此句写曾批给露支风敕，是全词写仙家之态的关键。「曾批给露支风敕」写曾批给露支风敕，「曾批」写曾批、「给露支风敕」写给露支风敕；「累奏留云借月章」写累奏留云借月章，「累奏」写累奏、「留云借月章」写留云借月章。两句一写曾批给露支风敕、一写累奏留云借月章，以曾批给露支风敕写支风敕、以累奏留云借月章写借月章，写尽曾批给露支风敕、累奏留云借月章之情。以仙写志，旷达而豪迈，是「以仙写志」的点睛之笔。
This line writes 'I have signed decrees granting dew and allocating wind,' the key to the ci's immortal bearing. 'I have signed decrees granting dew and allocating wind' — 'have signed' the signed decrees, 'granting dew and allocating wind' the decrees to dispense dew and wind. 'I have memorialized petitions to detain clouds and borrow the moon' — 'have memorialized' the repeated petitions, 'detain clouds and borrow the moon' the memorials for clouds and moon. One phrase each: signed the wind-decree, memorialized the moon-petition. Writing the wind decree through signing decrees for dew and wind, and the moon petition through memorials to detain clouds and borrow the moon, it exhausts the feeling of signing such decrees and presenting such memorials. Writing will through the immortal, open and bold — an illuminating stroke of 'writing will through the immortal.'
诗万首，酒千觞，几曾着眼看侯王？
Ten thousand poems, a thousand cups of wine — when did I ever deign to glance at lords and kings?
诗万首，酒千觞，几曾着眼看侯王？
Ten thousand poems, a thousand flagons of wine — when did I ever so much as look at lords and princes?
此句写几曾着眼看侯王，是全词写侯王之态的关键。「诗万首，酒千觞」写诗万首酒千觞，「诗万首」写诗万首、「酒千觞」写酒千觞；「几曾着眼看侯王」写几曾着眼看侯王，「几曾着眼」写几曾着眼、「看侯王」写看侯王。三句一写诗万首、一写酒千觞、一写几曾着眼看侯王，以诗万首写万首诗、以酒千觞写千觞酒、以几曾着眼看侯王写着眼看侯王，写尽诗万首、酒千觞、几曾着眼看侯王之情。以问写志，旷达而豪迈，是「以问写志」的点睛之笔。
This line writes 'when did I ever glance at lords and kings,' the key to the ci's bearing toward nobility. 'Ten thousand poems, a thousand flagons of wine' — 'ten thousand poems' the myriad verses, 'a thousand flagons' the uncounted cups. 'When did I ever deign to glance at lords and kings?' — 'when did I ever deign' the never-once, 'glance at lords and kings' the gaze upon nobility. Three phrases: ten thousand poems, a thousand cups, never a glance at kings. Writing myriad verse through ten thousand poems, uncounted wine through a thousand flagons, and the disdainful gaze through never looking at lords, it exhausts the feeling of poems ten thousand, wine a thousand, never a glance at kings. Writing will through a question, open and bold — an illuminating stroke of 'writing will through a question.'
玉楼金阙慵归去，且插梅花醉洛阳。
The jade towers, the golden gates, lazy, returning, moreover, inserting, the mume blossoms, drunken, in the Luoyang.
玉楼金阙慵归去，且插梅花醉洛阳。
Lazily I turn from the jade towers and golden palaces; for now I will stick a plum blossom in my hair and get drunk in Luoyang.
结句写玉楼金阙慵归去，是全词立意的落点。「玉楼金阙慵归去」写玉楼金阙慵归去，「玉楼金阙」写玉楼金阙、「慵归去」写慵归去；「且插梅花醉洛阳」用洛阳之典写且插梅花醉洛阳，「且插梅花」写且插梅花、「醉洛阳」写醉洛阳。两句一写玉楼金阙慵归去、一写且插梅花醉洛阳，以玉楼金阙慵归去写慵归去、以且插梅花醉洛阳写醉洛阳，写尽玉楼金阙慵归去、且插梅花醉洛阳之情。以梅写志，旷达而豪迈，是全词最动人处，也是「以梅写志」的点睛之笔。
The closing writes 'lazily I turn from the jade towers,' where the ci's meaning lands. 'Lazily I turn from the jade towers and golden palaces' — 'jade towers, golden palaces' the heavenly courts, 'lazily turn' the unwilling departure. 'For now I will stick a plum blossom in my hair and get drunk in Luoyang' uses the Luoyang allusion — 'stick a plum blossom' the plum in the hair, 'get drunk in Luoyang' the revel in that city. One phrase each: lazily turn from jade towers, stick plum and revel in Luoyang. Writing the unwilling return through lazily turning from jade towers, and the revel through plum blossom and drunken Luoyang, it exhausts the feeling of lazily turning from the celestial courts and getting drunk in Luoyang with plum blossoms. Writing will through the plum, open and bold, it is the most moving place of the ci and an illuminating stroke of 'writing will through the plum.'
Study
Word focus
Related Reading
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林逋《山园小梅》「疏影横斜水清浅，暗香浮动月黄昏」，写梅之清雅、隐逸之趣，是宋诗咏物的绝唱；朱敦儒《鹧鸪天·我是清都山水郎》则以「玉楼金阙慵归去，且插梅花醉洛阳」「我是清都山水郎，天教懒慢带疏狂」写慵归去醉洛阳、清都山水郎。两词同写隐逸清雅、超然物外：一写疏影横斜水清浅暗香浮动月黄昏、以梅写清雅，一写玉楼金阙慵归去且插梅花醉洛阳、以梅花写隐逸；一为林逋之清逸、一为朱敦儒之旷达，并读正可见词写「隐逸超然」的两种笔法，皆于隐逸之中见超然。
浣溪沙·一曲新词酒一杯 Silk-Washing Stream: A Cup of Wine, A New Song 晏殊 · 同写感怀言志、无可奈何，一写无可奈何花落去、一写几曾着眼看侯王，皆于感怀之中见言志 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
晏殊《浣溪沙·一曲新词酒一杯》「无可奈何花落去，似曾相识燕归来」，写感怀言志，是宋词小令的名篇；朱敦儒《鹧鸪天·我是清都山水郎》则以「诗万首，酒千觞，几曾着眼看侯王」「且插梅花醉洛阳」写着眼看侯王、插梅花醉洛阳。两词同写感怀言志、无可奈何：一写无可奈何花落去、以花落燕归写惜时，一写几曾着眼看侯王、以侯王写言志；一为晏殊之温润、一为朱敦儒之旷达，并读正可见词写「感怀言志」的两种笔法，皆于感怀之中见言志。