唐 Tang · 诗 Poem
奉赠韦左丞丈二十二韵
Respectfully Presented to Elder Wei the Left Grand Master, in Twenty-two Rhymes
纨绔不饿死，儒冠多误身。
丈人试静听，贱子请具陈。
甫昔少年日，早充观国宾。
读书破万卷，下笔如有神。
赋料扬雄敌，诗看子建亲。
李邕求识面，王翰愿卜邻。
自谓颇挺出，立登要路津。
致君尧舜上，再使风俗淳。
此意竟萧条，行歌非隐沦。
骑驴三十载，旅食京华春。
朝扣富儿门，暮随肥马尘。
残杯与冷炙，到处潜悲辛。
主上顷见征，歘然欲求伸。
青冥却垂翅，蹭蹬无纵鳞。
甚愧丈人厚，甚知丈人真。
每于百僚上，猥诵佳句新。
窃效贡公喜，难甘原宪贫。
焉能心怏怏，秪是走踆踆。
今欲东入海，即将西去秦。
尚怜终南山，回首清渭滨。
常拟报一饭，况怀辞大臣。
白鸥没浩荡，万里谁能驯。
Elder, pray listen in stillness; this humble one begs to set forth in full.
In my youth, Fu was early made a guest to view the court.
I read through ten thousand volumes; my brush moves as if with spirit.
My fu might rival Yang Xiong; my poetry approaches Cao Zhi.
Li Yong sought to meet me; Wang Han wished to be my neighbor.
I thought myself quite outstanding, soon to mount the chief roads and fords.
To bring the sovereign to surpass Yao and Shun, and again make customs pure.
This intent fell to desolation; I sing upon the road, no hermit recluse.
Thirty years riding a donkey; lodging through the spring of the capital.
At dawn I knock at the rich men's gates; at dusk I follow the dust of fat horses.
With leftover cups and cold fragments, everywhere I hide my bitter toil.
The sovereign lately summoned me; suddenly I wished to stretch forth.
Yet in the blue void I drooped my wings; stalled, no scaling fish.
Deeply ashamed of your generosity, Elder; deeply aware of your sincerity.
Often above the hundred officials, you deigned recite my new fine lines.
I privately imitate Gong Yu's joy, yet cannot bear Yuan Xian's poverty.
How can the heart be sullen? I only wander to and fro.
Now I would go east to the sea, and soon depart west from Qin.
Still I pity Zhongnan Mountain; looking back toward the clear Wei's shore.
Often I mean to repay a single meal; how much more, to leave a great minister.
The white gull vanishes into the vast; who across ten thousand li can tame it?
Meaning
Silk-clad idlers never starve, yet the scholar's cap so often ruins a man. Elder, hear me in stillness while I, your humble junior, lay all before you. In youth I was early chosen as a court guest; I read through ten thousand scrolls and my brush fell as if inspired. My rhapsodies might match Yang Xiong, my verse approach Cao Zhi; Li Yong sought my acquaintance, Wang Han wished to neighbor me. I deemed myself eminent, ready to mount the high roads of office, to raise the sovereign above Yao and Shun and restore pure customs. That purpose came to nothing; I sang upon the road, no hermit. Thirty years on a donkey, lodged through the capital's springs; at dawn I knocked at rich men's gates, at dusk trailed the dust of fat horses. With dregs and cold scraps, everywhere I hid my bitter hardship. The throne lately called me; I longed to stretch and rise, yet in the blue void drooped my wings, stalled like a fish without scales. Ashamed of your kindness, aware of your truth; you recited my new lines above the hundred officials. I imitate Gong Yu's joy yet cannot bear Yuan Xian's want. How can the heart stay sullen? I only linger. Now I would go east to the sea, soon leave Qin in the west; still I pity Zhongnan, looking back to the clear Wei. I would repay even a single meal—how much more, parting a great minister. The white gull vanishes into the vast; who can tame it across ten thousand li?
纨绔子弟不会饿死，儒生的儒冠却多误了此身。丈人请静听，让我这个晚辈详细陈述。我甫昔日少年时，早早充当了观国之宾。读书破万卷，下笔如有神助。写赋可敌扬雄，作诗可比曹植。李邕想见我一面，王翰愿与我为邻。自认为相当出众，可以立即登上要路津要。辅佐君王到尧舜之上，再使风俗归于淳厚。这番心意竟萧条落空，行歌郊野，并非隐沦。骑驴三十年，旅食京华的春色。早晨叩打富儿之门，傍晚追随肥马扬起的尘土。残杯与冷炙，到处潜藏着悲辛。主上不久前召见我，我欣然想求得伸展。却在青冥中垂下翅膀，蹭蹬困顿如无鳞之鱼。很惭愧丈人待我深厚，很知道丈人待我真诚。常常在百官之上，猥蒙诵读我的佳句新章。我暗自效仿贡公的喜悦，难以忍受原宪那样的贫寒。怎能心中怏怏不乐，只是徘徊踌躇。如今想向东入海，即将西去离开秦地。还留恋终南山，回头望着清清的渭水之滨。常想报答一饭之恩，何况要辞别大臣。白鸥没于浩荡烟波，万里谁能驯服它呢。
Appreciation
Vernacular reading: The same as the source translation. Images and technique: an early patronage poem and a famous self-narrative of talent unrecognized, written in Chang'an. The first eight lines write early brilliance and ambition: 'Silk idlers do not starve' opens in indignation; 'read ten thousand volumes, brush as if with spirit' is a line for the ages; 'bring sovereign to Yao and Shun' states his lifelong ideal. The middle twelve write the bitterness of dwelling in Chang'an: 'dawn knock rich gates, dusk follow fat-horse dust' and 'leftover cups and cold scraps' are immortal. The last twelve write leave-taking and resolve: 'white gull vanishes vast, who can tame it' ends with his untamed nobility. The whole uses patronage as form and self-declaration as bone, indignation and gravity intertwined. Emotion and theme: written ~748, when Du Fu, stuck in Chang'an, presented this to Wei Ji hoping for recommendation. 'Bring sovereign to Yao and Shun' is the source of his 'sage-poet' spirit; 'dawn knock rich gates' records his humiliation; 'white gull' his untamed will. Both a patronage poem and a declaration of intent.
【白话串讲】 杜甫写《奉赠韦左丞丈二十二韵》：“纨绔不饿死，儒冠多误身”——“甫昔少年日，早充观国宾”——“读书破万卷，下笔如有神”——“自谓颇挺出，立登要路津”——他说自己满腹才华却怀才不遇——“读书破万卷，下笔如有神”出自这里。 【意象与手法】 此诗是杜甫早期的干谒诗，也是其自述身世、言志抒怀的名篇，写其困居长安、怀才不遇的悲辛。前八句写早年的才华与抱负：「纨绔不饿死，儒冠多误身」以愤激之语起笔，写儒生之误；「读书破万卷，下笔如有神」写其学问与才华，是千古名句；「赋料扬雄敌，诗看子建亲」以扬雄、曹植自比；「致君尧舜上，再使风俗淳」写其辅君致治的宏愿，是杜甫一生的志向所在。中十二句写困居长安的悲辛：「此意竟萧条」写理想落空；「骑驴三十载，旅食京华春」写长年漂泊；「朝扣富儿门，暮随肥马尘」写屈辱的干谒；「残杯与冷炙，到处潜悲辛」写辛酸的境遇，是千古名句。末十二句写辞别与志向：「甚愧丈人厚」写对韦济的感激；「今欲东入海，即将西去秦」写将离长安；「白鸥没浩荡，万里谁能驯」以白鸥自喻，写其不驯的高洁志向。全诗以干谒为体、以言志为骨，愤激与沉郁交织，是杜甫早年的代表作。 【情感与主旨】 此诗约作于唐玄宗天宝七载（748）前后，时杜甫困居长安，因多次求仕无成，遂作此诗投赠时任尚书左丞的韦济，希望得到引荐。杜甫自天宝五载入长安，困居多年，屡试不第、干谒无成，饱尝世态炎凉，此诗即其困居生活的写照与志向的宣言。诗中「纨绔不饿死，儒冠多误身」写对世道不公的愤激——纨绔子弟不饿死，而儒冠（读书人）反而多误身，开篇即以愤激之语鸣不平；「读书破万卷，下笔如有神」写其才华；「致君尧舜上，再使风俗淳」写其宏愿——辅佐君王成为尧舜那样的圣君，使风俗归于淳厚，这是杜甫一生的政治理想，也是「诗圣」精神的源头；「朝扣富儿门，暮随肥马尘」写其干谒的屈辱；「残杯与冷炙，到处潜悲辛」写其辛酸的处境；「白鸥没浩荡，万里谁能驯」写其不驯的志向——即使困顿如此，也如白鸥般高洁不驯。全诗既是干谒之诗（求韦济引荐），也是言志之诗（自述身世与抱负），把个人的悲辛与远大的志向融为一体，是理解杜甫早年思想与「致君尧舜」理想的关键作品。 【名句点睛】 常考“读书破万卷，下笔如有神”写其学问与才华，是千古名句；“致君尧舜上，再使风俗淳”写其辅君致治的宏愿，是杜甫一生的志向所在。
Background
This poem was written around the seventh year of Tianbao (748), presented as a patronage verse to Wei Ji (then Left Grand Master of the Board of Works). Du Fu, after failing the exam in 735, re-entered Chang'an around 746 to seek office but dwelt there for years: in 747 he answered the special summons yet was rejected through Li Linfu's 'no worthy left unnoticed' farce; thereafter he went from gate to gate of the powerful, met only coldness and poverty. Wei Ji was Du's elder and friend, then Left Grand Master; Du sent this hoping for recommendation while narrating his bitterness. 'Silk idlers do not starve' opens in protest; 'read ten thousand volumes, brush as if with spirit' and the Yang Xiong/Cao Zhi self-comparison write his talent; 'bring sovereign to Yao and Shun' is the core of his lifelong intent and the source of his sage-poet spirit; 'thirty years on a donkey' writes the long dwelling (the text says 'thirty,' perhaps a scribal 'thirteen'); 'dawn knock rich gates, dusk follow fat-horse dust' and 'leftover cups and cold scraps' write the humiliation and hardship—lines for the ages; 'white gull vanishes vast' ends with his untamed nobility. This is Du Fu's early self-narrative and the first full statement of his 'Yao-and-Shun' ideal, which he never abandoned.
此诗约作于唐玄宗天宝七载（748）前后，是杜甫投赠给韦济（时任尚书左丞）的干谒诗。杜甫于开元二十三年（735）第一次应试落第后，于天宝五载（746）前后再次入长安求仕，却困居多年：天宝六载应诏求贤，因李林甫「野无遗贤」之闹剧而落选；此后奔走于权贵之门，希望得到引荐，却屡遭冷遇，生活困顿。韦济是杜甫的前辈与朋友，时任尚书左丞，杜甫作此诗投赠，既述身世之悲辛，也望其引荐。诗中「纨绔不饿死，儒冠多误身」开篇即鸣不平；「读书破万卷，下笔如有神」「赋料扬雄敌，诗看子建亲」写其才华；「致君尧舜上，再使风俗淳」写其政治理想——这是杜甫一生言志的核心，也是其「诗圣」精神的源头；「骑驴三十载，旅食京华春」写其困居之久（「三十载」或为「十三载」之误，但语料作「三十载」，即言其久）；「朝扣富儿门，暮随肥马尘」「残杯与冷炙，到处潜悲辛」写其干谒的屈辱与生活的辛酸，是千古名句；「白鸥没浩荡，万里谁能驯」以白鸥自喻，写其不驯的高洁。此诗是杜甫早期生活的自述，也是其「致君尧舜」理想的首次完整表达。值得注意的是，杜甫后来虽历尽磨难，却始终未放弃这一理想——「致君尧舜上，再使风俗淳」成为他一生的座右铭，也是理解杜甫「诗圣」精神的关键。
Art
The art may be read on four levels. First, the opening intertwines indignation and gravity: 'Silk idlers do not starve, but the Confucian cap often ruins the man' begins in protest—the sharp contrast states the unfair world and sets the indignant tone, also hinting Du's deep 'cap-ruins-man' sigh. Second, the layered self-narration: led by 'Elder, listen; humble one will tell,' the poem unfolds from early talent (read ten thousand volumes), political ideal (bring to Yao and Shun), dwelling bitterness (dawn knock rich gates), to leave-taking resolve (white gull vast)—like a condensed autobiography. Third, density of famous lines: 'read ten thousand volumes, brush as if with spirit' (talent), 'bring sovereign to Yao and Shun' (ideal), 'dawn knock rich gates, dusk follow fat-horse dust' (humiliation), 'leftover cups and cold scraps' (hardship), 'white gull vanishes vast' (resolve)—each terse and alert, chanted for ages. Fourth, the scenic close of intent: the ending 'white gull vanishes vast, who can tame it' closes on the image of the gull into the vast, writing his untamed nobility—turning indignation into nobility, hardship into resolve. These four make it a representative early Du Fu.
此诗的艺术特色可从四个层面解析。其一，愤激与沉郁交织的开篇。首联「纨绔不饿死，儒冠多误身」以愤激之语起笔——纨绔子弟不饿死，儒冠反而误身，两句以鲜明的对照写世道之不公，开篇即鸣不平，奠定了全诗愤激的基调，也暗含杜甫「儒冠误身」的深沉感慨。其二，自述的层层展开。全诗以「丈人试静听，贱子请具陈」领起，采用自述体，从早年才华（读书破万卷）、政治理想（致君尧舜上）、困居悲辛（朝扣富儿门）、辞别志向（白鸥没浩荡）层层展开，如一篇浓缩的自传。其三，名句的密集。此诗是杜甫名句最密集的诗篇之一：「读书破万卷，下笔如有神」写才华，「致君尧舜上，再使风俗淳」写理想，「朝扣富儿门，暮随肥马尘」写屈辱，「残杯与冷炙，到处潜悲辛」写辛酸，「白鸥没浩荡，万里谁能驯」写志向，句句精警，千古传诵。其四，以景写志的收束。尾联「白鸥没浩荡，万里谁能驯」以白鸥没于浩荡烟波的意象收束，写其不驯的高洁——即使困顿如此，也如白鸥般自由高洁、万里难驯，把愤激化为高洁，把悲辛化为志向。四重手法层层推进，使此诗成为杜甫早期诗歌的代表作。
Allusions
The poem's allusions and diction are rooted in the Confucian ideal and Han-Wei tradition. 'Silk idlers' (纨绔, fine silk trousers) denote the rich; 'Confucian cap' the scholar—the line hints at the Analects' 'gentleman stays poor' and 'learn well then serve.' 'Read ten thousand volumes, brush as if with spirit' draws on the reading tradition of 'read a hundred times, its meaning appears' and 'read ten thousand scrolls, then know the divine,' 'as if with spirit' recalling Cao Zhi's 'prose like spring blossoms, thought like spring fountain.' 'My fu might rival Yang Xiong' (Han rhapsody master) and 'approach Cao Zhi (Zijian)' show Du measuring himself against the ancients. 'Bring sovereign to Yao and Shun, again make customs pure' crystallizes the Confucian ideal of aiding the ruler (Lunyu, Mengzi). 'Thirty years on a donkey' recalls Li Bai's 'sleeping in Chang'an wine shops.' 'Dawn knock rich gates, dusk follow fat-horse dust' echoes the Shi Jing's 'ride fat horses, wear light furs' and 'the rich reek of wine and meat.' 'Leftover cups and cold scraps' recalls the Mengzi tales of begging. 'I privately imitate Gong Yu's joy' uses Gong Yu, who celebrated his friend Wang Ji's rise ('Gong Yu claps his cap'); 'cannot bear Yuan Xian's poverty' uses Confucius' disciple Yuan Xian, content in want. 'Repay a single meal' uses Han Xin repaying the washing woman's meal. 'White gull vanishes vast' borrows the Liezi gull image for his untamed nobility, recalling Tao Yuanming's 'ashamed before the high bird.' The poem fuses classics, histories, and poetry into self-narration—Du Fu's 'not a word without source.'
此诗的典故与用语深植于儒家理想与汉魏传统。「纨绔不饿死，儒冠多误身」的「纨绔」指富贵子弟（纨是细绢，绔是裤，纨绔本指富家子弟的服饰），「儒冠」指儒生（儒者之冠），两句写贫富之不均、儒生之不遇，暗含《论语》「君子固穷」与「学而优则仕」的儒生传统。「读书破万卷，下笔如有神」化用「读书百遍，其义自见」与「读书万卷始通神」的读书传统，「如有神」写文思如神，令人想到曹植「文若春华，思若涌泉」。「赋料扬雄敌，诗看子建亲」以扬雄（汉代大赋家）与曹植（字子建，建安诗人）自比——杜甫自信其赋可比扬雄、其诗可近曹植，这既是才华的自许，也是「以古人为标准」的自期。「致君尧舜上，再使风俗淳」化用儒家的理想——「致君尧舜」是儒生辅君致治的最高理想（《论语》「尧舜其犹病诸」，《孟子》「人皆可以为尧舜」），「风俗淳」写教化之淳厚（《孟子》「饱食暖衣，逸居而无教，则近于禽兽」），两句是杜甫政治理想的宣言。「骑驴三十载，旅食京华春」写其困居之久，「旅食」写客居谋食，令人想到李白「长安市上酒家眠」的京华生活。「朝扣富儿门，暮随肥马尘」写干谒的屈辱，「扣门」写求见的卑微，「肥马」写权贵的豪奢，令人想到《诗经》「乘肥马，衣轻裘」与「朱门酒肉臭」的贫富对照。「残杯与冷炙」写残羹冷饭，「潜悲辛」写暗藏的辛酸，令人想到《孟子》「乞食」与「嗟来之食」的典故。「窃效贡公喜」用贡禹之典——西汉贡禹与王吉（字子阳）为友，王吉贵显，贡禹弹冠相庆（「贡公弹冠」之典），杜甫以贡公自比，写若得韦济引荐的欣喜；「难甘原宪贫」用原宪之典——孔子弟子原宪贫居陋巷，不以为意（《论语》「原宪贫」），杜甫写其难以安于原宪之贫，正因其急于用世。「常拟报一饭」用韩信一饭千金之典（韩信少时受漂母一饭，后以千金报答），杜甫写其欲报韦济知遇之恩。「白鸥没浩荡，万里谁能驯」以白鸥自喻，化用《列子》「海上之人有好沤（鸥）鸟者」的鸥鸟意象，写其不驯的高洁，令人想到陶渊明「望云惭高鸟，临水愧游鱼」。全诗化用儒典、史典、诗典于自述之中，以典写志、以典抒情，正是杜甫「无一字无来处」的功力。
Commentary
Long ranked among Du Fu's early masterpieces and key to his 'Yao-and-Shun' political ideal. Critics esteem it highly: Qiu Zhao'ao's Du Poetry Annotated calls it 'self-narrating a life, grave and arrested'; Pu Qilong's Du Poetry Explained notes it 'writes intent-feeling through the patronage form,' turning a patronage poem into autobiography and manifesto. Its special value: the first full expression of Du's 'sage-poet' spirit—'bring sovereign to Yao and Shun' is his lifelong political ideal and the source of his 'poetry-as-intent' vein; while 'dawn knock rich gates' and 'leftover cups' truly record the hardship of lower literati in High Tang. Both a patronage and a self-declaring poem, it fuses personal bitterness with grand ambition—a condensation of his ten years in Chang'an. 'Read ten thousand volumes' became a byword for reading and writing; 'bring to Yao and Shun' a classic statement of the Confucian literatus' ideal; 'white gull vanishes vast' writes the scholar's nobility. With 'Lines on Poor Friendship' and 'To Prefect Xianyu' it belongs to Du's Chang'an patronage poems, but this is the deepest and most famous. For readers it is a window onto his early thought and the 'Yao-and-Shun' ideal, and a model of the High Tang literatus' 'talent unrecognized' fate.
此诗历来被推为杜甫早期的代表作，也是理解其「致君尧舜」政治理想的关键作品。历代论者对此诗评价极高：清人仇兆鳌《杜诗详注》称此诗「自叙平生，沉郁顿挫」，浦起龙《读杜心解》更指出此诗「以干谒之体，写言志之情」，把干谒诗写成了自传与宣言。在文学史上，此诗的特殊价值在于：它是杜甫「诗圣」精神的第一次完整表达——「致君尧舜上，再使风俗淳」两句，是杜甫一生的政治理想，也是其「以诗写志」的源头；而「朝扣富儿门，暮随肥马尘」「残杯与冷炙，到处潜悲辛」的句子，则真实记录了盛唐社会下层士人的辛酸。此诗既是干谒诗（求韦济引荐），也是言志诗（自述身世），把个人的悲辛与远大的抱负融为一体，是杜甫困居长安十年生活的浓缩。诗中「读书破万卷，下笔如有神」成为后世形容读书与写作的名句，「致君尧舜上，再使风俗淳」成为儒家士人政治理想的经典表达，「白鸥没浩荡，万里谁能驯」更以白鸥的意象写尽士人的高洁与不驯。此诗与《贫交行》《奉赠鲜于京兆二十韵》等同为杜甫困居长安的干谒诗，但以此诗最深沉、最著名。对于今日读者，此诗是理解杜甫早年思想与「致君尧舜」理想的窗口，也是感受盛唐士人「怀才不遇」命运的典范——那扣门的屈辱、潜悲辛的冷炙、没浩荡的白鸥，穿越千年，仍在诉说着一个伟大诗人最初的困顿与不变的志向。
Prosody
Line by line
读书破万卷，下笔如有神。
These two lines are the poem's famous statement of talent and a line for the ages, writing breadth of learning in 'ten thousand volumes' and fluency of mind in 'as if with spirit.' 'Read ten thousand volumes' writes the breadth—'break' (破) has two senses: 'read through' (master every scroll to the bone) and 'break through' (surpass the limit, like splitting bamboo). 'My brush moves as if with spirit' writes nimble talent—'as if with spirit' means inspiration as if aided by gods, writing without pause. One line on 'reading,' one on 'writing': the deep reading of 'ten thousand volumes' is the root of the nimble 'as if with spirit'—Du Fu's incisive summary of the reading-writing relation and his youthful confidence. Notably these are no empty boast but true: his later 'never rest till words startle' grew from this 'broken' erudition. Writing 'break' for reading and 'spirit' for writing is Du's diction, making the couplet a motto for readers.
读书破万卷，下笔如有神助。
Having read through ten thousand volumes, he sets brush to paper as if a god.
这两句是全诗写才华的名句，也是千古名句，以「破万卷」写学问之博，以「如有神」写文思之敏。「读书破万卷」写学之博——「破万卷」的「破」，至少有双重意味：一是「读破」——把万卷书读透、读通，不是泛泛而读，而是深入骨髓地读懂；二是「突破」——突破万卷之限，读书之多如破竹之势。「下笔如有神」写才之敏——「如有神」写文思如神助，下笔之际文不加点、如有神助，那「神」字写尽创作的灵感与自信。两句一写「读」、一写「写」，以「破万卷」为「如有神」的根基——正是读书破万卷的深厚积累，才有下笔如有神的敏捷才思，这是杜甫对「读书与写作」关系的精辟总结，也是他少年时期才华的自信写照。值得注意的是，这两句不是空泛的自夸，而是杜甫真实才华的写照——他后来「语不惊人死不休」的创作追求，正源于这「破万卷」的深厚学养。以「破」写读、以「神」写写，正是杜甫炼字的功力，也让这两句成为后世读书人的座右铭。
The two lines are the famous writing of talent, and a famous line through the ages, using read through ten thousand volumes for the breadth of learning, and as if a god for the quickness of thought. Having read through ten thousand volumes writes the breadth of learning - the word through in read through ten thousand volumes has at least two senses: first, read through - reading the ten thousand volumes through, thoroughly, not in a cursory way, but reading to the bone; second, break through - breaking through the limit of ten thousand volumes, the abundance of reading like splitting bamboo. Sets brush to paper as if a god writes the quickness of talent - as if a god writing the thought as if by divine aid, at setting brush no correction needed, as if by a god's help, the word god writing to the full the creative inspiration and confidence. The two lines, one reading one writing, using read through ten thousand volumes as the root of as if a god - precisely the deep accumulation of reading through ten thousand volumes gives the quick thought of setting brush as if a god, this Du Fu's penetrating summary of the relation of reading and writing, and the confident portrait of his young talent. It is to note that these two lines are not empty boasting, but the portrait of Du's real talent - his later pursuit of a line that startles the world or die trying springs from this deep learning of read through ten thousand volumes. Using through for reading and god for writing, exactly Du's word-craft, making these two lines the motto of later scholars.
致君尧舜上，再使风俗淳。
These two lines are the core of the poem's ideal and Du Fu's lifelong political declaration, writing the will to 'bring the sovereign to Yao and Shun' and the wish to 'make customs pure' again. 'Bring the sovereign to Yao and Shun' writes the will to aid—raising the ruler above even Yao and Shun, the highest Confucian ideal of assisting the ruler to good order; 'again make customs pure' writes the wish to reform the people—restoring the archaic purity of customs, the Confucian ideal of education. One line on 'aiding the ruler,' one on 'transforming the people,' with 'Yao and Shun' for the sage-ruler ideal and 'customs pure' for the well-ordered age—Du's manifesto of 'the world as his own responsibility' and the source of his 'sage-poet' spirit. Through all his hardship he never let go of this 'Yao-and-Shun' ambition; these two lines are the key to understanding Du Fu's life and a classic expression of the Chinese literatus' 'worrying before the world.'
辅佐君王到尧舜之上，再使风俗归于淳厚。
To raise his prince above Yao and Shun, and once more make the customs pure.
这两句是全诗写理想的核心，也是杜甫一生的政治宣言，以「致君尧舜」写辅君之志，以「风俗淳」写化民之愿。「致君尧舜上」写辅君之志——辅佐君王成为尧舜那样的圣君，「致」写引导、辅佐，「尧舜上」写超越尧舜——不是达到尧舜的水平，而是使君王超过尧舜，这是儒家士人辅君致治的最高理想；「再使风俗淳」写化民之愿——使天下的风俗归于淳厚，「再使」写恢复，仿佛那淳厚的风俗本是古已有之，如今要重新恢复，「风俗淳」写儒家的教化理想。两句一写「致君」、一写「化民」，以「尧舜」写圣君的理想，以「风俗淳」写治世的理想，是杜甫「以天下为己任」的宣言，也是「诗圣」精神的源头——他一生困顿，却始终怀揣这「致君尧舜」的宏愿，即使「朝扣富儿门」的屈辱、「残杯冷炙」的辛酸，也未能消磨这志向。这两句是理解杜甫一生的钥匙，也是中国士人「先天下之忧而忧」传统的经典表达。
The two lines are the core of the whole's ideal, and Du Fu's lifelong political declaration, using raise his prince above Yao and Shun for the will to aid the ruler, and make the customs pure for the wish to transform the people. To raise his prince above Yao and Shun writes the will to aid the ruler - helping the prince become a sage ruler like Yao and Shun, the word raise guiding and aiding, above Yao and Shun meaning beyond Yao and Shun - not reaching Yao and Shun's level, but making the prince surpass them, this the Confucian scholar's highest ideal of aiding the prince to good government. Once more make the customs pure writes the wish to transform the people - making the world's customs return to purity, the words once more writing restoration, as if the pure customs were of old and now to be restored, the customs pure the Confucian ideal of moral teaching. The two lines, one aiding the ruler, one transforming the people, using Yao and Shun for the ideal sage ruler, and the customs pure for the ideal age, this Du Fu's declaration of taking the world as his own duty, and the source of the Poet Sage's spirit - his life hard, yet always holding this grand will of raising his prince above Yao and Shun, even the humiliation of knocking at the rich men's gates at dawn and the bitterness of the lees and cold scraps unable to wear it away. These two lines are the key to understanding Du Fu's life, and the classic expression of the Chinese scholar's tradition of grieving before the world's grief.
朝扣富儿门，暮随肥马尘。
These two lines are famous for the humiliation of seeking patronage and a line for the ages, writing the whole-day running in 'dawn knock' and 'dusk follow.' 'At dawn I knock at the rich men's gates' writes the lowliness of seeking audience—'knock' the humility of begging an interview; 'at dusk I follow the dust of fat horses' writes the submission of trailing—'follow the dust' the compliance of dogged steps. The paired 'dawn'/'dusk' writes the restless, unceasing patronage life. Their deeper meaning: they write not only Du's humiliation but that of all unrecognized, dependent literati—the knocking hand and trailing steps are the shared shame of countless men at the powerful's gates. Writing 'knock' for lowliness and 'follow' for submission is Du's visceral experience of 'patronage pain,' making the couplet a classic on dependence.
早晨叩打富儿之门，傍晚追随肥马扬起的尘土。
At dawn he knocks at the rich man's gate; at dusk he follows the dust of fat horses.
这两句是写干谒屈辱的名句，也是千古名句，以「朝扣」「暮随」写整日奔走的屈辱。「朝扣富儿门」写求见之卑——早晨去叩打富人家的门求见，「扣门」写求见的卑微，那「富儿门」写权贵的门第，一个「扣」字，写尽低声下气的求见之态；「暮随肥马尘」写追随之屈——傍晚追随权贵肥马扬起的尘土，「随尘」写追随的屈从，那「肥马尘」写权贵的威势，一个「随」字，写尽亦步亦趋的屈从之态。两句以「朝」「暮」对举，写其整日奔走、不得休息的干谒生活——早晨叩门、傍晚随尘，那富儿的门第与肥马的威势，都是他低声下气求告的对象。这两句的深意在于：它不是写杜甫一人的屈辱，而是写尽所有怀才不遇、寄人篱下者的悲哀——那叩门的手、随尘的脚步，是无数在权贵门前奔波的士人共同的屈辱。以「扣」写卑、以「随」写屈，正是杜甫对「干谒之痛」的切肤体验，也让这两句成为写「寄人篱下」的经典。
The two lines are the famous writing of the humiliation of seeking patronage, and a famous line through the ages, using at dawn he knocks and at dusk he follows for the all-day running's humiliation. At dawn he knocks at the rich man's gate writes the lowness of seeking audience - in the morning knocking at the rich man's gate to seek audience, knocking the lowness of the seeking, the rich man's gate the powerful house, the single word knock writing to the full the low-browed seeking. At dusk he follows the dust of fat horses writes the following's humiliation - at dusk following the dust raised by the powerful lord's fat horse, follows the dust the servile following, the fat horse's dust the powerful lord's might, the single word follow writing to the full the step-by-step servility. The two lines set at dawn and at dusk together, writing his all-day running without rest of the seeking-patronage life - knocking at dawn, following the dust at dusk, the rich man's gate and the fat horse's might both what he humbly begs. The deep meaning of the two lines lies in: not writing Du Fu's one man's humiliation, but writing to the full the grief of all the unrecognized and the shelter-dependent - the knocking hand, the dust-following step, are the common humiliation of countless scholars running before the powerful lords' gates. Using knock for the lowness and follow for the servility, exactly Du's flesh-experienced pain of seeking patronage, making these two lines the classic writing of sheltering under another's roof.
残杯与冷炙，到处潜悲辛。
These two lines are famous for life's bitterness and a line for the ages, writing hardship in 'leftover cups and cold scraps' and hidden pain in 'everywhere I hide my bitter toil.' 'Leftover cups and cold scraps' writes the straitness—the leavings the powerful bestowed, the 'leftover' and 'cold' writing the meanness of the alms; 'everywhere I hide my bitter toil' writes the endurance—'everywhere' the ubiquity, 'hide' the grief buried deep, never spoken. One line on the cold object, one on the hidden heart, renders Du's Chang'an bitterness to the full. Their deeper meaning: the most concrete 'leftover cups' write the most abstract 'bitter toil,' giving sorrow a tangible image. Writing 'leftover/cold' for things and 'hide' for the heart is Du's diction, making the couplet a perennial line on dependence and unrecognition.
残杯与冷炙，到处潜藏着悲辛。
The lees of wine and the cold scraps - everywhere he hides a bitter grief.
这两句是写生活辛酸的名句，也是千古名句，以「残杯冷炙」写生活的窘迫，以「潜悲辛」写隐忍的痛楚。「残杯与冷炙」写生活之窘——残杯（残酒）与冷炙（冷肉），是权贵施舍的残羹冷饭，那「残」「冷」二字，写尽施舍之物的寒酸与生活的窘迫——杜甫在权贵门前领受的，不是温饱，而是残羹冷饭；「到处潜悲辛」写隐忍之痛——「到处」写其处处如此、无处不悲，「潜悲辛」写那悲辛只能暗暗藏在心底——「潜」字极妙：那悲辛不是明说的、不是外露的，而是深藏心底的暗流，正因无处申诉、不敢表露，才「潜」得如此之深。两句一写「物」之残冷、一写「心」之潜悲，把杜甫困居长安的辛酸写得淋漓尽致。这两句的深意在于：它以最具体的「残杯冷炙」写最抽象的「悲辛」，让那辛酸有了可感的形象——那残酒冷肉，正是他四处奔走换来的全部；那潜藏的悲辛，正是他无处可说的全部心事。以「残冷」写物、以「潜」写心，正是杜甫炼字的功力，也让这两句成为写「寄人篱下、怀才不遇」的千古名句。
The two lines are the famous writing of life's bitterness, and a famous line through the ages, using the lees of wine and the cold scraps for the straitened life, and hides a bitter grief for the restrained pain. The lees of wine and the cold scraps write the life's straitness - the lees (the leftover wine) and the cold scraps (the cold meat), the rich men's alms of leftover and cold food, the two words leftover and cold writing to the full the shabbiness of the alms and the straitness of life - what Du Fu receives at the powerful lords' gates is not food and warmth, but leftover and cold food. Everywhere he hides a bitter grief writes the restrained pain - everywhere writing his being thus everywhere, nowhere without grief, hides a bitter grief writing that the grief can only be hidden in the heart - the word hides is most fine: the grief is not spoken, not shown, but a deep undercurrent in the heart, precisely because nowhere to appeal and not daring to show, it is hidden so deep. The two lines, one writing the thing's leftover and cold, one the heart's hidden grief, writing to the full Du's bitterness in his hard-pressed stay in Chang'an. The deep meaning of the two lines lies in: using the most concrete the lees of wine and the cold scraps for the most abstract bitter grief, giving the bitterness a palpable image - the leftover wine and cold meat, exactly all he has got from his running about; the hidden grief, exactly all his heart's cares nowhere to tell. Using leftover and cold for the thing and hide for the heart, exactly Du's word-craft, making these two lines the age-famous writing of sheltering under another's roof and being unrecognized.
Study
Word focus
Related Reading
'Lines on Poor Friendship' ('With a flip of the hand you make clouds, with a turn you make rain; such fickleness, why count it') uses a four-line form to write the world's fickleness—Du's short 'satirizing the age' piece from Chang'an. This 'Twenty-two Rhymes' writes with 'dawn knock rich gates, dusk follow fat-horse dust; leftover cups and cold scraps' a forty-four-line self-narration of that bitterness—his long 'declaring intent' work. Both write Chang'an bitterness; one condensed in four lines satirizing the age, one unfolded in a long poem narrating the self; one the anger of 'cast away like dirt,' one the endurance of 'hidden bitter toil.' Read together they show two moods of Du's Chang'an years and his two brushes—'short for satire, long for intent.'
《贫交行》「翻手作云覆手雨，纷纷轻薄何须数」以四句短制写世态炎凉，是杜甫困居长安时「刺世」的短章。此诗《奉赠韦左丞丈二十二韵》则「朝扣富儿门，暮随肥马尘。残杯与冷炙，到处潜悲辛」，以四十四句长诗自述困居的悲辛，是杜甫困居长安时「述志」的长篇。同为写困居长安的悲辛，一以四句凝练刺世（贫交行），一以长诗铺陈自述（奉赠韦左丞）；一写「弃如土」的愤怒，一写「潜悲辛」的隐忍。两诗对读，可见杜甫困居长安的两种心境，也可见其「以短写刺、以长写志」的两种笔法。
将进酒 Bring in the Wine 李白 · 同为才士干进之叹，一自信一悲辛 Both are talented men's sighs over advancement; one confident, one bitter.Li Bai's 'Bring in the Wine' ('Heaven gave me talent, it must be used; gold scattered comes again') writes the confidence of talent and the boldness of wine—Li's heroic version of the 'sigh over advancement.' Du Fu's 'Twenty-two Rhymes' writes the humiliation of patronage and the hardship of life—Du's bitter version. Both are High Tang talents unrecognized; Li confidently 'heaven gave me talent,' Du painfully 'the cap ruins the man'; one finds heroism in wine, the other humiliation at the gate. Read together they show two attitudes toward 'unrecognition'—Li resists with boldness, Du writes with gravity—and the difference of their styles, 'free and easy' versus 'grave and arrested.'
李白《将进酒》「天生我材必有用，千金散尽还复来」写怀才的自信与纵酒的豪放，是李白「干进之叹」的豪放版。杜甫《奉赠韦左丞丈二十二韵》则「朝扣富儿门，暮随肥马尘。残杯与冷炙，到处潜悲辛」，写干谒的屈辱与生活的辛酸，是杜甫「干进之叹」的悲辛版。同为盛唐才士的不遇，李白自信「天生我材必有用」，杜甫痛感「儒冠多误身」；一在酒中见豪情，一在门前见屈辱。两诗对读，可见盛唐诗人面对「不遇」的两种态度——李白以豪放抗之，杜甫以沉郁写之，也可见二人一「飘逸」一「沉郁」的诗风差异。
卖炭翁 Buying Flowers 白居易 · 同为士人视角写民生，一自述一他述 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
白居易《卖炭翁》「可怜身上衣正单，心忧炭贱愿天寒」以旁观视角写卖炭老人的辛酸，是白居易「新乐府」为民请命的代表作。杜甫《奉赠韦左丞丈二十二韵》则「朝扣富儿门，暮随肥马尘」，以自述视角写士人干谒的辛酸，是杜甫「自述身世」的名篇。同为以「悲辛」写民生，白居易写「他人」之悲（卖炭翁），杜甫写「自身」之辛（干谒者）；一为「新乐府」的讽喻，一为「自传体」的言志。两诗对读，可见白居易与杜甫「为民」精神的相通，也可见两位诗圣一写民生疾苦、一写士人悲辛的不同面向。