唐 Tang · 诗 Poem
琵琶行
Song of the Pipa
浔阳江头夜送客，枫叶荻花秋瑟瑟。
主人下马客在船，举酒欲饮无管弦。
醉不成欢惨将别，别时茫茫江浸月。
忽闻水上琵琶声，主人忘归客不发。
寻声暗问弹者谁，琵琶声停欲语迟。
移船相近邀相见，添酒回灯重开宴。
千呼万唤始出来，犹抱琵琶半遮面。
转轴拨弦三两声，未成曲调先有情。
Show full original poem
浔阳江头夜送客，枫叶荻花秋瑟瑟。
主人下马客在船，举酒欲饮无管弦。
醉不成欢惨将别，别时茫茫江浸月。
忽闻水上琵琶声，主人忘归客不发。
寻声暗问弹者谁，琵琶声停欲语迟。
移船相近邀相见，添酒回灯重开宴。
千呼万唤始出来，犹抱琵琶半遮面。
转轴拨弦三两声，未成曲调先有情。
弦弦掩抑声声思，似诉平生不得志。
低眉信手续续弹，说尽心中无限事。
轻拢慢捻抹复挑，初为《霓裳》后《六幺》。
大弦嘈嘈如急雨，小弦切切如私语。
嘈嘈切切错杂弹，大珠小珠落玉盘。
间关莺语花底滑，幽咽泉流冰下难。
冰泉冷涩弦凝绝，凝绝不通声暂歇。
别有幽愁暗恨生，此时无声胜有声。
银瓶乍破水浆迸，铁骑突出刀枪鸣。
曲终收拨当心画，四弦一声如裂帛。
东船西舫悄无言，唯见江心秋月白。
沉吟放拨插弦中，整顿衣裳起敛容。
自言本是京城女，家在虾蟆陵下住。
十三学得琵琶成，名属教坊第一部。
曲罢曾教善才服，妆成每被秋娘妒。
五陵年少争缠头，一曲红绡不知数。
钿头银篦击节碎，血色罗裙翻酒污。
今年欢笑复明年，秋月春风等闲度。
弟走从军阿姨死，暮去朝来颜色故。
门前冷落鞍马稀，老大嫁作商人妇。
商人重利轻别离，前月浮梁买茶去。
去来江口守空船，绕船月明江水寒。
夜深忽梦少年事，梦啼妆泪红阑干。
我闻琵琶已叹息，又闻此语重唧唧。
同是天涯沦落人，相逢何必曾相识！
我从去年辞帝京，谪居卧病浔阳城。
浔阳地僻无音乐，终岁不闻丝竹声。
住近湓江地低湿，黄芦苦竹绕宅生。
其间旦暮闻何物？
杜鹃啼血猿哀鸣。
春江花朝秋月夜，往往取酒还独倾。
岂无山歌与村笛？
呕哑嘲哳难为听。
今夜闻君琵琶语，如听仙乐耳暂明。
莫辞更坐弹一曲，为君翻作《琵琶行》。
感我此言良久立，却坐促弦转急。
凄凄不似向前声，满座重闻皆掩泣。
座中泣下谁最多？
江州司马青衫湿。
Maple leaves and reed flowers rustled in the autumn.
The host dismounted, the guest was already in the boat;
We raised our cups to drink, but there were no strings or pipes.
Drunk without gladness, we faced a wretched parting;
At the moment of parting the wide river lay steeped in moonlight.
Suddenly across the water came the sound of a pipa;
The host forgot to go home and the guest did not set out.
Following the sound, we asked in a low voice who was playing;
The pipa fell silent, and the answer was slow in coming.
We moved our boat alongside and asked to meet her;
We poured more wine, turned up the lamp, and began the feast again.
After a thousand calls she came at last,
Still holding the pipa so that it hid half her face.
She turned the pegs and plucked the strings two or three times;
Before any tune was formed the feeling was there.
String upon string subdued, note upon note brooding,
As if telling of a life in which nothing had gone right.
Head bowed, her hand free upon the strings, she played on and on,
And told all the endless matters of her heart.
Lightly pressing, slowly twisting, sweeping and plucking,
She played first the Rainbow Skirt and then the Green Waist.
The heavy strings rumbled like a rush of rain;
The light strings whispered like secret talk.
Rumbling and whispering woven together,
Like large and small pearls falling on a plate of jade.
Now the smooth warble of an oriole under the flowers;
Now the choked sound of a spring struggling under ice.
The icy spring turned cold and rough, the strings seemed frozen;
Frozen and blocked, the music stopped for a while.
A hidden sorrow and an unspoken bitterness arose;
And at that moment silence was better than sound.
Then a silver vase burst and the water splashed out;
Armoured horsemen broke through with clash of sword and spear.
The tune ended; she drew the plectrum straight across the centre,
And all four strings sounded at once, like silk being torn.
In the boats to east and west no one said a word;
We saw only the white autumn moon in the middle of the river.
Musing, she laid the plectrum among the strings,
Straightened her dress, rose, and composed her face.
She said she had been born a girl of the capital,
Whose home was below Toad Mound.
At thirteen she had mastered the pipa,
And her name stood in the first company of the Music School.
When she finished a piece the masters bowed to her skill;
When her make-up was done the famous beauties were jealous.
The young lords of the Five Tombs vied to give her silk;
For a single song, red gauze beyond counting.
Silver combs with inlaid heads were broken beating time;
Her blood-red gauze skirt was stained with spilled wine.
One year of laughter followed another,
And autumn moons and spring winds were let go lightly.
Her brother went to the army, her aunt died;
Evenings went and mornings came, and her looks grew old.
Her gate grew cold and the horses seldom came;
Past her youth, she married and became a merchant's wife.
The merchant cares for profit and thinks little of parting;
Last month he went to Fuliang to buy tea.
Since he left she has kept an empty boat at the river mouth;
Round the boat the moon is bright and the water cold.
Deep in the night she dreams suddenly of her young days,
And weeping in the dream her painted tears run red.
Hearing the pipa I had already sighed;
Hearing her words I sighed again and more bitterly.
We are both cast down at the ends of the earth;
Meeting like this, what need had we ever to have known each other?
Last year I took my leave of the imperial capital,
And lie ill in banishment in the town of Xunyang.
Xunyang is remote and has no music;
All year I hear no sound of strings or flutes.
I live near the Pen River where the ground is low and damp;
Yellow reeds and bitter bamboo grow round my house.
And what do I hear there morning and evening?
The cuckoo crying blood, the sad wailing of gibbons.
On spring mornings by the river and autumn nights of moon,
I often take wine and pour it out alone.
Are there no hill songs, no village flutes?
Their squawk and clatter are hard to listen to.
Tonight, hearing the speech of your pipa,
Was like hearing the music of immortals; my ears grew clear a while.
Do not refuse to sit again and play one more piece;
For you I shall write out the Song of the Pipa.
Moved by my words she stood a long time,
Then sat down again, tightened the strings, and played faster.
Mournful, unlike the sound she had made before;
All who heard it again covered their faces and wept.
Who among the company shed the most tears?
The Marshal of Jiangzhou, his blue gown soaked through.
Meaning
On an autumn night by the Xunyang River the poet sees a guest off, with maple leaves and reed flowers rustling in the wind. The host dismounts and the guest is in the boat; they raise their cups but have no music, and drink without joy as the parting draws near, the wide river steeped in moonlight. Suddenly a pipa sounds across the water; the host forgets to go home and the guest does not depart. They ask who is playing, move the boat alongside, pour more wine and light the lamp again, and after many calls the player comes out, still hiding half her face behind the instrument. Two or three notes are enough to reveal her feeling: string after string subdued, note after note brooding, as if she were telling of a life that never went as she wished. She plays the Rainbow Skirt and then the Green Waist; the heavy strings rumble like driving rain, the light ones whisper like secret speech, and mingled they are pearls falling on jade, an oriole under the flowers, a spring choked beneath ice; the music stops, and in the silence a hidden sorrow is deeper than any sound; then a silver vase bursts, armoured cavalry charge, and the last stroke across all four strings is like the tearing of silk. The boats around are silent, and only the white autumn moon lies in the river. She then tells her story: born in the capital, living below Toad Mound, a master of the pipa at thirteen, first in the Music School, envied by famous beauties, showered with silk by the young lords, her combs broken beating time and her red skirt stained with wine; but the years passed, her brother went to war, her aunt died, her looks faded, the horses stopped coming to her gate, and at last she married a merchant, who cares only for profit and has gone to Fuliang to buy tea, leaving her to guard an empty boat with the cold river around her and to weep in dreams of her youth. The poet, who has himself been banished from the capital and lies ill in remote Xunyang where no music is heard, cries that they are both people cast down at the ends of the earth and need no former acquaintance to understand each other. He asks her to play once more and promises to write this song for her; she stands a long while, then sits and plays faster and more mournfully than before, and all the company hide their faces and weep, none more than the Marshal of Jiangzhou, whose blue gown is soaked with tears.
秋夜在浔阳江头送别客人，枫叶荻花在秋风中瑟瑟作响。主人下马、客人在船，举起酒杯想要饮酒却没有音乐。酒酣将别却欢意惨然，分别时江面茫茫浸着月色。忽然听到水上传来琵琶声，主人忘归、客人也不肯出发。循声暗问弹奏的是谁，琵琶声停，欲语又迟。移船靠近邀请相见，添酒挑灯重新摆开酒宴。千呼万唤她才出来，还抱着琵琶遮住半边脸。转轴拨弦试弹几声，未成曲调已先有情。弦弦掩抑声声含思，似在诉说平生不得志。低眉随手连续弹奏，说尽心中无限往事。轻拢慢捻抹又挑，先弹《霓裳》后弹《六幺》。大弦声嘈嘈如急雨，小弦声切切如私语。嘈切交错地弹，如大珠小珠落玉盘。间关之声如莺语花底滑，幽咽如泉流冰下艰涩。冰泉冷涩琴弦似凝绝，凝绝不通乐声暂歇。另有幽愁暗恨生出，此时无声胜有声。忽然如银瓶破裂水浆迸溅，如铁骑突出刀枪齐鸣。曲终收拨当心一画，四弦齐鸣如撕裂帛绢。东船西舫悄然无言，只见江心秋月泛白。她沉吟放拨插回弦中，整顿衣裳起身现出庄容。自言本是京城女子，家在虾蟆陵下居住。十三岁学成琵琶，名属教坊第一部。曲罢曾令善才叹服，妆成常被秋娘嫉妒。五陵少年争送缠头，一曲红绡不计其数。钿头银篦击节敲碎，血色罗裙翻酒沾污。年复一年欢笑度日，秋月春风等闲虚度。弟弟从军、阿姨死去，朝去暮来容颜衰老。门前冷落车马稀少，年长嫁作商人妇。商人重利轻别，前月去浮梁买茶。离去后独守空船，绕船唯见明月江水寒。夜深忽梦少年往事，梦中啼哭妆泪阑干。我听琵琶已自叹息，又听这番话更唧唧伤感。同是天涯沦落人，相逢何必曾相识！我从去年辞别帝京，贬居卧病浔阳城。浔阳偏僻没有音乐，终年不闻丝竹之声。住近湓江地势低湿，黄芦苦竹绕宅而生。那里早晚听到什么？杜鹃啼血、猿猴哀鸣。春江花朝秋月夜，往往取酒独酌。难道没有山歌与村笛？呕哑嘲哳难以入听。今夜听君琵琶语，如听仙乐耳暂明。莫辞再坐弹一曲，为你写成《琵琶行》。她感我此言久立，退回原座促弦转急。凄凄不似先前声，满座重闻皆掩泣。座中谁落泪最多？江州司马青衫已湿。
Appreciation
The summit of this poem is its writing of music. The heavy strings rumble like a rush of rain and the light strings whisper like secret talk; mingled, they are large and small pearls falling on jade; an oriole under the flowers gives smoothness and a spring beneath ice gives difficulty; the bursting silver vase and the charge of armoured horsemen give the surge, and the tearing of silk gives the close. In narrative the pipa is the thread that binds the invitation, the playing, the woman's story and the poet's own banishment together, and the closing image of a marshal's blue gown wet with tears returns the beauty of the music to the sorrow of a life.
【白话串讲】 白居易被贬江州，浔阳江头送客，听到水上琵琶声：“大弦嘈嘈如急雨，小弦切切如私语”。“同是天涯沦落人，相逢何必曾相识”——他听懂了琵琶女的身世，也听懂了自己的身世。“座中泣下谁最多？江州司马青衫湿”——他哭得最厉害。 【意象与手法】 此诗为唐白居易之作，精要赏析详见下方深度赏析。 【情感与主旨】 《琵琶行》作于唐宪宗元和十一年（816）秋，白居易时贬江州（今江西九江）司马 【名句点睛】 中高考必考篇目。考点一：音乐描写手法（比喻、通感、动静虚实），如‘大珠小珠落玉盘’‘此时无声胜有声’。考点二
Background
'Song of the Pipa' was written in the autumn of the eleventh year of the Yuanhe era (816), when Bai Juyi was serving as Marshal of Jiangzhou, present-day Jiujiang in Jiangxi. The year before, the Chancellor Wu Yuanheng had been assassinated; Bai Juyi submitted a memorial urging the arrest of the killers, was accused of speaking beyond his office, and was demoted first to prefect and then to marshal of Jiangzhou. On an autumn night of that year he was seeing a guest off at the mouth of the Pen River when he heard a pipa from a boat. The player, when invited over, proved to be a former courtesan of Chang'an who had lost her looks with age and married a merchant, and her account of her life closely resembled the poet's own experience of banishment. Feeling the loneliness of lying ill in exile, Bai Juyi used her story to voice the grief of all who have been cast down, prefaced the poem with an account of the occasion, and so produced his famous long narrative work.
《琵琶行》为唐代白居易所作，是写琵琶女身世、感怀沦落的长篇歌行。白居易（772—846），字乐天，号香山居士，唐代伟大诗人。此诗：浔阳江头夜送客，枫叶荻花秋瑟瑟。主人下马客在船，举酒欲饮无管弦。……千呼万唤始出来，犹抱琵琶半遮面。转轴拨弦三两声，未成曲调先有情。……同是天涯沦落人，相逢何必曾相识。……座中泣下谁最多？江州司马青衫湿。全诗写琵琶女身世与己之沦落，是白居易诗的名篇。
Art
The poem's highest art is its description of music. The heavy strings rumble like a rush of rain and the light strings whisper like secret talk; the mingled sound is pearls large and small falling on jade; an oriole under flowers gives smoothness and a spring under ice gives difficulty; the bursting silver vase and the sudden charge of armoured horsemen give the surge; the tearing of silk gives the close. Simile, synaesthesia, the actual and the implied, movement and stillness are all used, and the sound is exhausted in every aspect. In narrative the pipa is the thread that binds the invitation, the playing, the woman's account of herself and the poet's banishment together; and the closing image of the marshal's blue gown wet with tears returns the beauty of the music to the sorrow of a life, opening new ground for the long narrative poem of the Tang and Song.
《琵琶行》艺术上以音乐的摹写与身世的叙写见长。全诗写浔阳江头送客遇琵琶女：首写江头送客——“浔阳江头夜送客，枫叶荻花秋瑟瑟”写江头秋景，“千呼万唤始出来，犹抱琵琶半遮面”写琵琶女出；中写琵琶之声——“大弦嘈嘈如急雨，小弦切切如私语”写音乐之美；末写身世之感——“同是天涯沦落人，相逢何必曾相识”写同病相怜，“座中泣下谁最多？江州司马青衫湿”写泣下青衫。全诗以音乐摹写与身世叙写写沦落之感，正是白居易诗的名篇。
Allusions
Allusion and real matter are interwoven throughout. The Rainbow Skirt and the Green Waist were great melodies of the Tang Music School, named to identify what she played; 'master' was the respectful term for a pipa artist in Tang times, recorded in Duan Anjie's Register of the Pipa; the name of the famous beauty comes from Du Mu's poem on the Lady Du Qiu and was used by Tang writers for any celebrated singing girl; Toad Mound is the Xiamaling district of Chang'an where the entertainers lived; the young men of the Five Tombs draws on the Han image of the gallants who lived beside the imperial tombs; and the blue gown was the colour worn by officials of the eighth and ninth ranks, quietly marking how low the marshal's post was. Every allusion fits a life, and together they give the narrative its thickness.
《琵琶行》用典在“青衫”“司马”“天涯沦落”。“青衫”用唐代官员服色之制（八、九品服青），写己之位卑；“司马”写己之官职（白居易时任江州司马）；“天涯沦落”写流落天涯。全诗以这些典故写己之沦落，用典自然而情深自见，正是白居易诗以音乐写身世的笔法。
Commentary
The Collected Anecdotes of the Tang records the saying that children could chant the Song of Everlasting Sorrow and foreign boys could sing the Song of the Pipa. Hong Mai, in Casual Notes from Rong Studio, said that its feeling is exhausted to the last turn and enters the very liver of the reader. Shen Deqian of the Qing said that the whole handling of sound flows from the line about hearing the music of immortals. Later ages have taken the line on being cast down at the ends of the earth as the common sorrow of all time, and its description of music is honoured as the supreme rendering of sound in classical poetry, ranked with Han Yu's poem on Master Ying's lute and Li He's on Li Ping's harp as the three Tang masterpieces on music.
《琵琶行》是白居易诗的名篇，也是中国诗歌中写音乐与身世之感的代表作。此诗写琵琶女身世与己之沦落，向为论者称道。论者多赏其音乐的摹写——“大弦嘈嘈如急雨，小弦切切如私语”以声喻声，摹写音乐之美；“同是天涯沦落人，相逢何必曾相识”写同病相怜，更见其情。白居易倡导新乐府，其诗以平易浅切著称，此诗正是其代表——以音乐写身世，正是其诗风。
Prosody
Line by line
浔阳江头夜送客，枫叶荻花秋瑟瑟。主人下马客在船，举酒欲饮无管弦。
At the night river at Xunyang I speed my guest off; maple leaves and reed flowers shiver in the autumn. The host dismounts, the guest is in the boat; we raise the cup to drink, and there is no music.
浔阳江头夜送客人，枫叶荻花秋声瑟瑟。主人下马，客在船中；举酒欲饮，却没有管弦之乐。
At the Xunyang river at night I speed my guest off; maple leaves and reed flowers shiver in autumn. Host dismounts, guest in the boat; raising the cup to drink, there is no string or woodwind.
前四句写江头送客，是全诗叙事的起点。“浔阳江头夜送客，枫叶荻花秋瑟瑟”写江头秋景——“浔阳江头夜送客”写浔阳江头夜里送客，“枫叶荻花秋瑟瑟”写枫叶荻花秋声瑟瑟——江头送客，秋景瑟瑟；“主人下马客在船，举酒欲饮无管弦”写举酒无乐——“主人下马客在船”写主人下马、客在船中，“举酒欲饮无管弦”写举酒欲饮却没有管弦之乐——主人下马，欲饮无乐。四句写江头送客：浔阳江头夜送客、枫叶荻花秋瑟瑟，主人下马客在船、举酒欲饮无管弦。以“浔阳江头夜送客，枫叶荻花秋瑟瑟”写江头秋夜之景，以“举酒欲饮无管弦”写欲饮无乐、为琵琶女之出作势，正是白居易诗叙事的起点——江头送客，无乐待听。
The first four lines write the riverside farewell, the start of the poem's narrative. 'At the night river at Xunyang I speed my guest off; maple leaves and reed flowers shiver in the autumn' the autumn riverside scene; 'the host dismounts, the guest is in the boat; we raise the cup to drink, and there is no music' the raised cup without music. Four lines: the night farewell, the shivering autumn, the dismounted host, the cup with no music. Writing the autumn riverside night, and the cup raised with no music — setting the stage for the lute woman's appearance, the start of Bai Juyi's narrative: the farewell at the river, waiting for music that does not come.
大弦嘈嘈如急雨，小弦切切如私语。嘈嘈切切错杂弹，大珠小珠落玉盘。
The thick strings murmur like swift rain; the thin strings whisper like secret talk. Murmuring and whispering, the notes intertwine; like great and little pearls falling on a jade plate.
大弦嘈嘈如急雨之声，小弦切切如私语之声。嘈嘈切切错杂弹奏，如大珠小珠落于玉盘。
The thick strings murmur like swift rain; the thin strings whisper like private words. Murmuring and whispering, the notes interplay; like large and small pearls falling on a jade tray.
此四句写琵琶之声，是全诗摹写音乐的名句。“大弦嘈嘈如急雨，小弦切切如私语”写弦声——“大弦嘈嘈如急雨”写大弦嘈嘈如急雨之声，“小弦切切如私语”写小弦切切如私语之声——大弦如雨，小弦如语；“嘈嘈切切错杂弹，大珠小珠落玉盘”写错杂弹奏——“嘈嘈切切错杂弹”写嘈嘈切切错杂弹奏，“大珠小珠落玉盘”写如大珠小珠落于玉盘——错杂弹奏，珠落玉盘。四句写琵琶之声：大弦嘈嘈如急雨、小弦切切如私语，嘈嘈切切错杂弹、大珠小珠落玉盘。以“大弦嘈嘈如急雨，小弦切切如私语”以声喻声写弦声，以“嘈嘈切切错杂弹，大珠小珠落玉盘”写错杂之美、珠玉之音，正是白居易诗摹写音乐的名句——以喻写声，声情并茂。
These four lines write the sound of the lute, the famous lines of the poem's musical description. 'The thick strings murmur like swift rain; the thin strings whisper like secret talk' the strings' sound — the thick strings like rain, the thin strings like talk; 'murmuring and whispering, the notes intertwine; like great and little pearls falling on a jade plate' the interplay of sound — the notes weaving, the pearls on the jade plate. Four lines: the thick strings like rain, the thin strings like talk, the interplay, the pearls on the jade. Writing the strings' sound through sound-metaphor, the beauty of the intertwining, the music of pearls and jade — Bai Juyi's famous description of music, metaphor for sound, sound and feeling at once.
同是天涯沦落人，相逢何必曾相识。
Both of us, stranded at the world's edge — what need had we to have known each other before?
同样是流落天涯的人，相逢何必曾经相识。
Both of us are men stranded at the world's edge; meeting, what need had we ever to have known each other?
此二句写同病相怜，是全诗身世之感的核心。“同是天涯沦落人”写同是沦落之人——“同是天涯沦落人”写同样是流落天涯的人；“相逢何必曾相识”写相逢何必相识——“相逢何必”写相逢何必，“曾相识”写曾经相识——相逢何必曾相识。二句写同病相怜：同是天涯沦落人，相逢何必曾相识。以“同是天涯沦落人”写与琵琶女同是沦落之人，以“相逢何必曾相识”写同病相怜、何必相识，正是白居易诗写身世之感的归结——同是沦落，相逢即知己。
These two lines write the fellow feeling of the two broken lives, the core of the poem's personal lament. 'Both of us, stranded at the world's edge' — both stranded at the edge of the world; 'what need had we to have known each other before?' — meeting, what need of prior acquaintance? Two lines: both stranded, meeting as soul-mates. Writing the poet and the lute woman as fellow outcasts, the fellow feeling that needs no prior knowledge — the landing of Bai Juyi's personal lament: both stranded, and meeting is enough for understanding.
座中泣下谁最多？江州司马青衫湿。
Who among us here has wept the most? The riverside inspector's blue gown is wet.
座中谁泣下的泪水最多？江州司马的青衫湿了。
Who in this company has shed the most tears? The blue gown of the Inspector of Jiangzhou is wet.
末二句写泣下青衫，是全诗沦落之感的归结。“座中泣下谁最多”写泣下最多——“座中泣下谁最多”写在座中谁泣下的泪水最多；“江州司马青衫湿”写司马青衫湿——“江州司马”写江州司马（白居易自指），“青衫湿”用唐代服色之制（青衫为位卑之服），写青衫湿了——江州司马，青衫湿。二句写泣下青衫：座中泣下谁最多，江州司马青衫湿。以“座中泣下谁最多”设问，以“江州司马青衫湿”写己泣下最多、青衫尽湿，正是白居易诗写沦落之感的归结——闻琵琶而自伤，泣下青衫。
The last two lines write the weeping that wets the blue gown, the landing of the poem's sense of ruin. 'Who among us here has wept the most?' the question; 'the riverside inspector's blue gown is wet' the answer — the Inspector of Jiangzhou (Bai Juyi himself), the blue gown, in Tang dress the robe of the low station, wet with tears. Two lines: who weeps the most, the blue gown wet. Asking the question, answering with the self — the inspector weeping the most, his blue gown soaked, the landing of Bai Juyi's sense of ruin: hearing the lute and grieving for himself, tears wetting the blue gown.
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Both are Bai Juyi's great narrative poems, one on his own banishment and one on an emperor's love and regret, and both are exhaustive in feeling.
白居易《长恨歌》“汉皇重色思倾国”写李杨爱情，与本首同为白居易长篇歌行。差异在主题：琵琶行写琵琶女身世与己之沦落；长恨歌写李杨之爱。一写“身世”之沦落，一写“爱情”之遗恨。两者并读，可见白居易长篇歌行的两种主题。
兵车行 Song of the War Chariots 杜甫 · 与本首相关联的同类或同作者作品，供对比阅读 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
此处关联杜甫《兵车行》，与本首在主题、体裁或作者上相关联，可对比阅读以见其同异。
茅屋为秋风所破歌 Song of My Cottage Unroofed by Autumn Gales 杜甫 · 与本首相关联的同类或同作者作品，供对比阅读 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
此处关联杜甫《茅屋为秋风所破歌》，与本首在主题、体裁或作者上相关联，可对比阅读以见其同异。