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唐 Tang · 诗 Poem

与夏十二登岳阳楼

Climbing the Yueyang Tower with Xia the Twelfth

李白

Li Bai

写景Scenery 登临Theme 豪放Bold style

楼观岳阳尽，川迥洞庭开。
雁引愁心去，山衔好月来。
云间连下榻，天上接行杯。
醉后凉风起，吹人舞袖回。

The tower, looking at the Yueyang, full,
The window, opening, the Dongting, wide.
The geese, leading the sorrowful heart, away,
The mountains, holding the good moon, come.
In the clouds, the joining of the lower couch,
In the sky, the meeting of the passing cups.
After the drunken, the cool wind, rising,
The blowing of the sleeves, the dance, back to the moon.

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Meaning

A poem of the climb of the tower and the joy, written by Li Bai. The tower, looking at the Yueyang, full — the window, opening, the Dongting, wide — the full view of the tower and the wide Dongting. The geese, leading the sorrowful heart, away — the mountains, holding the good moon, come — the geese leading the sorrow away and the mountains holding the moon. In the clouds, the joining of the lower couch — in the sky, the meeting of the passing cups — the clouds and the passing cups of the height. After the drunken, the cool wind, rising — the blowing of the sleeves, the dance, back to the moon — the close's cool wind and the dance. The poem is the climb and the joy: the wide Dongting, the good moon, and the close's dance back to the moon.

登上高楼远望，岳阳一带的风光尽收眼底，江水浩渺，洞庭湖豁然开朗。雁儿高飞，带走了我的愁绪；远山衔月，送来了美好的月光。楼高得像连接着云间，仿佛在云里下榻；酒杯传递，仿佛在天上接杯。醉后凉风骤起，吹得人衣袖翩翩起舞。

Appreciation

[Plain Paraphrase] The tower, looking at the Yueyang, full, the window, opening, the Dongting, wide. The geese, leading the sorrowful heart, away, the mountains, holding the good moon, come. In the clouds, the joining of the lower couch, in the sky, the meeting of the passing cups. After the drunken, the cool wind, rising, the blowing of the sleeves, the dance, back to the moon. [Structure and Thought] The poem moves from the full view of the tower and the wide Dongting, through the geese leading the sorrow away and the mountains holding the moon, to the clouds and the passing cups of the height, and the close's cool wind with the dance back to the moon. [Key Technique] The poem's art is the height of the climb: the wide Dongting and the mountains holding the moon, and the close's cool wind with the dance back to the moon — the joy of the climb gathered in the height and the close's dance. [Emotional Tone] Clear, free, and joyful: the poem is the climb, the good moon and the close's dance back to the moon.

【白话串讲】李白写《与夏十二登岳阳楼》：“楼观岳阳尽，川迥洞庭开”——“雁引愁心去，山衔好月来”——“云间连下榻，天上接行杯”——“醉后凉风起，吹人舞袖回”——他登岳阳楼，愁随雁去，好月入怀。【意象与手法】此诗是李白登岳阳楼（岳阳楼在湖南岳阳，下临洞庭）写景抒怀的五言律诗，以奇特的想象写楼之高与景之阔，是李白「以想象写景」的代表作。首联「楼观岳阳尽，川迥洞庭开」写登楼远眺——岳阳风光尽收眼底，洞庭湖水天相接，是千古名句；颔联「雁引愁心去，山衔好月来」以拟人写景——雁儿带走愁心，山岳衔来好月，将愁去月来的心境写得生动传神，是千古名句；颈联「云间连下榻，天上接行杯」以夸张写楼之高——楼高得与云相连、在云间下榻，举杯如在天空传递，是千古名句；尾联「醉后凉风起，吹人舞袖回」写醉后凉风——衣袖翩翩，如仙人起舞。全诗以「尽」「开」「引」「衔」「连」「接」等动词写景，想象奇绝，气象开阔，将登楼的高旷与醉后的飘然写得淋漓尽致，是李白写登临览胜的名篇。【情感与主旨】此诗作于唐肃宗乾元二年（759），时李白流放夜郎途中遇赦放还，南游岳阳，与友人夏十二（排行十二，名字不详）同登岳阳楼，有感而作。那「楼观岳阳尽，川迥洞庭开」写登楼所见的气象——岳阳风光、洞庭浩渺，一扫流放途中的郁结；那「雁引愁心去」写愁绪的消解——遇赦放还，愁心为雁儿带去；那「山衔好月来」写美景的来临——好月衔山而来，心境转佳；那「云间连下榻，天上接行杯」写登楼的快意——仿佛身在云间天上，飘飘欲仙；那「醉后凉风起，吹人舞袖回」写醉后的飘然——凉风吹袖，如仙人起舞。全诗以奇特的想象写登楼的高旷与遇赦后的畅快，将个人的际遇融入开阔的景致，是李白写登临览胜与旷达襟怀的名篇，也是其「诗仙」气度的生动体现。【名句点睛】常考“楼观岳阳尽，川迥洞庭开”写登楼远眺之开阔；“雁引愁心去，山衔好月来”以拟人写愁去月来，是千古名句。

Background

Li Bai (701–762) wrote this 'Climbing the Yueyang Tower with Xia the Twelfth' at the tower of the Yueyang — the joy of the climb. The full view of the tower and the wide Dongting, the geese leading the sorrow away and the mountains holding the good moon, the clouds and the passing cups of the height, and the close's cool wind with the dance back to the moon — the poem gathers the joy of the climb, the height and the freedom. The poem is one of the famous climbing poems of the poet.

此诗作于唐肃宗乾元二年（759）秋，是李白流放夜郎途中遇赦放还后南游岳阳时所作。李白于天宝十五载（756）因卷入永王李璘事件获罪，被流放夜郎（今贵州）；乾元二年（759）春，李白行至巫山，遇朝廷大赦，遂获释放还。遇赦后李白南下，经江陵、岳阳等地，与友人夏十二同登岳阳楼，写此诗以记。夏十二，排行十二的友人（唐人常以排行相称），名字不详。岳阳楼在湖南岳州（今岳阳），下临洞庭湖，是江南名胜，唐代已有登楼览胜的传统（杜甫《登岳阳楼》、崔颢《黄鹤楼》皆同类之作）。诗中「楼观岳阳尽，川迥洞庭开」写登楼所见——岳阳（岳州一带）风光尽收眼底，洞庭湖水天相接；「雁引愁心去，山衔好月来」写遇赦后的心境——愁心为雁带去，好月衔山而来；「云间连下榻，天上接行杯」以夸张写楼之高——楼高如与云连，仿佛在云间下榻、天上举杯；「醉后凉风起，吹人舞袖回」写醉后的飘然——凉风吹袖，如仙人起舞。此诗是李白遇赦后的得意之作，写登楼的高旷与遇赦后的畅快，与杜甫《登岳阳楼》的沉郁相对照，正是李白旷达豪放诗风与「诗仙」气度的体现。

Art

The poem's art is the art of the height and the joy. The view opens: the tower, looking at the Yueyang, full — the full view of the tower; the window, opening, the Dongting, wide — the wide Dongting of the window. The scene follows: the geese, leading the sorrowful heart, away — the sorrow led away by the geese; the mountains, holding the good moon, come — the mountains holding the good moon. The height: in the clouds, the joining of the lower couch — the couch in the clouds; in the sky, the meeting of the passing cups — the passing cups in the sky. And the close gathers the joy: after the drunken, the cool wind, rising — the rising cool wind; the blowing of the sleeves, the dance, back to the moon — the dance back to the moon — the climb, the good moon and the close's dance, gathered in the poem.

此诗的艺术特色可从四个层面解析。其一，开阖的气象。首联「楼观岳阳尽，川迥洞庭开」以「尽」「开」二字写登楼远眺的开阔——岳阳风光尽收眼底，洞庭水天豁然开朗，起笔即气象宏阔，为全诗定下高旷的基调。其二，拟人的妙趣。颔联「雁引愁心去，山衔好月来」以拟人写景——雁儿引去愁心、山岳衔来好月，「引」「衔」二字将雁与山写得有情有意，愁去月来，既写景又写情，是千古名句。其三，夸张的奇想。颈联「云间连下榻，天上接行杯」以夸张写楼之高——楼与云连，如在天上下榻；举杯传递，如在天上接杯，「云间」「天上」写尽楼的高耸与登楼的飘然，是千古名句。其四，收束的飘然。尾联「醉后凉风起，吹人舞袖回」以凉风吹袖、舞袖翩翩收束，写醉后的飘然，如仙人临风，余韵悠长。四重手法，使此诗以五言律诗写尽登楼的高旷与醉后的飘然，正是李白「以想象写景」的本领，也是其「诗仙」气度的体现。

Allusions

'The Yueyang tower' (Yueyang lou) is the tower of the Yueyang — the tower of the climb; 'the Dongting' (Dongting) is the Dongting — the wide lake of the view; 'the good moon' (hao yue) is the good moon — the moon held by the mountains; 'the passing cups' (xing bei) are the passing cups — the cups passed in the height; 'back to the moon' (gui yue) is the return to the moon — the dance back to the moon of the close.

此诗的意象与用语深植于登楼与神仙传统。「楼观岳阳尽，川迥洞庭开」写登楼远眺——那「岳阳」「洞庭」令人想到岳阳楼与洞庭湖的胜景，也令人想到「吴楚东南坼，乾坤日夜浮」（杜甫《登岳阳楼》）的洞庭意象；「雁引愁心去」写愁心的消解——那「雁」令人想到「雁足传书」与「鸿雁传情」的典故，也令人想到「目送归鸿」的意象，雁儿带去愁心，写尽释然之情；「山衔好月来」写好月的来临——那「衔月」的拟人令人想到「月出于东山之上」（苏轼《赤壁赋》）的月亮意象，也令人想到「海上生明月，天涯共此时」（张九龄《望月怀远》）的明月传统。「云间连下榻，天上接行杯」写楼之高——那「云间」「天上」令人想到登高如登仙的想象，也令人想到「不敢高声语，恐惊天上人」（李白《夜宿山寺》）的夸张笔法，写尽登楼的飘然如仙；「醉后凉风起，吹人舞袖回」写醉后的飘然——那「舞袖」令人想到「霓裳羽衣舞」的仙姿与「我欲乘风归去」（苏轼《水调歌头》）的飞仙之想，也暗含「谪仙人」的自我想象。全诗化用登楼、鸿雁、明月、飞仙等意象与传统，以奇想写高旷，正是李白「以想象写景」的本领——那云间下榻、天上接杯、醉后舞袖，正是「诗仙」的气度。

Commentary

This poem is one of the famous climbing poems of Li Bai, quoted for the freedom of its close. The mountains holding the good moon, and the dance back to the moon, are among the admired images of the poet's climbing poems. Critics praise the poem's freedom: the climb gathered in the height and the good moon, to the close's dance back to the moon.

此诗历来被推为李白写登楼览胜的名篇，也是其「诗仙」气度的生动体现。历代论者对此诗评价极高：明人评此诗「起句阔大，结句飘然」；近人更指出此诗「雁引愁心去，山衔好月来」以拟人写景，「云间连下榻，天上接行杯」以夸张写楼高，想象奇绝，是李白「以想象写景」的典范。在文学史上，此诗的特殊价值在于：它写的是遇赦放还后的登楼——那「楼观岳阳尽，川迥洞庭开」的开阔，那「雁引愁心去」的释然，那「云间连下榻，天上接行杯」的飘然，都写出了李白历尽流放之苦后的旷达与畅快；与杜甫《登岳阳楼》（「吴楚东南坼，乾坤日夜浮」「戎马关山北，凭轩涕泗流」）同写岳阳楼，一写豁达（李白），一写沉郁（杜甫），正是唐诗双峰的对照。诗中「楼观岳阳尽，川迥洞庭开」「雁引愁心去，山衔好月来」「云间连下榻，天上接行杯」都是千古名句。对于今日读者，此诗是理解李白「诗仙」气度的窗口，也是感受中国诗歌「以想象写景」传统的经典——那云间的下榻、天上的行杯、醉后的舞袖，穿越千年，仍在诉说着李白登楼览胜的豪情与旷达。

Prosody

Form A regulated five-character poem of the climb五言律诗（仄起仄收，首句不入韵）

Rhyme The poem rhymes on the level-tone kai, lai, bei and yue of the group — the even, level rhyme that carries the clear joy.全诗押平声灰韵（开、来、杯、回），一韵到底，韵音开阔流丽，正合登楼览胜的旷达。

Tone pattern The cadence is that of the climb: the level opening with the wide view, the rising with the moon and the height, and the close's fall with the dance back to the moon.此诗为五言律诗，八句四十字，押平声韵。全诗按内容可分为四联：首联写登楼所见的气象（楼观岳阳尽、川迥洞庭开）；颔联写景兼抒情（雁引愁心去、山衔好月来）；颈联写楼之高（云间连下榻、天上接行杯）；尾联写醉后的飘然（醉后凉风起、吹人舞袖回）。声调上，全诗对仗工整（雁引愁心去对山衔好月来，云间连下榻对天上接行杯），节奏开阔流丽，平声韵一韵到底，韵音开阔，正合登楼览胜的高旷。

Reading note The poem's sound matches its joy: the even, level rhymes carry the cadence of the climb, and the close — 'chui xiu wu gui yue' — falls with the dance back to the moon, the sound of the freedom of the poet.此诗是五言律诗写登楼览胜的经典，以开阔的气象与奇特的想象写岳阳楼之高与登楼的快意，正是李白「以想象写景」的本领。全诗四联：首联写气象的开阔（楼观岳阳尽、川迥洞庭开），颔联写景与情的交融（雁引愁心去、山衔好月来），颈联写楼高的奇想（云间连下榻、天上接行杯），尾联写醉后的飘然（醉后凉风起、吹人舞袖回）。声调上，全诗对仗工整、节奏开阔，那「云间连下榻，天上接行杯」的夸张、「醉后凉风起，吹人舞袖回」的飘然，正是李白「诗仙」的气度。诵读此诗，宜以开阔的语调读首联的气象，以欣喜的语调读颔联的愁去月来，以飘然的语调读颈联尾联的云间天上与醉后舞袖，方能传达出李白登楼览胜的豪情与旷达。五律在李白笔下，一如此诗般开阔飘然，正是其「清水出芙蓉」诗风的体现。

Line by line

雁引愁心去，山衔好月来。

The geese, leading the sorrowful heart, away, the mountains, holding the good moon, come.

雁儿高飞，带走了我的愁绪；远山衔月，送来了美好的月光。

The wild geese lead away my grieving heart; the hills bite, and bring the fair moon.

这句是写景抒情兼融的名句，也是千古名句，以拟人写景，将愁去月来的心境写得生动传神。「雁引愁心去」写雁儿引去愁心——那「引」字以拟人写雁，仿佛雁儿是有意为之，高飞的雁群带走了诗人的愁绪，「愁心去」三字，写尽遇赦后释然的心境；「山衔好月来」写山岳衔来好月——那「衔」字以拟人写山，仿佛远山衔着一轮明月送来，「好月来」三字，写尽美景来临的欣喜。这句的深意在于：它以「愁心去」「好月来」的对举，写出了心境由郁结到开朗的转变——前一句写「去」（愁去），后一句写「来」（月来），一去一来，正写尽遇赦放还后愁绪消解、好景当前的畅快；那「引」与「衔」的拟人，更将自然景物写得有情有意，使写景与抒情浑然一体。以「雁」写释然、以「山衔月」写欣喜，正是李白「以拟人写景」的本领，也让这句成为写景抒情的千古名句。

This is a famous line fusing scenery and feeling, also an age-famous line, using personified scenery to write the mood of sorrow departing and moon arriving vividly. The wild geese lead away my grieving heart writes the geese leading the sorrow away - lead personifies the geese, as if they did it intentionally, the high-flying flock carrying off the poet's grief; grieving heart away exhausts the relieved mood after pardon. The hills bite, and bring the fair moon writes the hills bringing the good moon - bite personifies the hills, as if the distant hills carried a bright moon in their jaws and delivered it; fair moon coming exhausts the delight of fair scenery's arrival. The line's depth lies in: using grieving heart away and fair moon coming set against to write the mood's turn from knot to openness - the first line writes going (sorrow gone), the next coming (moon arrived); one going one coming, precisely exhausting the unburdened ease after pardon, fair scenery before the eyes. The personification of lead and bite further makes natural scenery feeling-rich, fusing scenery and lyric seamlessly. Using the geese for relief and the hills-biting-moon for delight is precisely Li Bai's skill of personified scenery, making this line an age-famous one for fusing scenery and feeling.

云间连下榻，天上接行杯。

In the clouds, the joining of the lower couch, in the sky, the meeting of the passing cups.

楼高得像连接着云间，仿佛在云里下榻；酒杯传递，仿佛在天上接杯。

We lodge as if among the clouds; passing cups, as if in the heavens.

这句是写楼高的名句，也是千古名句，以夸张写楼之高，想象奇绝。「云间连下榻」写楼高与云相连——那「云间」写楼之高耸入云，「连下榻」写仿佛能在云间下榻安眠，楼高得如同与云相接；「天上接行杯」写举杯如在天空——那「行杯」写席间传杯饮酒的场面，「天上接杯」写仿佛是在天上传递酒杯，楼高得如同身处天空。这句的深意在于：它以「云间」「天上」的夸张，写出了登岳阳楼时的飘然之感——楼越高，视野越开阔，人也越觉得如在天上；那「下榻」「行杯」本是日常之事，却被「云间」「天上」写成了仙人之举，正写出了诗人登楼时的飘飘欲仙之态。而那「云间」「天上」的想象，也正是李白「诗仙」气度的体现——寻常的登楼，在他笔下成了仙人的居所。以「云间」写高、以「天上」写飘然，正是李白「以夸张写景」的本领，也让这句成为写楼高与登临快意的千古名句。

This is a famous line on the tower's height, also an age-famous line, using hyperbole to write the tower's loftiness, imagination extraordinary. We lodge as if among the clouds writes the tower's height joining the clouds - among the clouds writes the tower soaring into cloud; lodge as if among the clouds writes as if one could lodge and sleep in the clouds, the tower high as if joined to cloud. Passing cups, as if in the heavens writes raising cups as if in the sky - passing cups writes the banquet's cup-passing; receiving cups in the heavens writes as if passing cups in the sky, the tower high as if in the sky. The line's depth lies in: using among the clouds and in the heavens' hyperbole to write the floating feeling of climbing Yueyang Tower - the higher the tower, the wider the view, the more one feels as if in the sky. Lodge and passing cups are originally daily things, yet written as immortal actions by among the clouds and in the heavens, precisely writing the poet's near-immortal state of climbing. And the among-the-clouds, in-the-heavens imagination is also the Poet-Immortal air's expression - an ordinary tower climb becomes, in his brush, an immortal dwelling. Using among the clouds for height and in the heavens for floating is precisely Li Bai's skill of hyperbolic scenery, making this line an age-famous one for writing the tower's height and the climb's joy.

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Word focus

开 'To open' — the opening of the window, the wide of the Dongting. 「开」字是写洞庭气象的关键字，一个「开」字写尽洞庭水天的豁然开朗，是首联的点睛字。开者，展开、开朗也。李白以「川迥洞庭开」写洞庭湖的开阔，一个「开」字，至少有双重意味：其一，写视野之开阔——那登楼远眺，洞庭湖豁然开朗、水天相接，仿佛天地都为之展开，「开」字写尽眼前景致的开阔无垠；其二，写心境之开朗——那「开」字既是湖水的开阔，也是心境的开朗，流放遇赦后的诗人，登楼见到如此开阔的景致，郁结的心境也随之豁然开朗，「开」字写尽心境与景致的通感。以「开」字写洞庭，正是李白写登临高旷的关键——若换作「阔」「远」等字，则或失其动态的展开感，或失其心境的豁然感；唯「开」字，以一字写尽湖水的开阔与心境的开朗，也让「川迥洞庭开」成为写洞庭的名句，为全诗定下高旷的基调。

衔 'To hold' — the mountains holding the good moon, the holding of the moon. 「衔」字是写山月妙趣的关键字，一个「衔」字写尽远山衔月的生动，是「山衔好月来」的传神处。衔者，用嘴含着、含着也。李白以「山衔好月来」写山与月，一个「衔」字，至少有双重意味：其一，写山月之亲密——那「衔」字以拟人写山，仿佛远山用嘴衔着一轮明月，山与月相依相衔，写得生动有趣，那「衔」字写尽山与月的亲密关系；其二，写明月之「好」——那「好月」是被山「衔」来的，仿佛明月是远山特意送来的礼物，「衔」字写尽明月来临的郑重与美好。以「衔」字写山月，正是李白「以拟人写景」的本领——若换作「挂」「照」等字，则或失其拟人的趣味，或失其山月相依的亲密；唯「衔」字，以一字写尽山与月的生动关系，与「雁引愁心去」的「引」字相对，一「引」一「衔」，将雁与山都写得有情有意，也让「雁引愁心去，山衔好月来」成为写景抒情的千古名句。