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唐 Tang · 诗 Poem

杂曲歌辞 婆罗门

Miscellaneous Song Words: The Brahmin

杨敬述进

Yang Jingshu

回乐峰前沙似雪受降城外月如霜不知何处吹芦管一夜征人尽望乡

Before the Huile Peak, the sand, like the snow,
Outside the Shouxiang city, the moon, like the frost.
Not knowing, from where, the reed pipe, blown,
In one night, the soldiers of the expedition, all, looking at the home.
Listen

Meaning

A poem of the frontier night and the looking at the home, written by Yang Jingshu. Before the Huile Peak, the sand, like the snow — outside the Shouxiang city, the moon, like the frost — the sand like the snow and the moon like the frost. Not knowing, from where, the reed pipe, blown — in one night, the soldiers of the expedition, all, looking at the home — the reed pipe of the night and the soldiers looking at the home. The poem is the frontier night and the homesickness: the sand like the snow, the reed pipe, and the close's soldiers all looking at the home.

回乐峰前沙似雪受降城外月如霜不知何处吹芦管一夜征人尽望乡

Appreciation

[Plain Paraphrase] Before the Huile Peak, the sand, like the snow, outside the Shouxiang city, the moon, like the frost. Not knowing, from where, the reed pipe, blown, in one night, the soldiers of the expedition, all, looking at the home. [Structure and Thought] The poem moves from the sand like the snow and the moon like the frost of the frontier, through the reed pipe of the night, to the close's soldiers all looking at the home. [Key Technique] The poem's art is the reed pipe of the close: the sand and the moon of the frontier, and the close's pipe blowing with the soldiers all looking at the home — the homesickness gathered in the pipe and the close's looking. [Emotional Tone] Cold, far, and sorrowful: the poem is the frontier night, the reed pipe and the close's looking at the home.

【白话串讲】 杨敬述写《杂曲歌辞·婆罗门》：“回乐峰前沙似雪，受降城外月如霜”——“不知何处吹芦管，一夜征人尽望乡”——他写边塞夜月——一夜征人尽望乡。 【意象与手法】 “回乐峰前沙似雪、受降城外月如霜”写沙似雪月如霜；“不知何处吹芦管”写吹芦管；结以“一夜征人尽望乡”写一夜征人尽望乡。苍凉思乡。 【情感与主旨】 写边塞夜月、沙似雪月如霜与一夜征人尽望乡的思乡之情，是边塞诗中的名篇。 【名句点睛】 常考“回乐峰前沙似雪，受降城外月如霜”写边塞夜月；“不知何处吹芦管，一夜征人尽望乡”写征人思乡。

Background

Yang Jingshu, the official of the Tang, wrote this 'Miscellaneous Song Words: The Brahmin' of the frontier night — the homesickness of the soldiers. The sand like the snow before the Huile Peak with the moon like the frost outside the Shouxiang city, the reed pipe blown from somewhere, and the close's soldiers all looking at the home in one night — the poem gathers the homesickness of the frontier, the cold night of the pass. The poem is one of the famous frontier works of the poet.

《杂曲歌辞 婆罗门》为唐代诗人杨敬述进所作诗。杨敬述进，唐代诗人。此诗写边塞思乡，为边塞之作。诗中「回乐峰前沙似雪受降城外月如霜」写回乐峰前沙似雪受降城外月如霜；「不知何处吹芦管一夜征人尽望乡」写不知何处吹芦管一夜征人尽望乡。杨敬述进此诗以边塞思乡、一夜征人尽望乡写其思乡之情，苍凉思乡，是杨敬述进诗中的名篇。此篇《杂曲歌辞 婆罗门》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《杂曲歌辞 婆罗门》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《杂曲歌辞 婆罗门》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 poem's art is the art of the frontier night. The scene opens: before the Huile Peak, the sand, like the snow — the sand like the snow of the peak; outside the Shouxiang city, the moon, like the frost — the moon like the frost of the city. The pipe follows: not knowing, from where, the reed pipe, blown — the reed pipe of the unknown place. And the close gathers the looking: in one night, the soldiers of the expedition, all, looking at the home — the soldiers all looking at the home — the frontier night, the reed pipe and the close's looking, gathered in the poem.

此诗艺术上以「苍凉思乡、以月写情」见长。全诗共四句，由回乐峰前沙似雪而不知何处吹芦管。起「回乐峰前沙似雪受降城外月如霜」写回乐峰前沙似雪：回乐峰前沙似雪受降城外月如霜；结「不知何处吹芦管一夜征人尽望乡」写不知何处吹芦管：不知何处吹芦管一夜征人尽望乡。全诗以月写情，由回乐峰前沙似雪而一夜征人尽望乡，苍凉思乡，是杨敬述进诗中的名篇。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。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 Huile Peak' (Huile feng) is the Huile Peak — the peak of the frontier; 'the Shouxiang city' (Shouxiang cheng) is the Shouxiang city — the city of the surrender, the frontier city; 'the reed pipe' (lu guan) is the reed pipe — the pipe of the reeds, the sound of the frontier; 'the soldiers of the expedition' (zheng ren) are the soldiers of the expedition — the soldiers of the frontier, the looking at the home of the close.

诗中「回乐峰前沙似雪受降城外月如霜」「不知何处吹芦管一夜征人尽望乡」等语，皆含典故故实。「回乐峰前沙似雪受降城外月如霜」用受降城之典（受降城写边城），写回乐峰前沙似雪受降城外月如霜；「不知何处吹芦管一夜征人尽望乡」用芦管之典（芦管写胡人乐器），写不知何处吹芦管一夜征人尽望乡。诗人用受降城、芦管之典入诗，不着痕迹，而把边塞思乡之情写得真切可感，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。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。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 poem is one of the famous frontier works of Yang Jingshu, quoted for the cold of its scene and the close's looking at the home. The sand like the snow and the moon like the frost, and the soldiers all looking at the home, are among the admired images of the poet's frontier poems. Critics praise the poem's homesickness: the frontier night gathered in the reed pipe, to the close's looking at the home.

这首《杂曲歌辞 婆罗门》，是杨敬述进写边塞思乡之作，写回乐峰前沙似雪、不知何处吹芦管、一夜征人尽望乡之情，苍凉思乡。起「回乐峰前沙似雪受降城外月如霜」——回乐峰前沙似雪受降城外月如霜。写回乐峰前沙似雪：回乐峰前沙似雪、受降城外月如霜——沙似雪、月如霜；结「不知何处吹芦管一夜征人尽望乡」——不知何处吹芦管一夜征人尽望乡。写不知何处吹芦管：不知何处吹芦管、一夜征人尽望乡——吹芦管、尽望乡。这「不知何处吹芦管一夜征人尽望乡」，是全诗之结：以一夜征人尽望乡写其思乡。全诗苍凉思乡，以月写情，正是杨敬述进诗中的名篇。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。

Prosody

Form A regulated seven-character poem of the frontier诗（七言绝句）
Rhyme The poem rhymes on the level-tone shuang, guan and xiang of the group — the even, level rhyme that carries the cold homesickness.此诗为七言绝句，共四句。押韵：「霜」「乡」押阳部韵。前两句起、后两句转合，平仄相间，正与写边塞思乡的苍凉思乡相称，也见其以七绝写思乡的凝练。
Tone pattern The cadence is that of the frontier: the level opening with the sand and the moon, the turning with the reed pipe, and the close's fall with the soldiers looking at the home.句式上，「回乐峰前沙似雪受降城外月如霜」写回乐峰前沙似雪，音节苍凉；结「不知何处吹芦管一夜征人尽望乡」写不知何处吹芦管，音节悠长。全诗音节随情起伏，由苍凉而悠长，正合七绝「凝练」之妙，读来如边塞思乡、一夜征人尽望乡之音，苍凉而动人。
Reading note The poem's sound matches its coldness: the even, level rhymes carry the cadence of the frontier, and the close — 'yi ye zheng ren jin wang xiang' — falls with the home, the sound of the homesickness of the soldiers.此诗为七言绝句，是杨敬述进写边塞思乡之作，也是其诗中的名篇。全诗的艺术特色在于「苍凉思乡、以月写情」：「回乐峰前沙似雪受降城外月如霜」写回乐峰前沙似雪、「不知何处吹芦管一夜征人尽望乡」写不知何处吹芦管。全诗苍凉思乡，以月写情。尤为精妙者，是「受降城外月如霜」用受降城之典；而「一夜征人尽望乡」用芦管之典，正是杨敬述进诗「苍凉思乡」的典范，为历代选本所常收。《杂曲歌辞 婆罗门》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

回乐峰前沙似雪受降城外月如霜

Before the Huile Peak, the sand, like the snow, outside the Shouxiang city, the moon, like the frost.

回乐峰前沙似雪受降城外月如霜

Before Huile Peak the sand is like snow; outside the Surender City the moon is like frost.

起句写回乐峰前沙似雪，起笔即见其回乐峰。「回乐峰前沙似雪」写回乐峰前沙似雪，「回乐峰前」写回乐峰前、「沙似雪」写沙似雪；「受降城外月如霜」用受降城之典写受降城外月如霜，「受降城外」写受降城外、「月如霜」写月如霜。一句写回乐峰前沙似雪受降城外月如霜，以回乐峰前沙似雪写沙似雪、以受降城外月如霜写月如霜，写尽回乐峰前沙似雪、受降城外月如霜之情。以峰起兴，苍凉而思乡，是「以峰起兴」的妙笔。

The opening writes before Huile Peak the sand is like snow, Huile Peak named at the first stroke. Before Huile Peak: the northern outpost. The sand is like snow: the desert's whiteness. Outside the Surender City the moon is like frost uses the Surender City allusion: beyond the fortress, the moon's cold gloss. One block writes the snow-like sand and the frost-like moon - the starting point for the frontier night: the desert at once turns white as snow and cold as frost. The line opens with the peak as bi-xing, bleak and homesick: the northern border scene sets off the camp's loneliness.

不知何处吹芦管

I know not from where a reed pipe blows

不知何处吹芦管

I know not from where a reed pipe is blown.

此句写不知何处吹芦管，是全诗写芦管之态的关键。「不知何处」写不知何处，「不知」写不知、「何处」写何处；「吹芦管」用芦管之典写吹芦管，「吹」写吹、「芦管」写芦管。一句写不知何处吹芦管，以不知何处写何处、以吹芦管写吹芦管，写尽不知何处吹芦管之情。以管写情，苍凉而思乡，是「以管写情」的点睛之笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。

This line writes I know not from where a reed pipe is blown, the key to the poem's reed-pipe state. I know not from where: the unknown source. A reed pipe is blown uses the reed-pipe allusion: the mournful instrument. One line writes the reed pipe's unknown sound - the pivot: the sudden pipe cry breaking the night silence. The line uses the pipe for feeling, bleak and homesick: the sound's unknown source intensifies the soldiers' restlessness.

一夜征人尽望乡

all night long the frontier soldiers gaze toward home.

一夜征人尽望乡

All night long the frontier soldiers gaze toward home.

结句写一夜征人尽望乡，是全诗立意的落点。「一夜征人」写一夜征人，「一夜」写一夜、「征人」写征人；「尽望乡」写尽望乡，「尽」写尽、「望乡」写望乡。一句写一夜征人尽望乡，以一夜征人写征人、以尽望乡写尽望乡，写尽一夜征人尽望乡之情。以乡写情，苍凉而思乡，是全诗最动人处，也是「以乡写情」的点睛之笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。

The closing line writes all night long the frontier soldiers gaze toward home, the poem's landing. All night long: the sleepless night. The frontier soldiers: the guarding troops. Gaze toward home: the universal homesickness. One line writes the soldiers all night gazing home - the resolution: the pipe has turned every soldier's face toward home. The line uses home for feeling, bleak and homesick, the poem's most moving point: the whole camp's silent longing exposed.

Study

Word focus

回乐 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「回乐」写回乐峰前沙似雪，是写回乐之态的关键。「回乐峰前沙似雪」着一「回乐」，写回乐——着一「回乐」，写回乐峰前沙似雪，见其乐之回。两字写尽回乐之态，是「以词写乐」的妙笔。「回乐」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
受降 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「受降」写受降城外月如霜，是写受降之态的关键。「受降城外月如霜」着一「受降」，写受降——着一「受降」，写受降城外月如霜，见其降之受。两字写尽受降之态，是「以词写降」的点睛之词。「受降」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
芦管 'The reed pipe' — the pipe of the reeds, the sound of the frontier. 「芦管」写不知何处吹芦管，是写芦管之态的关键。「不知何处吹芦管」着一「芦管」，写芦管——着一「芦管」，写不知何处吹芦管，见其管之芦。两字写尽芦管之态，是「以词写管」的点睛之词。「芦管」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
征人 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「征人」写一夜征人尽望乡，是写征人之态的关键。「一夜征人尽望乡」着一「征人」，写征人——着一「征人」，写一夜征人尽望乡，见其人之征。两字写尽征人之态，是「以词写征」的点睛之词。「征人」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

水调歌头·明月几时有 Prelude to Water Melody: When Will the Bright Moon Appear 苏轼 · 同写思乡感怀、苍凉旷达，一写人有悲欢离合、一写回乐峰前沙似雪受降城外月如霜，皆于思乡之中见苍凉 Both are the works of the moon and the looking — the moon of the family of Su Shi, the moon of the frontier of Yang Jingshu — the two moons of the looking.

Su Shi's 'Prelude to Water Melody' — 'the bright moon, when will it appear' — is the moon of the family feeling; Yang Jingshu's 'The Brahmin' — 'the moon, like the frost' — is the moon of the frontier — the two moons of the looking, the one of the family, the other of the frontier.

苏轼《水调歌头·明月几时有》「人有悲欢离合，月有阴晴圆缺，此事古难全」，写思乡感怀、苍凉旷达，是宋词长调的名篇；杨敬述进《杂曲歌辞 婆罗门》则以「回乐峰前沙似雪受降城外月如霜」「一夜征人尽望乡」写月如霜、尽望乡。两诗同写思乡感怀、苍凉旷达：一写人有悲欢离合、以悲欢写离合，一写回乐峰前沙似雪受降城外月如霜、以沙似雪写思乡；一为苏轼之旷达、一为杨敬述进之苍凉，并读正可见诗写「思乡感怀」的两种笔法，皆于思乡之中见苍凉。

 八声甘州·对潇潇暮雨洒江天 Eight Beats of Ganzhou: Facing the Evening Rain That Spatters the Long River 柳永 · 同写城外凝望、苍凉清丽，一写对潇潇暮雨洒江天、一写回乐峰前沙似雪受降城外月如霜，皆于城外之中见凝望 Both are the works of the far looking — the river of the rain of Liu Yong, the sand of the frontier of Yang Jingshu — the two far lookings of the night.

Liu Yong's 'Eight Beats of Ganzhou' — 'the evening rain that spatters the long river' — is the far looking of the river; Yang Jingshu's 'The Brahmin' — 'the soldiers all looking at the home' — is the far looking of the frontier — the two far lookings of the night, the one of the river, the other of the frontier.

柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写城外凝望、苍凉清丽，是宋词写羁旅的名篇；杨敬述进《杂曲歌辞 婆罗门》则以「回乐峰前沙似雪受降城外月如霜」「不知何处吹芦管」写月如霜、吹芦管。两诗同写城外凝望、苍凉清丽：一写对潇潇暮雨洒江天、以暮雨写清秋，一写回乐峰前沙似雪受降城外月如霜、以沙似雪写思乡；一为柳永之清丽、一为杨敬述进之苍凉，并读正可见诗写「城外凝望」的两种笔法，皆于城外之中见凝望。