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唐 Tang · 诗 Poem

游玄都观

The, Visiting, the, Temple, of, the, Xuan, the, Capital

刘禹锡

Liu Yuxi

讽喻Satire 感慨Theme

紫陌红尘拂面来，无人不道看花回。
玄都观里桃千树，尽是刘郎去后栽。

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Meaning

A poem of the temple and the mockery, written by Liu Yuxi. The purple roads the red dust the brushing the faces coming, no one not saying the seeing the flowers returning — the scene of the opening. In the Temple of the Xuan the Capital the peaches of the thousand trees, all are the planted after the gentleman of the Liu went — the mockery of the close. The poem is the temple and the mockery: the crowds, and the close's peaches.

紫陌红尘拂面来，无人不道看花回。玄都观里桃千树，尽是刘郎去后栽。

Appreciation

[Plain Paraphrase] The, purple, roads, the, red, dust, the, brushing, the, faces, coming, no, one, not, saying, the, seeing, the, flowers, returning. In, the, Temple, of, the, Xuan, the, Capital, the, peaches, of, the, thousand, trees, all, are, the, planted, after, the, gentleman, of, the, Liu, went. [Structure and Thought] The poem moves from the scene of the red dust with the seeing the flowers, through the peaches of the thousand trees, to the close's the mockery of the planted after the Liu went. [Key Technique] The poem's art is the close of the mockery: no one not saying the seeing the flowers returning, and the close's in the Temple of the Xuan the Capital the peaches of the thousand trees all are the planted after the gentleman of the Liu went — the scene gathered in the peaches and the close's mockery. [Emotional Tone] Scene, mocking, and proud: the poem is the crowds, the peaches and the close's mockery.

【白话串讲】刘禹锡写《游玄都观》：“紫陌红尘拂面来，无人不道看花回”——“玄都观里桃千树，尽是刘郎去后栽”——这满观桃花，都是我被贬走后栽的——他讽刺新贵。【意象与手法】此诗写感慨，以咏物写感慨，是刘禹锡的名篇。前二句写看花：「紫陌红尘拂面来，无人不道看花回」写紫陌红尘拂面来、无人不道看花回——写尽看花的盛况；后二句写感慨：「玄都观里桃千树，尽是刘郎去后栽」写玄都观里桃千树、尽是刘郎去后栽——写尽去后的感慨。全诗以咏物写感慨，写尽看花的盛况与去后的感慨，是刘禹锡的代表作。【情感与主旨】此诗写感慨，以咏物写感慨，是刘禹锡的名篇。此诗为刘禹锡因「永贞革新」被贬十年后重回长安游玄都观所作，借桃花讽刺当朝新贵。刘禹锡参与永贞革新失败，被贬朗州十年，元和十年（815）召回长安，游玄都观，见观中桃花盛开，遂作此诗。此诗写紫陌（京城的道路）红尘拂面来，无人不道看花回；玄都观里桃千树，尽是刘郎去后栽。此诗写看花：紫陌红尘拂面来，无人不道看花回——写紫陌红尘拂面来、无人不道看花回，写尽看花的盛况；玄都观里桃千树，尽是刘郎去后栽——写玄都观里桃千树、尽是刘郎去后栽，写尽去后的感慨。全诗以咏物写感慨——那「无人不道看花回」写尽看花的盛况，「尽是刘郎去后栽」写尽去后的感慨，写尽看花的盛况与去后的感慨，是理解刘禹锡感慨诗的重要篇章。【名句点睛】常考「紫陌红尘拂面来，无人不道看花回」写看花的盛况；「玄都观里桃千树，尽是刘郎去后栽」写去后的感慨；以及全诗以咏物写感慨、以讽喻写新贵的手法。

Background

Liu Yuxi (772-842), the great poet of the Tang, wrote this 'The, Visiting, the, Temple, of, the, Xuan, the, Capital' of the temple and the mockery — the mockery of the new men after the exile. The scene of the red dust with the seeing the flowers, and the close's the mockery of the planted after the Liu went — the poem gathers the pride of the poet, the mockery of the times. The poem is one of the famous works of the poet's poems of the mockery.

此诗写感慨，以咏物写感慨，是刘禹锡的名篇。刘禹锡（772—842），字梦得，洛阳人，唐代文学家、哲学家，有「诗豪」之称，与柳宗元并称「刘柳」，与白居易并称「刘白」。此诗为刘禹锡因「永贞革新」被贬十年后重回长安游玄都观所作，借桃花讽刺当朝新贵。刘禹锡参与永贞革新失败，被贬朗州十年，元和十年（815）召回长安，游玄都观，见观中桃花盛开，遂作此诗。此诗写紫陌（京城的道路）红尘拂面来，无人不道看花回；玄都观里桃千树，尽是刘郎去后栽。此诗写看花：「紫陌红尘拂面来，无人不道看花回」写紫陌红尘拂面来、无人不道看花回——写尽看花的盛况（紫陌红尘拂面来，无人不道看花回）；「玄都观里桃千树，尽是刘郎去后栽」写玄都观里桃千树、尽是刘郎去后栽——写尽去后的感慨（玄都观里桃千树，尽是刘郎去后栽）。全诗以咏物写感慨，写尽看花的盛况与去后的感慨，是理解刘禹锡感慨诗的重要篇章。

Art

The poem's art is the art of the mockery. The scene opens: the, purple, roads, the, red, dust, the, brushing, the, faces, coming — the red dust of the brushing; no, one, not, saying, the, seeing, the, flowers, returning — the seeing the flowers of the returning. The mockery follows: in, the, Temple, of, the, Xuan, the, Capital, the, peaches, of, the, thousand, trees — the peaches of the thousand trees; all, are, the, planted, after, the, gentleman, of, the, Liu, went — the planted after the Liu went — the scene, the peaches and the close's mockery, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以白描写看花。「紫陌红尘拂面来」以白描写看花——那「红尘拂面来」写尽拂面的红尘，以白描写尽看花的盛况。其二，以铺陈写看花。「无人不道看花回」以铺陈写看花——那「无人不道」写尽人人的说道，以铺陈写尽看花的盛况。其三，以点破写新贵。「玄都观里桃千树」以点破写新贵——那「桃千树」写尽千树的桃花，以点破写尽去后的感慨。其四，以讽喻写感慨。「尽是刘郎去后栽」以讽喻写感慨——那「刘郎去后栽」写尽去后的栽桃，以讽喻写尽去后的感慨。此外，此诗前二句写看花的盛况，后二句写去后的感慨，由盛及慨，正是咏物诗「以花写慨」的写法。四重手法，使此诗以咏物写感慨，写尽看花的盛况与去后的感慨，是刘禹锡的代表作。此诗还善于以「紫陌红尘拂面来」的「拂面来」写红尘之扑面——那「红尘拂面来」写尽拂面的红尘，正是以面写尘，以「拂面」写尽看花的盛况。又善以「无人不道看花回」的「无人不道」写说道之普——无人不道看花回，正见人人皆道看花，以「无人不道」写尽看花的盛况。

Allusions

'The Temple of the Xuan the Capital' (xuan du guan) is the Temple of the Xuan the Capital — the temple of the Xuan, the visiting of the opening; 'the gentleman of the Liu' (liu lang) is the gentleman of the Liu — the Liu Yuxi, the going of the close.

此诗的用语深植于感慨与咏物传统。「紫陌」令人想到「紫陌」写京城道路的意象——也令人想到「紫陌红尘」的意象；「红尘」令人想到「红尘」写飞扬尘土的意象——也令人想到「红尘滚滚」的意象；「看花」令人想到「看花」写赏花的意象——也令人想到「春风得意马蹄疾」（孟郊）的意象；「玄都观」令人想到「玄都观」写长安道观的意象——也令人想到「玄都观里桃千树」的意象；「桃千树」令人想到「桃千树」写桃树的意象——也令人想到「千树万树桃花开」的意象；「刘郎」令人想到「刘郎」写刘禹锡自称的意象——也令人想到「前度刘郎今又来」的意象。全诗化用紫陌、红尘、看花、玄都观、桃千树、刘郎的意象，以咏物写感慨，正是刘禹锡「诗豪」而善讽喻、承咏物传统写感慨之本领。「紫陌」令人想到「紫陌」写京城道路的意象——也令人想到「紫陌青楼」的意象；「红尘」令人想到「红尘」写尘土的意象——也令人想到「红尘白浪」的意象，以红尘写京城之繁。

Commentary

This poem is one of the famous works of Liu Yuxi's poems of the mockery, quoted for the bustle of its opening and the pride of its close. The peaches of the thousand trees, and the planted after the Liu went, are among the admired passages of the poet's poems. Critics praise the poem's mockery: the temple gathered in the peaches, to the close's pride.

此诗历来被推为刘禹锡感慨诗的名篇，也是唐诗写桃花讽喻的代表。历代论者对此诗评价极高：清人评此诗「以咏物写感慨，讽刺辛辣」；近人更指出「玄都观里桃千树，尽是刘郎去后栽」写去后的感慨，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽看花的盛况与去后的感慨——那紫陌，那红尘，那拂面来，那无人不道，那看花回，那玄都观里，那桃千树，那尽是，那刘郎，那去后栽，都写尽了刘禹锡笔下的游玄都观；那「尽是刘郎去后栽」更以讽喻写尽去后的感慨。此诗与刘禹锡《再游玄都观》（「百亩庭中半是苔」）同为玄都观名篇，一写「种桃道士归何处」的再游（再游玄都观），一写「尽是刘郎去后栽」的初游（游玄都观）；又与「前度刘郎」的典故传统一脉相承，可见中国诗写咏物讽喻的传统。对于今日读者，此诗是理解刘禹锡感慨诗的窗口，也是唐诗写桃花讽喻的经典——那去后栽的桃树，穿越千年，仍在诉说着去后的感慨。

Prosody

Form A quatrain of the mockery (qi yan jue ju)诗·七言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the proud mockery.七绝，押「回」「栽」韵（上平十灰），一韵到底，音节明快

Tone pattern The cadence is that of the mockery: the level opening with the scene, the turning with the peaches, and the close's fall with the planted.此诗为七言绝句，押平声韵，一韵到底，音节明快，正合感慨的明快。

Reading note The poem's sound matches its pride: the cadences of the quatrain, and the close — 'jin shi liu lang qu hou zai' — falls with the planted, the sound of the mockery of the temple poet.此诗为七言绝句，四句——「紫陌红尘拂面来，无人不道看花回。玄都观里桃千树，尽是刘郎去后栽」，押「灰」韵（回、栽），一韵到底，音节明快。全诗以咏物写感慨：前二句写看花的盛况（紫陌红尘拂面来、无人不道看花回），后二句写去后的感慨（玄都观里桃千树、尽是刘郎去后栽）。四句短章，前写盛况，后写感慨，以「尽是刘郎去后栽」写尽去后的感慨，正见刘禹锡「诗豪」的本色。诵读此诗，宜以明快的语调读「无人不道看花回」的盛况，以辛辣的语调读「尽是刘郎去后栽」的感慨，结句要读得明快而有余韵，方能传达出刘禹锡的讽刺辛辣。刘禹锡绝句以「诗豪」著称，此诗正是其感慨诗的典范。

Line by line

玄都观里桃千树，尽是刘郎去后栽

A thousand peach trees in the Xuandu Temple—all planted after I, Liu Lang, left.

玄都观里桃千树，尽是刘郎去后栽。

A thousand peach trees in the Xuandu Monastery; every one of them was planted after I, Liu Lang, went away.

此二句是全诗写感慨的核心，以玄都观里桃千树写桃千树，以尽是刘郎去后栽写去后栽，写尽去后的感慨，是千古名句。「玄都观里桃千树」写玄都观里桃千树——那「玄都观里」写玄都观里，「桃千树」写桃千树，写尽千树的桃花；「尽是刘郎去后栽」写尽是刘郎去后栽——那「尽是」写尽是，「刘郎去后栽」写刘郎去后栽，写尽去后的栽桃。这句的深意在于：它以「玄都观里桃千树」的桃千树与「尽是刘郎去后栽」的去后栽，写尽去后的感慨——玄都观里桃千树，那「玄都观里桃千树」写尽千树的桃花——玄都观里桃千树，正是观中桃盛的写照，那「桃千树」写尽去后的感慨；尽是刘郎去后栽，那「尽是刘郎去后栽」写尽去后的栽桃——尽是刘郎去后栽，正是我走后栽的写照，那「去后栽」写尽去后的感慨；那「玄都观里桃千树」写尽千树的桃花，那「尽是刘郎去后栽」写尽去后的栽桃，一写桃千树，一写去后栽，写尽去后的感慨——桃树千株而我去后栽，正是新贵当朝的写照；此二句以桃千树、去后栽写尽去后的感慨，也让此二句成为全诗写感慨的核心与千古名句。若换作直说「玄都观里有上千棵桃树，都是我被贬走后栽的」，则失其讽刺；唯以「玄都观里桃千树」写桃千树、「尽是刘郎去后栽」写去后栽，写尽去后的感慨，也让此二句成为全诗写感慨的核心。

These lines are the reflection heart of the poem, the thousand peach trees all planted after Liu Yuxi's exile. 'A thousand peach trees in the Xuandu Temple' pictures the flourishing grove; 'all planted after I left' lands the satire—the new blossoms stand for the new men of power who rose after the poet's banishment. The light 'Liu Lang' is at once self-naming and defiance. If stated as 'the new men rose after I was exiled,' the irony would fade; only through the thousand peach trees 'planted after I left' does the satire become elegant.

紫陌红尘拂面来，无人不道看花回

The purple road, the red dust, strikes the face; no one says anything but 'back from seeing the flowers.'

紫陌红尘拂面来，无人不道看花回。

On the purple road the red dust flies in our faces; everyone, as they return, talks of seeing the flowers.

此二句是全诗写盛况的核心，以紫陌红尘拂面来写拂面来，以无人不道看花回写看花回，写尽看花的盛况，是千古名句。「紫陌红尘拂面来」写紫陌红尘拂面来——那「紫陌红尘」写紫陌红尘，「拂面来」写拂面来，写尽拂面的红尘；「无人不道看花回」写无人不道看花回——那「无人不道」写无人不道，「看花回」写看花回，写尽人人的看花。这句的深意在于：它以「紫陌红尘拂面来」的拂面来与「无人不道看花回」的看花回，写尽看花的盛况——紫陌红尘拂面来，那「紫陌红尘拂面来」写尽拂面的红尘——紫陌红尘，正是京城尘土飞扬的写照，那「拂面来」写尽看花的盛况；无人不道看花回，那「无人不道看花回」写尽人人的看花——无人不道看花回，正是人人说看花的写照，那「看花回」写尽看花的盛况；那「紫陌红尘拂面来」写尽拂面的红尘，那「无人不道看花回」写尽人人的看花，一写红尘，一写看花，写尽看花的盛况——红尘拂面而人人看花，正是盛况的写照；此二句以红尘、看花写尽看花的盛况，也为下文的桃树作铺垫，也让此二句成为全诗写盛况的核心与千古名句。若换作直说「京城的路上尘土扑面，人人都说去看了花回来」，则失其铺陈；唯以「紫陌红尘拂面来」写拂面来、「无人不道看花回」写看花回，写尽看花的盛况，也让此二句成为全诗写盛况的核心。

These lines are the spectacle heart of the poem, the red dust on the purple road and everyone coming from the flowers. 'The purple road, red dust striking the face' writes the capital thoroughfare crowded with carriages; 'no one says anything but back from seeing the flowers' pictures the whole city's mania for the peach grove. The bustle sets off the sarcasm of the next couplet—all this fuss over trees 'planted after I left.' If stated as 'the capital is crowded with flower-watchers,' the vividness would fade; only through the red dust in the face and the universal 'back from flowers' does the frenzy take shape.

Study

Word focus

回 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「无人不道看花回」之「回」字是写盛况的关键词，一个「回」字写尽看花的回程。回者，回来、回归也。刘禹锡以「无人不道看花回」写盛况，这个「回」字至少有双重意味：其一，写花之回——那「无人不道看花回」写无人不道看花回，那「回」字写尽看花的回程——看花回，正是看花归来的写照，那「回」字写尽看花的盛况；其二，写盛之况——那「回」字更是写况——回，正见人人看花归来的盛况，那「回」字写尽刘禹锡的感慨。以「回」字写盛况，正是刘禹锡写咏物的枢纽——若换作「归」「还」等字，则或失其与「无人不道」「看花回」的配合，或失其写回的意味；唯「回」字，以无人不道看花回写尽看花之回程与人人之盛况，与「紫陌红尘拂面来」的红尘相合，写尽看花的盛况，也让「无人不道看花回」成为全诗写盛况的名句。

尽是 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「尽是刘郎去后栽」之「尽是」是写感慨的关键词，一个「尽是」写尽去后的栽桃。尽是者，全都是、全部是也。刘禹锡以「尽是刘郎去后栽」写感慨，这个「尽是」至少有双重意味：其一，写桃之尽是——那「尽是刘郎去后栽」写尽是刘郎去后栽，那「尽是」写尽去后的栽桃——尽是刘郎去后栽，正是全是我走后栽的写照，那「尽是」写尽去后的感慨；其二，写慨之深——那「尽是」更是写深——尽是，正见无一例外的感慨，那「尽是」写尽刘禹锡的讽刺。以「尽是」写感慨，正是刘禹锡写咏物的枢纽——若换作「都是」「全是」等词，则或失其与「刘郎去后」「栽」的配合，或失其写尽是的意味；唯「尽是」二字，以尽是刘郎去后栽写尽去后之栽桃与无一例外之感慨，与「玄都观里桃千树」的桃千树相合，写尽去后的感慨，也让「尽是刘郎去后栽」成为全诗写感慨的名句。