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唐 Tang · 诗 Poem

月下独酌·其三

The, Drinking, Alone, under, the, Moon, III

李白

Li Bai

饮酒Drinking 咏怀memory

三月咸阳城，千花昼如锦。
谁能春独愁，对此径须饮。
穷通与修短，造化夙所禀。
一樽齐死生，万事固难审。
醉后失天地，兀然就孤枕。
不知有吾身，此乐最为甚。

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Meaning

A poem of the wine and the freedom, written by Li Bai. In the third month the city of the Xianyang, the thousand flowers in the day like the brocade — the spring of the opening. Who can in the spring be lonely in the sorrow, facing this one must straightway drink — the drinking of the middle. One goblet equalizing the life and the death, the ten thousand affairs indeed hard to examine — the freedom of the middle. And the close's drunk after losing the heaven and the earth, motionless and inert facing the lone pillow, not knowing of the having my own body, this joy is the most of the utmost — the close's joy. The poem is the wine and the freedom: the spring, the goblet, and the close's joy.

三月咸阳城，千花昼如锦。谁能春独愁，对此径须饮。穷通与修短，造化夙所禀。一樽齐死生，万事固难审。醉后失天地，兀然就孤枕。不知有吾身，此乐最为甚。

Appreciation

[Plain Paraphrase] In, the, third, month, the, city, of, the, Xianyang, the, thousand, flowers, in, the, day, like, the, brocade. Who, can, in, the, spring, be, lonely, in, the, sorrow, facing, this, one, must, straightway, drink. The, poverty, and, the, honor, the, long, and, the, short, the, creation, from, the, first, has, bestowed. One, goblet, equalizing, the, life, and, the, death, the, ten, thousand, affairs, indeed, hard, to, examine. Drunk, after, losing, the, heaven, and, the, earth, motionless, and, inert, facing, the, lone, pillow. Not, knowing, of, the, having, my, own, body, this, joy, is, the, most, of, the, utmost. [Structure and Thought] The poem moves from the spring of the thousand flowers with the drinking, through the freedom of the goblet with the life and the death, to the close's the joy of the losing the body. [Key Technique] The poem's art is the close of the joy: one goblet equalizing the life and the death, and the close's drunk after losing the heaven and the earth motionless and inert facing the lone pillow not knowing of the having my own body this joy is the most of the utmost — the wine gathered in the freedom and the close's joy. [Emotional Tone] Free, bold, and transcendent: the poem is the spring, the goblet and the close's joy.

【白话串讲】李白写《月下独酌·其三》：“三月咸阳城，千花昼如锦”——“谁能春独愁，对此径须饮”——“一樽齐死生，万事固难审”——“醉后失天地，兀然就孤枕”——“不知有吾身，此乐最为甚”——他说醉后忘我最快活。【意象与手法】此诗写饮酒，以旷达写饮酒，是李白的名篇。前四句写对花：「三月咸阳城，千花昼如锦。谁能春独愁，对此径须饮」写三月咸阳城、千花昼如锦——写尽咸阳的千花；后六句写醉乐：「穷通与修短，造化夙所禀。一樽齐死生，万事固难审。醉后失天地，兀然就孤枕。不知有吾身，此乐最为甚」写穷通与修短、造化夙所禀——写尽所禀的造化。全词以旷达写饮酒，写尽咸阳的千花与所禀的造化，是李白的代表作。【情感与主旨】此诗写饮酒，以旷达写饮酒，是李白的名篇。此诗为李白《月下独酌》组诗之三，写其春夜独酌的旷达与醉乐。李白好酒，此诗写其对花独饮、醉后忘我。此诗写三月咸阳城，千花昼如锦；谁能春独愁，对此径须饮；穷通与修短，造化夙所禀；一樽齐死生，万事固难审；醉后失天地，兀然就孤枕；不知有吾身，此乐最为甚。此诗写对花：三月咸阳城，千花昼如锦——写三月咸阳城、千花昼如锦，写尽咸阳的千花；谁能春独愁，对此径须饮——写谁能春独愁、对此径须饮，写尽径须的饮；穷通与修短，造化夙所禀——写穷通与修短、造化夙所禀，写尽所禀的造化；一樽齐死生，万事固难审——写一樽齐死生、万事固难审，写尽齐死生的一樽；醉后失天地，兀然就孤枕——写醉后失天地、兀然就孤枕，写尽失天地的醉后；不知有吾身，此乐最为甚——写不知有吾身、此乐最为甚，写尽最为甚的此乐。全诗以旷达写饮酒——那「千花昼如锦」写尽咸阳的千花，「此乐最为甚」写尽最为甚的此乐，写尽咸阳的千花与所禀的造化，是理解李白饮酒诗的重要篇章。【名句点睛】常考「三月咸阳城，千花昼如锦」写咸阳的千花；「一樽齐死生，万事固难审」写齐死生的一樽；以及全诗以旷达写饮酒、以直抒写醉乐的手法。

Background

Li Bai (701-762), the great poet of the Tang, wrote this 'The, Drinking, Alone, under, the, Moon, III' of the wine and the freedom — the freedom of the drinking in the spring. The spring of the thousand flowers, the freedom of the goblet, and the close's the joy of the losing the body — the poem gathers the freedom of the poet, the transcendence of the wine. The poem is one of the famous works of the poet's poems of the wine.

此诗写饮酒，以旷达写饮酒，是李白的名篇。李白（701—762），字太白，号青莲居士，又号谪仙人，祖籍陇西成纪，生于碎叶，长于绵州昌隆（今四川江油），唐代伟大的浪漫主义诗人，被尊为「诗仙」，与杜甫并称「李杜」。此诗为李白《月下独酌》组诗之三，写其春夜独酌的旷达与醉乐。李白好酒，此诗写其对花独饮、醉后忘我。此诗写三月咸阳城，千花昼如锦；谁能春独愁，对此径须饮；穷通与修短，造化夙所禀；一樽齐死生，万事固难审；醉后失天地，兀然就孤枕；不知有吾身，此乐最为甚。此诗写对花：「三月咸阳城，千花昼如锦」写三月咸阳城、千花昼如锦——写尽咸阳的千花（三月咸阳城，千花昼如锦）；「谁能春独愁，对此径须饮」写谁能春独愁、对此径须饮——写尽径须的饮（谁能春独愁，对此径须饮）；「一樽齐死生，万事固难审」写一樽齐死生、万事固难审——写尽齐死生的一樽（一樽齐死生，万事固难审）；「不知有吾身，此乐最为甚」写不知有吾身、此乐最为甚——写尽最为甚的此乐（不知有吾身，此乐最为甚）。全诗以旷达写饮酒，写尽咸阳的千花与所禀的造化，是理解李白饮酒诗的重要篇章。

Art

The poem's art is the art of the joy. The spring opens: in, the, third, month, the, city, of, the, Xianyang — the city of the Xianyang; the, thousand, flowers, in, the, day, like, the, brocade — the thousand flowers of the brocade; who, can, in, the, spring, be, lonely, in, the, sorrow — the lonely of the spring; facing, this, one, must, straightway, drink — the drinking of the facing. The freedom follows: the, poverty, and, the, honor, the, long, and, the, short — the poverty and the honor of the long and the short; the, creation, from, the, first, has, bestowed — the creation of the bestowed; one, goblet, equalizing, the, life, and, the, death — the goblet of the equalizing; the, ten, thousand, affairs, indeed, hard, to, examine — the ten thousand affairs of the examine. And the close gathers the joy: drunk, after, losing, the, heaven, and, the, earth — the losing of the heaven and the earth; motionless, and, inert, facing, the, lone, pillow — the lone pillow of the facing; not, knowing, of, the, having, my, own, body — the not knowing of the body; this, joy, is, the, most, of, the, utmost — the joy of the most — the spring, the freedom and the close's joy, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以写景写对花。「三月咸阳城」以写景写对花——那「千花昼如锦」写尽咸阳的千花，以写景写尽咸阳的千花。其二，以设问写独饮。「谁能春独愁」以设问写独饮——那「对此径须饮」写尽径须的饮，以设问写尽径须的饮。其三，以哲理写死生。「穷通与修短」以哲理写死生——那「一樽齐死生」写尽齐死生的一樽，以哲理写尽齐死生的一樽。其四，以白描写醉乐。「醉后失天地」以白描写醉乐——那「不知有吾身」写尽有吾身的不知，以白描写尽最为甚的此乐。此外，此诗前四句写咸阳的千花，后六句写所禀的造化，由景及理，正是饮酒诗「以醉写旷」的写法。四重手法，使此诗以旷达写饮酒，写尽咸阳的千花与所禀的造化，是李白的代表作。此诗还善于以「谁能春独愁」的「独愁」写春之独愁——那「谁能」写尽谁人的能，正是以问写愁，以「春独愁」写尽咸阳的千花。又善以「醉后失天地，兀然就孤枕」的「兀然」写醉后之兀然——醉后失天地兀然就孤枕，正见醉后兀然的写照，以「兀然」写尽最为甚的此乐。

Allusions

'The city of the Xianyang' (xian yang) is the city of the Xianyang — the capital of the Qin, the spring of the opening; 'the creation' (zao hua) is the creation — the creator of the nature, the bestowing of the middle.

此诗的用语深植于饮酒与旷达传统。「咸阳城」令人想到「咸阳城」写咸阳的意象——秦都，也令人想到「咸阳古道音尘绝」（李白）的意象；「千花」令人想到「千花」写千花的意象——也令人想到「花团锦簇」的意象；「如锦」令人想到「如锦」写如锦的意象——也令人想到「似锦」的意象；「穷通」令人想到「穷通」写穷达的意象——也令人想到「穷达皆由命」的意象；「修短」令人想到「修短」写长短的意象——也令人想到「修短随化」（王羲之）的意象；「造化」令人想到「造化」写造化的意象——也令人想到「造化钟神秀」（杜甫）的意象。全诗化用咸阳城、千花、如锦、穷通、修短、造化的意象典故，以旷达写饮酒，正是李白「豪放」而善直抒、承饮酒传统写旷达之本领。「咸阳城」令人想到「咸阳城」写咸阳的意象——也令人想到「咸阳古道音尘绝」的意象；「造化」令人想到「造化」写造化的意象——也令人想到「造化钟神秀」的意象，以造化写生死。「如锦」令人想到「如锦」写如锦的意象——也令人想到「似锦」的意象，以如锦写春色。

Commentary

This poem is one of the famous works of Li Bai's poems of the wine, quoted for the boldness of its opening and the transcendence of its close. The goblet of the equalizing, and the joy of the most, are among the admired passages of the poet's poems. Critics praise the poem's freedom: the wine gathered in the goblet, to the close's joy.

此诗历来被推为李白饮酒诗的名篇，也是唐诗写月下独酌的代表。历代论者对此诗评价极高：清人评此诗「以旷达写饮酒，豪放飘逸」；近人更指出「一樽齐死生，万事固难审」写齐死生的一樽，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以十二句的古诗写尽咸阳的千花与所禀的造化——那三月，那咸阳城，那千花，那昼如锦，那谁能，那春独愁，那对此，那径须饮，那穷通，那与修短，那造化，那夙所禀，那一樽，那齐死生，那万事，那固难审，那醉后，那失天地，那兀然，那就孤枕，那不知，那有吾身，那此乐，那最为甚，都写尽了李白笔下的月下独酌其三；那「此乐最为甚」更以白描写尽最为甚的此乐。此诗与李白《月下独酌》「花间一壶酒」同为独酌名篇，一写「举杯邀明月」的其一，一写「一樽齐死生」的其三；一写邀月，一写齐生死。两诗对读，可见李白独酌组诗的连贯。对于今日读者，此诗是理解李白饮酒诗的窗口，也是唐诗写月下独酌的经典——那千花的咸阳，穿越千年，仍在诉说着最为甚的此乐。

Prosody

Form An old poem of the wine (wu yan gu shi)诗·五言古诗

Rhyme The poem rhymes on the level of the group — the cadence of the old poem that carries the free transcendence.五古，偶句押「锦」「饮」「禀」「审」「枕」「甚」韵（上声去声通押），转韵自由

Tone pattern The cadence is that of the joy: the level opening with the spring, the turning with the freedom, and the close's fall with the utmost.此诗为五言古诗，偶句押仄声韵，转韵自由，音节疏朗，正合旷达的疏朗。

Reading note The poem's sound matches its freedom: the cadences of the old poem, and the close — 'ci le zui wei shen' — falls with the utmost, the sound of the joy of the wine poet.此诗为五言古诗，十二句——「三月咸阳城，千花昼如锦。谁能春独愁，对此径须饮。穷通与修短，造化夙所禀。一樽齐死生，万事固难审。醉后失天地，兀然就孤枕。不知有吾身，此乐最为甚」，偶句押仄声韵（锦、饮、禀、审、枕、甚），转韵自由，音节疏朗。全诗以旷达写饮酒：前四句写咸阳的千花（三月咸阳城、对此径须饮），后八句写所禀的造化（穷通与修短、此乐最为甚）。古诗铺叙，前写对花，后写醉乐，以「此乐最为甚」写尽最为甚的此乐，正见李白「豪放」的本色。诵读此诗，宜以疏朗的语调读「千花昼如锦」的春日，以旷达的语调读「一樽齐死生」的一樽，结句要读得疏朗而有余韵，方能传达出李白的豪放飘逸。李白古诗以「豪放」著称，此诗正是其饮酒诗的典范。

Line by line

三月咸阳城，千花昼如锦

In March, the city of Xianyang; a thousand flowers, by daylight, like brocade.

三月咸阳城，千花昼如锦。

In March, the city of Xianyang; a thousand flowers in daylight like brocade.

此二句是全诗写对花的核心，以三月咸阳城写咸阳城，以千花昼如锦写昼如锦，写尽咸阳的千花，是千古名句。「三月咸阳城」写三月咸阳城——那「三月」写三月，「咸阳城」写咸阳城，写尽三月的咸阳城；「千花昼如锦」写千花昼如锦——那「千花」写千花，「昼如锦」写昼如锦，写尽咸阳的千花。这句的深意在于：它以「三月咸阳城」的咸阳城与「千花昼如锦」的昼如锦，写尽咸阳的千花——三月咸阳城，那「三月咸阳城」写尽三月的咸阳城——三月咸阳城，正是三月咸阳的写照，那「咸阳城」写尽咸阳的千花；千花昼如锦，那「千花昼如锦」写尽咸阳的千花——千花昼如锦，正是千花如锦的写照，那「昼如锦」写尽咸阳的千花；那「三月咸阳城」写尽三月的咸阳城，那「千花昼如锦」写尽咸阳的千花，一写三月，一写千花，写尽咸阳的千花——三月咸阳而千花如锦，正是春日的写照；此二句以三月、千花写尽咸阳的千花，也为下文的独饮作铺垫，也让此二句成为全诗写对花的核心与千古名句。若换作直说「三月的咸阳城，千万花朵在白天如锦缎般美丽」，则失其豪放；唯以「三月咸阳城」写咸阳城、「千花昼如锦」写昼如锦，写尽咸阳的千花，也让此二句成为全诗写对花的核心。

These two lines are the core of the poem's flowers: March Xianyang, a thousand flowers like brocade by day - a famous line. The splendor of the spring city, the flowers like embroidered silk, priming the solitary drinking below. If one said plainly 'in March, Xianyang's ten thousand flowers are as beautiful as brocade in daylight,' the grandeur would be lost; only the terse naming of the city and the flowers keeps the bold ease.

一樽齐死生，万事固难审

One cup makes life and death as one; the ten thousand affairs, hard indeed to fathom.

一樽齐死生，万事固难审。

One cup levels life and death; the ten thousand affairs, after all, are hard to fathom.

此二句是全诗写哲理的核心，以一樽齐死生写齐死生，以万事固难审写固难审，写尽齐死生的一樽，是千古名句。「一樽齐死生」写一樽齐死生——那「一樽」写一樽，「齐死生」写齐死生，写尽齐死生的一樽；「万事固难审」写万事固难审——那「万事固」写万事固，「难审」写难审，写尽固难审的万事。这句的深意在于：它以「一樽齐死生」的齐死生与「万事固难审」的固难审，写尽齐死生的一樽——一樽齐死生，那「一樽齐死生」写尽齐死生的一樽——一樽齐死生，正是樽齐死生的写照，那「齐死生」写尽齐死生的一樽；万事固难审，那「万事固难审」写尽固难审的万事——万事固难审，正是万事难审的写照，那「固难审」写尽齐死生的一樽；那「一樽齐死生」写尽齐死生的一樽，那「万事固难审」写尽固难审的万事，一写一樽，一写万事，写尽齐死生的一樽——樽齐死生而万事难审，正是旷达的写照；此二句以一樽、万事写尽齐死生的一樽，也为下文的醉后作铺垫，也让此二句成为全诗写哲理的核心与千古名句。若换作直说「一樽酒看齐了生死，万事本来就难以审察」，则失其豪放；唯以「一樽齐死生」写齐死生、「万事固难审」写固难审，写尽齐死生的一樽，也让此二句成为全诗写哲理的核心。

These two lines are the poem's philosophical core: one cup leveling life and death, the ten thousand affairs hard to fathom - a famous line. The deep point: the wine levels life and death, and the world's affairs are past human accounting, so what is left but the cup? The breadth of accepting the unfathomable, priming the drunken state below.

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齐 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「一樽齐死生」之「齐」字是写哲理关键词，一个「齐」字写尽齐死生的一樽。齐者，齐同、等同也。李白以「一樽齐死生」写哲理，这个「齐」字至少有双重意味：其一，写生之齐——那「一樽齐死生」写一樽齐死生，那「齐」字写尽齐死生的一樽——齐死生，正是等同死生的写照，那「齐」字写尽齐死生的一樽；其二，写达之旷——那「齐」字更是写旷——齐，正见齐物忘我的旷达，那「齐」字写尽李白的旷达。以「齐」字写哲理，正是李白写饮酒的枢纽——若换作「同」「等」等字，则或失其与「一樽」「齐死生」的配合，或失其写齐的意味；唯「齐」字，以一樽齐死生写尽死生之齐同与醉中忘我，与「万事固难审」的万事相合，写尽齐死生的一樽，也让「一樽齐死生」成为全诗写哲理的名句。

失 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「醉后失天地」之「失」字是写醉乐关键词，一个「失」字写尽失天地的醉后。失者，失去、迷失也。李白以「醉后失天地」写醉乐，这个「失」字至少有双重意味：其一，写地之失——那「醉后失天地」写醉后失天地，那「失」字写尽失天地的醉后——失天地，正是失去天地的写照，那「失」字写尽失天地的醉后；其二，写醉之深——那「失」字更是写深——失，正见醉中忘我的深沉，那「失」字写尽李白的旷达。以「失」字写醉乐，正是李白写饮酒的枢纽——若换作「忘」「没」等字，则或失其与「醉后」「失天地」的配合，或失其写失的意味；唯「失」字，以醉后失天地写尽天地之迷失与醉中忘我，与「不知有吾身」的吾身相合，写尽失天地的醉后，也让「醉后失天地」成为全诗写醉乐的名句。