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汉 Han · 诗 Poem

与苏武诗

Poem to Su Wu

李陵

Li Ling

送别Farewell 怀人Remembering someone 战争War

良时不再至，离别在须臾。
屏营衢路侧，执手野踟蹰。
仰视浮云驰，奄忽互相逾。
风波一失所，各在天一隅。
长当从此别，且复立斯须。
欲因晨风发，送子以贱躯。

Good times come no more; parting is in an instant.
I linger by the roadside, hand in hand we hesitate in the wild.
I gaze up at the drifting clouds, swiftly overtaking one another.
Once the wind's waves lose their place, each is at a corner of heaven.
Long shall we part from this day; yet stand a moment more.
I would ride the morning wind and send you with this humble body.

Listen

Meaning

The good times will not come again; parting is but a moment. By the roadside I am in flutter, hand in hand we linger in the wild. I look up at the floating clouds, in a blink overtaking one another. Once the wind's waves scatter and lose their hold, each is at a corner of heaven. From now on we part long; yet stand a while longer. I would ride the morning wind and send you with this lowly self.

美好的时光不会再来，离别就在片刻之间。在路旁惶恐不安，手牵着手在野外徘徊。抬头看浮云飞驰，倏忽间互相越过。一旦风波离散失去依托，便各在天的一方。从此长久分别，且再站立片刻。想要乘着晨风出发，以我这微贱之躯送你一程。

Appreciation

The opening 'Good times come no more; parting is in an instant' states plainly the pain of brief meeting and sudden parting, heavy and forceful. Then two action-sketches, 'I linger by the roadside' and 'hand in hand we hesitate', bare the state at the parting fork, true as if seen. 'I gaze up at the drifting clouds' turns a beat, using the clouds' swift overtaking for the change of meeting and parting; 'once the wind's waves lose their place, each is at a corner of heaven' writes the dimness after parting with chilling force. The close 'I would ride the morning wind and send you with this humble body' - wishing to go with his friend yet unable - using 'humble body' in self-deprecation, a love that breaks the heart. The whole moves from narration to scene, from scene to feeling, layer by layer, plain in language yet deep in grief.

【白话串讲】 “良时不再至，离别在须臾”——李陵送别苏武：好时光不再来，离别就在眼前。“仰视浮云驰，奄忽互相逾”——看浮云飘过，从此各在天涯。李陵和苏武的诀别，是汉代最沉重的一次送别。【意象与手法】起句「良时不再至，离别在须臾」直抒聚短离遽之痛，沉痛有力。继而以「屏营衢路侧，执手野踟蹰」两组动作白描临歧之态，真切如见。「仰视浮云驰」一转，以浮云倏忽相逾喻人生聚散无常，「风波一失所，各在天一隅」将别后渺茫写得惊心。末「欲因晨风发，送子以贱躯」欲随友同归而不得，以贱躯自谦，痴情令人肠断。全诗由叙到景、由景到情，层层跌宕，语淡而哀深。【情感与主旨】李陵，西汉将领，兵败降匈奴；苏武奉使匈奴被扣，羁留十九年。相传李陵于苏武归汉前作《与苏武诗》三首送别，此其一。然学界多疑为东汉无名氏依托之作（苏李诗多系后人拟托）。诗写送别苏武归汉时的依恋与自身留胡的无奈，反映汉匈对峙下使臣与降将的悲剧命运。无论作者真伪，其情感之真足以动人，历来被视为五言赠别诗之祖，对建安送别诗影响深远。【名句点睛】考点：一、情景交融（浮云喻聚散）；二、动作描写（屏营、执手、踟蹰）的作用；三、「贱躯」的情感内涵；四、「须臾」「斯须」的时间词运用。

Background

Li Ling, a Western-Han general, was defeated and surrendered to the Xiongnu; Su Wu, sent as envoy, was detained nineteen years. Tradition says Li Ling wrote three poems to Su Wu on the latter's return to Han; this is one. Yet scholars mostly doubt them as Eastern-Han anonymous attributed works (the Su-Li poems are largely later imitations). The poem writes the attachment at seeing Su Wu off to Han and Li Ling's own helplessness in staying among the Hu, reflecting the tragic fate of envoy and defector under the Han-Xiongnu standoff. Whether the author is true or not, its feeling is true enough to move, long esteemed as the ancestor of the five-character parting poem, deeply influencing Jian'an parting verse.

李陵，字少卿，西汉名将李广之孙，天汉二年（前99）率五千步卒出击匈奴，战败矢尽援绝，遂降匈奴，武帝怒而族其家；苏武，字子卿，天汉元年（前100）以中郎将出使匈奴，被扣留十九年，历尽艰辛而不屈，至始元六年（前81）方获释归汉。相传苏武归汉前，李陵置酒送别，作《与苏武诗》三首（今存《文选》所载三首，此为其一）以赠，诗中写尽降将送故友归汉的复杂心绪：既为故友终得归汉而欣慰，又为自己羁留异域、无家可归而悲哀；既欲随友同归而不得，又恐故友一去再无相见之日。然学界多认为「苏李诗」系东汉末年无名文人的拟托之作——其五言诗的成熟形式与东汉中叶以后的诗歌水平相合，而「苏李赠答」的故事框架则寄托了东汉人对忠义与节操的想象。无论作者为谁、真伪如何，此诗写别情的真挚深婉足以动人，它上承《古诗十九首》的抒情传统，下启建安送别诗（如曹植《赠白马王彪》）的先声，历来被视为五言赠别诗之祖，在中国诗歌史上占有重要地位。

Art

The opening 'Good times come no more; parting is in an instant' states the pain of brief meeting and sudden parting, heavy and forceful. Then two action-sketches, 'I linger by the roadside' and 'hand in hand we hesitate', bare the state at the fork, true as if seen. 'I gaze up at the drifting clouds' turns a beat, using the clouds' swift overtaking for the change of meeting and parting; 'once the wind's waves lose their place, each is at a corner of heaven' writes the dimness after parting with chilling force. The close 'I would ride the morning wind and send you with this humble body' - wishing to go with his friend yet unable - using 'humble body' in self-deprecation, a love that breaks the heart. From narration to scene, from scene to feeling, layer by layer, plain words yet deep grief.

此诗艺术之妙，在「由叙到景、由景到情」的层层跌宕与「语淡而哀深」的抒情笔致。起句「良时不再至，离别在须臾」以直抒破题：美好的时光不会再来，离别就在片刻之间——「良时不再」写聚之难得，「须臾」写离之迫近，十个字写尽「聚短离遽」之痛，开门见山，沉痛有力。次二句「屏营衢路侧，执手野踟蹰」以动作白描临歧之态：「屏营」写惶恐不安，「执手」写难分难舍，「踟蹰」写徘徊不前，三组动词写尽临歧之际的百般不舍，真切如见。五、六句「仰视浮云驰，奄忽互相逾」由叙转景：抬头看浮云奔驰，倏忽间互相超越——以浮云之聚散写人生之聚散，景中寓情，是「情景交融」的典型；七、八句「风波一失所，各在天一隅」由景及理：一旦风波失所，便各在天之一方——「风波」喻世路之险恶，「天一隅」写相距之渺远，把别后的渺茫写得惊心动魄。九、十句「长当从此别，且复立斯须」回环写依恋：从此长久分别，且再站立片刻——「长当」写别之永，「斯须」写留之短，永恒的离别与片刻的滞留相对照，愈显不舍。末二句「欲因晨风发，送子以贱躯」以痴情收束：想要乘风送友同归，却只能以这微贱之躯送你一程——「欲」字写痴愿，「贱躯」写自谦，欲随不得、欲留不能，哀婉动人。全诗层层跌宕，语淡而哀深，是汉人五言深情之作的典范。

Allusions

'Flutter' comes from the 'Discourses of the States' and 'Chu Ci', meaning fearful hesitation, writing the unease at parting. 'Drifting clouds' figure the wandering man, transforming the Songs' 'floating clouds hide the white sun, the wanderer does not return' and the 'Analects' 'ill-gotten wealth and rank are to me as drifting clouds'. 'Morning wind' is the title of a 'Songs of Qin' poem, originally writing longing for a friend; here it borrows for the swift wind and fast horse, wishing to ride the wind to see his friend off - the allusion natural. 'Wind's waves' from the 'Chu Ci, Lamenting the Times' - 'lost my post in the wind's waves' - figures the world's peril and a drifting life. The whole fuses canonical and historical allusion into a parting, showing Han's knack of alluding through feeling.

此诗用典融经史于送别，显汉人「以学问为诗」而不露痕迹之妙。「良时不再」化用《论语》「往者不可谏，来者犹可追」及古语「时不再来」之意，写聚短离遽之无奈；「屏营」出《国语·吴语》「屏营彷徨于山林之中」及《楚辞·九叹》「魂茕茕兮不遑寐，目脉脉兮寤终朝」一系，意为「惶恐彷徨」，写临别不安之态，典雅而贴切；「执手」出《诗经·邶风·击鼓》「执子之手，与子偕老」，本写战友之约，此处以「执手野踟蹰」写临歧之不舍，暗承《击鼓》「死生契阔」的战友深情，用典于无形；「浮云」喻游子飘零，化用《古诗十九首》「浮云蔽白日，游子不顾反」及《论语》「不义而富且贵，于我如浮云」之意，以浮云之倏忽写聚散之无常；「晨风」为《诗经·秦风》篇名，本写「未见君子，忧心钦钦」的思友之情，此处借指疾风或快马，欲乘风送友，用典自然；「风波」语本《楚辞·哀时命》「遭遇风波而失职」，喻世路险恶、身世浮沉，正合李陵「降敌失节」的处境。全诗融经史典实于送别之情，汉人用典之妙，于此可见。

Commentary

Zhong Rong's 'Gradations of Poets' said of the 'old poems (Su and Li)' 'grieving and grieving the four-word, gentle yet beautiful'; Su Shi doubted their authenticity, saying Li Ling's writing is 'shallow and thin, not worth mention'. Yet the 'Wen Xuan' records them, and Xiao Tong took them for Han. Shen Deqian said though the Su-Li poems are doubted as attributed, their feeling is true and they are a peerless tune through the ages. Enough to show their artistic worth is not lessened by the author-doubt; they opened the five-character parting form, blessing later ages.

此诗历代评价不一而价值公认。钟嵘《诗品》评「古诗（含苏李诗）」「文温以丽，意悲而远」，以「温丽」「悲远」四字概括其风格；然苏轼《答刘沔都曹书》则疑其伪，谓「陵之文词，浅陋不足道，而苏武之诗尤不可信」，开启了「苏李诗真伪」的千年公案；《文选》昭明太子仍以「苏李诗」录之，视为汉作。清人沈德潜《古诗源》云「苏李诗虽疑依托，而情至语真，自是千秋绝调」——无论真伪，其艺术价值不因作者之疑而减。近人论汉诗，多以「苏李诗」与《古诗十九首》并称汉文人五言诗的双璧：十九首以「深衷浅貌」胜，苏李诗以「真情实感」胜，同是「惊心动魄，一字千金」之作。此诗在文学史上的价值，在于它把送别这一母题写得既真且深：以「须臾」「斯须」的时间词写离之迫近，以「屏营」「踟蹰」的动作写别之不舍，以「浮云」「风波」的意象写散之无常，以「贱躯」的自谦写情之卑微而深沉——凡此种种，皆为后世送别诗（曹植、王粲、杜甫）提供了范式，是「五言赠别诗之祖」当之无愧。

Prosody

Form Eastern-Han five-character poem (Su-Li style)五言古诗（旧题李陵作，世称「苏李诗」）

Rhyme Five-character, rhymes on instant / hesitate / overtake / corner / moment / body (mainly Yu rhyme, Han-Wei loose)押「臾、蹰、逾、隅、须、躯」六韵，属上古音侯部（今读虞韵为主），一韵到底，韵部圆转悠长，正合送别之情的低回往复。

Tone pattern Not traceable古体五言，不究平仄黏对，以五字句的舒缓节奏写别情；「良时不再至」以「仄平仄仄仄」的拗折起句，音节突兀，如一声长叹，「执手野踟蹰」以「仄仄仄平平」收束，音节低回，如脚步徘徊。

Reading note Five-character parting ancient form, not yet concerned with adhesion; feeling drives the rhyme, opening the parting-poem form.此诗为五言古诗，旧题李陵作，属「苏李诗」一系，是汉文人五言诗的代表作。全诗十二句，章法上可析为四层：起二句直抒聚短离遽之痛，是「叙」；次四句白描临歧之态（屏营、执手、踟蹰），是「景」；中四句以浮云风波写聚散无常、天各一方，是「理」与「情」的交融；末四句回环写依恋（且复立斯须）并以痴情收束（送子以贱躯），是「情」的深化。由叙到景、由景到理、由理到情，层层跌宕，一气贯注。用韵上，全诗一韵到底，押上古侯部韵（臾、蹰、逾、隅、须、躯），韵脚圆转悠长，正合送别之情的低回往复；句法则以「五言—五言」的两两相偶为主，偶有「仰视浮云驰」之类的五字单句领起，顿挫生姿。体制上，此诗兼具汉乐府「感于哀乐」的抒情性与文人五言「深衷浅貌」的含蓄性，其「以动作写心理」「以物象写情思」的手法，直接启发了建安送别诗（曹植《赠白马王彪》七章）与后世赠答诗，钟嵘《诗品》称其「文温以丽，意悲而远」，正可概括此诗的声情与文采。

Line by line

良时不再至，离别在须臾。

Good times come no more; parting is in an instant.

美好的时光不会再来，离别就在片刻之间。

The good time will not come again; the parting is in a moment.

起句直抒破题，是全诗情感的爆发点。「良时不再至」写聚之难得——美好的时光（与故友相聚的时光）不会再来，一个「不再」写尽此生的遗憾：这次相聚，是最后的相聚，再也没有下一次了；「离别在须臾」写离之迫近——离别就在片刻之间，「须臾」写时间之短，短到连告别都来不及从容。两句对举：一写时光之不可逆，一写离别之不可留，聚短离遽之痛，开门见山。此句的妙处在于「以理写情」：「良时不再」本是常理（时间不可倒流），而置于送别之语境中，这常理便成了最残酷的现实——正因为良时不再，这片刻的须臾才如此珍贵而悲伤。起笔不写泪、不写泣，而以十字直陈事实，而沉痛已力透纸背，是汉人五言「以质直写深情」的本色。

The opening. The good time will not come again; the parting is in a moment. The no-return good time and the instant parting set the poem's brevity. To have said the good time would not return and the parting was near would be a summary; the good-time-no-more and the parting-in-an-instant are the summary.

屏营衢路侧，执手野踟蹰。

I linger by the roadside, hand in hand we hesitate in the wild.

在路旁惶恐不安，手牵着手在野外徘徊。

At the crossroads I stand distraught; hand in hand we linger in the wilds.

次二句以动作白描临歧之态，真切如见。「屏营衢路侧」写临别的不安——在十字路口旁惶恐彷徨，「屏营」一词出《国语》《楚辞》，写心神不宁、无所适从之态，一个词写尽临歧之际的慌乱与茫然；「执手野踟蹰」写难分难舍——在野外手牵着手，徘徊不前，「执手」是肢体语言，「踟蹰」是脚步语言，手不愿放、脚不愿走，正是「舍不得」的最直接表达。此二句的妙处在于「以动作写心理」：不写「悲」字「泪」字，而写屏营、执手、踟蹰三个连续的动作，把离别的悲痛全部化为可见的形体语言——读者仿佛看见两个人在路边握着彼此的手，来来回回地走，谁也没有先放开。此二句上承「离别在须臾」的紧迫，下启「仰视浮云」的怅望，是汉诗白描的典范。

The hands. At the crossroads I stand distraught; hand in hand we linger in the wilds. The distraught standing and the held hands are the body's farewell. To have described the parting at the crossroads would be a scene; the distraught roadside standing and the hand-in-hand wild lingering are the scene.

仰视浮云驰，奄忽互相逾。

I gaze up at the drifting clouds, swiftly overtaking one another.

抬头看浮云飞驰，倏忽间互相越过。

I look up at the flying clouds; in a flash they overtake one another.

五、六句由叙转景，是全诗「情景交融」的枢纽。「仰视浮云驰」写抬头所见——天上的浮云急驰而过，这是临歧之际的偶然一瞥，也是不忍直视离别而望向天空的逃避；「奄忽互相逾」写云之聚散——浮云倏忽之间互相超越，忽聚忽散，飘忽不定。此二句的妙处在于「以云喻人」：浮云之驰、之逾，正是人生聚散的写照——友人今日相逢，明日各奔东西，如浮云之聚散无常；而「奄忽」二字更写出聚散之迅疾：刚才还聚在一处，一转眼便已散开，如云之相逾，快得来不及挽留。以景写情、以物喻人，不着一个「悲」字而聚散无常之悲尽在其中，正是汉人「情景交融」手法的典范。此二句还暗含「身不由己」之意：云之驰驱，非云所能自主；人之聚散，非人所能左右，命运的飘忽与无奈，尽在仰视浮云的一瞬间。

The clouds. I look up at the flying clouds; in a flash they overtake one another. The racing clouds overtaking one another are the friends' own futures: together a moment, then past and gone. To have described racing clouds would be scenery; the looked-up flying clouds overtaking each other in a flash are the scenery.

风波一失所，各在天一隅。

Once the storm loses its hold, we are each in a corner of the sky.

一旦风波离散失去依托，便各在天的一方。

Once the storm loses its hold, we are each in a corner of the sky.

七、八句由景及理，写别后之渺茫，是全诗情感的深化处。「风波」喻世路之险恶、命运之无常——人生如行舟，风波一起，便失去依托；「一失所」写失所之轻易——「一」字写只要一次风波，便足以失所，命运的转捩如此之快；「各在天一隅」写相距之渺远——失所之后，各在天的一角，天各一方，永难相见。此二句的妙处在于「以空间写绝望」：「天一隅」三字把别后的距离写到极致——不是百里千里，而是天各一方，此身此世，再无会期；而「风波」一词暗含身世之叹——李陵降胡、苏武归汉，正是「风波失所」的写照：同是汉臣，一降一归，风波之后，各在天隅，这是何等的人事沧桑。由「执手」的眼前之景，到「天一隅」的别后之远，空间的推衍正是情感的深化，汉诗「语淡而哀深」于此可见。

The separation. Once the storm loses its hold, we are each in a corner of the sky. The storm of events (the surrender and the embassy) scatters them to opposite corners. To have said they were scattered far apart would be a statement; the once-the-storm-loses-hold against the each-in-a-corner-of-the-sky is the statement.

长当从此别，且复立斯须。

Long, long is the parting from here; let us stand a moment longer.

从此长久分别，且再站立片刻。

Long is the parting from here; let us stand a moment more.

九、十句回环写依恋，是全诗情感的顿挫处。「长当从此别」写别之永——从此一别，便是长久的分隔，甚至是永诀，「长」字写时间之长，「当」字写不可回避；「且复立斯须」写留之暂——既然如此，且再站立片刻，「且复」写无可奈何中的乞求，「斯须」写片刻之短。两句对举的妙处在于「以长对短」：长久的离别与片刻的滞留相对照，时间的两极在此碰撞——正因为别是「长当」，所以这「斯须」才如此珍贵；正因为只有「斯须」，这「长当」才如此沉重。明知终须一别，却还要「立斯须」，正是「执手野踟蹰」的延续——能多留一刻是一刻，能多看一眼是一眼，这「且复」二字写尽临别的依依不舍。此二句与首句「离别在须臾」遥相呼应：开篇写须臾之迫，此处写斯须之恋，时间的紧迫与留连的痴情首尾相衔，是汉诗章法回环的典范。

The delay. Long is the parting from here; let us stand a moment more. The long parting against the brief extra moment is the poem's held breath. To have said they lingered a moment longer would be a detail; the long-from-here parting against the let-us-stand-a-moment-more is the detail.

欲因晨风发，送子以贱躯。

I would ride the morning wind and send you with this humble body.

想要乘着晨风出发，以我这微贱之躯送你一程。

I would set out on the morning wind and send you off with this worthless body.

末二句以痴情收束，是全诗最哀婉处。「欲因晨风发」写痴愿——想要乘着晨风（快马）出发，随你一同归汉，「晨风」用《诗经·秦风·晨风》思友之典，此处借指疾风快马，一个「欲」字写出内心深处的渴望：多么想随你同归，回到故国；「送子以贱躯」写现实的无奈——却只能以我这微贱之躯送你一程，「贱躯」自谦，写尽降将的卑微与自惭：我的身子已是不洁之身、失节之躯，不配归汉，只配在送别时送你一程。此二句的妙处在于「以痴写痛」：越是写「欲」之痴愿，越见「不能」之痛；「贱躯」二字更是全诗最沉痛处——李陵自贬为「贱」，正因他降胡失节，自觉无颜归国，送故友归汉而自己永留异域，这既是别情，更是身世之悲。欲随不得、欲留不能，痴情与悲慨交织，令人肠断。

The wish. I would set out on the morning wind and send you off with this worthless body. The fantasy of riding the wind after the friend, and the self-called worthless body (the surrendered general's shame), close the poem. To have said he wished to follow the friend home would be a wish; the morning-wind departure and the worthless body seeing him off are the wish.

Study

Word focus

须臾 An instant. Set against 'good times come no more', it stresses the suddenness of parting, the brief meeting and sudden leave, deepening the regret. 「离别在须臾」之「须臾」，意为「片刻、极短的时间」，是全诗时间意识的起点。「须臾」一词的妙处在于「以短写痛」：离别不是遥遥无期，而是就在片刻之间——「须臾」越短，离别的迫近感越强，聚短离遽之痛越深。此词还与全诗的时间链条相勾连：首句「须臾」（片刻之后即别）、后文「斯须」（且再立片刻）、「长当」（从此长久分别），须臾、斯须、长当三个时间词构成了「短—短—长」的节奏，片刻的相守与长久的相隔相对照，惜别的深情在时间的张力中层层加深。「须臾」出《礼记·中庸》「道也者，不可须臾离也」及《庄子》「吾生也有涯」的「须臾」用法，本为佛道言时间之短的常用词，汉人引入诗中以写离情，遂成后世送别诗的时间词典范（如杜甫「人生不相见，动如参与商」的「动如」），是炼字「以一字（词）写尽时间」的范例。

屏营 Fearful hesitation. Writes the parting mood; without saying sorrow outright, the fear shows itself - implicit and measured. 「屏营衢路侧」之「屏营」，意为「惶恐彷徨、心神不宁」，是全诗写临别心理的传神词。「屏营」一词本出《国语·吴语》「屏营彷徨于山林之中」，又见《楚辞·九叹》「魂茕茕兮不遑寐」，本写心神无所依归之态；此处写临歧之际的「屏营」——站在十字路口，四顾茫然，心乱如麻，不知该走还是该留，正是离别者典型的心理状态。此词的妙处在于「以词写态」：「屏营」二字兼有「屏」（屏息敛气）与「营」（营营扰扰）的意味，写尽临别时呼吸急促、心绪纷乱的情态，比直写「悲」「惶」更见层次。全诗写临别，前用「屏营」写心乱，后用「执手踟蹰」写身动，心与身、内与外互相印证，把离别者的慌乱与不舍写得真切如见。汉人五言以「屏营」入诗，典雅而不失真率，正是「文温以丽」风格的体现。

贱躯 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「送子以贱躯」之「贱躯」，意为「微贱的身躯」，是全诗最沉痛的自称。「贱躯」本是古人自谦之词（如「贱体」「微躯」），而置于李陵之口，其分量远过于寻常自谦：李陵降胡失节，自认为「贱」——不是身份的微贱，而是人格的自惭，这微贱之躯不配归汉、不配与苏武同行，只配在送别时送他一程。「贱躯」二字与「送子」对举，尤为动人：以如此「贱」之躯来送如此「贵」之友（苏武持节不屈，是汉廷的英雄），自惭与敬爱交织，降将的悲哀与故友的深情在此相撞。此词还暗含「身不由己」之意：欲以贱躯相随而不得，欲以贱躯相送而只能至此——躯虽贱而情不贱，痴情与自惭互为表里，是全诗情感的至深点，也是「苏李诗」所以动人的关键之一。