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明 Ming · 诗 Poem

易水歌

Song of the Yi River

陈子龙

Chen Zilong

咏史historical 壮志lofty ambition

赵北燕南之古道，水流汤汤沙浩浩。
送君迢遥西入秦，天风萧条吹白草。
车骑衣冠满路旁，骊驹一唱心茫茫。
手持玉觞不能饮，羽声飒沓飞清霜。
白虹照天光未灭，七尺屏风袖将绝。
督亢图中不杀人，咸阳殿上空流血。
可怜六合归一家，美人钟鼓如云霞。
庆卿成尘渐离死，异日还逢博浪沙。

The old road north of Zhao and south of Yan; the waters surge, the sands stretch vast.
I see you off, far, far west into Qin; the sky-wind is bleak, blowing the white grass.
Carts, riders, robes and caps crowd the roadside; one strain of the parting song, and the heart is lost.
Cup of jade in hand, I cannot drink; the feathered note rings, flying like clear frost.
A white rainbow spans the sky, its light not yet gone; the seven-foot screen, the sleeve about to break.
In the map of Dukang no man was slain; in Xianyang's hall the blood flowed in vain.
Pity that the six realms returned to one house; beauty, bells and drums, like cloud and rosy dawn.
Qingqing turned to dust, Jianli is dead; another day we shall meet again at Bolangsha.

Listen

Meaning

The old road north of Zhao and south of Yan; the river runs vast, the sands boundless. Seeing you off far west into Qin; the sky-wind desolate blows the white grass. Carts, riders, robes and caps fill the roadside; the parting song rises and the heart is bewildered. Jade cup in hand, one cannot drink; the feathered tune rings like flying clear frost. A white rainbow lights the sky, the scene not yet spent; the seven-foot screen, the sleeve about to snap. In the Dukang map no man was killed; in Xianyang's hall blood flowed in vain. Pity that the six directions merged into one house; beauties, bells and drums like cloud and rosy glow. Qingqing became dust, Jianli died; another day we meet again at Bolangsha.

赵国以北、燕国以南的古老驿道，河水奔流浩荡，沙石无边无际。送君远远地向西入秦，天风萧瑟吹动白草。车马衣冠挤满路旁，骊驹歌起心中茫茫。手捧玉杯却饮不下去，羽声飒沓如飞清霜。白虹贯天光景未灭，七尺屏风衣袖将断。督亢地图中未能刺杀秦王，咸阳殿上徒然流血。可叹六合终归一统，美人钟鼓如云似霞。庆卿化尘渐离身死，他日还遇博浪沙中张良。

Appreciation

This poem writes history in a seven-character song-form, its lines of uneven length, its rhymes shifting with the feeling, forming a generous and desolate rhythm. It opens with 'north of Zhao and south of Yan' and 'the waters surge, the sands stretch vast', spreading space with reduplicated words and a soaring momentum. In the middle, 'Cup of jade in hand, I cannot drink; the feathered note rings, flying like clear frost' writes the warrior's inner tremor through detail, strength and tenderness blended. The latter half, 'A white rainbow spans the sky' and 'the seven-foot screen, the sleeve about to break', uses hyperbole to picture the breathtaking attempt on the king. It closes with 'another day we meet again at Bolangsha', opening a new stroke from disappointment, leaving hope within despair; the structure rises and falls, the aftertaste long.

【白话串讲】陈子龙写荆轲刺秦：“送君迢遥西入秦，天风萧条吹白草”。“手持玉觞不能饮，羽声飒沓飞清霜”——众人举杯，却喝不下。“白虹照天光未灭”——易水送别，壮士一去不返。陈子龙写荆轲，也是在写反清复明的自己。【意象与手法】诗以七言歌行写史，句式长短错落，韵脚随情转换，形成慷慨苍凉的节奏。起首『赵北燕南』『水流汤汤沙浩浩』以叠字铺陈空间之阔与气势之盛；中间『手持玉觞不能饮，羽声飒沓飞清霜』以细节写壮士内心震荡，刚柔相济；后半『白虹照天』『七尺屏风袖将绝』用夸张意象状刺秦惊心动魄；结以『异日还逢博浪沙』宕开一笔，于失望中留希望，章法跌宕，余味悠长。【情感与主旨】此诗作于明末清初易代之际，陈子龙为复社领袖、抗清志士。易水送别本为荆轲刺秦事，陈子龙身处甲申国变之后，借此题重咏壮士赴难之悲，实则以荆轲自拟，抒发明知不可为而为之的抗清决志与殉国情怀，悲歌慷慨，沉痛异常。【名句点睛】此诗常作明代歌行与咏史专题之例。赏析要点：①借古抒怀的寄托手法，以荆轲刺秦写易代忠愤；②歌行体的转韵与节奏；③『异日还逢博浪沙』结句的深意。

Background

This poem was written at the turn of the Ming and Qing, when Chen Zilong was a leader of the Restoration Society and a resistance fighter against the Qing. The Yi-shui farewell is originally the tale of Jing Ke's attempt on the King of Qin; the Strategies of the Warring States and the Records of the Grand Historian tell how before entering Qin, Jing Ke parted from Crown Prince Dan at Yi River, Gao Jianli struck the zhu, and Jing Ke sang 'the wind so chill, the Yi waters cold'. Chen Zilong, after the 1644 catastrophe and the fall of the Southern Ming, re-sings this theme of the warrior's going to his doomed task, in truth likening himself to Jing Ke, to voice his resolve to resist the Qing though he knew it hopeless, and his devotion to die for the fallen state - a generous, grieving song, intensely sorrowful.

此诗作于明末清初易代之际。陈子龙（1608—1647），字卧子，号大樽，松江华亭（今上海松江）人，明末著名诗人、词人，复社与几社领袖。崇祯年间中进士，南明时官至兵科给事中。甲申之变后，清军南下，陈子龙起兵抗清，事败被捕，投水殉国。易水送别本为荆轲刺秦之事：《战国策》《史记》载，荆轲入秦前于易水与燕太子丹诀别，高渐离击筑，荆轲和歌『风萧萧兮易水寒，壮士一去兮不复还』，士皆垂泪涕泣。陈子龙身处国破家亡之际，借此题重咏壮士赴难之悲，实则以荆轲自拟：明知刺秦难成，亦明知复明无望，而毅然赴之，抒发明知不可为而为之的抗清决志与殉国情怀。全诗以古人之酒杯浇一己之块垒，把历史英雄的悲歌化为时代志士的心声，是明清易代之际遗民文学中咏史抒怀的典范。此诗是陈子龙殉国前的心声之作，与夏完淳《别云间》等并为明清易代志士的绝唱，是研究遗民文学与易代士人精神的重要文本。

Art

The poem writes history in a seven-character song-form, its lines of uneven length, its rhymes shifting with the feeling, forming a generous and desolate rhythm. It opens with 'north of Zhao and south of Yan' and 'the waters surge, the sands stretch vast', spreading space with reduplicated words and a soaring momentum. In the middle, 'Cup of jade in hand, I cannot drink; the feathered note rings, flying like clear frost' writes the warrior's inner tremor through detail, strength and tenderness blended. The latter half uses hyperbole - 'A white rainbow spans the sky', 'the seven-foot screen, the sleeve about to break' - to picture the breathtaking attempt. It closes with 'another day we meet again at Bolangsha', opening a fresh stroke from disappointment, leaving hope within despair; the structure rises and falls, the aftertaste long.

诗以七言歌行写史，句式长短错落，韵脚随情转换，形成慷慨苍凉的节奏。起首『赵北燕南之古道，水流汤汤沙浩浩』以叠字铺陈空间之阔与气势之盛，把读者带入易水送别的苍茫场景；『送君迢遥西入秦，天风萧条吹白草』写送别之景，天风萧瑟、白草摇落，气氛悲凉。『手持玉觞不能饮，羽声飒沓飞清霜』以细节写壮士内心震荡：玉觞在手而不能饮，羽声飒沓而如霜飞，刚柔相济，壮士的决绝与悲慨尽在其中。后半『白虹照天光未灭，七尺屏风袖将绝』用夸张意象状刺秦之惊心动魄；『督亢图中不杀人，咸阳殿上空流血』写刺秦失败，惋惜沉痛；结以『庆卿成尘渐离死，异日还逢博浪沙』宕开一笔，于失望中留希望，言张良博浪沙椎秦继荆轲之志，复仇之念代代不绝。全诗由送别而刺秦而事败而遗志，章法跌宕，悲壮苍凉，正是明清易代歌行的代表作。全诗由送别而刺秦而事败而遗志，章法跌宕，悲壮苍凉，正是明清易代歌行的代表作，也是陈子龙沉雄诗风在咏史题材中的集中体现。

Allusions

The poem draws mostly on the Records of the Grand Historian's Biographies of Assassins and the Strategies of the Warring States, Yan section. The Yi-shui farewell, the 'feathered note', and the 'parting song' all come from Jing Ke's tale; 'Dukang map' is the map of the Dukang district of Yan, hiding a dagger to present to the King of Qin; 'the seven-foot screen' uses the tale of the King of Qin drawing his sword to cut down Jing Ke, circling the pillar, the screen shielding him; 'Qingqing' is Jing Ke (the men of Wei called him Qingqing), 'Jianli' is Gao Jianli, later killed after failing to assassinate the king with his zhu; 'Bolangsha' refers to Zhang Liang sending a strong man to strike at the First Emperor of Qin, meaning the spirit of revenge never dies. The allusions are dense yet natural, an unbroken hidden vein.

诗中多本《史记·刺客列传》与《战国策·燕策》，用典密集而自然，暗脉贯通。『易水』送别、『羽声』（荆轲变徵之声转为慷慨羽声）、『骊驹』（《骊驹》为送别之歌，此处写送行歌起）皆出荆轲故事；『督亢图』指燕国督亢（今河北涿州一带）之地图，荆轲以献图为名，藏匕首于图中以刺秦王；『七尺屏风』用荆轲刺秦时秦王绕柱而走、荆轲掷匕中柱的故实，『袖将绝』写秦王断袖脱身；『白虹照天』用荆轲精诚感天、白虹贯日之说。『庆卿』即荆轲，本卫人，卫人称之庆卿；『渐离』即高渐离，荆轲之友，善击筑，荆轲死后，高渐离以铅置筑中击秦始皇，不中被杀。『博浪沙』指张良遣力士以铁椎狙击秦始皇于博浪沙之事，虽误中副车，而其志不灭。诸典层层叠加，把荆轲刺秦的完整故事与后续复仇的谱系贯通，正是陈子龙以史入诗、借古抒怀的功力所在。诸典层层叠加，把荆轲刺秦的完整故事与后续复仇的谱系贯通，正是陈子龙以史入诗、借古抒怀的功力所在，也使全诗兼具史诗的规模与悲剧的深度。

Commentary

Chen Zilong's style is deep, elegant, grave and majestic; this piece especially shows its backbone. Critics say he writes loyal wrath in the song-form, reaching back to Li Bai and Du Fu. The last two lines, carrying Jing Ke's resolve through Zhang Liang's Bolangsha, are not mere history but a confession of his own heart. Yet some hold it too generous, slightly over-direct. In sum, living through the dynastic upheaval, he poured out a grieving song; when feeling is true, the writing arrives, and one need not measure it by restraint. To read this poem one must know the man and his age, then every word is blood and tears.

陈子龙诗风渊雅沉雄，此篇尤见风骨。论者谓其以歌行写忠愤，上追太白、子美：太白以歌行写豪放，子美以歌行写沉郁，陈子龙则合豪放沉郁于忠愤之中，此诗慷慨悲歌，正是其风格的代表。末二句以张良博浪沙承荆轲之志，非徒咏史，实自明心曲——荆轲刺秦虽败，而张良继之；抗清之志虽一时受挫，而遗民之心不死，正是陈子龙殉国前的心声。然亦有评其过于慷慨、稍伤直露者，以为不及盛唐歌行之蕴藉。要之，身处鼎革之际，发为悲歌，情真则文至，不必以蕴藉绳之；读此诗当知其人其世，方悟字字皆血泪。此诗在明清易代文学中地位重要，与夏完淳《别云间》等并为遗民志士的心声之作，是研究明清之际士人精神的重要文本。此诗在明清易代文学中地位重要，其悲歌慷慨的风骨与借古明志的用心，至今仍能震撼读者，是理解明末士人精神世界不可多得的篇章。

Prosody

Form Seven-character song-form (ge-xing), chiefly seven-character with some mixed-length lines, free level-oblique shifts and multiple rhyme changes, not following regulated-verse rules - an ancient-style song fit for generous grieving song七言歌行（古体）

Rhyme Free shifting rhymes (xiao-hao, yang-tang groups among others)转韵体：首四句道、浩、草相押（皓部）；次四句旁、茫、霜相押（阳部）；又四句绝、血相押（屑部）；末四句霞、沙相押（麻部），四换韵，平仄交替。

Tone pattern Ancient-style; not bound by the strict four-tone rules of regulated verse古体歌行，不拘近体平仄，以七言为主，两句一韵、四句一转，以转韵换气，音节随情感起伏，慷慨苍凉。

Reading note Chen Zilong's song on Jing Ke, a grievous song of dynastic change.此诗为七言歌行，十六句，属古体，不遵近体格律，而以转韵为章法枢纽，是歌行体抒写慷慨悲歌的典型。全诗四句一转韵，凡四换韵：首四句押皓部（道、浩、草），写易水送别之景，韵字开阔，声情苍茫；次四句押阳部（旁、茫、霜），写送行宴饮之歌，韵字悠长，声情悲壮；又四句押屑部（绝、血），写刺秦之惊心动魄与事败之惨，入声短促，声情急促；末四句押麻部（霞、沙），写志士凋零与遗志不绝，韵字开合，声情悲凉中见壮烈。四段转韵，正合情感由送别、宴饮、事败到遗志的推进，一韵一境，一境一情，正是歌行『以韵分段、以气驭声』的章法。句式上全为七言，间以『可怜』『异日』等虚词领起，破板滞而生波折；叠字（汤汤、浩浩）与对仗（白虹照天对七尺屏风）并用，音节铿锵而气势磅礴。此诗声情与辞情高度统一，慷慨苍凉，是明代歌行中上追盛唐气象的杰作，也是研究陈子龙诗风与明清易代诗歌的重要文本。

Line by line

赵北燕南之古道，水流汤汤沙浩浩

The old road north of Zhao and south of Yan; the waters surge, the sands stretch vast.

赵国以北、燕国以南的古老驿道，河水奔流浩荡，沙石无边无际。

The old road north of Zhao and south of Yan; the waters rush on, the sands stretch vast.

起句以铺陈之笔写易水送别的场景，是全诗气势的起点。『赵北燕南之古道』写地点：易水在燕之南、赵之北，是燕国送荆轲入秦的出发之地，『古道』二字写尽历史之深，仿佛这条古道上已走过无数悲壮的行人；『水流汤汤沙浩浩』写景象：『汤汤』叠字状河水奔流浩荡之势，『浩浩』叠字写沙石无边无际之貌，两个叠字一写水、一写沙，把易水之滨苍茫辽阔的景象铺展开来，气势磅礴。两句一写地、一写景，以空间的辽阔为荆轲的出场铺设苍茫的背景，正是歌行体大开大阖的起笔。此起句之妙，在以叠字造声势：汤汤、浩浩，音节铿锵，如见易水奔流、沙风扑面，历史的悲壮与自然的苍茫在此交融，为全诗定下慷慨悲凉的基调。

The road. The old road north of Zhao and south of Yan; the waters rush on, the sands stretch vast. The old road and the rushing waters and vast sands are the opening. To have opened on the old road would be an opening; the old-road-north-of-Zhao-and-south-of-Yan-the-waters-rush-on-the-sands-stretch-vast is the opening.

手持玉觞不能饮，羽声飒沓飞清霜

Cup of jade in hand, I cannot drink; the feathered note rings, flying like clear frost.

手捧玉杯却饮不下去，羽声飒沓如飞清霜。

He holds the jade cup but cannot drink; the yu notes come rushing, flying like clear frost.

此联写送别宴上壮士的内心震荡，是全诗最见神采的一笔。上句『手持玉觞不能饮』写动作：送别之宴，玉觞在手，却饮不下去，『不能饮』三字写尽壮士心中翻涌的情绪——不是不能饮，而是悲慨填胸，酒入愁肠更添悲，一个细节见出荆轲赴死的决绝与沉重；下句『羽声飒沓飞清霜』写歌声：高渐离击筑，荆轲和歌，声入变徵之悲，复转慷慨羽声，『飒沓』写声之急促密集，如万马奔腾，『飞清霜』以霜写声，歌声如霜雪纷飞，寒气逼人，音乐的力量被写得如在目前。两句一静一动、一酒一声，以具体细节写壮士内心：玉觞不能饮是压抑，羽声飞清霜是爆发，正是司马迁《刺客列传》笔法的诗化再现，壮士的悲慨与决绝尽在此十四字中。

The cup. He holds the jade cup but cannot drink; the yu notes come rushing, flying like clear frost. The jade cup he cannot drink and the yu-notes-flying-frost are the moment. To have held the cup he could not drink would be a moment; the he-holds-the-jade-cup-but-cannot-drink-the-yu-notes-come-rushing-flying-like-clear-frost is the moment.

督亢图中不杀人，咸阳殿上空流血

In the Dukang map he did not kill a man; in the Xianyang hall the blood flowed in vain.

督亢地图中未能刺杀秦王，咸阳殿上徒然流血。

In the Dukang map he killed no one; in the Xianyang hall the blood was shed in vain.

此联写刺秦失败，是全诗情感由激昂转入沉痛的转折。上句『督亢图中不杀人』写刺秦之失手：荆轲献督亢地图，图穷匕见，而一击不中，『不杀人』三字以平淡之语写最惨痛的失败，见出命运的残酷与努力的徒劳；下句『咸阳殿上空流血』写事败之惨：咸阳殿上，荆轲血溅当场，『空流血』三字写尽牺牲的无效——血是流了，而秦王未死，燕国终亡，一个『空』字饱含惋惜与悲愤。两句以对仗写悲剧：图中与殿上，本是大功将成的两处舞台，却都以失败告终，『不杀人』与『空流血』对举，努力与结局的反差触目惊心。此联之妙，在以极冷静的叙述写极惨痛的史实，不着一悲字而悲情自深，正为末联『异日还逢博浪沙』的翻笔蓄势，也是陈子龙借荆轲写自身抗清失败的沉痛自况。

The failure. In the Dukang map he did not kill a man; in the Xianyang hall the blood flowed in vain. The map that killed no one and the hall where blood flowed in vain are the failure. To have shed the blood in vain would be a failure; the in-the-Dukang-map-he-did-not-kill-a-man-in-the-Xianyang-hall-the-blood-flowed-in-vain is the failure.

庆卿成尘渐离死，异日还逢博浪沙

Qingqing has turned to dust, Jianli is dead; another day we shall meet again at Bolangsha.

庆卿化尘渐离身死，他日还遇博浪沙中张良。

Qingqing has become dust, Jianli is dead; another day we will meet again at Bolang Sand.

末联宕开一笔，于失望中留希望，是全诗情感的升华与归宿。上句『庆卿成尘渐离死』写刺秦志士的相继凋零：庆卿（荆轲）化尘，高渐离继刺秦王亦死，复仇之路，牺牲相继，『成尘』『死』二词写尽壮士的悲凉结局；下句『异日还逢博浪沙』陡然翻出希望：荆轲虽死，而张良于博浪沙椎击秦始皇，复仇之志代代不绝，『还逢』二字写志士前仆后继，虽百折而不回。此联之妙，在以历史的延续化解眼前的绝望：荆轲之志不因失败而终，张良继之，而张良之后，自有继张良者，复仇的谱系绵延不绝，正是陈子龙借古人之事自明心志——抗清虽败，遗民之志不死，自有后来者继之。全诗至此戛然而止，于悲凉中见壮烈，于绝望中见希望，正是易代志士心声的巅峰表达。

The meeting. Qingqing has turned to dust, Jianli is dead; another day we shall meet again at Bolangsha. The Jing Ke turned to dust and Gao Jianli dead and the Bolangsha meeting are the hope. To have looked forward to another Bolangsha would be a hope; the qingqing-has-turned-to-dust-jianli-is-dead-another-day-we-shall-meet-again-at-bolangsha is the hope.

Study

Word focus

汤汤 'The waters surge' - the reduplicated word paints the rushing, boundless current, opening the scene with vast momentum and setting the generous, desolate tone. 『水流汤汤沙浩浩』之『汤汤』，是起句造势的叠字，写尽易水奔流的气势。『汤汤』本形容水势浩大奔流之貌，如《尚书》『汤汤洪水方割』、《诗经》『汶水汤汤』，此处以之写易水：送别之地，河水奔流，波涛滚滚，一个叠字写尽水势之盛，也为荆轲的出场铺设了苍茫雄壮的背景。此字之妙，在以声写势：『汤汤』二字音节铿锵，读来如闻水声，如见波涌，与下句『浩浩』相配，一水一沙，声势浩大，把易水之滨的苍茫景象写得扑面而来。同时，『汤汤』之水也暗含一去不返之意：易水汤汤，送行人去，正如《易水歌》『风萧萧兮易水寒』的悲壮，水势愈盛，别情愈悲，叠字之中自有历史的回响，正是歌行体以叠字造声势、以声势写悲壮的典型笔法。

飒沓 A key expression in the poem. Read it as an image, mood, or grammar point in context. 『羽声飒沓飞清霜』之『飒沓』，写尽羽声的急促与悲壮，是全诗状声的妙笔。『飒沓』形容声音密集急促、纷至沓来之貌，如李白『银鞍照白马，飒沓如流星』写马蹄之疾，此处移以写乐声：高渐离击筑、荆轲和歌，声入慷慨羽声，音节短促密集，如千军万马踏地而来，『飒沓』二字写尽乐声的力度与节奏。此词之妙，在以动写声：乐声本无形，着一『飒沓』，便有了奔涌的动势，仿佛能看见歌声激荡、筑声如雨；下句『飞清霜』更以霜雪写声之寒，飒沓之声与清霜之影相叠，声与色交融，把悲壮的音乐写得可感可触。同时，『飒沓』也暗写荆轲内心的激荡：歌声愈急，心绪愈烈，正是『风萧萧兮易水寒』的又一重诗化，一词而声情毕现，是陈子龙炼字以传神的名笔。

督亢 'Dukang' names the Yan district whose map hid the assassin's dagger; the word carries the whole fatal plot, dense allusion in two syllables, the hinge of the historical reference. 『督亢图中不杀人』之『督亢』，是刺秦故事的关键词，一字而牵出全段史实。『督亢』为燕国最富庶的地区（今河北涿州、固安一带），荆轲以献督亢地图为名，得近秦王之身，图穷匕见，然一击不中，功败垂成。此词之妙，在以地名写计谋：督亢是燕国的心头肉，献出它，方能取得秦王的信任，方能接近刺杀的时机，一个地名背后，是燕太子丹的孤注一掷与荆轲的决绝赴死；而『图中不杀人』五字紧承，图是献了，人却未杀，计谋的精心与结局的惨淡形成强烈反差，惋惜之情溢于言表。同时，『督亢』与下句『咸阳』对举，一为燕地，一为秦都，两地相对，正见这次刺杀跨越千里的悲壮行程与最终功亏一篑的结局，一词而史事、情感、章法三者兼备，正是咏史诗炼字以驭史的本领。

易水歌