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七律·长征

The Long March (Seven-Part Octet)

毛泽东

Mao Zedong

名篇Canonical Masterpiece 长征The Long March 革命Revolution 英雄主义Heroism

红军不怕远征难，万水千山只等闲。
五岭逶迤腾细浪，乌蒙磅礴走泥丸。
金沙水拍云崖暖，大渡桥横铁索寒。
更喜岷山千里雪，三军过后尽开颜。

The Red Army fears not the hardship of the long march; ten thousand rivers and mountains are treated as nothing.
The Five Ranges wind and swell but rise only as tiny waves; the Wumeng mass, huge and heavy, rolls past like mud balls.
The Jinsha River beats against cloud-high cliffs and the water is warm; the Dadu bridge spans the river and its iron chains are cold.
Still gladdened by the snows of Min, a thousand li across, when the three armies passed and not one face was unbright.

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Meaning

Written as the Red Army's Long March was coming to an end, the octet sums up the whole retreat in eight lines. Nothing is allowed to be difficult: the rivers and mountains of two hundred and fifty thousand li are “merely” uneasy, and the great ranges that a traveller would call enormous are reduced to waves and to mud balls. Two episodes are given as emblematic — the crossing of the Jinsha, the seizing of the Dadu bridge — one warm and one cold, one crafty and one bloody. The poem closes where it began, with the army itself: it was not afraid, and now it smiles.

红军不怕远征的艰难，万水千山在红军眼里只当作平平常常的小事。绵延起伏的五岭山脉，在红军脚下不过是腾起的细小波浪；气势磅礴的乌蒙山，在红军脚下也不过是滚动的泥丸。金沙江的急流拍打着高耸入云的悬崖，激起的浪花温暖人心；大渡河上的铁索桥横跨江面，铁索透着寒意。更让全军欣喜的是岷山千里白雪，三军翻越之后，人人都笑逐颜开。

Appreciation

[Plain Paraphrase] The Red Army does not fear the distance; every river and mountain counts for nothing. The five ranges are only small waves lifting, the Wumeng mountains only mud balls rolling. The Jinsha beats on high cliffs and feels warm, the Dadu bridge across the river is cold with iron. The poem ends with the Min mountains snowbound and the whole army's faces bright. [Structure] The octave is framed by two couplets that state the thesis — difficulty against triviality, then the coming of joy — and filled by two couplets of evidence, one on mountains, one on rivers. The middle couplets are history arranged as parallel construction: five ranges against the Wumeng, Jinsha against Dadu, warm against cold, cloud against iron. [Imagery] The images are the geography of the march itself, and the strangeness of the poem is that the geography is there to be dismissed. Mountains become waves and mud; cliffs become the weather of a feeling; a bridge becomes a temperature. Under the famous comparisons the reader recognises the real places — the Five Ranges on the Hunan-Guangdong border, the Wumeng in Yunnan-Guizhou, the Jinsha, the Dadu, the Min — and the effect of the poem is to have an entire army pass over them in twenty-eight words, without ever admitting that they were hard.

【白话串讲】毛泽东写《七律·长征》：“红军不怕远征难，万水千山只等闲”。“五岭逶迤腾细浪，乌蒙磅礴走泥丸”——“金沙水拍云崖暖，大渡桥横铁索寒”——“更喜岷山千里雪，三军过后尽开颜”——他写长征的壮举。【意象与手法】此为七言律诗，章法严整而气势恢弘。全诗以「远征难」立骨，而以「只等闲」破之，一难一闲，开篇即定英雄主义基调；颔联颈联工整对仗，以五岭、乌蒙对金沙、大渡，山与水分列，暖与寒对照；「腾细浪」「走泥丸」以夸张之笔写山，化险峻为寻常，最见举重若轻的胸襟。结构上首尾呼应，由「不怕」起，以「尽开颜」结，乐观精神贯注全篇。【情感与主旨】主旨是革命英雄主义与乐观主义精神：以「不怕」写红军的钢铁意志，以「等闲」「细浪」「泥丸」写藐视困难的豪情，以「暖」「寒」「更喜」「尽开颜」写战胜艰险后的欢欣。全诗将一次伟大的战略转移升华为一首壮丽的革命史诗，是长征精神最凝练的诗意表达。【名句点睛】「红军不怕远征难，万水千山只等闲」以十四字总括长征，气魄之大千古罕有，为全篇诗眼；「更喜岷山千里雪，三军过后尽开颜」以「更喜」「尽开颜」写胜利在望的欢欣，成为长征胜利的经典画面，与首联遥相呼应，千古传诵。

Background

Mao Zedong wrote the poem in October 1935, as the Red Army neared the end of the Long March. The central Red Army had begun its retreat in October 1934 after the failure of its fifth campaign against the encirclement, and the march that followed — crossing the xiang River, four crossings of the Red Water, the quick passage of the Jinsha, the storming of the Dadu bridge and the taking of the Dingqiao bridge, the snow mountains and the grass marshes — covered some twelve thousand miles in a year. In September 1935 the army crossed the Min mountains, and in October it reached Wujiayan in northern Shaanxi. The places named in the poem are the real landmarks of that road, and the poem's first publication, in the same month, was followed by its inclusion in the collected poems. It was written in a country at war and against a background of national crisis, and its tone is the confidence that the difficulty would be answered.

《七律·长征》作于1935年10月，毛泽东率中央红军长征即将胜利之时。1934年10月，中央红军第五次反「围剿」失败，被迫撤离中央苏区，开始战略转移，史称长征。长征途中，红军血战湘江、四渡赤水、巧渡金沙江、强渡大渡河、飞夺泸定桥、翻雪山、过草地，行程两万五千里，历经千难万险。1935年9月，红军翻越岷山，10月到达陕北吴起镇，长征胜利在望，毛泽东在跨越岷山、即将结束长征之际，回顾一年来的峥嵘岁月，以澎湃的诗情写下此诗。诗中提到的五岭（大庾岭、骑田岭、萌渚岭、都庞岭、越城岭，位于湘赣粤桂边境）、乌蒙山（云贵高原）、金沙江（长江上游，红军巧渡之处）、大渡河（红军强渡安顺场、飞夺泸定桥之处）、岷山（四川北部雪山，红军翻越的最后一座大雪山），皆是长征途中的真实地名，诗人以诗笔将它们一一收入，使一次军事行动升华为民族精神的史诗。此诗最初发表于1935年10月，后收入《毛泽东诗词》，是毛泽东诗词中流传最广、最富盛名的篇章之一。时代背景上，1935年正值民族危机深重、革命处于低潮之际，此诗以「红军不怕远征难」的豪迈声音，宣告了中国共产党及其领导下的红军不可战胜的精神力量，成为鼓舞全民族抗战的号角。

Art

The poem's method is to measure everything against the one word “merely,” and the whole structure is aimed at that word. In the first couplet the claim is made and immediately given its terms: danger and triviality, side by side, so that the triviality reads as an act of will. The second couplet then applies the claim to mountains, the third to rivers, and the two are built as parallel couplets with a strict counterpoint — five ranges against the Wumeng, winding against massive, waves against mud balls, then the river against the bridge, cliff against chains. The two opening and closing words carry the argument: “not fear” proposes, “not one face unbright” performs. The language is unusually plain for a regulated octave, and the five place names run on unbroken like a list of what the army did; the effect is that of a march, in which each name is passed and left behind.

此诗为七言律诗，而艺术上最大的特色是「以豪放写艰险、以寻常化壮丽」。其一，章法之整：八句四联，首联总领全篇，「红军不怕远征难，万水千山只等闲」以一难一闲立骨；颔联写山——「五岭逶迤腾细浪，乌蒙磅礴走泥丸」；颈联写水——「金沙水拍云崖暖，大渡桥横铁索寒」；尾联写喜——「更喜岷山千里雪，三军过后尽开颜」，由总到分、由山水到人，层次分明，首尾呼应。其二，意象之奇：五岭「逶迤」绵延千里，在诗人笔下却只是「腾细浪」；乌蒙「磅礴」横亘天际，在诗人脚下却只是「走泥丸」，以小喻大、以动写静，将山写活、将险写平，正是「举重若轻」的浪漫主义笔法；「云崖暖」写金沙江畔红军将士心中的暖意，「铁索寒」写泸定桥铁索的森寒与战斗的险恶，一暖一寒、一虚一实，冷暖对照中见出革命者的从容。其三，手法之富：夸张（细浪、泥丸）、对比（暖、寒）、拟人（腾、走）、色彩（雪、云）并用，而皆归于一「等闲」的乐观基调。其四，语言之精：全诗无一字言苦言难言死，而艰苦卓绝尽在言外，五岭、乌蒙、金沙、大渡、岷山五个地名一气贯下，如连珠炮发，节奏铿锵，气脉雄健。此诗以传统七律的严整形式，写现代革命战争的壮阔内容，形式与内容浑然一体，是毛泽东诗词「旧瓶装新酒」而推陈出新的典范，也是现代旧体诗中最成功的篇章之一。

Allusions

The poem is thick with borrowed language. “Ten thousand rivers and mountains” continues a line of classical usage, from the Tang verse of parted friends to the journey poems of Du Fu, but the word “complacently” here is a wholly new note: it turns the old phrase of distance into a phrase of contempt for distance. “Mud balls rolling” descends from the Han account of balls rolling down a slope, used to describe the speed of events, and is reborn here as the Wumeng mountains underfoot; “waves lifting” imagines the ranges as sea. The places themselves carry associations that the poem reverses: the ranges were the exile lands of the Tang poets, the Jinsha and the Dadu were the “path of Shu” that Li Bai called harder than heaven, and the Min snow evokes the chill of “of a hundred mountains not a bird.” What was a route for grief becomes, in the same words, a road for an army.

此诗虽为现代旧体诗，而文化意蕴极其深厚。其一「万水千山」之化用：唐诗中「千山万水」屡见（如贾岛「万水千山中路」、柳宗元「万水千山」之对），毛泽东以「万水千山」总括长征路程，既承古典，又赋予新的时代内涵——不再是离愁别绪的「万水千山」，而是革命者踏平艰险的「万水千山」。其二「走泥丸」之出典：《汉书·蒯通传》有「犹阪上走丸」之语，形容形势发展之快如丸从斜坡滚下，毛泽东「乌蒙磅礴走泥丸」化用此典，写磅礴的乌蒙山在红军脚下如泥丸滚动，既写行军之速，更写对困难之藐视，古典成语被赋予革命英雄主义的全新气魄。其三「腾细浪」之妙喻：以「浪」写山，化静态绵延的山脉为动态起伏的波浪，暗含「山如海、人如龙」的壮阔联想，与「苍山如海，残阳如血」（《忆秦娥·娄山关》）同一机杼。其四地理意象之文化意涵：五岭、乌蒙本为古代贬谪流放之地（韩愈「好收吾骨瘴江边」写岭表），金沙江、大渡河本为蜀道天险（李白「蜀道之难，难于上青天」），岷山千里雪更令人联想到「千山鸟飞绝」的苦寒——而毛泽东反其道而行之，将古人视为畏途的瘴疠之地、天堑之险、苦寒之域，一一化作「细浪」「泥丸」「暖」「喜」，正是「换一个角度看世界」的革命浪漫主义，其中暗含对中华山河之美的重新发现，也寄托着「敢教日月换新天」的壮志。其五「三军过后尽开颜」之「三军」：古指上中下三军，此处指红军一、二、四方面军，现代词汇入诗而浑化无痕。凡此种种，皆见毛泽东融古典成语、历史典故、地理意象于革命抒情的大手笔。

Commentary

The Long March octet is among the most widely memorised of Mao Zedong's poems, and its first two lines are the ones that have lasted: in thirteen syllables the poem proposes that a difficult thing can be made small. Since it was first printed it has been the standard account of the march in schools, and the whole range of feeling in the poem — the defiance, the dry comedy of the mountains, the warmth and the cold, and the final brightness — has made it the accepted portrait of the Long March. Critics have generally praised two things: the audacity of the comparisons, and the restraint about suffering, since not one word of the poem describes hunger, cold or loss.Guo Moruo called the poetry of Mao Zedong “grand in spirit,” and in this poem the judgment is hard to dispute, though the poem's difficulty is also its topic: to make the enormous small without lying about it.

《七律·长征》是毛泽东诗词中传播最广、影响最大的篇章之一，其历史地位与文学价值皆堪称典范。就其历史价值而言，此诗是长征这一人类历史上的伟大壮举最凝练的诗意记录：诗中以五岭、乌蒙、金沙、大渡、岷山五个地标勾出长征的完整路线图，以「不怕」「等闲」「更喜」「尽开颜」写出红军的革命英雄主义与乐观主义精神，成为长征精神最具代表性的文本，1935年10月红一方面军到达陕北后，此诗即被广为传诵，激励了无数革命者与抗战军民。就其文学价值而言，此诗是现代旧体诗以传统形式写现代内容的成功范例：七律的严整格律（对仗、平仄、押韵）与革命内容的壮阔气象完美结合，开创了以旧体诗写革命史诗的新传统，其后《沁园春·雪》《七律·人民解放军占领南京》等相继涌现，遂成一代诗风。历代评家论此诗，多赏其「以小见大」的笔法与「举重若轻」的气魄：清人遗风（如梁启超论新意境入旧风格）在毛泽东手中得到最彻底的实现——「五岭逶迤腾细浪」一句，将两千余里的崇山峻岭缩为「细浪」，其胸襟之大，直可吞云梦。此诗在现代被选入中学语文教材，历数十年不废，「红军不怕远征难」成为家喻户晓的诗句，其影响早已超越文学而成为民族精神的象征：当人们提起长征，首先浮上心头的，往往就是这八句诗。郭沫若评毛泽东诗词「气象万千」，以此诗观之，诚为的评。

Prosody

Form Seven-part octave (regulated verse, modern verse in a classical form)七言律诗（现代旧体诗，平仄严整）

Rhyme The whole poem rhymes in the open “-an” class: hardness/complacency, waves/mud, warm/cold, bright/complacent — the sound returns at the end of each of the four couplets and holds the octave on one long, flat, open vowel, which carries the level, unhurried tone of the march.全诗八句四联，押「难、闲、丸、寒、颜」五字，同属平声寒删韵（an韵），一韵到底，声调高亢宏亮；首句入韵，平起平收，音节铿锵，正合「远征难」的雄浑主题。

Tone pattern The two middle couplets are strict parallel constructions, pitched as trots: five ranges against the Wumeng, cloud against iron, so the voice marches in step. The first and last lines are plain statements, calm and confident, and the closing rises into joy. The nine-part rhythm of the seven-character line, cut as a pair of two-syllable beats followed by three, gives the poem its walked cadence.颔联颈联对仗工整：「五岭逶迤」对「乌蒙磅礴」（连绵词对连绵词），「腾细浪」对「走泥丸」，「金沙水拍」对「大渡桥横」，「云崖暖」对「铁索寒」，平仄相间、词性相配，节奏为「二二三」式，读来如铁骑突出、鼓点齐鸣；「更喜」「尽开颜」以口语入诗，声调由抑转扬，收束明快。

Reading note The sound of the poem is the sound of a column on the move. The single rhyme, open and flat and unvaried, gives the reader the sense of one long road read aloud without a change of key; against it the couplets supply the counterpoint, and the parallel structure of the middle makes the reader hear two things at once — the difficulty and the triviality of the difficulty. Where the music is doing the most work is in the two sensory words of the third couplet, warm and cold, which are short, flat and unadorned, and which are enough to carry the difference between a river crossed and a bridge taken. The result is a regulated octave that sounds almost like speech, and that is why the first line has been remembered by so many people for so long.此诗的声韵之美，在于「旧格律与新内容」的完美统一。七律自唐代定型以来，平仄、对仗、押韵皆有定式，毛泽东以之写现代革命战争，格律一丝不苟而气势磅礴无前。就押韵而言，全诗押平声「an」韵（难、闲、丸、寒、颜），此韵开口洪亮、尾音绵长，最宜表现雄浑开阔的境界——「远征难」的「难」字首句入韵，如号角初鸣；「只等闲」「走泥丸」「铁索寒」一韵到底，声情如一；「尽开颜」收于「an」韵，余音袅袅，正合胜利的欢欣。就节奏而言，七言「二二三」的节拍（红军／不怕／远征难，五岭／逶迤／腾细浪）如行军的步伐，铿锵有力；颔联颈联对仗处，平仄相反相成，读来抑扬顿挫、铁画银钩。就语调而言，全诗以陈述句为主，语气笃定自信；「更喜」「尽开颜」转入欢欣语调，由沉稳而昂扬，恰与长征「由艰苦到胜利」的进程同构。尤为难得的是，此诗虽严守格律，却无一首旧体诗常见的雕琢之气，五岭、乌蒙、金沙、大渡、岷山等现代地名与「红军」「三军」等现代词汇自然入律，音韵铿锵而语感新鲜，实现了「旧瓶装新酒」的声律革命。郭沫若评毛泽东诗词「气魄雄浑，声调铿锵」，以此诗衡之，允为定论；而「红军不怕远征难」七字，更以其不可抗拒的声调力量，成为亿万中国人心中关于长征的第一记忆。

Line by line

红军不怕远征难，万水千山只等闲。

The Red Army fears not the hardship of the long march; ten thousand rivers and mountains are treated as nothing.

红军不怕远征的艰难困苦，万水千山在红军眼里只当作平平常常的小事。

The Red Army fears not the trials of the Long March; ten thousand streams and a thousand mountains are as nothing.

首联是全诗的总纲，十四字定下全篇的英雄主义基调。「红军不怕远征难」以叙述之笔直接点题：一个「不怕」掷地有声，写出了红军对困难的根本态度——不是不怕，而是明知难而无所畏惧；「远征难」三字则概括了长征的全部艰险：数十万敌军的围追堵截、雪山草地的恶劣环境、物资匮乏的艰难处境，尽在一「难」字之中。下句「万水千山只等闲」以夸张之笔写红军的胸襟：「万水千山」极言征途之长、关山之多，而「只等闲」三字轻轻一拨，将千难万险化为寻常——「等闲」本指平常、轻易，此处用「只」字限定，写万水千山在红军眼中不过是平常之事。两句一正一反、一实一虚：「不怕」是态度，「等闲」是境界；「远征难」是客观之难，「只等闲」是主观之勇。开篇即把困难写得愈足，愈见红军的豪迈；把精神写得愈足，愈显全诗的气魄。这两句以最朴素的语言道出最伟大的精神，是毛泽东诗词中「以俗为雅、举重若轻」的典范，也是全诗一切壮阔意象（细浪、泥丸、铁索寒、千里雪）的总根源——正因为「只等闲」，五岭才成细浪，乌蒙才成泥丸。

The fearlessness. The Red Army fears not the trials of the Long March; ten thousand streams and a thousand mountains are as nothing. The fears-not and the ten-thousand-waters-a-thousand-mountains-as-nothing are the opening. To have feared nothing would be a fearlessness; the red-army-fears-not-the-trials-of-the-long-march-ten-thousand-streams-and-a-thousand-mountains-are-as-nothing is the fearlessness.

五岭逶迤腾细浪，乌蒙磅礴走泥丸。

The Five Ranges wind and swell but rise only as tiny waves; the Wumeng mass, huge and heavy, rolls past like mud balls.

绵延起伏的五岭山脉，在红军脚下不过是腾起的细小波浪；气势磅礴的乌蒙山，在红军脚下也不过是滚动的泥丸。

The Five Ranges wind on, billowing like tiny ripples; the Wumeng rolls on, rumbling like pellets of mud.

颔联写山，是全诗最见功力的一联。「五岭逶迤」写山之绵长——五岭横亘湘赣粤桂数省，逶迤两千余里；「乌蒙磅礴」写山之雄伟——乌蒙山绵延云贵高原，气势磅礴接天。而诗人以两个奇喻将这崇山峻岭轻轻化解：「腾细浪」写绵延的五岭如江上腾起的细小波浪，「走泥丸」写磅礴的乌蒙如泥丸般滚动。细浪、泥丸皆渺小之物，以此状山，是以大观小、以小喻大的极致：山愈大，则观山者之胸襟愈大；山愈险，则越山者之豪情愈壮。两处用典与炼字尤见功力：「腾」字写浪之起伏，移用于山，则静山化为动浪，五岭如波，滚滚而来；「走」字化用《汉书》「阪上走丸」之典，写泥丸滚落之势，乌蒙如丸，一滚而过。对仗上，「逶迤」对「磅礴」皆双声叠韵连绵词，「腾」对「走」、「细浪」对「泥丸」皆工整精严，而气势如虹。此联既是写景，更是写人——山之高峻反衬红军之伟岸，岭之绵长反衬征途之壮阔，读来但觉群山俯首、英雄昂然，是革命浪漫主义「化险为夷」笔法的巅峰。

The ripples. The Five Ranges wind on, billowing like tiny ripples; the Wumeng rolls on, rumbling like pellets of mud. The Five Ranges as ripples and the Wumeng as mud pellets are the couplet. To have rippled the Five Ranges would be a simile; the five-ranges-wind-on-billowing-like-tiny-ripples-the-wumeng-rolls-on-rumbling-like-pellets-of-mud is the simile.

金沙水拍云崖暖，大渡桥横铁索寒。

The Jinsha River beats against cloud-high cliffs and the water is warm; the Dadu bridge spans the river and its iron chains are cold.

金沙江的急流拍打着高耸入云的悬崖，浪花带来的暖意激荡人心；大渡河上铁索桥横跨江面，铁索透着逼人的寒意。

Cloud-capped cliffs of the Golden Sand are warmed by the leap of waves; iron chains of the Dadu Bridge are cold as they span the torrent.

颈联写水，是全诗由山到水的转关，也是冷暖对照的绝妙一笔。「金沙水拍云崖暖」写巧渡金沙江：金沙江水流湍急，浪涛拍击着高耸入云的悬崖，「云崖」极言崖之高险，「拍」字写水势之猛，而着一「暖」字——五月渡江，天气渐暖，更因红军巧渡成功、摆脱追兵，心中温暖，暖的是浪花，更是人心；「大渡桥横铁索寒」写强渡大渡河：泸定桥十三根铁索横悬于奔腾的河水之上，「桥横」写铁索凌空横跨之险，「铁索寒」写铁索的森森寒意——五月渡河，铁索生寒，更因桥下激流咆哮、对岸枪弹如雨，寒的是铁索，更是战场的肃杀。一「暖」一「寒」，一写巧渡之从容，一写强攻之险恶，冷暖对照，虚实相生，将两次惊心动魄的战斗浓缩于十四个字中。此联对仗之工堪称典范：「金沙」对「大渡」皆地名，「水拍」对「桥横」皆主谓，「云崖暖」对「铁索寒」皆景语兼情语，五言节奏铿锵，声情并茂。尤其「暖」「寒」二字，既是体感，又是心境，更是全诗情感起伏的节点：渡过金沙江的喜悦（暖）与强渡大渡河的严峻（寒），共同汇入「三军过后尽开颜」的最终欢欣。

The cold chains. Cloud-capped cliffs of the Golden Sand are warmed by the leap of waves; iron chains of the Dadu Bridge are cold as they span the torrent. The warm Golden Sand and the cold Dadu chains are the warm-cold couplet. To have spanned the iron chains would be a spanning; the cloud-capped-cliffs-of-the-golden-sand-are-warmed-by-the-leap-of-waves-iron-chains-of-the-dadu-bridge-are-cold-as-they-span-the-torrent is the spanning.

更喜岷山千里雪，三军过后尽开颜。

Still gladdened by the snows of Min, a thousand li across, when the three armies passed and not one face was unbright.

更让全军欣喜的是岷山千里白雪，三军翻越之后，人人都笑逐颜开。

Best of all, the thousand-li Min Mountains of snow; once the three armies have crossed, all smiles break forth.

尾联写翻越岷山，是全诗的收束，也是情感的最高潮。「更喜」二字承上启下，一个「更」字写出喜之递进——过五岭、越乌蒙、渡金沙、抢大渡，一喜未已，一喜又至，而翻越岷山之喜，更是长征胜利在望之喜；「岷山千里雪」写翻越的最后一座大雪山，千里皑皑，苦寒至极，而着一「更喜」，将苦寒化为壮美，正是「无限风光在险峰」的乐观精神。「三军过后尽开颜」以「尽开颜」三字收束全篇：所有红军将士翻过雪山、长征即将胜利，人人笑逐颜开——「尽」字写无一例外，全军同欢；「开颜」写由衷喜悦，如见其笑。此句与首联「红军不怕远征难」遥相呼应，由「不怕」到「尽开颜」，完成了一个圆满的情感回环：不怕是起点，开颜是终点；难是起点，喜是终点。全诗至此，将两万五千里的艰难征程化作一声响彻云霄的胜利欢笑，是长征精神最光明的定格，也是全中国、全民族在苦难中看到希望的诗意预言。两句以「更喜」「尽开颜」的明快语调收束，声情高亢，余韵不尽，为这首革命史诗画上了最圆满的句号。

The smiles. Best of all, the thousand-li Min Mountains of snow; once the three armies have crossed, all smiles break forth. The thousand-li Min snow and the all-smiles are the close. To have smiled all would be a smiling; the best-of-all-the-thousand-li-min-mountains-of-snow-once-the-three-armies-have-crossed-all-smiles-break-forth is the smiling.

Study

Word focus

等闲 “Mercely,” “treated as nothing” is the heaviest word in the poem and the one on which the whole octave turns. It means ordinary, easy, a matter of course; the classical poems use it of time passing or of a man's worth, and the poem gives it a new range: the whole distance of the retreat is ordinary. Because the word is so light, it can carry the enormous without straining — and from this line onwards, “to treat something as merely” has entered modern Chinese as a way of saying that a difficulty is already overcome. 「万水千山只等闲」之「等闲」二字，是全诗最重的词，也是毛泽东革命英雄主义的核心表达。「等闲」本义为平常、轻易，古诗词中多用于写时光流逝之快（如岳飞「莫等闲，白了少年头」）或人物之寻常，而毛泽东赋予它全新的意蕴：「只等闲」三字，将「万水千山」——长征两万五千里的全部艰难险阻——轻轻一笔带过，视若等闲。这个词的分量在于「以小化大」：客观之难（远征难、万水千山）被主观之勇（不怕、只等闲）彻底压倒，困难不再是困难，而成为检验意志的平常功课。其哲学底蕴是唯物辩证法与革命乐观主义的结合：承认困难是客观存在，又相信人能够战胜困难——「不怕」与「等闲」正是一体两面。后世评论家常以「等闲」为毛泽东诗词「举重若轻」美学的关键词：正因为「只等闲」，才有颔联的「腾细浪」「走泥丸」，才有尾联的「尽开颜」，全诗的乐观基调皆由此二字生发。而「等闲」一词也为现代汉语注入了新的活力，如今人们说「视险阻为等闲」，即从此诗而来。二字之力，足以扛起整部长征史诗。

暖 “Warm” in “the Jinsha beats against cloud-high cliffs and the water is warm” is the subtlest stroke of the poem. Layered under it are three warmths at once: the season, since the crossing came in the spring; the weather, because the water beats up against the rocks and throws off warm spray; and the mood of the army, which had just slipped past an enemy and had its freedom. The single word holds the scene together and lets the parallel “cold” do the same work for the bridge. 「金沙水拍云崖暖」之「暖」字，与下句「铁索寒」的「寒」字相对，是全诗情感最细腻的一笔。「暖」字有三层意蕴：一是节令之暖——红军巧渡金沙江在1935年5月，暮春初夏，天气转暖；二是体感之暖——金沙江浪花拍岸，水汽蒸腾，给人温暖之感；三是心境之暖——红军在四渡赤水之后巧渡金沙江，成功跳出数十万敌军的包围圈，战略主动权到手，将士心中暖意融融。一个「暖」字，将自然之暖与人心之暖融为一体，以一字写尽巧渡成功后的喜悦从容。此字与「寒」字构成全诗最精彩的冷暖对照：金沙之暖写巧渡之智（不战而渡、从容脱险），铁索之寒写强攻之勇（飞夺泸定桥、血战天险），一智一勇、一暖一寒，将长征途中两种不同性质的战斗浓缩于两个感官词中，体物之精、炼字之工，令人叹服。尤为难得的是，「暖」「寒」皆取感官之词写心理之实，不作抽象议论而革命情感自在其中，正是「一切景语皆情语」的绝佳注脚，也是毛泽东诗词中「以细节写大事件」的典范笔墨。

尽开颜 “Not one face unbright” is the poem's closing image, and it is the one that carries the whole argument to a human end. “Unbright” gives the faces a colour, so that the reader sees a whole army in the snow rather than a summary; “not one” rules out any exception, and so the victory is populous rather than official. Two short phrases close the circle opened in the first line — from refusing to fear the march, to describing what the march did to the faces of the men who walked it. 「三军过后尽开颜」之「尽开颜」三字，是全诗的收束之笔，也是长征胜利最生动的表情。「开颜」即开颜欢笑、脸上露出笑容，一个「开」字，将紧锁的愁眉、绷紧的脸庞缓缓舒展的过程写得如在目前；「尽」字则写无一例外——全军上下，人人开颜，不是一人之喜，而是三军同庆。这三个字的美学价值在于「以笑写胜」：长征两万五千里，血战湘江、四渡赤水、爬雪山过草地，艰险至极而全诗不着一「苦」字，唯以「尽开颜」三字写胜利之喜，将苦难尽数消融于欢笑之中，正是革命乐观主义「把苦难踩在脚下」的精神写照。就章法而言，「尽开颜」与首联「不怕」「只等闲」遥相呼应，构成「不怕—等闲—更喜—开颜」的完整情感链：不怕是意志，等闲是境界，更喜是心境，开颜是结局，四者一气贯通，完成了全诗从英雄主义到胜利主义的精神闭环。此三字以最朴素的口语入诗，明白如话而气象万千，千载之下读之，犹能想见雪山之巅红旗漫卷、万众欢腾的壮丽场景，堪称「以少总多」的千古名笔。