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近现代近现代 · 词 Ci lyric

水调歌头·游泳

Shui Diao Ge Tou: Swimming

毛泽东

Mao Zedong

名篇Masterpiece 咏怀Lyric expression of aspiration 社会主义建设Socialist construction

才饮长沙水，又食武昌鱼。
万里长江横渡，极目楚天舒。
不管风吹浪打，胜似闲庭信步，今日得宽馀。
子在川上曰：逝者如斯夫！
风樯动，龟蛇静，起宏图。
一桥飞架南北，天堑变通途。
更立西江石壁，截断巫山云雨，高峡出平湖。
神女应无恙，当惊世界殊。

Just finished drinking the waters of Changsha, already eating the fish of Wuchang.
Swimming the ten-thousand-li Yangzi, gazing out until the sky of Chu opens wide. No matter the wind and the waves, it is better than an unhurried walk in the garden court: today I have won room to breathe. The Master by the river said: It passes on just like this!
Now masts stir in the wind, Tortoise and Snake hills stand still, and a vast design unfolds. A bridge flies across from north to south, and the natural moat becomes an open road. Further still, a stone wall in the western river, cutting off the clouds and rain of Wu mountain, so that a calm lake appears between the high gorges. The goddess should still be well, and should stand amazed at what the world has become.

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Meaning

A record written in June 1956 after Mao Zedong swam the Yangtze three days running, joined to the imaginary works that were then being built on the river. The first stanza moves from the pleasure of the crossing to the old complaint over the flight of time; the second turns to the bridge, the dam and the changed face of the gorges, and closes with the goddess of Wu mountain waking to find a new world. The poem celebrates the conquest of nature as the achievement of the new state.

刚喝过长沙的水，又吃上武昌的鱼。在万里长江上横渡，极目远眺，楚地的天空格外开阔舒展。不管风吹浪打，比在庭院里悠闲散步还要胜出，今天总算得到了从容宽余的时光。孔子站在河边上说：逝去的一切就像这样奔流不息啊！江上的船帆在风中鼓动，龟山和蛇山静静对峙，宏伟的蓝图正在展开。一座大桥飞架在长江南北，天险变成了畅通的大道。还要在西部江上筑起石壁大坝，截断巫山的云雨，让高峡之间出现平静的湖面。神女应当安然无恙吧，她也会惊叹世界的变化之大。

Appreciation

[Structure] The upper stanza is experience, the lower is imagination, and they meet in the middle line where the classical lament over time is quoted. [Opening] ‘Just finished drinking the waters of Changsha, already eating the fish of Wuchang’ takes a well-known complaint from the third century and turns it around; what was a grievance becomes an itinerary, and the two adverbs give the pace of a man with time to spare. [Imagery] ‘No matter the wind and the waves, it is better than an unhurried walk in the garden court’ makes the hardest possible sport out of the easiest possible comparison, and the metaphor keeps its nerve throughout. [Allusion] The goddess of the third stanza is the most moving invention: she is asked not to be alarmed, and the poet’s politeness to a myth makes the size of the change measurable. [Tone] Nothing is strained and nothing hurried; the leisure of the swim survives into the description of the dam.

【白话串讲】毛泽东写《水调歌头·游泳》：“才饮长沙水，又食武昌鱼”——他横渡长江。“万里长江横渡，极目楚天舒”——“不管风吹浪打，胜似闲庭信步”——“一桥飞架南北，天堑变通途”——他写武汉长江大桥。【意象与手法】本词熔现实与想象、古典与时代于一炉：以游泳的实感起笔，化用孔子临川之叹与宋玉《高唐赋》神女典故，写社会主义建设蓝图。语言豪迈洒脱，「不管风吹浪打，胜似闲庭信步」以闲语写豪情；「一桥飞架南北，天堑变通途」以对仗写气魄，大气磅礴而举重若轻【情感与主旨】全词以「宽馀」的从容心境写改天换地的雄心，既是毛泽东畅游长江的纪实，更是对新中国建设者征服自然、创造奇迹的赞歌。「逝者如斯夫」的古典哲思与「高峡出平湖」的现代蓝图相映，见出革命者面对时间与自然的超越姿态【名句点睛】「不管风吹浪打，胜似闲庭信步」「一桥飞架南北，天堑变通途」「神女应无恙，当惊世界殊」皆为传诵名句，前两句写气度，末句写奇迹，常考其化用典故与时代精神的结合

Background

The poem was written in June 1956, when Mao Zedong, aged sixty-three, swam the Yangtze at Wuhan on the first, third and fourth of the month. The first Five-Year Plan was in full swing and the Wuhan bridge over the Yangtze was under construction, due to open in 1957; the larger schemes for taming the river — the Gezhouba works, later the Three Gorges project — existed in his mind before they existed on paper. He kept the old tune and the old vocabulary and put a modern subject inside it, and yielded to no one in the belief that a nation could be rebuilt by will and labour. The river runs through his whole life: he had written of striking out with his sleeves at three thousand li in his twenties, and he returned to it in 1966, when he was asked to step into the water again.

《水调歌头·游泳》作于1956年6月，是毛泽东视察长江并三次畅游长江后的纪实抒怀之作。1956年，新中国已进入社会主义建设高潮，第一个五年计划正在实施，长江上的第一座大桥——武汉长江大桥正在紧张施工，预计1957年建成通车；同时，治理长江、开发长江水利资源的宏伟构想也已提上日程，日后葛洲坝、三峡工程等「高峡出平湖」的蓝图，此时已在毛泽东胸中酝酿。毛泽东时年六十三岁，6月1日、3日、4日连续三次横渡长江，畅游之余写下此词。这首词延续了毛泽东诗词一贯的「以古典词牌写现代题材」的路子：题材是社会主义建设——游泳、大桥、水利，皆前无古人的新事物；形式却是传统词牌《水调歌头》，且大量化用《论语》《楚辞》、宋玉《高唐赋》等经典语汇。毛泽东一生与长江渊源极深：青年时代曾「自信人生二百年，会当水击三千里」，晚年又多次畅游长江，此词正是他「与天奋斗、其乐无穷」生命哲学的一次诗意呈现，也是新中国「敢教日月换新天」时代精神的文学缩影。

Art

The poem is a demonstration of loading a traditional form with a new cargo and not letting the vehicle complain. Everything is done by the ordinary resources of the cipai: parallel couplets, a rhymed open stanza, prose syntax let in at the lengthened line. The two-line opening is a joke with a hook in it, since the reader recognises the original complaint before he recognises the reversal. The comparison that follows — swimming against strolling in the garden — is the pivot of the whole upper stanza, for it converts physical effort into leisure and the swim into a demonstration of composure. In the lower stanza the verbs accelerate: fly, change, cut off, appear, and the last of them is almost casual. The goddess is the touch of real art in the poem: instead of announcing the achievement, the poet imagines the witness most likely to be startled by it and asks after her well-being first.

本词在艺术上熔铸古典词牌与现代意象、现实感受与瑰丽想象于一炉，是毛泽东词风「豪放而洒脱」的典范。结构上，上片写「游泳」之实：以「才饮长沙水，又食武昌鱼」的行程起笔，化用三国童谣「宁饮建业水，不食武昌鱼」而反其意，点出由湘入鄂的从容；「万里长江横渡，极目楚天舒」写渡江之壮与视野之阔；「不管风吹浪打，胜似闲庭信步，今日得宽馀」以闲庭信步反衬江涛搏击，举重若轻；「子在川上曰：逝者如斯夫」由江流引出孔子临川之叹，将个人的畅游升华为对时间与历史的沉思。下片写「建设」之志：由「风樯动，龟蛇静，起宏图」的动静对照起笔，写建设的热潮；「一桥飞架南北，天堑变通途」以工整对仗写武汉长江大桥；「更立西江石壁，截断巫山云雨，高峡出平湖」转入想象，化用宋玉《高唐赋》「巫山云雨」典故，写水利蓝图；结句「神女应无恙，当惊世界殊」以神话人物作见证，收束全篇。手法上，对仗（「才饮」「又食」「一桥」「天堑」）、拟人（「神女惊」）、用典（孔子、神女）与口语（「得宽馀」）并用，古典与现代水乳交融，气魄宏大而笔致灵动。

Allusions

Four borrowings do the heavy lifting. The opening reverses a folk song of the third century, which grumbled that Wuchang fish were worth leaving the capital for; the reversal supplies the poem's ease. The line from the Analects in which Confucius, eating his meal by the river, says that everything in motion departs like this water, is quoted verbatim and borrowed for the passage from the crossing to the reflection — time and river become the same thing. The cutting off of the clouds and rain of Wu mountain comes from the rhapsody of Song Yu, where the kingdreams of a goddess who is cloud in the morning and rain at evening; the exchange of love for engineering is what lets the phrase be reused without shame. The southern histories supply the word for the river’s natural defence, and the poet’s one change to it is the point of the whole line.

本词用典精妙，将古典语汇化入现代语境，是「古为今用」的典范。其一，「才饮长沙水，又食武昌鱼」翻用三国童谣：「宁饮建业水，不食武昌鱼」本是吴地百姓不愿迁都的怨辞，毛泽东反其意而用之，以「才」「又」写行程的紧接与心境的从容，古谣反用，顿生豪情。其二，「子在川上曰：逝者如斯夫」直引《论语·子罕》——孔子见河水奔流而感叹时光流逝，毛泽东借以写长江之水不舍昼夜，既含「时不我待」的紧迫，更有「只争朝夕」的建设者情怀，古典的叹息化为时代的奋进。其三，「截断巫山云雨」化用宋玉《高唐赋》楚王梦遇巫山神女「旦为朝云，暮为行雨」的典故，本写男女情爱，毛泽东移以写拦江筑坝、驯服水患的伟业，以「截断」二字反其缠绵为雄壮，化艳情为宏图。其四，「神女应无恙，当惊世界殊」承上典而翻新：巫山神女在神话中「朝朝暮暮」守护巫山，如今面对人间翻天覆地的变化也不禁惊叹，以神之「惊」写世界之「殊」，神话与人世对映，想象力瑰丽。其五，「天堑」之语本指长江天险（《南史》「长江天堑，古来限隔」），「变通途」三字写出人定胜天的伟力。五处用典，或反用、或直引、或化用、或翻新，皆贴切自然，尽显毛泽东「点铁成金」的语言功力。

Commentary

The poem became one of the great set pieces of the new repertoire. In 1957 the bridge opened, and the line about it read like a prophecy; decades later the Three Gorges project flooded the gorges the poet described, and readers returned to the stanza about the calm lake between the high walls, to note either that he was right or that he had not reckoned with what would be lost. In literary history its importance is as proof that the old lyric forms could carry modern content without sounding imported: a cipai of the Northern Song, a rhapsody from the third century BC, a folk song from the third century AD, and a bridge being built in 1956, all inside ninety-five characters. Later readers have also noticed how much of the poem is simply joy.

《水调歌头·游泳》是毛泽东诗词中影响极大的名篇，也是新中国文学史上「旧体诗词写新生活」的代表作。发表后迅即传诵全国，「一桥飞架南北，天堑变通途」「高峡出平湖」等句成为社会主义建设成就的文学符号：1957年武汉长江大桥通车，正应「一桥飞架南北」之句；数十年后三峡工程建成，「高峡出平湖」的预言化为现实，世人皆叹毛泽东预见之远。文学史上，此词以古典词牌承载现代题材的成功实践，证明旧体诗词在新的时代依然有生命力：它以传统的水调歌头曲式，写横渡长江、修建大桥、拦江筑坝这些前所未有的新事物，而毫无生硬之感，正因其能「化用古典以写今情」。毛泽东此词亦延续了苏轼《水调歌头·明月几时有》的豪放传统而与古人对读：苏轼问月怀人，毛泽东问水咏志；苏轼「人有悲欢离合」的旷达，化为毛泽东「不管风吹浪打」的从容——同是水调歌头，隔代相望，可见豪放词一脉的古今传承。就思想价值而言，全词展现的「人定胜天」的建设豪情与「逝者如斯」的进取意识，正是那个时代的民族精神的浓缩，至今读来仍令人振奋。

Prosody

Form The Shui Diao Ge Tou tune, a double stanza of ninety-five lines in four level rhymes; the bold, unhurried manner of the xing school of lyric poetry《水调歌头》词牌（双调九十五字，前段九句四平韵，后段十句四平韵），豪放词风

Rhyme The rhymes are all in the fourth branch — yu, shu, yu, fu, then tu, tu, tu, shu — opening wide and staying open. Every one of them is a level tone with a rounded vowel, so the stanza sounds generous and unhurried, which is exactly what the subject requires.本词押词韵，韵脚为「鱼、舒、馀、夫」「图、途、湖、殊」，皆属词韵第四部（鱼模韵），一韵到底、上下片贯通，声调洪亮舒展。平仄依《水调歌头》词谱，平声韵脚（鱼、舒、馀、夫、图、途、湖、殊）皆开口洪音，读来高昂开阔，正合豪放气象。

Tone pattern Length varies from three to seven characters, and the alternation of short and long lines is the tune’s own music; the nine-character line quoted from the Analects breaks the pattern deliberately and brings prose rhythm into the lyric, which is the poem’s most characteristic华尔. The two four-character phrases in the lower stanza arrive like drum taps.句式长短错落、奇偶相济：五字句（「才饮长沙水」）与六字句（「不管风吹浪打」）交替，四字句（「风樯动，龟蛇静」）与七字句（「一桥飞架南北」）相间，长短句的跌宕正是词体特有的声情；末句「子在川上曰：逝者如斯夫」以散文句法入词，破平仄之常规而增错落之美，是其「以文为词」的特色。

Reading note The choice of the tune is the first artistic decision in the poem. The Shui Diao Ge Tou had been the grandest of the long lyric modes since Su Shi used it to argue with the moon, and it was already the form of public occasion. The rhyme held to one branch through both stanzas means the sound does not waver as the subject turns from the self to the state; the long lines carry the argument and the short ones stop it dead. The one line in which the syntax is not lyric at all is the most quoted in the whole poem, because the prosody of quotation is not than the prosody of the verse.《水调歌头》本为北宋新声，苏轼「明月几时有」一阕使之成为豪放词的代表曲牌，毛泽东此词正是借这一「豪放祖调」写现代建设题材，声情与词情天然相合。全词押鱼模韵一韵到底：鱼、舒、馀、夫、图、途、湖、殊八个韵脚全为平声开口音，声调由「鱼」的轻细到「舒」「夫」「湖」「殊」的洪亮，如江流由缓而急、由窄而阔，与词境由「才饮长沙水」的从容到「当惊世界殊」的雄浑的推进完全同步，韵随情转、声随境移。句式上，上下片皆由五字句起（「才饮长沙水」「风樯动」），中杂六字、七字长句（「不管风吹浪打，胜似闲庭信步」「更立西江石壁，截断巫山云雨」），末以三字短句（「起宏图」「当惊世界殊」）收束，长短参差如浪涛起伏——长句如江流奔涌，短句如浪峰骤起，正合「游泳」的题材。尤妙者，「子在川上曰：逝者如斯夫」九字以文句入词，破格而不破律，诵读时如闻其声：孔子临川的叹息声、江水奔流声、诗人击水的笑语声，一时并作。而「一桥飞架南北，天堑变通途」的对仗，平仄相谐（仄平—平仄、平仄—仄平），如金石相击，是全词声韵最铿锵的所在。整首词的音律，可说是豪放词传统与新时代精神的完美共鸣。

Line by line

才饮长沙水，又食武昌鱼。万里长江横渡，极目楚天舒。

Just finished drinking the waters of Changsha, already eating the fish of Wuchang. Swimming the ten-thousand-li Yangzi, gazing out until the sky of Chu opens wide.

刚喝过长沙的水，又吃上武昌的鱼。在万里长江上横渡，极目远眺，楚地的天空开阔舒展。

Just now I drank the waters of Changsha, now I eat the fish of Wuchang. Across the ten-thousand-li Yangtze I swim, gazing at the broad sky of Chu.

上片起句以行程入题，两句之间流转如珠，尽显行色匆匆中的从容。「才饮长沙水，又食武昌鱼」翻用三国童谣「宁饮建业水，不食武昌鱼」——古谣写百姓的不愿迁徙，毛泽东反用其意，以「才」「又」两个时间副词写出由湘入鄂的紧接行程，本极忙碌，读来却如闲庭信步，革命者「日行千里」的气度尽在其中；「长沙水」「武昌鱼」皆为具体地名风物，以实写虚，亲切有味。「万里长江横渡，极目楚天舒」转入江上实景：「万里」写江之壮阔，「横渡」写人之勇毅，一江一人，气魄雄浑；「极目楚天舒」的「舒」字最妙——既写楚地天空之高远舒展，更写极目远眺者心境之舒展，物我同舒，与下句「得宽馀」遥相呼应。两句由岸及江、由江及天，空间层层展开，如长镜头缓缓拉开，为全词的豪迈定下基调。

The swim. Just now I drank the waters of Changsha, now I eat the fish of Wuchang. Across the ten-thousand-li Yangtze I swim, gazing at the broad sky of Chu. The just-Changsha-now-Wuchang and the ten-thousand-li Yangtze swim are the opening. To have swum the Yangtze would be a swim; the just-now-i-drank-the-waters-of-changsha-now-i-eat-the-fish-of-wuchang-across-the-ten-thousand-li-yangtze-i-swim-gazing-at-the-broad-sky-of-chu is the swim.

不管风吹浪打，胜似闲庭信步，今日得宽馀。子在川上曰：逝者如斯夫！

No matter the wind and the waves, it is better than an unhurried walk in the garden court: today I have won room to breathe. The Master by the river said: It passes on just like this!

不管风吹浪打，比在庭院里悠闲散步还要胜出，今天总算得到了从容宽余的时光。孔子站在河边上说：逝去的一切就像这样奔流不息啊！

Heed not the wind and waves; it is better than a stroll in a quiet court. Today I have ease. The Master said by the river: all that flows goes on so!

这四句是全词的「眼」，由实入虚、由江及史，把个人的畅游升华为历史性的沉思。「不管风吹浪打，胜似闲庭信步」以对比写游泳的体验：「风吹浪打」是江上的实境，「闲庭信步」是庭院的安闲，以安闲写搏击，举重若轻，革命者「履险如夷」的气度喷薄而出；「今日得宽馀」的「宽馀」二字，既写搏浪之后的从容舒畅，也暗含公务繁忙中难得的闲暇，是伟人真性情的流露。「子在川上曰：逝者如斯夫」猝然由江景引出孔子临川之叹，是全词的枢纽：孔子的感叹本是「逝者如斯，不舍昼夜」的时间之悲，毛泽东借以写长江奔流，却毫无悲感，反有「只争朝夕」的奋进——古圣的叹息在革命者胸中化为建设的紧迫。四句由江上写到川上，由今人写到古人，时空在「逝者如斯」中贯通，个体的畅游遂与历史的奔流合而为一。

The Master. Heed not the wind and waves; it is better than a stroll in a quiet court. Today I have ease. The Master said by the river: all that flows goes on so! The wind-and-waves as a quiet stroll and Confucius by the river are the elevation. To have invoked Confucius by the river would be an allusion; the heed-not-the-wind-and-waves-it-is-better-than-a-stroll-in-a-quiet-court-today-i-have-ease-the-master-said-by-the-river-all-that-flows-goes-on-so is the allusion.

一桥飞架南北，天堑变通途。

A bridge flies across from north to south, and the natural moat becomes an open road.

一座大桥飞架在长江南北，天险变成了畅通的大道。

One bridge flies across north and south; the natural moat becomes a thoroughfare.

这两句写武汉长江大桥，是下片建设蓝图的总起，也是全词最富力度的对仗。「一桥」与「天堑」相对：桥是新中国的建设成果，天堑是千古的长江天险，一「一」一「天」、一小一大，以桥之「一」对天堑之「大」，愈见人力之伟。「飞架」的「飞」字是诗眼：桥不是「横架」「高架」，而是「飞架」——既写大桥凌空飞越的雄姿，更写建设速度之快、气势之豪，一个「飞」字，把静态的桥写得腾跃欲动，尽得毛泽东用字之妙。「天堑变通途」五字最见分量：长江自古号称天堑，南北阻隔，如今「变」为通途，一个「变」字写尽人定胜天的伟力，平仄对仗（一桥—天堑、飞架—变通、南北—通途）工整而不板滞，如金石相击。两句以最小的篇幅写最大的工程，字字千钧，是毛泽东「以小写大」语言功力的集中体现，也是社会主义建设成就最凝练的文学定格。

The bridge. One bridge flies across north and south; the natural moat becomes a thoroughfare. The one-bridge flying across and the moat-become-thoroughfare are the couplet. To have flown the bridge across would be a flying; the one-bridge-flies-across-north-and-south-the-natural-moat-becomes-a-thoroughfare is the flying.

更立西江石壁，截断巫山云雨，高峡出平湖。神女应无恙，当惊世界殊。

Further still, a stone wall in the western river, cutting off the clouds and rain of Wu mountain, so that a calm lake appears between the high gorges. The goddess should still be well, and should stand amazed at what the world has become.

还要在西部江上筑起石壁大坝，截断巫山的云雨，让高峡之间出现平静的湖面。神女应当安然无恙吧，她也会惊叹世界的变化之大。

Further, a stone wall on the western river shall cut off the Wushan clouds and rain; a placid lake shall rise in the high gorges. The Goddess must still be well—she would marvel at how the world has changed.

末五句由现实转入想象，是全词意境的最高潮，也是「高峡出平湖」理想的最早诗意蓝图。「更立西江石壁」以「更」字接续大桥，写更大的工程——拦江筑坝；「截断巫山云雨」化用宋玉《高唐赋》楚王梦会巫山神女「旦为朝云，暮为行雨」的典故，本是缠绵的情爱意象，毛泽东以「截断」二字反用其意，将缠绵化为雄壮——云雨被大坝截断，水患被人类驯服，化艳情为宏图，是「点铁成金」的典范。「高峡出平湖」五字是千年梦想的凝缩：长江三峡自古激流险滩，如今将「出」一汪平湖，「出」字化静为动，如山水画中忽然点出的平湖，气象万千。结句「神女应无恙，当惊世界殊」以神话收束：巫山神女守望千年，如今面对人间巨变也不禁惊叹——以神之「惊」写人间之「殊」，想象瑰丽而收束有力。五句由现实写到神话，由人间写到天上，把建设蓝图升华为撼动神明的伟业，正是全词「气吞山河」的力量所在。

The lake. Further, a stone wall on the western river shall cut off the Wushan clouds and rain; a placid lake shall rise in the high gorges. The Goddess must still be well—she would marvel at how the world has changed. The stone wall cutting the Wushan clouds and the placid lake in the high gorges and the marveling Goddess are the close. To have cut off the clouds would be a cutting; the further-a-stone-wall-on-the-western-river-shall-cut-off-the-wushan-clouds-and-rain-a-placid-lake-shall-rise-in-the-high-gorges-the-goddess-must-still-be-well-she-would-marvel-at-how-the-world-has-changed is the cutting.

Study

Word focus

宽馀 Leisure and surplus — room to breathe. It is the key to the mood of the poem: the crossing is not a hardship to be endured but a pleasure snatched out of a filled calendar, and the word is what makes the whole stanza humane. 「今日得宽馀」之「宽馀」，是全词心境的关键词，意谓宽舒从容、有余裕。「宽」言心境的放宽，「馀」言余裕从容，二字连用，写尽搏浪之后身心的舒展。此词之妙在于它以「闲」写「忙」、以「余」写「满」：毛泽东身负国家重任，日理万机，难得有畅游长江的闲暇，故「今日得宽馀」是忙里偷闲的真喜悦；然而这「宽馀」不是安逸的闲适，而是在「不管风吹浪打」的搏击中获得的从容——于惊涛骇浪中如「闲庭信步」，方是真正的「宽馀」。这一个词把革命者的精神境界写得既豪迈又亲切：他可以在万里长江的浪涛中优游自得，如在自己庭院的散步。与「胜似闲庭信步」呼应，「宽馀」是「闲庭信步」心境的凝定，也是下文「逝者如斯夫」哲思的情感前提——正因今日得宽馀，方能临川而思、观水而悟。口语化的「宽馀」（后多作「宽余」）入词而不觉俗，反添亲切，正是毛泽东「以俗为雅」的语言特色。

飞架 To span, as a bird flies. It carries both the shape of the bridge in air and the speed at which the labour was done, and it is the only verb in the couplet to be found in the dictionary of wonder. 「一桥飞架南北」之「飞架」，是全词最富动感的诗眼，意谓如飞般凌空架设。「飞」字本是鸟飞之象，移以写桥，化静为动，妙处有三：其一，写桥之雄姿——大桥凌空跨越长江，如虹飞渡，一个「飞」字画出其横空的动态形象，若作「横架」「高架」则板滞无神；其二，写建之速度——1950年代的建设以「飞」的速度推进，桥是「飞」出来的，时代的快节奏凝于一字；其三，写心之豪情——「飞」是飞腾、飞跃之飞，见出诗人对建设奇迹的由衷赞叹与革命浪漫主义的气魄。与「一桥」的「一」配合，以最小之数写最大之物，愈显「飞」之轻捷有力；与下句「天堑变通途」的「变」相映，一「飞」一「变」，动感与巨变齐奏，两句遂成金石之响。后世写大桥、写建设者每用「飞架」一词，正源于此句的典范力量。