先秦 Pre-Qin · 诗经 Classic of Poetry
鹿鸣
Deer's Call
呦呦鹿鸣，食野之苹。
我有嘉宾，鼓瑟吹笙。
吹笙鼓簧，承筐是将。
人之好我，示我周行。
呦呦鹿鸣，食野之蒿。
我有嘉宾，德音孔昭。
视民不恌，君子是则是效。
我有旨酒，嘉宾式燕以敖。
呦呦鹿鸣，食野之芩。
我有嘉宾，鼓瑟鼓琴。
鼓瑟鼓琴，和乐且湛。
我有旨酒，以燕乐嘉宾之心。
Eating wild apples in the field.
I have noble guests here, all,
Strum the zither, blow the reed.
Blow the reed and shake the spring,
Baskets full of gifts we bring.
If my guests love me indeed,
Show me the Great Way to lead.
The deer cry out, call to call,
Eating wild wormwood in the field.
I have noble guests here, all,
Their virtuous fame is revealed.
Guide the people with good grace,
Noblemen will take your trace.
I have fine wine by and by,
Feast and wander, guests so high.
The deer cry out, call to call,
Eating wild qin grass in the field.
I have noble guests here, all,
Strum the zither, lute we wield.
Strum the zither, gently, clear,
Harmonious joy and cheer.
I have fine wine to impart,
Gladden every guest's deep heart.
Meaning
The poem describes a feast where the host welcomes virtuous guests with music, gifts, and fine wine, praising their moral excellence and expressing joy in their company.
鹿儿呦呦鸣叫，在野地吃着苹草。我有尊贵的宾客，弹瑟又吹笙，吹笙振簧，捧筐献礼相迎。宾客善待于我，为我指明正道。第二章写嘉宾德音昭著、堪为楷模，我有美酒，与宾欢宴逍遥。第三章鼓瑟鼓琴，和乐沉酣，以美酒燕乐嘉宾之心。《鹿鸣》是周代宴饮宾客的乐歌，以鹿鸣起兴，展现宾主尽欢、礼敬贤才的雍容气象，后成为科举「鹿鸣宴」之典。
Appreciation
Using the cry of deer feeding together as an opening image, the poem creates a natural and harmonious atmosphere that sets the tone for the banquet. The repeated structure and gentle variations in each stanza build a sense of ceremonial elegance and heartfelt hospitality.
【白话串讲】 “呦呦鹿鸣，食野之苹”——小鹿在野外吃草，发出呦呦的叫声，招呼同伴。周朝的宴会上，主人用这首诗欢迎宾客——后来“鹿鸣”成了中国人宴客的最高礼遇。 【意象与手法】 三章重章叠句，以「呦呦鹿鸣，食野之×」统摄全篇，仅易「苹、蒿、芩」三种植物及相应乐礼词语，形成整齐而富有变化的复沓；起兴尤妙，鹿得食而相呼，以物类和乐兴起人间宾主相得，兴中含比。 【情感与主旨】 《鹿鸣》出自《诗经·小雅》，为周代朝廷与诸侯宴飨宾客的乐歌，用之于「乡饮酒礼」「燕礼」。全诗以鹿鸣起兴，展现宾主尽欢、礼敬贤才的雍容气象，传达周人以礼乐待贤、以德音相勉的礼乐精神，后成为科举「鹿鸣宴」之典。 【名句点睛】 常考「呦呦鹿鸣」的起兴手法与重章叠句的结构，以及「我有嘉宾，鼓瑟吹笙」所体现的礼乐待贤之旨；亦考曹操《短歌行》对「呦呦鹿鸣」四句的化用。
Background
This poem from the 'Lesser Odes' section of the Book of Songs was performed at Zhou dynasty court banquets and in the 'village drinking ceremony' (xiāng yǐn jiǔ lǐ). It reflects the ritual culture of honoring worthy guests and the ideals of virtuous rule.
《鹿鸣》出自《诗经·小雅》，是周代燕飨宾客的乐歌。小雅多为贵族宴乐与朝会之作，此诗即在乡饮酒礼、燕礼等正式场合演唱，用以表示主人敬贤礼宾之诚。《毛诗序》谓此诗「燕群臣嘉宾也」，郑玄笺释其意，以为「鹿得苹草，鸣而相呼」，以兴「君与臣下及四方之宾燕」之和，点明诗旨在于以鹿之群处相呼兴起宾主相得之乐。周代以礼乐治国，宴飨之礼是维系君臣、团结宗族、礼遇贤才的重要仪式；《鹿鸣》正是这一礼乐文化的直接产物，其演唱于宾主酬酢之间，声容兼备，既示主人之敬贤，又寓嘉宾之劝勉。此诗在周代礼乐系统中地位尊崇，与《四牡》《皇皇者华》同为燕飨正歌，后为汉代乐府所存，曹操《短歌行》更直接袭用其首四句，可见其影响之久远。就乐制而言，《鹿鸣》与《四牡》《皇皇者华》同属小雅「鹿鸣之什」，为燕礼、乡饮酒礼之正歌；周人于宾主酬酢之际歌此诗，意在昭示敬贤之义与和乐之道，故其演唱非徒娱宾，实寓教化，是研究周代礼乐制度的重要文献，其文学价值与史料价值并存。
Art
The poem uses the refrain 'The deer cry out, eating the wild ...' at the start of each of three stanzas, varying only the plant and a few other words. This repetition creates a ritualistic, song-like quality. The opening image is a natural metaphor for the harmony between host and guest.
此诗艺术之妙，在重章叠句的复沓结构与「兴中含比」的起兴手法。三章以「呦呦鹿鸣，食野之×」起兴，仅换「苹、蒿、芩」三种植物，形成整齐而富有变化的复沓，读来一唱三叹、回环往复，正与宴乐之气的流转相应。起兴尤妙：鹿得食于野而呦呦相呼，是群居和乐之象；以鹿鸣相呼兴起人间宾主相得，兴中含比——鹿之和鸣即宾主之和乐，物类之相亲即人情之相得，由自然而及人事，含蓄而妥帖。全诗由外而内、由礼而情层层推进：首章写鼓瑟吹笙、承筐献礼之盛，是礼的铺陈；二章赞嘉宾「德音孔昭」「是则是效」，由乐礼转入德行的推崇；三章「鼓瑟鼓琴，和乐且湛」写宾主沉酣之乐，终以「以燕乐嘉宾之心」收束，点明燕飨之根本在乐嘉宾之心。叙事、抒情融于礼乐节奏之中，章法井然。尤可味者，三章同以鹿鸣起兴而辞意递进，如乐之三叠而声情渐酣；「我有嘉宾」三见，一唱三叹，把主人待宾的殷殷之情反复咏叹，正合燕飨乐歌「以歌行礼」的功能，读之仿佛置身钟鼓琴瑟、宾主酬酢之间。
Allusions
The cry of deer became a classic symbol of welcoming worthy guests. The phrase 'Deer Cry' (lù míng) later gave its name to the 'deer feast' (lù míng yàn) held for successful imperial examination candidates during the Tang dynasty.
「呦呦鹿鸣」以鹿鸣相呼喻宾主和乐，开后世「鹿鸣」意象之源，成为中国文化中礼贤乐宾的经典符号。唐代科举放榜后设「鹿鸣宴」慰劳新科进士，即取此诗燕飨嘉宾之义，典出《新唐书·选举志》，自此「鹿鸣宴」成为科场盛典的代称，明清沿之。「德音孔昭」言嘉宾之德行声望昭明显扬，「孔」为甚、很之意，「昭」为明，二字极赞嘉宾之德，承周人重德尚贤之传统；「示我周行」言嘉宾为我指明大道，「周行」即至美之道，将燕飨由口腹之乐升华为德义之教。「承筐是将」写以竹筐盛币帛献礼，可见燕礼献酬之实况；苹、蒿、芩皆野菜，古人采以荐宾，质朴之中见礼文之备。全诗处处有典有礼，而融化于宴乐之欢中，不见斧凿。此诗之用典用礼，皆非书袋之学，而是周人生活方式的自然流露：鹿鸣、苹蒿、琴瑟、承筐，无一不是当时燕飨场合的实景实物，礼文之备与意象之美兼而有之，故后世咏宴饮、写礼贤之作，莫不祖述此诗，其典范意义至为深远。
Commentary
The Mao Commentary says: 'The Deer Cry is about feasting ministers and guests.' Zhu Xi describes it as a poem for welcoming virtuous guests, praising their clear virtue as a model for others. Fang Yurun calls it 'peaceful and great, flawless virtue,' the foremost banquet song of its kind.
《毛诗序》释此诗曰：「《鹿鸣》，燕群臣嘉宾也。既饮食之，又实币帛筐篚，以将其厚意，然后忠臣嘉宾得尽其心矣。」点明此诗以饮食币帛之厚意结嘉宾之心，是周代「以礼敬贤」精神的体现。朱熹《诗集传》谓：「此燕飨宾客之诗……嘉宾之德音昭明，足以为法。」清代方玉润《诗经原始》称其「和平广大，德音不瑕」，推为「燕飨正歌」之冠。此诗在礼乐系统中地位极高：汉代乐府尚存此曲，曹操《短歌行》袭用「呦呦鹿鸣，食野之苹。我有嘉宾，鼓瑟吹笙」四句以抒求贤之志，可见其影响跨越千年；后世「鹿鸣」更成为礼贤乐宾、君臣相得的代称。就文学而言，此诗以起兴写宴乐、以复沓见雍容，是《诗经》燕飨诗的代表，其以物类和乐兴起人事欢洽的手法，为后世宴饮诗确立了典范。时至今日，「鹿鸣」仍是中国文化中礼贤乐宾的代称，大学开学、宾客酬酢，犹闻「呦呦鹿鸣」之声；一首三千年前的乐歌，其生命力竟绵延至今，足见《诗经》作为民族经典的不朽魅力。
Prosody
Line by line
呦呦鹿鸣，食野之苹。我有嘉宾，鼓瑟吹笙。
The deer cry out, eating wild apples in the field; I have noble guests, strum the zither and blow the reed.
群鹿呦呦鸣叫，在原野吃着苹草；我有许多嘉宾，弹瑟又吹笙相迎。
The deer cry yōu-yōu, eating the duckweed of the wilds. I have honored guests; I strike the se and blow the sheng.
首章前四句以鹿鸣起兴，奠定全诗和乐欢洽的基调。「呦呦鹿鸣，食野之苹」写鹿群在原野上吃着苹草、呦呦相呼——鹿是群居的动物，得食则相呼共食，呦呦之声既是觅食的呼唤，更是同类相亲的应答，一幅自然和乐的图景跃然纸上。由此兴起的「我有嘉宾，鼓瑟吹笙」，以鹿之相呼兴起宾主之相得：鹿得食而呼朋引伴，我得嘉宾而鼓瑟吹笙，物类之相亲即人情之欢洽，兴中含比，含蓄妥帖。鼓瑟吹笙写宴乐之盛，瑟与笙是周代燕礼的主要乐器，一弹一吹，声乐和鸣，正是宾主尽欢的前奏。四句由自然而及人事，由鹿鸣而及人乐，起兴自然，铺陈雍容，周人「以礼乐待贤」的胸襟于此初现。
The opening. The deer cry yōu-yōu, eating the duckweed of the wilds. I have honored guests; I strike the se and blow the sheng. The deer-cry-duckweed-wilds and the honored-guests-se-sheng are the mood. To have cried yōu-yōu would be a crying; the the-deer-cry-yōu-yōu-eating-the-duckweed-of-the-wilds-i-have-honored-guests-i-strike-the-se-and-blow-the-sheng is the crying.
吹笙鼓簧，承筐是将。人之好我，示我周行。
Blow the reed and shake the spring, baskets full of gifts we bring; if my guests love me indeed, show me the Great Way to lead.
吹笙振簧，捧着竹筐献上礼物；宾客善待于我，教我走正道。
Blow the sheng, shake its reeds; I bear the basket in offering. Those who are kind to me show me the great way.
四句承首章而来，由宴乐之盛转入礼意之厚。「吹笙鼓簧」紧承「鼓瑟吹笙」，「簧」是笙中的簧片，鼓簧即吹笙时振动簧片，叠写乐声之繁盛，见宴乐之欢洽已入高潮。「承筐是将」写捧起竹筐献上礼物——周代燕礼有「币帛筐篚」之献，主人以筐盛币帛赠宾，是敬贤的实际行动，礼意之厚于此可见。后两句「人之好我，示我周行」更进一层：嘉宾厚待于我，为我指明正道——宴飨不只是饮食之乐，更是德义的交流，嘉宾以「周行」（大道）相示，使燕飨由口腹之欢升华为进德之助。四句由乐写到礼、由礼写到道，层层递进，把燕飨的深厚意蕴逐层展开，周人宴饮中的礼乐精神与敬贤之义，于此表露无遗。
The offering. Blow the sheng, shake its reeds; I bear the basket in offering. Those who are kind to me show me the great way. The blow-sheng-shake-reeds and the bear-basket-offering and the kind-show-great-way are the rite. To have blown the sheng would be a blowing; the blow-the-sheng-shake-its-reeds-i-bear-the-basket-in-offering-those-who-are-kind-to-me-show-me-the-great-way is the blowing.
呦呦鹿鸣，食野之蒿。我有嘉宾，德音孔昭。
The deer cry out, eating wild wormwood; I have noble guests, their virtuous fame is widely known.
鹿鸣于野食蒿草，我有嘉宾美德昭彰。
The deer cry yōu-yōu, eating the artemisia of the wilds. I have honored guests; their fair fame is brilliant.
第二章换「苹」为「蒿」，起兴重出而意绪转深，由待客之乐转入对嘉宾德行的推崇。「呦呦鹿鸣，食野之蒿」与首章同以鹿鸣起兴，仅易一草，重章叠句的复沓之美于此可见——同一鹿鸣之声，三章回环，音节流转，正如宴乐之气的往复。下接「我有嘉宾，德音孔昭」，点出嘉宾之可贵不在其来，而在其德：德音指德行声望，孔为甚、昭为明，二字极赞嘉宾之德行昭明、声名显扬。首章以「鼓瑟吹笙」写待宾之礼，此章以「德音孔昭」赞嘉宾之德，由礼入德，燕飨的意义由欢洽转向教化：主人敬贤，正因为贤者之德可以昭明于世、可以为法于人。一换「蒿」字，而全章的意脉由乐礼转入德义，复沓之中见层层推进之妙。
The fame. The deer cry yōu-yōu, eating the artemisia of the wilds. I have honored guests; their fair fame is brilliant. The deer-cry-artemisia-wilds and the honored-guests-fair-fame-brilliant are the praise. To have cried yōu-yōu would be a crying; the the-deer-cry-yōu-yōu-eating-the-artemisia-of-the-wilds-i-have-honored-guests-their-fair-fame-is-brilliant is the crying.
视民不恌，君子是则是效。我有旨酒，嘉宾式燕以敖。
They treat the people without frivolity, gentlemen take them as models; I have fine wine, my guests feast and wander at ease.
待人宽厚不轻佻，君子以此为准则效法；我有美酒，请嘉宾宴饮逍遥。
They show the people no levity; the noble take them as model and pattern. I have fine wine; let the guests feast and wander at ease.
四句承「德音孔昭」而来，由赞德转为效德，宴饮之义至此完备。「视民不恌」写嘉宾待人宽厚而不轻佻——「视」同「示」，「恌」为轻佻，嘉宾之德既能示民以厚，故「君子是则是效」，君子以他为准则、向他效法，点明贤者之德的社会价值：一人之德可以化民成俗，这正是周人敬贤的深层用意。「我有旨酒，嘉宾式燕以敖」又回落到宴乐之上——我有美酒，请嘉宾宴饮逍遥，「式」为语助、「敖」为游息，写宾主在美酒中尽兴逍遥之乐。四句一德一乐、一庄一谐：赞德是燕飨之义，饮酒是燕飨之乐，义与乐交融，正见周代宴饮「以礼乐养德」的深意，也使全诗在雍容中见亲切，庄重而不失欢愉。
The model. They show the people no levity; the noble take them as model and pattern. I have fine wine; let the guests feast and wander at ease. The show-people-no-levity and the noble-take-model-pattern and the fine-wine-guests-feast-at-ease are the close. To have shown no levity would be a showing; the they-show-the-people-no-levity-the-noble-take-them-as-model-and-pattern-i-have-fine-wine-let-the-guests-feast-and-wander-at-ease is the showing.
呦呦鹿鸣，食野之芩。我有嘉宾，鼓瑟鼓琴。鼓瑟鼓琴，和乐且湛。我有旨酒，以燕乐嘉宾之心。
The deer cry yōu-yōu, eating the mugwort of the wilds. I have honored guests; I strike the se, I strike the qin. Striking the se, striking the qin—harmonious, deep, and long. I have fine wine, to gladden the hearts of my honored guests.
鹿鸣食芩，嘉宾鼓琴瑟，和乐深厚；我有美酒，以愉悦嘉宾之心。
The deer cry yōu-yōu, eating the mugwort of the wilds. I have honored guests; I strike the se, I strike the qin. Striking the se, striking the qin, harmony is deep. I have fine wine, to make glad the hearts of my honored guests.
末章归总全篇，以「燕乐嘉宾之心」收束，尽显周代燕飨的礼乐精神。起兴三度重出，「食野之芩」换第三种植物，回环之中见章法之完整；「我有嘉宾，鼓瑟鼓琴」由「鼓瑟吹笙」变为「鼓瑟鼓琴」，乐器的更换写宴乐之更盛，琴瑟之声比笙簧更为深沉和雅。紧接「和乐且湛」四字总括宴乐之境：和乐深厚、宾主沉酣，一个「湛」字写欢乐之深浓，如酒之醇厚、如水之深湛，是宴乐之情的极致。「我有旨酒，以燕乐嘉宾之心」点明全诗主旨：美酒燕飨，其终极目的不在饮食，而在「乐嘉宾之心」——使嘉宾内心愉悦、宾主情谊相通。由起兴、献礼、赞德、效德而归于乐心，三章层层推进，把周代燕飨「以礼敬贤、以乐和心」的精神写尽，雍容典重，气象和平。
The glad hearts. The deer cry yōu-yōu, eating the mugwort of the wilds. I have honored guests; I strike the se, I strike the qin. Striking the se, striking the qin—harmonious, deep, and long. I have fine wine, to gladden the hearts of my honored guests. The deer-cry-mugwort-wilds and the honored-guests-se-qin and the striking-se-qin-harmony-deep and the fine-wine-gladden-hearts are the climax. To have cried yōu-yōu would be a crying; the the-deer-cry-yōu-yōu-eating-the-mugwort-of-the-wilds-i-have-honored-guests-i-strike-the-se-i-strike-the-qin-striking-the-se-striking-the-qin-harmonious-deep-and-long-i-have-fine-wine-to-gladden-the-hearts-of-my-honored-guests is the crying.
Study
Word focus
Related Reading
Both poems express a desire for worthy guests, but Cao Cao's context is personal ambition, while the original is a ritual banquet song.
曹操《短歌行》「呦呦鹿鸣，食野之苹。我有嘉宾，鼓瑟吹笙」四句全袭《鹿鸣》，其旨却在求贤：以「周公吐哺，天下归心」写对贤才的渴慕，化周代燕飨乐歌为建安求贤之辞。《鹿鸣》是周代燕飨正乐，写的是「燕群臣嘉宾」的礼乐之盛，宾主以德音相勉、以礼乐相和，气象雍容；《短歌行》借其声口写「青青子衿，悠悠我心」的思贤之情，一唱三叹，悲慨苍凉。同是宴宾求贤，而《鹿鸣》是制度化的礼乐，《短歌行》是个体化的抒情；一为原典、一为化用，恰可见《诗经》对后世文学的深远影响，也可见同一意象在不同时代精神下的重新演绎。
过故人庄 Visiting an Old Friend's Farm 孟浩然 · 同写待客宴饮之乐，可见宴饮诗由礼到朴的流变 Both poems depict hospitality, but 'Deer's Call' is formal and ceremonial, while Meng's is simple and pastoral.The contrast shows how the banquet poem evolved from ritual to everyday life over centuries.
孟浩然《过故人庄》「开轩面场圃，把酒话桑麻」写田园家常的待客之宴：故人邀约、绿树青山、把酒话农，宾主之间是朴素真挚的乡村情谊；《鹿鸣》写的是礼乐燕飨之宴：鼓瑟吹笙、承筐献礼、德音相勉，宾主之间是制度化的礼敬贤才。一庄重礼乐、一疏淡田园，俱见主人待客之诚，而趣味迥异：《鹿鸣》之宴以「礼」为核心，乐声、献礼、颂德皆在礼的框架之内；《过故人庄》之宴以「朴」为核心，酒话桑麻、重阳再来，皆是日常的真情。合观二诗，可见中国宴饮诗从周代礼乐宴飨到唐代田园家常的流变——礼乐精神渐淡，人情之真渐浓，而待客之诚始终如一，恰是文学随时代而变的最好注脚。