先秦 Pre-Qin · 诗经 Classic of Poetry
无衣
No Clothes
岂曰无衣？
与子同袍。
王于兴师，修我戈矛，与子同仇。
岂曰无衣？
与子同泽。
王于兴师，修我矛戟，与子偕作。
岂曰无衣？
与子同裳。
王于兴师，修我甲兵，与子偕行。
The king calls us to arms; we grind our spears and lances — with you we share the hatred.
Who says we have no war-robes? I share my under-robe with you.
The king calls us to arms; we grind our spears and halberds — with you we rise together.
Who says we have no war-robes? I share my skirt with you.
The king calls us to arms; we grind our armor and arms — with you we march together.
Meaning
Who says we have no clothes? I share my war-robe with you. The king raises the host; we ready our spears and lances, sharing the foe's hatred with you. Who says we have no clothes? I share my under-robe with you. The king raises the host; we ready our spears and halberds, rising together with you. Who says we have no clothes? I share my skirt with you. The king raises the host; we ready our armor and weapons, marching together with you.
谁说我们没有衣裳？我和你同穿那件战袍。君王发兵出征，修整我的戈与矛，和你同仇敌忾。谁说我们没有衣裳？我和你同穿那件贴身汗衫。君王发兵出征，修整我的矛与戟，和你一同奋起。谁说我们没有衣裳？我和你同穿那件下裳。君王发兵出征，修整我的铠甲兵器，和你并肩前行。
Appreciation
This martial song from the 'Qin Feng' section of the Book of Songs rings with the Qin spirit of shared brotherhood in war. It opens each of its three stanzas with the defiant question 'Who says we have no clothes?', answered at once by 'I share my war-robe with you', turning the sharing of garments from a material fact into a bond of the spirit. The middle lines spread the preparation for war, and the closing words build from 'share the hatred' to 'rise together' to 'march together'. The word 'share' runs through the whole, fusing comrades into one collective courage — rugged, plain, rhythmic as a war-drum, the strongest note of the Qin wind's martial spirit, and a classic test piece for understanding the Qin people's shared hatred and common cause.
【白话串讲】 “岂曰无衣？与子同袍”——谁说没有衣裳？我和你同穿一件战袍。秦国的士兵出征前，互相喊：一起修好戈矛，共同对敌。这是中国最早的战歌，慷慨到三千多年后还让人热血。 【意象与手法】 本诗艺术在「以反问领起、以重章递进」。三章皆以「岂曰无衣」反诘振起，豪气逼人；「与子同袍、同泽、同裳」以共享衣装作答，由物质共济写到精神与共；「修我戈矛、矛戟、甲兵」铺陈备战；末以「同仇、偕作、偕行」递进，由共恨敌人到共同奋起再到并肩出征，「同」字贯穿，节奏如擂鼓。 【情感与主旨】 《无衣》为《诗经·秦风》中的军旅战歌。秦人立国西陲，与西戎长期鏖战，民风尚武勇决，《汉书》称秦地「修习战备，高尚勇力」。此诗当产生于秦军出征、士卒相勉的场合，把战友之情熔铸为集体血性，是周代诸侯国战争诗中气象最雄健者。 【名句点睛】 中高考考点：一、主旨——理解秦人同仇敌忾、共赴国难的尚武精神与战友之情；二、重章叠唱的结构——复沓中如何逐层递进；三、「与子同袍」如何凝为后世「袍泽」之谊的经典符号。
Background
No Clothes is a martial song of the 'Qin Feng' section of the Book of Songs. The Mao preface calls it 'a satire on warfare', saying the men of Qin blamed a ruler who loved battle and drained the people; yet the poem's breath of mutual aid and shared hatred sits ill with satire, and most modern readers take it as a Qin war song. The Qin arose from tending horses, planted on the western border, and fought the western Rong for generations, their folk being warlike and resolute; the Han history notes 'the Qin custom trained for war and prized valor'. The song likely arose when Qin troops marched out and encouraged one another, the most robust of the Zhou feudal war poems.
《无衣》为《诗经·秦风》中的军旅战歌。《毛诗序》谓「刺用兵也，秦人刺其君好攻战，亟用民力」，然全诗同袍共济、同仇敌忾之气沛然，与「刺」意迥殊，今人多定为秦人尚武之军歌。秦人先祖非子以养马起家，立国西陲，与西戎长期鏖战，民风尚武勇决，《汉书·赵充国辛武贤传》称秦地「修习战备，高尚勇力」。就本事而言，周幽王为犬戎所杀，秦襄公将兵救周，护送平王东迁有功，平王封秦为诸侯、赐以岐西之地，此诗「王于兴师」之「王」或即指此，全诗当产生于秦军出征、士卒相勉的军旅场合。诗中「同袍」「同仇」之语，正是秦人在长期御戎战争中凝结的集体经验与精神气概的诗化表达，是周代诸侯国战争诗中气象最雄健者。就诗篇性质而言，此诗既非贵族宴飨之雅乐，亦非桑间濮上之情歌，而是直接产生于军旅行伍之间的战地之歌，其口吻之急切、气概之雄壮，正与秦人「勇于公战、怯于私斗」的民风相合。商鞅变法以后秦人尚战之风愈烈，而此诗所反映的尚武精神，实为秦人立国以来与戎狄周旋中养成的传统，故其虽止三章五句之短，却是理解秦文化精神气质的重要文献，历代谈秦人性格者多引此诗为证。
Art
The poem's art lies in 'leading with a rhetorical question and advancing through repeated stanzas'. Each stanza bursts open with 'Who says we have no clothes?', bold and stirring; 'I share my coat, under-robe, skirt' answers by sharing clothes, moving from material sharing to spiritual communion. The middle 'the king calls us to arms; we grind our spears, halberds, armor' spreads the war preparation, and the close ascends through 'share the hatred', 'rise together', 'march together': from hating the foe, to rising up, to marching out. The word 'share' runs throughout, melting comradeship into a collective bloodedness — rugged and plain, its rhythm like a drumbeat, the loudest voice of the Qin martial spirit.
本诗艺术在「以反问领起、以重章递进」。三章皆以「岂曰无衣」反诘振起，豪气逼人；「与子同袍、同泽、同裳」以共享衣装作答，由外袍到贴身汗衫再到下裳，由表及里写共患难之亲；中幅「王于兴师，修我戈矛、矛戟、甲兵」铺陈备战，兵器由单一到多样，整备由简入繁，临战之气愈逼愈紧；末以「同仇、偕作、偕行」递进：由共恨敌人，到共同奋起，再到并肩出征，情感层层升级，终达生死与共之境。「同」字贯穿全篇，将战友之情熔铸为集体血性。复沓而不板滞，靠的正是每章换字带来的递进——重章叠唱是《诗经》最典型的章法，而本诗是其中递进最有力的一例，节奏如擂鼓，刚健质朴，是秦风尚武精神的最强音。章法之外，其修辞亦足称道：每章先以反诘设问，次以同衣作答，再以修兵应命，终以同心作誓，四层环环相扣，如军令之部署，井然有序而气势愈壮。三章之间，「同」字凡六见，「与子」凡六见，字面重复而意义递进，正是《诗经》重章叠唱「以复沓见层深」的精义。其句法全为四言，偶句押韵，节拍一律，如鼓点之齐，诵之如闻战角。全诗无一写景之句，纯以对话与动作写精神，然其慷慨之气扑面而来，可见《诗经》写战争不重场面而重气概的传统，此诗为最。
Allusions
The phrase 'share the coat' later froze into the idiom 'comrades in arms' (pao ze), meaning fellow soldiers; 'share the hatred' became the source of the idiom 'share the hatred of the foe', meaning to resist together. 'The king calls us to arms' — 'the king' means the Zhou Son of Heaven or the Qin ruler; 'spears and lances', 'halberds', 'armor' are typical Zhou weapons, reflecting the realities of chariot warfare. The poem uses no myth or historical allusion, only the everyday imagery of camp (clothes, weapons, host) to voice martial fellowship, winning grandeur by plain description, matching the atmosphere of the Qin campaigns in the Zuo Zhuan.
诗中「同袍」一词后世凝为「袍泽」之典，袍与泽皆衣类，专指军中战友，今犹言「袍泽之谊」；「同仇」亦成「同仇敌忾」成语之源，喻同心抗敌，二词皆由《无衣》而来，影响及于千年。「王于兴师」之「王」指周天子或秦君，透出王命征伐的正当性；「戈矛」「矛戟」「甲兵」皆周代典型军备：戈为勾啄之兵、矛为直刺之兵、戟兼勾刺之长兵、甲兵为铠甲与兵器的总称，正反映车战时代步兵装备的实况，亦见备战之切实不苟。全诗无神话或史事用典，纯以军旅日常意象（衣、兵、师）写尚武共鸣，以白描见雄风，与《左传》所载秦师「同仇敌忾」的时代氛围相合，是《诗经》中少有的以器物写精神的篇章。又「与子同袍」之「袍」，依《说文》为长衣之属，为战时所着之戎衣，「泽」为贴身汗衣，「裳」为下衣，三章由外及内、自上而下写共衣之全，正见患难相共之无间；「同仇」之「仇」即仇敌，谓同以敌人为敌，后世凝为「同仇敌忾」成语之源。成语化的过程正说明此诗意象的经典性，至今犹活在汉语的日常表达之中，其影响之深远，已超出诗本身的范围。
Commentary
The Mao preface says: 'No Clothes, a satire on warfare.' Zhu Xi's 'Commentary on the Songs' says: 'The Qin custom prized spirit and valor, forgot life and slighted death — thus their poems are so.' Fang Yurun's 'Origin of the Songs' says: 'This song of martial valor — bold and far-ranging, not something poets after the Tang could say.' Modern readers hail it as 'the heroism of the Qin wind'. The line 'I share my coat with you' became a classic symbol of comrade-bond and shared-hatred spirit; later martial poets mostly follow its tune.
历代评家于此诗多有发挥。《毛诗序》谓「《无衣》，刺用兵也」，以秦君好战为说；朱熹《诗集传》则云「秦人之俗，大抵尚气概，先勇力，忘生轻死，故其见于诗如此」，直接点出秦地民风与诗风之关系；方玉润《诗经原始》称此诗「英壮迈往，非唐以后人所能道」，极赞其气格。今人则径定为秦人出征前的战歌。其「与子同袍」之句，更成中华袍泽情谊与同仇精神的经典符号，历代咏军旅者多祖其调，汉魏乐府及后世边塞诗的慷慨一脉皆可溯源于此。全诗以最朴素的衣裳意象写出最壮阔的战友之情，正见《诗经》「质而能壮」的本色。就接受史而言，此诗几乎成为历代军旅文学的精神原型：汉魏乐府《战城南》之惨烈、唐代边塞诗之慷慨，皆可见其影响的痕迹；近世民族危难之际，此诗「与子同仇」之句亦屡被征引，以激励同仇敌忾之气，足见其跨越时代的感染力。论者或据《毛诗序》「刺用兵」之说，谓其暗含对穷兵黩武的讽谏，然细味全诗，壮气沛然，实以颂扬为主、讽谏为辅，今人多从朱熹之说。一首三十字的小诗，能兼雄壮与深婉、尚武与悯人于一体，正是《诗经》艺术浑全之处。
Prosody
Line by line
岂曰无衣？与子同袍
Who says we have no clothes? I share my war-robe with you.
谁说我们没有衣裳？我和你同穿那件战袍。
Who says we have no garments? I will share my cloak with you.
开篇以反问振起，气势逼人。「岂曰无衣」不是陈述，而是反诘：物资匮乏算得了什么？一句问话，把困窘轻轻推开，显出秦人藐视困难的豪气。「与子同袍」作答，不诉苦、不推诿，直接以共享衣装相许——袍是外衣，同袍即共御风寒、同赴征途，由物的共济见精神的与共。「同」字在此初次出现，已是全篇诗眼的先声。两句一问一答、一呼一应，如军令之起、如战鼓之擂，为全诗定下慷慨激昂的基调，亦开「袍泽」一典之端。
The opening rises on a rhetorical question, its spirit pressing forward. Who says we have no garments? is not a statement but a challenge: what does a little shortage matter? One question brushes aside the straits, revealing the Qin man's scorn of hardship. I will share my cloak with you answers: no complaint, no evasion, but a pledge to share the very clothing. A cloak is an outer robe; to share the cloak is to share wind and cold, to march out together; from material fellowship comes spiritual brotherhood. The word share appears here for the first time, the first echo of the poem's poetic eye. Question and answer, call and response, like a military order sounded, like a war drum struck; the stanza sets the generous, impassioned tone of the whole and begins the allusion of cloak and fellowship.
王于兴师，修我戈矛
The king calls us to arms; we grind our spears and lances.
君王发兵出征，修整我的戈与矛。
When our king summons the host to war, I will polish my halberd and spear.
此句点出军旅背景与实际行动。「王于兴师」之「王」指周天子或秦君，透出战争的正当性与号召力，非寻常械斗可比；「修我戈矛」写临战整备，一个「修」字见出士卒的自觉与勤勉——不待催逼，自磨自砺，把枕戈待旦的备战状态写得凝练有力。戈、矛皆周代典型长兵，以具体器物入诗，见军备之实。两句由号召到行动，由王命到自身，把个体纳入集体，是「同仇」得以成立的前提，亦为下文「与子同仇」蓄势。
The line names the military setting and the concrete action. In when our king summons the host to war, the king is the Zhou sovereign or the ruler of Qin, lending the cause its legitimacy and call to arms, no ordinary brawl. I will polish my halberd and spear writes battle-readiness; the word polish shows the soldiers' own resolve and diligence: no need for urging, they sharpen and polish themselves, the state of arms at the ready condensed with force. Halberd and spear are the typical long weapons of Zhou; naming the actual gear shows the reality of the arsenal. Two lines move from call to action, from royal command to the self, drawing the individual into the collective, the precondition for we share one enemy and the preparation for it.
与子同仇
With you we share the hatred of the foe.
和你同怀敌忾之心。
Together with you, we share one enemy.
三字收束首章，是全诗精神的凝结点，亦「同仇敌忾」成语之源。「仇」在此作仇敌解，「同仇」即共同以敌人为敌，把个人的恨升华为群体的恨，把共衣的物质情谊推进为共愤的精神同盟。句式极短，斩钉截铁，如军令之断；与「岂曰无衣」的反问呼应，形成「问—答—誓」的完整节奏。此三字看似平淡，实则分量极重：战友之情的最高境界不是同甘，而是同仇——同赴患难、共御外侮，中国军旅文学中「同仇」精神的经典表述，即肇端于此。
Three words close the first stanza, the condensation of the poem's spirit, and the source of the idiom sharing a common foe. Foe here means the enemy; sharing one foe is to take the enemy as common to all, raising private hatred into group wrath, advancing the material brotherhood of shared clothing into the spiritual alliance of shared anger. The line is extremely short, decisive as a military order; echoing the opening who says we have no garments? it completes the rhythm of question, answer, oath. The three words seem plain yet weigh enormously: the highest state of comradeship is not sharing ease but sharing a foe, meeting danger together, fending off invasion together. The classic expression of the common foe spirit in Chinese military literature begins here.
Study
Word focus
Related Reading
Both are famous service songs outside the Qin wind; 'Cai Wei' is plaintive with 'my heart is sad', 'No Clothes' is bold — compare the writing of war.
《采薇》出《小雅》，写戍卒久役思归，「曰归曰归，岁亦莫止」「我心伤悲，莫知我哀」，情调哀婉低回；《无衣》出《秦风》，写士卒同袍共赴，情调慷慨激昂。同为战争题材，一写征人之悲、一写从军之壮，恰是《诗经》战争书写的两个侧面：前者见战争对个体的摧折，后者见群体在危难中的凝聚。对读二诗，可以理解周代战争诗情感的两极，亦可体会风、雅二体在题材与风格上的分野。
陟岵 Climbing the Wooded Hill 诗经 · 异：战争两面，出征之壮与望乡之悲 Different (two faces of war: the glory of marching vs the grief of watching home)Both write service; one martial, one homesick — opposite emotional poles.
《陟岵》出《魏风》，写征人登高望乡，想象父、母、兄各以「尚慎旃哉」叮咛自己，以悬想之笔写思亲之悲，与《无衣》同写征役而情感基调截然两途。一以「与子同仇」的集体之壮振起，一以「犹来无止」的个体之悲低回；《无衣》把人推向战场，《陟岵》把人拉回家园。二诗并观，可见先秦人对战争的双重体验：既需要同仇敌忾的勇气，也深藏着背井离乡的伤痛，刚与柔、壮与悲，正是战争书写的一体两面。
小戎 The Light War-Car (Xiao Rong) 诗经 · 同：同出秦风，一写征前壮歌、一写闺中念征夫 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
《小戎》亦为《秦风》篇什，写妇人思念征夫，「言念君子，温其如玉」，以细致笔触写车马兵甲之盛而归于思妇的温柔牵挂，与《无衣》的壮士之歌同出秦地而情致迥异。一以士卒口吻直抒同仇之志，一以思妇口吻低诉怀人之情；《无衣》见秦人的勇，《小戎》见秦人的情。二诗合观，恰见秦风刚柔相济的完整面貌：既有「修习战备、高尚勇力」的尚武精神，也有深藏于战争背后的缠绵情思。