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宋 Song · 词 Ci lyric

渔家傲·天接云涛连晓雾

Pride of Fishermen: The Sky Joins Waves of Clouds and Morning Mist

李清照

Li Qingzhao

豪放Bold and Unrestrained 记梦Recording a Dream 咏怀Expressing Feelings

天接云涛连晓雾，星河欲转千帆舞。
仿佛梦魂归帝所。
闻天语，殷勤问我归何处。
我报路长嗟日暮，学诗谩有惊人句。
九万里风鹏正举。
风休住，蓬舟吹取三山去！

The sky joins waves of clouds and morning mist,
The Milky Way turns with a thousand sails dancing.
As if my dreaming soul returns to the Heavenly Court.
I hear the Heavenly Emperor speak, earnestly asking where I go.

I reply: the road is long and I sigh at sunset;
Learning poetry, I have startling lines in vain.
The roc is rising on a wind of ninety thousand miles.
Wind, do not stop! Blow my reed boat to the three fairy isles!

Listen

Meaning

The poet describes a dream in which she ascends to heaven and the Heavenly Emperor asks her where she is going. She laments the long road and the passing of time, feeling that her poetic talent is wasted. Then she invokes the image of the great roc soaring on the wind and wishes to be carried to the mythical islands of the immortals, expressing a longing for transcendence and freedom.

天幕与如波涛般的云气、拂晓的浓雾连成一片，银河仿佛在转动，千帆如舞。恍惚间梦魂回到了天帝的居所，听见天帝亲切地问我要回到哪里去。我回答说人生路途漫长却感叹日已西沉，纵然学诗也空有惊人之句。看那九万里长风中大鹏正展翅高飞，风啊你且不要停住，把我的轻舟吹送到那仙山去吧！

Appreciation

This poem is a masterpiece of romantic imagination. The first stanza depicts a magnificent celestial scene with clouds, mist, and the Milky Way. The poet's soul visits the Heavenly Emperor, who asks her destination. The second stanza shifts to her worldly frustrations and ends with a powerful call for the wind to carry her away. The poem combines heroic abandon with personal lament, showcasing Li Qingzhao's versatility beyond her usual graceful style. The use of grand imagery and direct address to the wind creates a sense of urgency and soaring spirit.

【白话串讲】李清照在梦里乘船飞上天，听见天帝问她要去哪里。她说：“九万里风鹏正举”——这个写尽哀愁的女词人，原来心里还藏着一只大鹏，想做一件大事。【意象与手法】全词以浪漫游仙手法结构，上片写天界之境，“天接云涛连晓雾，星河欲转千帆舞”以宏阔意象铺展梦境【情感与主旨】此词约作于建炎年间南渡之后，时局动荡、漂泊无依，李清照在颠沛中回首前尘，借梦境抒发胸臆【名句点睛】考点常聚焦：一、名句“九万里风鹏正举”的典故出处与表达效果；二、对比易安婉约词风，分析本词“豪放”特质与意象选择

Background

This poem was likely written after Li Qingzhao fled south during the turmoil of the Jin invasion. Living in exile and hardship, she channels her feelings of displacement and longing for a better world into a dream vision. The poem reflects her inner resilience and desire to escape reality, a departure from her typical boudoir themes.

李清照《渔家傲·天接云涛连晓雾》约作于建炎年间南渡之后。靖康之变（1127）后，李清照随夫南渡，继而赵明诚病逝，她流寓江浙，辗转漂泊，晚景凄凉。此词以「记梦」为体，写其梦魂升天、面见天帝、倾诉身世的一段幻境。词中「我报路长嗟日暮」之叹，正是其南渡后「路长」「日暮」的人生写照——国破家亡、流离失所，前路漫漫而年华已逝。「学诗谩有惊人句」之慨，则暗含其以女子之身而才高命舛的悲凉。此词在易安词中别具一格：李清照向以婉约词名家，而此词却以「天接云涛」「星河千帆」「九万里风鹏」的宏阔意象，写出一派豪放雄奇的气象，几可与苏、辛抗衡。关于此词的作年，学界有北宋末年、南渡初期诸说，然以「南渡之后」说为较通行者——唯有经历了南渡的颠沛与丧夫的剧痛，方能写出「路长日暮」「吹取三山」这般饱含身世之慨的仙游之梦。此词在易安集中的编次，亦可见其「记梦」的特殊性。李清照另有《渔家傲》「雪里已知春信至」咏梅，与此词同调而情味迥异。此首「天接云涛」，以「梦」为体，实是易安晚年「于现实无望处，寄理想于幻境」的心路写照。南渡后的李清照，历经国破、家亡、夫死、书散、漂泊，其词多写愁苦，如《声声慢》《武陵春》，而此词独能以雄奇之笔，于梦中寻求超越，是其词中少见的「向上」「向天」之作，故尤为可贵。

Art

The poem employs a romantic, celestial journey structure. The first stanza builds a vast, dreamlike setting using visually striking imagery like 'cloud waves' and 'dancing sails.' The second stanza uses dialogue to shift to introspection, then abruptly pivots to the soaring roc, creating a powerful emotional climax. The language is bold and unconstrained, with rhythmic urgency from the oblique rhymes.

此词以「记梦」为结构，借游仙以抒胸臆，是李清照词中少见的浪漫豪放之作。上片写升天：起句「天接云涛连晓雾，星河欲转千帆舞」，以「天」「云涛」「晓雾」「星河」「千帆」五个宏大意象，铺展出一个浩渺流动的天界——云涛接天，晓雾弥漫，银河欲转，千帆如舞，场面之壮阔，在易安词中绝无仅有。「仿佛梦魂归帝所」，点出「梦」字，魂归天帝居所。「闻天语，殷勤问我归何处」，写天帝殷殷垂问，语气亲切。下片写答问：「我报路长嗟日暮，学诗谩有惊人句」，是词人对天帝的答语，也是其一生身世的浓缩——路途漫长而日已西沉，学诗徒有惊人之句而无处施展。「九万里风鹏正举」，以《庄子》大鹏自比，转出昂扬之志；结句「风休住，蓬舟吹取三山去」，则要以长风送舟、直赴仙山，寄寓其挣脱现实、追寻理想的渴望。全词以「问—答—欲」的结构推进，虚实相生，仙凡交织，其豪放中见悲凉、昂扬中含无奈的复杂情感，正是易安晚年心境的真实投射。此词在结构上以「问—答」贯穿：天帝问「归何处」，词人答「路长日暮」，一问一答之间，身世尽出。而「问」之关切与「答」之悲凉，又构成一种「天界之暖」与「尘世之寒」的对照，遂使这仙游之梦，成了一场「向天倾诉」的悲凉告白。更妙的是，词人并不止于倾诉，而是以「九万里风鹏正举」的昂扬，翻出「吹取三山」的渴望，使全词在悲凉之后，忽生一股凌虚的劲气，情感由抑而扬，跌宕起伏，正是易安晚年心境的复杂投射。

Allusions

The line 'The roc is soaring up ninety thousand miles' alludes to the Zhuangzi story of the giant bird Peng that can fly for thousands of miles, symbolizing great ambition and freedom. The 'three fairy isles' refer to the legendary mountains Penglai, Fangzhang, and Yingzhou in the Eastern Sea, where immortals dwell. The 'Heavenly Emperor' is a traditional concept of the supreme deity in Chinese mythology.

此词用典精当，皆与「仙游」「求索」之旨相契。「帝所」指天帝居所，本于《楚辞》中「上征」「叩阍」的传统——屈原《离骚》「吾令帝阍开关兮，倚阊阖而望予」，已是叩见天帝的滥觞；李清照「梦魂归帝所」，正承此「上叩天阍」的浪漫传统。「路长」「日暮」，化用屈原《离骚》「路漫漫其修远兮，吾将上下而求索」与「日忽忽其将暮」，以「路长」喻人生求索之无尽，以「日暮」喻年华老去之迫促，二字并置，正是「求索未竟而时不我待」的深悲。「学诗谩有惊人句」，化用杜甫《江上值水如海势聊短述》「为人性僻耽佳句，语不惊人死不休」，李清照反其意而用之，以「谩有」（空有）二字，写出其才高而无用的悲凉。「九万里风鹏正举」，用《庄子·逍遥游》鹏之「抟扶摇而上者九万里」之典，以冲天之大鹏自比，寄寓其挣脱现实、一飞冲天的渴望。「三山」即海上三神山——蓬莱、方丈、瀛洲，出《史记·秦始皇本纪》及《封禅书》，为仙人居所。全词连用《楚辞》《庄子》、杜诗及仙山之说，融骚、庄、仙于一体，而皆为其「求索—超脱」的题旨服务，用典繁而不杂，浑然天成。又「天接云涛连晓雾」之「云涛」，可溯至《楚辞》中「青云衣兮白霓裳」的仙家想象，以及李白「云涛」入诗的先例，如「海客谈瀛洲，烟涛微茫信难求」——李清照以「云涛」写天界，正是承李白「烟涛微茫」的仙游传统，而更以「连晓雾」三字，添一层拂晓的朦胧，遂使这天界的入口，介于梦与醒、真与幻之间。

Commentary

Liang Qichao remarked that this poem is very much like Su Shi and Xin Qiji's style, not typical of Li Qingzhao's anthology. Shen Zengzhi also noted its masculine spirit. The poem proves Li's talent is not confined to one style; through a dream she transcends limitations and creates a unique romantic work in Song ci poetry.

《渔家傲·天接云涛连晓雾》在李清照词的接受史上，因其「豪放」而与易安整体的婉约面目形成对照，历来备受瞩目。宋人及明清选本对此词多有收录，评家或惊其「不类闺阁语」。清代黄苏《蓼园词选》评此词「仙骨姗姗，气象不凡」，谓其「于易安婉约之中，别开生面」。陈廷焯《白雨斋词话》论易安词，虽以婉约为其本色，然于此词亦许其「雄奇」二字，谓「词家以女子而能作此等语，尤难」。近代梁启超在《艺蘅馆词选》中评此词「绝似苏辛派，不类漱玉集中语」，点出其与豪放词派的精神相通。今人对此词的解读，多聚焦于其「女性豪放」的特质：李清照以女子之身，作此「天接云涛」「九万里风鹏」的雄阔之词，打破了「词为艳科」「闺阁只能婉约」的成见，其在词史上的意义，不仅是一首杰作，更是女性文学创作空间的一次拓展。词中「学诗谩有惊人句」的自嘲，更被今人视为李清照对其才情与命运之悖反的清醒体认，遂使此词在豪放之外，更多了一层深沉的女性自觉。此词的女性文学意义，亦为今人所重。李清照以一女子而作此「天接云涛」「九万里风鹏」的雄阔之词，实是向「词为艳科」「女子只宜婉约」的传统成见的一次挑战。梁启超「绝似苏辛派」之评，正点出此词的气格已逸出闺阁之外。而「学诗谩有惊人句」的自嘲，则又见其作为才女，于「才」与「命」之间清醒的悲剧自觉——其才愈高，其命愈舛，此词遂于豪放之中，藏着一份深沉的女性悲歌。

Prosody

Form Ci poem to the tune 'Pride of Fishermen', double stanzas of 62 characters, each stanza five lines with five oblique rhymes.词（渔家傲，中调）

Rhyme According to the fourth rhyme group of Cilin Zhengyun (oblique tones: yu/yu/yu/yu etc.), rhymes: wu, wu, suo, yu, chu (first stanza); mu, ju, ju, zhu, qu (second stanza).押仄声韵，属词林正韵第四部（鱼虞韵，上去通押），上片韵脚为雾、舞、所、语、处，下片为暮、句、举、住、去，上下片各五仄韵，一韵到底。

Tone pattern Oblique rhymes create a sense of urgency; seven-character lines produce a grand atmosphere, changing Li Qingzhao's usual grace to heroic abandon.中调依谱填词，此词通篇仄韵，声调激越而流转，与游仙的浪漫、情感的起伏相合。上片「天接云涛连晓雾」句，以「雾」字仄声收，声如云涛之起；下片「九万里风鹏正举」句，「举」字上声陡扬，如大鹏之冲天，是全词声情的高点。

Reading note A dream poem, borrowing the roc from Zhuangzi and the quest from Li Sao, using celestial fantasy to convey longing for transcendence, a unique piece among Li's works.《渔家傲》为中调，双调六十二字，上下片各五仄韵，其格式上下片相同，句句押韵，韵密而声促，最宜于抒写激越跌宕之情。李清照此词用韵全押第四部鱼虞韵的上去声，韵脚雾、舞、所、语、处与暮、句、举、住、去，上去通押，音色或婉转或短促，交替出现，恰好传写出词人「梦魂升天—倾诉身世—乘风飞仙」的情感起伏。尤为值得注意的是此词「韵密」的特点：句句押韵，如珠落玉盘，声韵绵密而流转，读来一气贯注，恰与其「天接云涛」「星河千帆」的浩渺流动之境相合。而「举」「住」「去」等上声、去声韵脚的交替，又形成一种「抑扬顿挫」的声情，与词中「问—答—呼告」的情感节奏暗相呼应。易安向以婉约名，而此词以仄韵之激越、韵密之流转，配其豪放的意境，遂成「声文俱壮」的杰作，正是其深谙音律、以声写情的又一明证。此词韵脚「雾、舞、所、语、处、暮、句、举、住、去」皆属鱼虞韵的上去声，声口跌宕，正与游仙的飘举、身世的起伏相合。

Line by line

天接云涛连晓雾，星河欲转千帆舞

Sky meets cloud-waves, joined with dawn-mist; the Silver River seems to turn, a thousand sails dancing.

天幕与如波涛般的云气、拂晓的浓雾连成一片，银河仿佛在转动，千帆如舞

The sky merges with billowing clouds and the early mist; the Milky Way seems to wheel, and a thousand sails dance.

起二句以宏阔的意象，劈空而来，立起一个浩渺流动的天界。「天接云涛连晓雾」，写天幕与云涛相接、晓雾弥漫，一片混沌苍茫；「星河欲转千帆舞」，写银河仿佛缓缓转动，其中千帆如舞。此二句的妙处，在于其「动」的笔法——云涛是涌动的，星河是转动的，千帆是飞舞的，天地之间，无一物静止，气势磅礴而充满浪漫的想象。以「云涛」喻云之翻涌如浪，以「千帆」喻星之闪烁如船，皆是易安少见的雄奇之笔。这样的起句，为下文「梦魂归帝所」的升天，铺就了一条通往仙界的浩渺之路，也为全词定下了「豪放」的基调。

The opening two phrases burst from the void in vast imagery, raising a boundless, flowing realm of heaven. 'The sky merges with billowing clouds and the early mist' writes sky meeting cloud-waves, dawn mist spreading, a chaos of haze and vastness. 'The Milky Way seems to wheel, and a thousand sails dance' writes the galaxy slowly turning, a thousand sails dancing within. The genius of the two phrases lies in their 'moving' brushwork: cloud-waves surge, the galaxy turns, a thousand sails dance; between heaven and earth nothing is still, the momentum grand and filled with romantic imagination. 'Cloud-waves' compares rolling clouds to waves, 'a thousand sails' compares twinkling stars to ships — rare, bold strokes in Yian's hand. Such an opening lays, for the later 'dream-soul returning to the court of Heaven,' a boundless road to the immortal realm, and sets the 'unrestrained' keynote of the whole ci.

闻天语，殷勤问我归何处

I hear the speech of Heaven, kindly asking where I make my home.

听见天帝亲切地问我要回到哪里去

I hear the voice of the Lord of Heaven, who asks with earnest warmth where I am bound.

此二句写词人于梦中面见天帝，天帝「殷勤」垂问。「殷勤」二字，写出天帝之问的亲切与关切——这高高在上的天帝，不是威严的审判者，而是一个慈和的长者，殷殷问其「归何处」。这一问，是全词情感的枢纽：它既是梦境中的天帝之问，也是词人于现实中的自问——国破家亡、漂泊无依，我到底该「归」向何处？「归何处」三字，问出了李清照南渡后最深的心结：故乡已沦于敌手，故人已散于乱离，天地虽大，竟无一处可归。天帝的「殷勤」，反衬出人间的冷漠；天界之问，愈显尘世之孤。此问引而不发，为下片的倾诉埋下了引线。

These two phrases write the poet meeting the Lord of Heaven in dream, who asks with earnest warmth. The words 'earnest warmth' write the kindness and concern of the heavenly question: this high heavenly Lord is not an august judge but a kindly elder, pressing her on 'where I make my home.' The question is the emotional hinge of the ci: it is at once the heavenly question in dream and the poet's self-question in reality — country broken, family lost, drifting and unmoored, to where, after all, should I 'return'? The three words 'where I make my home' voice Li Qingzhao's deepest knot after the southern crossing: homeland fallen to the enemy, loved ones scattered in the chaos; though heaven and earth are vast, there is nowhere to return to. The Lord's 'earnest warmth' sets off the coldness of the human world; the heavenly question makes the worldly solitude keener. The question is left unanswered, planting the fuse for the confession of the lower stanza.

我报路长嗟日暮，学诗谩有惊人句

I answer that the road is long and day declines; for all my learning, I have only startling verses to show.

我回答说人生路途漫长却感叹日已西沉，纵然学诗也空有惊人之句

I reply that the road ahead is long yet I sigh that the sun has set; though I have studied verse, I have only startling lines for nothing.

此二句是词人对天帝的答语，也是其一生身世的浓缩。「路长」化用屈原「路漫漫其修远兮」，「日暮」化用「日忽忽其将暮」，二字并置，写尽了「求索未竟而时不我待」的悲凉——人生之路尚长，而年华已如日暮般迫近西山。「学诗谩有惊人句」，化用杜甫「语不惊人死不休」而反用其意：「谩有」即空有、徒有，谓自己纵然学诗有成、能出惊人佳句，又有何用？一「谩」字，道尽了才高而命舛、有志而不遇的悲愤。此二句以自陈的口吻，把前文的「归何处」之问，落实为一个「路长日暮、空有才华」的悲凉答案，是易安晚年对自己一生的沉痛总结。

These two phrases are the poet's answer to the Lord of Heaven, the distillation of her whole life. 'The road is long' adapts Qu Yuan's 'the road ahead is long, oh how far'; 'day declines' adapts 'the sun hastens toward its setting.' The two words placed together exhaust the desolation of 'the search unfinished while time runs out': the road of life is still long, yet her years already draw near the western hills. 'For all my learning, I have only startling verses to show' adapts Du Fu's 'I would die before my words startled the world' yet reverses its meaning: 'have... for nothing' means empty, vain possession — though she has succeeded in verse and can produce startling lines, of what use is it? One word 'for nothing' exhausts the grief of high talent crossed by ill fortune, of ambition met by no recognition. In a tone of self-confession, the two phrases land the earlier question 'where to return' as the bleak answer of 'long road, declining sun, vain talent' — Yian's sorrowful summing-up in old age of her whole life.

风休住，蓬舟吹取三山去

Wind, do not cease; blow my reed-boat away to the three sacred isles.

风啊你且不要停住，把我的轻舟吹送到那仙山去吧

Wind, do not stop; blow my tumbleweed boat away to the three immortal mountains.

结二句是全词情感的转折与升华。「风休住」，是词人对风的呼告——风啊，你切莫停息；「蓬舟吹取三山去」，是她的愿望——请把我的轻舟，吹送到那海上的仙山去吧。「三山」即蓬莱、方丈、瀛洲，为仙人居所。此二句与上文「九万里风鹏正举」相连，以大鹏乘风、蓬舟赴仙的意象，寄托了词人挣脱现实、追寻理想的渴望。值得注意的是，这「吹取三山」的豪迈愿望，恰恰反衬出现实的沉重——正因尘世无路可走，才欲乘风飞仙；正因「路长日暮」无望，才寄望于海上的仙山。以昂扬之语写悲凉之情，愈见其深哀。此二句以呼告作结，声情激越，把全词的豪放推向高潮，而余韵之中，是易安那「欲去而不得」的怅惘。

The closing two phrases are the turning and sublimation of the ci's feeling. 'Wind, do not cease' is the poet's call to the wind — wind, do not stop. 'Blow my tumbleweed boat away to the three sacred isles' is her wish — carry my light boat to the immortal isles of the sea. The 'three isles' are Penglai, Fangzhang and Yingzhou, the dwellings of immortals. Joined to the earlier 'on the wind of ninety thousand li the great peng rises,' the imagery of the peng riding the wind and the reed-boat heading to the isles carries the poet's longing to break from reality and pursue the ideal. Note that this bold wish of 'blowing to the three isles' precisely sets off the weight of reality: because there is no road in the mortal world, she would ride the wind to become immortal; because 'long road, declining sun' is hopeless, she fixes hope on the sea's immortal isles. Writing sorrow through exalted words makes the grief deeper. Closing in a call, the voice is impassioned, pushing the ci's boldness to its height, yet within the aftertone is Yian's regret of 'wishing to go yet unable.'

Study

Word focus

舞 the word 'dance' animates the Milky Way with visual motion. 「星河欲转千帆舞」的「舞」字，是起句最见神采的炼字。星之闪烁，本为静态；而「舞」字一出，千帆般的星辰便仿佛在银河中翩翩起舞，整个天界遂被赋予了生命的律动。「舞」字既状星之明灭、帆之飘摇的动态，又暗含一种欢快、升腾的意味，与词人「梦魂归帝所」的升仙之梦相配——这是一个即将飞升的梦，故其天界景象，也是「舞」的、是流动的、是充满生机的。以「舞」字写星，化静为动，化无情为有情，正是易安此词「以奇想写仙境」的关键一笔，也为全词的浪漫豪放定下了基调。

殷勤 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「殷勤问我归何处」的「殷勤」二字，是写天帝情态的传神之笔。殷勤者，情意恳切、关怀备至也。天帝居于九天之上，本应威严凛然，而李清照却以「殷勤」状其问，遂使这天帝化为一位慈和温厚的长者，对飘零的词人关怀备至、殷殷垂问。此二字的妙处，在于反衬——天界的「殷勤」，恰与人间的冷漠形成对照：词人在尘世历尽颠沛，无人问其「归何处」，而梦中的天帝却这般关切。以「殷勤」写天帝，实则是对人间世态的一种无言的控诉，以天界之暖，反衬尘世之寒，一字而含双重情味。

谩 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「学诗谩有惊人句」的「谩」字，是全词情感的沉痛处。谩者，空也、徒也、枉也。「谩有」，即空有、徒有。杜甫「语不惊人死不休」，以「惊人句」自许其诗艺；李清照则以「谩有」二字，把这「惊人句」的价值轻轻否定——纵然学诗有成，能出惊人之句，又有何用？这一个「谩」字，道尽了易安「才高而命舛、有志而不遇」的悲愤：她的才华，换不来国家的收复；她的诗句，挽不回亲人的离逝。以一字写尽才与命的反悖，是此词炼字最见思力处，也是李清照对其一生悲剧命运的清醒体认。