宋 Song · 词 Ci lyric
渔家傲·天接云涛
Tune: Fisherman's Pride — Sky Meets the Cloudy Waves
天接云涛连晓雾。
星河欲转千帆舞。
彷佛梦魂归帝所。
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 Star River seems about to turn; a thousand sails dance.
As if in dream my soul returns to the palace of the God.
I hear the voice of Heaven.
He asks me warmly where I would go.
I answer: the road is long, and I sigh the sun is sinking.
I have learned to write verse, but in vain have I startling lines.
On a wind of ninety thousand li the great peng is rising.
O wind, do not cease!
Blow my tiny rush-boat to the Three Isles of the Immortals.
Meaning
The lyric records a dream-voyage to the court of Heaven. Across a sky joined to cloudy waves and dawn mist, the Milky Way seems to turn as a thousand sails dance; the poet's soul drifts to the palace of the God, who kindly asks where she would return. She answers that the road is long and the day late, and that her learned verse is of no use in a troubled world. Calling on the great peng borne on a ninety-thousand-li wind, she begs the wind not to stop and to blow her little boat to the immortal isles.
天幕与云涛相接，连着拂晓的雾气；银河似要流转，千万帆影在风中舞动。恍惚间梦魂回到了天帝的居所，听见天帝的话语，他殷切地问我将归向何处。我回答说：前路漫长，可叹日已迟暮；学诗空有惊人的句子，却于国于己都无济于事。看那九万里长风，大鹏正展翅高飞；风啊，不要停住，请把我的蓬舟吹到蓬莱、方丈、瀛洲三座仙山去吧。
Appreciation
This is a rare heroic work in Li Qingzhao's oeuvre, usually known for graceful lyricism. Built as a dream, it weaves mythic images—cloudy waves, the Star River, the divine court, the great peng, the Three Isles—into a vast, soaring world. The upper stanza paints the dream's sights and sounds; the lower gives the dream-dialogue and her wish, blending the real and the imagined, lofty in mood. Driven by a chain of verbs (join, link, turn, dance, rise, blow), it bursts with kinetic grandeur, a bold masterpiece among her songs.
【白话串讲】 李清照写渔家傲：“天接云涛连晓雾。星河欲转千帆舞”。“彷佛梦魂归帝所。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”——她写豪放的梦。 【意象与手法】 全词记梦，以云涛、晓雾、星河、千帆、帝所、天语、大鹏、三山等意象，构织一个瑰丽宏大的神话世界。上片写梦中所见所闻，下片写梦中问答与心愿，虚实相生，境界高远；「接」「连」「转」「舞」「举」「吹」诸动词连用，气象飞动，是易安词中罕见的豪放之作。 【情感与主旨】 此词作于南渡之后，李清照历经国破家亡、夫死物散、漂泊海上之痛，借梦境向天帝倾诉：路长日暮，时不我待；学诗谩有惊人句，才华无用于世。末以鹏举三山之愿，写对自由与超脱的向往，是乱世中女词人灵魂的飞升。 【名句点睛】 「九万里风鹏正举，风休住，蓬舟吹取三山去」化用《庄子·逍遥游》大鹏意象，豪气凌云，是千古名句；「学诗谩有惊人句」自伤才华无用于国难，亦见词人心志。
Background
Li Qingzhao (1084–c.1155), styled Yi'an Jushi, of Jinan, was the leading poet of the graceful (wan yue) school in the Song, yet this is a rare heroic piece in her collected ci, long regarded as the peak of her dream-poems. It is dated after the crossing-south, around 1129–1132. When the Jin invaded and the Northern Song fell, she fled south with her husband Zhao Mingcheng; Zhao died in 1129, and thereafter she lost her books and treasures and, after a disastrous remarriage, wandered alone along the Zhejiang coast, even taking refuge at sea. The lines 'sky meets cloudy waves' and 'blow my rush-boat to the Three Isles' echo those sea voyages. Her dream of returning to the God's court is the psychic projection of one driven past sorrow with nowhere to turn; the God's kind question only sharpens the lonely truth that in the real world no one asks, no place receives her. Through the dream she states her heart: the road is long, time is not on her side, and learned verse is useless amid the nation's ruin. The close—wind, peng, and the Three Isles—bursts from despair into a longing for freedom and release, the strongest cry of her late years.
李清照（1084—约1155），号易安居士，济南（今属山东）人，宋代婉约词宗，然此词却是其词集中罕见的豪放之作，历来被视为其「记梦」词的巅峰。此词作年，学界多认为在南渡之后，约建炎三年至绍兴初年间（1129—1132）。时金兵南侵，北宋覆亡，李清照随夫赵明诚辗转南逃；建炎三年（1129）赵明诚病卒于建康，李清照悲痛欲绝，此后又遭书画金石散失、再嫁离异之祸，孤身飘泊于浙东沿海，曾随船避乱海上，历尽颠沛。此词写「天接云涛连晓雾」「蓬舟吹取三山去」，与海上行舟的经历不无关系：云涛接天、星河欲转，正是海上或舟中所见的壮阔景象。梦中归帝所、闻天语，则是愁苦至极而求告无门的心理投射——天帝殷切问归何处，正衬现实中无人可问、无处可归的凄凉。词人借梦境自陈心志：路长日暮，时不我与；学诗谩有惊人句，文才无用于国难。末以九万里风鹏正举、蓬舟吹取三山作结，于绝望中迸发出对自由与超脱的渴求，是易安晚年心灵的最强音。
Art
The poem's brilliance lies in using the dream as body and myth as function, blending real and imagined into a unique realm. The upper stanza paints the dream: 'sky meets cloudy waves' opens in wonder, sky, cloud, wave, and mist fused into a vast sea-and-sky scroll; 'the Star River seems to turn' lifts further—the turning river marks near-dawn, the dancing sails the sea's motion. 'As if my soul returns to the God's court' names the dream's goal, echoing the Lord Mu of Qin's dream in the Records of the Grand Historian; 'I hear the voice of Heaven' sets the dialogue whose kindness contrasts the real world's homelessness. The lower stanza gives her answer and wish: 'the road is long, I sigh the sun is late' borrows Qu Yuan's 'Li Sao'; 'in vain have I startling lines' mourns her useless gift; 'on a wind of ninety thousand li the peng is rising… blow my rush-boat to the Three Isles' casts herself as Zhuangzi's peng. From scene to event to speech to wish, one breath flows—imagined in splendor, felt in depth—a soaring, original masterpiece.
此词之妙，在以梦为体、以神话为用，虚实相生，境界独绝。上片写梦中之景与事：「天接云涛连晓雾」起笔即奇，天、云、涛、雾四者相接相连，铺开一幅海天相接、云雾弥漫的壮阔画卷；「星河欲转千帆舞」更进一层，银河欲转，是天地将晓的天象，千帆舞动，是海上舟影的飞动——以星河之转写时空之动，以千帆之舞写气象之雄，两句已见梦境的瑰丽。「彷佛梦魂归帝所」点出梦境之所向：魂归帝所，是升天入帝之梦，暗用《史记》秦穆公梦游帝所之典；「闻天语，殷勤问我归何处」写梦中与天帝问答，天帝之问殷切，正衬现实中无处可归之悲。下片写梦中答语与心愿：「我报路长嗟日暮」化用《离骚》「日忽忽其将暮」，写求索之艰、时不我待；「学诗谩有惊人句」自伤文才无用于世；「九万里风鹏正举，风休住，蓬舟吹取三山去」以《逍遥游》大鹏自比，愿借九万里长风，将蓬舟吹向三山仙境。全词由景而事、由事而言、由言而愿，一气流走，想象奇丽而情感深挚，是易安词中神采飞扬、别开生面的杰作。
Allusions
The allusions melt into the dream, almost every line sourced yet seamless. First, 'the God's dwelling': the Records of the Grand Historian tells how Lord Mu of Qin 'dreamed of the God's dwelling,' making it a common trope; this poem opens by dreaming of it, fitting the dream-form. Second, 'long road, sinking sun': from Qu Yuan's 'Li Sao'—'the road is long and far, I shall seek above and below' and 'the sun hastens to its dusk'—the poet voices her own: a long road and a spent life, the Qu Yuan-like anxiety over time echoing in her. Third, 'in vain have I startling lines': against Du Fu's 'I am oddly fond of fine lines; if they do not startle, I die uncontent,' she reverses it, lamenting that though she can write, none will employ her—'in vain' means the talent is futile, a self-mockery edged with rage. Fourth, 'ninety thousand li of wind, the peng is rising': from Zhuangzi's 'Xiao Yao You,' the peng soaring ninety thousand li, here her own emblem of vast ambition. Fifth, 'the Three Isles': the Records of the Grand Historian notes three immortal mountains in the Bohai—Penglai, Fangzhang, Yingzhou—her wish to be blown there, a fantasy of escape from the troubled age. All drawn at hand and fused into dream, they show her deep learning and strange imagination.
此词用典浑融于梦境，几乎句句有来历而了无痕迹。其一，「帝所」：《史记·扁鹊仓公列传》载秦穆公「梦之帝所」，天帝居所遂为习用典故，此词「彷佛梦魂归帝所」以梦入帝所起兴，正合记梦之体。其二，「路长日暮」：化用屈原《离骚》「欲少留此灵琐兮，日忽忽其将暮」「路漫漫其修远兮，吾将上下而求索」——路长写求索之艰，日暮写迟暮之悲，词人以之自陈：前路漫长而年命将尽，这是屈原式的时间焦虑在易安身上的回响。其三，「学诗谩有惊人句」：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」，词人反用其意，自伤虽能诗而不获用——「谩有」者，空有也，才华徒然，无补于世，自嘲中见悲愤。其四，「九万里风鹏正举」：化用《庄子·逍遥游》「鹏之徙于南冥也，水击三千里，抟扶摇而上者九万里」，以大鹏自比，气魄雄迈。其五，「三山」：《史记·封禅书》载渤海中有蓬莱、方丈、瀛洲三神山，为仙人所居，词人愿蓬舟吹取三山去，是于乱世中求超脱的幻想。凡此皆随手拈来、融化入梦，足见易安学养之深与想象之奇。
Commentary
Among Li Qingzhao's works this stands apart and is seen as her representative heroic ci. Huang Liaoyuan said it has 'not a trace of powdered boudoir air,' and Liang Qichao judged it 'closely akin to the Su-Shi and Xin style, unlike the language of the Shuyu Collection.' That a poet of graceful lyricism could write so commanding a song shows her full range. In content it speaks of her person through dream: after the crossing-south came the ruin of state, home, husband, and belongings; her appeal to Heaven in dream is the sublimation of real despair—the God's kind question against the real world's silence is a sharp contrast; 'in vain have I startling lines' reveals the tragic plight of a talented woman in a chaotic age. Yet the poem does not stop at grief: the rising peng and the boat to the Three Isles burst from despair into a thirst for freedom, making it sorrow without collapse, grief without self-pity, lofty in realm. Its place in ci history proves that the mistress of the graceful school could also speak heroically, and from true feeling, not by imitating Su and Xin—through dream she wrote the struggle and ascent of an individual soul in a broken age, a rare wonder of Song song.
《渔家傲·天接云涛》在易安词中独具一格，历来被视为其豪放词的代表作，黄蓼园《蓼园词选》谓此词「无一毫钗粉气」，梁启超更评曰「此绝似苏辛派，不类《漱玉集》中语」——以婉约著称的李清照，竟能写出如此雄奇豪迈之词，足见其才力之全面。就内容言，此词借梦境写身世：南渡以后，国破、家亡、夫死、物散，层层打击接踵而至，词人于梦中求告天帝，正是现实绝望的升华——天帝的殷勤之问与现实的无人可问，形成尖锐对照；「学诗谩有惊人句」的自伤，更见才女于乱世中的悲剧性处境：文才愈高，愈觉无用于时。然而全词并未止于悲苦：九万里风鹏正举的雄姿，蓬舟吹取三山去的豪愿，于绝望中爆发出对自由与超越的渴求，使全词悲而不靡、哀而不伤，境界高远。此词在词史上的意义，在于证明了婉约词宗亦能作豪放语，且其豪放出于真情至性，绝非学步苏辛——李清照以梦境为载体，写出了乱世中个体灵魂的挣扎与飞升，是宋词中不可多得的奇作。
Prosody
Line by line
天接云涛连晓雾。
Sky meets the cloudy waves and joins the dawn mist. — The opening line unfurls a vast sea-and-sky panorama; 'join' and 'link' erase all boundaries between sky, cloud, wave, and mist, setting a heroic, expansive key rare for Li Qingzhao and tying to her sea-bound flight south.
天幕与翻涌的云涛相接，连着拂晓时分弥漫的雾气。
The sky meets the billowing cloud-waves, merging with the mist of dawn.
起句即奇，以七字铺开一幅海天相接的壮阔画卷。「天接云涛」写天地相接：云如涛涌，翻卷直上天际，天与云涛连成一片，境界宏阔；「连晓雾」更添一层：拂晓时分，雾气弥漫，云涛与晓雾又连成一片——一个「接」字，一个「连」字，皆写空间之浑然一体，天、云、涛、雾四者相互渗透，莫辨界限。此景非陆地所能见，正是海上行舟或登高远眺的实感，亦与李清照南渡后避乱海上的经历相印证。七字写景，全用大笔勾勒，不用一毫脂粉气，起笔即见豪放之格，为全词定下雄奇壮阔的基调——这与易安词惯常的婉约柔丽判然有别，足见此词在《漱玉词》中别具一格，亦见其后期词风的巨变。
The opening is strange at once, spreading in seven characters a vast scroll of sky meeting sea. 'The sky meets the billowing cloud-waves' writes heaven and sky joining: clouds surge like billows, rolling up to the sky, sky and cloud-waves as one, the realm grand. 'Merging with the mist of dawn' adds another layer: at daybreak mist spreads, and cloud-waves and dawn-mist join again — the words 'meets' and 'merges' both write the seamless unity of space, sky, clouds, waves and mist interpenetrating, no boundary to tell. This is a scene impossible on land, precisely the real feeling of a boat at sea or a height gazing out, and it matches Li Qingzhao's experience of fleeing the chaos by sea after the southern crossing. Seven characters of scenery, all drawn in broad strokes, without a touch of rouge; the opening shows an unconstrained manner and sets the grand, vast keynote — wholly unlike the soft, delicate mode of Yian's usual ci, showing this piece's singular place among her poems and the great change in her late style.
星河欲转千帆舞。
The Star River seems about to turn; a thousand sails dance. — Heaven and sea both in motion build a magnificent, dreamlike vision; 'turn' and 'dance' keep the dream shifting and alive, and give the soul's ascent to the God's court its grand sky.
银河仿佛要流转起来，千万帆影正在风中翩翩起舞。
The Milky Way seems about to turn; a thousand sails dance in the wind.
此句承接上句，写梦中所见天象与帆影，境界愈奇。「星河欲转」写银河流转：拂晓将临，银河西斜，似欲旋转——「欲转」二字，化静为动，把星河将落未落之势写得如在目前；「千帆舞」写海上帆影：千帆竞发，在风中舞动——「舞」字化实为虚，帆非帆，而是起舞的精灵，动感十足。两句一写天上，一写海面，天地相对，上下辉映：星河之转是宏大的时空之动，千帆之舞是飞动的生命之态，合观则一幅云涛、星河、千帆交相辉映的奇景如在目前。且「转」「舞」二字皆为动词，动态连绵，正合梦境之变幻迷离。此景壮阔飞动，与范仲淹《渔家傲·秋思》「长烟落日孤城闭」的苍凉迥异，是易安词中罕见的雄奇之笔，亦为「魂归帝所」的升天之梦提供了宏大的天空背景。
This line follows the last, writing the sky and sails seen in dream, the realm growing stranger. 'The Milky Way seems about to turn' writes the galaxy wheeling: dawn near, the galaxy slanting west, seeming to rotate; 'about to turn' turns stillness to motion, painting the galaxy's poised, not-yet-fallen momentum as if present. 'A thousand sails dance' writes the sails at sea: a thousand sails setting out, dancing in the wind; 'dance' turns the actual into the virtual, sails no longer sails but dancing sprites, full of motion. One phrase writes heaven, one the sea surface; sky and sea face each other, above and below answering: the galaxy's turning is the great motion of time and space, the thousand sails' dance is the flying motion of life; seen together, the strange scene of cloud-waves, galaxy and thousand sails interplaying is present before the eyes. The verbs 'turn' and 'dance' make motion continuous, exactly the shifting, blurred nature of dream. This scene, grand and flying, is wholly unlike the desolation of Fan Zhongyan's 'long smoke, setting sun, a lone city closed' on the frontier; it is a rare bold stroke in Yian's ci and provides the vast sky background for the dream of 'soul returning to the court of Heaven.'
彷佛梦魂归帝所。
As if in dream my soul returns to the palace of the God. — The pivot from scene to story; 'return' hints she feels native to heaven, underscoring her estrangement from the mortal world and her longing to transcend it.
在恍惚迷离之间，我的梦魂仿佛已经回到了天帝的居所。
As if in a trance, my dream-soul has returned to the dwelling of the Lord of Heaven.
此句点出梦境之所向，由写景转入记事，是全词叙事的枢纽。「彷佛」二字，写梦魂飘忽、似真似幻之态：不是确定无疑的「梦归」，而是恍恍惚惚的「仿佛」，正合梦境迷离的本色；「梦魂」点明这是梦中之事；「归帝所」写梦魂归向天帝居所——「归」字颇堪玩味：帝所本是仙家居处，词人曰「归」，似觉自己本属天上，流落人间不过一梦，暗含对现实的疏离与对超越之境的向往。此句暗用《史记·扁鹊仓公列传》秦穆公梦游帝所之典，而融化无痕。天帝居所，庄严神圣，而词人梦魂竟能归之，且下文天帝殷勤相问，可见词人于尘世虽无处可归，于天上却似有故地——这是多么深沉的现实之悲，又是多么瑰丽的想象之慰，读之令人百感交集。
This line names the direction of the dream, turning from scenery to narrative, the hinge of the ci's story. The word 'as if' writes the drifting, half-real, half-illusion of the dream-soul: not a certain 'return in dream' but a trance-like 'as if,' exactly the blurred nature of dreams. 'Dream-soul' marks that this happens in sleep. 'Returning to the dwelling of the Lord of Heaven' writes the soul's going to the Lord's court; the word 'return' is worth savoring: the court of Heaven is the home of immortals, yet the poet says 'return,' as if she originally belonged to the sky and her fall to the mortal world were but a dream, carrying the estrangement from reality and the longing for transcendence. The line secretly uses the allusion of Duke Mu of Qin dreaming of the heavenly court in the Records of the Historian, yet melts it without trace. The court of Heaven is solemn and sacred, yet the poet's dream-soul can return there, and below the Lord asks her with earnest warmth: though she has nowhere to return in the mortal world, in the sky she seems to have an old home — how deep the grief of reality, how gorgeous the consolation of imagination, reading it moves one to a hundred feelings.
我报路长嗟日暮。
I answer: the road is long, and I sigh the sun is late. — Her reply condenses a life's regret; echoing Qu Yuan's 'Li Sao', it joins personal lateness with the unending national crisis, the turn from grandeur to gloom.
我于是在梦中回答天帝说：前路漫长难行，可叹日已将暮。
In the dream I answer the Lord: the road ahead is long, yet I sigh that day is already closing.
此句写梦中对天帝之答，是全词身世之慨的集中抒发。「我报」承上句「问我归何处」而来，以对话推进叙事；「路长」化用《离骚》「路漫漫其修远兮」——前路漫长，是求索之艰，亦是归途之远；「嗟日暮」化用「日忽忽其将暮」——日暮是迟暮之悲，亦是时不我待之叹。屈原于《离骚》中以路长日暮写求索的焦虑，李清照于此借以自陈：南渡之后，颠沛流离，年命将尽而国难未已，归向何处，茫然无着——天帝之问，她无法作答，只能以路长日暮嗟叹搪塞。两句八字，融屈原之辞、含易安之悲，将个人的迟暮之叹与家国的飘摇之痛交织一处，是全词情感由壮阔转入沉郁的关键，亦为下文「谩有惊人句」的自伤张本，见出词人于梦境中亦难逃现实之悲。
This line writes the answer to the Lord in dream, the concentrated outpouring of the ci's lament for her fate. 'I answer' follows the last line's 'asks where I make my home,' advancing the narrative through dialogue. 'The road is long' adapts the Li Sao's 'the road ahead is long, oh how far' — the long road is the hardship of the search and the distance of the way home. 'I sigh that day is closing' adapts 'the sun hastens toward its setting' — closing day is the grief of declining years and the sigh that time runs out. Qu Yuan in the Li Sao used long road and closing day for the anxiety of the search; Li Qingzhao here borrows it for self-confession: after the southern crossing, drifting and uprooted, her years nearly spent yet the national calamity unended, to where to return, adrift and without hold — the Lord's question she cannot answer, and can only parry with the sigh of long road and closing day. Two phrases, eight characters, fusing Qu Yuan's words with Yian's grief, weaving her own decline with the tottering of the nation; it is the key where the ci's feeling turns from grand to somber, and prepares the later self-pity of 'vainly holding startling lines,' showing that even in dream the poet cannot escape the grief of reality.
九万里风鹏正举。
On a wind of ninety thousand li the great peng is rising. — Borrowed from Zhuangzi, the peng is her own emblem: trapped yet unbowed, she would ride the wind to the sky; 'rising' catches the instant of uplift, the most commanding image of the poem.
在那九万里长风之中，大鹏正展开双翅，扶摇直上。
On the wind of ninety thousand li, the great peng spreads its wings and soars.
此句化用《庄子·逍遥游》「鹏之徙于南冥也，水击三千里，抟扶摇而上者九万里」，是全词气象最雄迈处。「九万里风」写风势之猛：九万里是鹏飞之高，亦是风行之远，以数字极写风之浩瀚；「鹏正举」写大鹏之姿：正举者，正欲高举、正在奋飞之谓，一个「正」字，写鹏翼方张、扶摇直上之势，动感与气势兼得。词人自比大鹏：身陷乱世、飘零无依，而志气不坠，犹思借九万里长风一举冲天——这是易安于绝境中迸发的生命强音。且「鹏」之飞须借「风」，正与下句「风休住」相接：风休住，则鹏可高飞，舟可远渡——大鹏、长风、蓬舟、三山，构成一个完整的高飞远举的意象链条，将全词的豪情推向顶点，是易安词中气象最开阔的名句。
This line adapts Zhuangzi's 'Free and Easy Wandering': 'When the peng migrates to the Southern Sea, it beats the water for three thousand li, rises on the whirlwind for ninety thousand li'; it is the grandest place of the ci's bearing. 'The wind of ninety thousand li' writes the fierceness of the wind: ninety thousand li is the height of the peng's flight and the reach of the wind, using number to exaggerate the wind's vastness. 'The great peng is rising' writes the peng's posture: 'is rising' means about to soar, already winging upward; the word 'is' catches the peng's wings just spread, rising on the whirlwind, motion and momentum at once. The poet compares herself to the peng: fallen in the troubled age, drifting and unmoored, yet her will unbroken, still thinking of borrowing the ninety-thousand-li wind to rise to the sky at one stroke — the strong note of life bursting from Yian in desperation. Moreover, the peng's flight needs the wind, joining the next line's 'wind, do not cease': if the wind does not cease, the peng can soar and the boat can cross far — peng, long wind, reed-boat and three isles form a complete chain of imagery of high flight and far journey, pushing the ci's boldness to its peak, the most open famous line among Yian's ci.
蓬舟吹取三山去。
Blow my tiny rush-boat to the Three Isles of the Immortals. — Her closing wish for freedom beyond the world; the isles being unreachable only deepens real-world despair, ending grandeur with a lingering ache, 'writing grief through joy.'
请把如蓬草飘荡的小舟，吹送到蓬莱、方丈、瀛洲三座仙山去。
Blow my tumbleweed boat away to the three immortal isles of Penglai, Fangzhang and Yingzhou.
结句写全词的心愿，以仙山作结，余韵悠长。「蓬舟」写舟之轻小：如蓬草之舟，飘荡无根，正合词人南渡后飘零的身世；「吹取」承「风休住」而来，写借风而行；「三山」用《史记·封禅书》渤海三神山（蓬莱、方丈、瀛洲）之典，是仙人所居、可望而不可即的超越之境。全句之意：愿借九万里长风，把我的蓬舟吹到三山仙境去——这是对自由与超脱的向往：尘世无归处，唯有仙山可寄；人间多苦难，唯有神话可逃。然而三山在传说中「未至，望之如云；及到，三神山反居水下」，本不可即，此愿愈美，愈见现实之无奈。以仙山收束全词，豪情之中暗含苍凉，正合「以乐景写哀」之旨，亦使全词在壮阔飞动之后，留下一缕悠长的怅惘，回味无穷。
The closing writes the ci's wish and ends on the immortal isles, the aftertone long. 'Tumbleweed boat' writes the smallness and lightness of the vessel: a boat like a drifting reed, rootless, exactly matching the poet's uprooted fate after the southern crossing. 'Blow... away' follows 'wind, do not cease,' writing traveling by the wind. 'Three isles' uses the allusion of the three sacred isles of the Bohai Sea (Penglai, Fangzhang, Yingzhou) in the Records of the Historian's Treatise on the Feng and Shan sacrifices — the dwellings of immortals, a transcendent realm glimpsed yet unattainable. The line means: would I might borrow the ninety-thousand-li wind to blow my reed-boat to the three isles — the longing for freedom and transcendence: no home in the mortal world, only the isles to harbor; suffering in the human world, only myth to escape. Yet the three isles in legend, 'before reaching them, they look like clouds; when arrived, the three isles lie beneath the water,' are in principle unattainable; the more beautiful the wish, the more it shows the helplessness of reality. Closing the ci on the immortal isles, boldness hides desolation, exactly matching the maxim of 'writing sorrow through joyful scenery,' and leaves, after the grand and flying movement, a long thread of regret, endless in aftertaste.
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
《如梦令·常记溪亭日暮》「兴尽晚回舟，误入藕花深处」与《渔家傲·天接云涛》同为易安记游、记梦之作，而境界迥异：如梦令作于少女时代，溪亭日暮、藕花深处、惊起鸥鹭，是明媚欢快的青春之游，词风清新灵动；渔家傲作于南渡之后，云涛星河、帝所天语、鹏举三山，是悲慨深沉的生命之梦，词风雄奇豪放。一写「误入藕花深处」的天真，一写「路长嗟日暮」的沉痛；一为婉约本色，一为豪放别调。二词对读，可见李清照词风随人生际遇的巨大转变：由闺中少女的欢愉，到乱世孀居的悲慨，同一支笔，两样情怀，恰是易安一生际遇的诗化缩影，亦见其才力之全面。
行路难·其一 Tune: Hard Is the Road of the World (No. 1) 李白 · 长风破浪与九万里风鹏：借风高飞的志士之梦 The long wind breaking the waves vs. the peng on ninety-thousand-li wind: the scholar's dream of riding the windLi Bai's 'A time will come to ride the long wind, break the waves, and sail the blue sea' and this poem's 'ninety thousand li of wind, the peng is rising; wind, do not cease' both write the ambition to ride the wind and cross the seas, yet from different grounds: Li Bai, banished from Chang'an, still trusts 'a time will come'—the confident cry of High Tang; Li Qingzhao, after the fall of state and death of husband, though she dreams of immortals, carries the late-sun sorrow like a shadow—the swan-song of a troubled-age woman. One sails the blue sea by cloud-sail, the other seeks the Three Isles by rush-boat; one believes it will be, the other knows it cannot. Read together they show the same 'ride the wind' motif in flourishing and broken times.
李白《行路难·其一》「长风破浪会有时，直挂云帆济沧海」与《渔家傲·天接云涛》「九万里风鹏正举，风休住，蓬舟吹取三山去」同写借风帆以济沧海、求超越的壮志，而背景迥异：李白作于初入长安遭谗被逐之时，虽「拔剑四顾心茫然」，终信「长风破浪会有时」，是盛唐士人自信的强音；李清照作于国破家亡、孤身飘泊之时，虽托梦求仙，而「路长嗟日暮」的迟暮之悲如影随形，是乱世才女的绝唱。一以云帆济沧海，一以蓬舟取三山；一信其必成，一知其难即。二作对读，可见同一「借风高飞」的母题在盛世与乱世的不同面目，亦见易安之豪放实有太白之雄而兼身世之悲，豪情之中自具苍凉。
声声慢 Slow, Slow Song 李清照 · 同一词人的两极：豪放记梦与凄婉悲秋 Two poles of one poet: heroic dream-record vs. desolate autumn lamentBoth from her late years after the crossing-south, yet opposite in manner: 'Slow, Slow Song' opens with stacked words for boundless grief—'seek, seek; search, search'—exquisite in anguish, the extreme of graceful lyricism; 'Fisherman's Pride' opens with cloudy waves for high ambition—the extreme of heroic variant. One writes the weight of sorrow, the other the flight of will. Read together they show her two souls in old age: when grief is deepest she writes 'Slow, Slow Song'; when the will still struggles she writes 'Fisherman's Pride'—sorrow and grandeur together, the unbowed spirit of a great poetess, proving graceful and heroic are not two things but both born of true feeling.
《声声慢》「寻寻觅觅，冷冷清清，凄凄惨惨戚戚」「梧桐更兼细雨，到黄昏、点点滴滴」与《渔家傲·天接云涛》同作于南渡之后，同为易安晚年名篇，而词风截然相反：声声慢以叠字起调，写愁之无边（这次第，怎一个愁字了得），凄婉入骨，是婉约词的极致；渔家傲以云涛起调，写志之高举（九万里风鹏正举），雄奇奔放，是豪放词的别调。一写「愁」之沉，一写「志」之飞；一于细节中见悲，一于境界中见放。二词对读，可见李清照晚年的两副心灵面貌：悲愁深重时，以声声慢写尽；求索不甘时，以渔家傲抒发——哀与壮并存，正是这位伟大女词人于乱世中不屈的灵魂的完整呈现，亦见婉约与豪放本非二事，而皆出于至情。