All poems

宋 Song · 诗 Poem

九日侍宴太清楼

Attending the Imperial Banquet at the Taiqing Tower on the Double Ninth Festival

张方平

Zhang Fangping

侍宴Attending a Banquet 颂圣Praising the Emperor 雍容Elegant and Dignified

登高闻旧俗，况此奉尧觞。
鸣跸遥空下，层楼颢气傍。
御沟新过雨，苑树未经霜。
楚泽丹苞重，吴畦紫穗香。
三侯天纵妙，九节召南章。
中岂矜多艺，威将慑四方。
清时人共乐，白日坐间长。
近从叨慈渥，区区祝寿昌。

Climbing high, we keep the ancient custom;
How much more, bearing the sage-king's cup.
The imperial outriders' bells descend from distant skies;
Beside the storied tower hovers the vast clear air.
The palace moat has just been washed by rain;
The garden trees have not yet felt the frost.
Chu's lakes yield heavy crimson globes;
Wu's fields give fragrance from purple tassels.
The Three Hou tune is heaven-granted subtlety;
The Nine Sections render the Shao-nan odes.
Within, he would not boast of many arts;
His majesty shall awe the four directions.
In this clear age, all share the joy;
The white sun lingers as we sit at ease.
Recently favored with deep kindness,
With humble heart I wish him lasting years and prosperity.

Listen

Meaning

On the Double Ninth Festival, the poet attends an imperial banquet at the Taiqing Tower. He describes the autumn scenery, the abundance of the realm, and the music of the court, then humbly expresses his gratitude and wishes for the emperor's longevity.

重阳登高本有旧俗，何况此日更奉御酒侍宴于君前。銮驾鸣跸自遥空而下，层楼之上傍着清明的皓气。御沟之水新经一场秋雨，苑中树木尚未染上寒霜。楚地湖泽的橘柚丹实累累，吴地田畦的紫穗谷香袭人。三侯之乐乃天纵其妙，九节之仪奏起召南之章。心中岂敢自夸多才多艺，威仪却将震慑四方。清平之时人与圣主同乐，白日迟迟而坐间光阴悠长。近来得沐慈恩深渥，唯愿区区微忱恭祝圣寿绵长。

Appreciation

The poem follows a clear sequence of scene, banquet, and eulogy. It begins with the custom of climbing high, moves to the grandeur of the imperial procession and the crisp autumn air, and then presents regional produce as tribute. The final couplet shifts to self-deprecation and a prayer for the emperor's long life. The parallel couplets are precise, the diction elegant, and the overall tone dignified—a typical example of early Northern Song court poetry.

【白话串讲】张方平写重阳节侍宴太清楼：“登高闻旧俗，况此奉尧觞”——“御沟新过雨，苑树未经霜”——“清时人共乐，白日坐间长”——他写侍宴的盛况。张方平是苏轼的恩师。【意象与手法】此诗为九日侍宴应制之作，章法以「景—宴—颂」为序。前幅写登高奉觞、鸣跸层楼，以「颢气」「新雨」「未经霜」铺写秋日清景；中幅「楚泽丹苞」「吴畦紫穗」以物产对举，暗点四方来贺；后幅转入颂圣，「天纵」「召南」用乐歌之典，「慑四方」「祝寿昌」结于忠悃。对仗精严，气度雍容，是宋初台阁体的典型面目。【情感与主旨】主旨在于颂圣与自谦。诗中既写清时同乐、白日坐长之雍熙气象，又于「中岂矜多艺」自抑其才，终以「区区祝寿昌」献曝微忱，呈现臣子侍宴时恭谨而欣悦的复杂心理，亦折射北宋中期朝堂清平、君臣相得的氛围。【名句点睛】「清时人共乐，白日坐间长」一联最见雍容，以白日迟迟写坐久不觉，反衬宴乐之酣与盛世之安，平淡中见升平气象，是应制诗中难得的从容之笔。

Background

Zhang Fangping (1007–1091), courtesy name Andao, was a celebrated Northern Song official known for his outspoken remonstrance. This poem was composed during a Double Ninth Festival banquet held at the Taiqing Tower, a palace venue in Kaifeng. The Song court often granted such feasts to officials on this festival. The poet, honored to attend, expresses both genuine joy at the peaceful reign and the respectful humility of a subject.

张方平字安道，号乐全居士，北宋名臣，历仕仁宗、英宗、神宗三朝，以直言敢谏、风节凛然著称于世。此诗题作「九日侍宴太清楼」，乃重阳佳节陪侍皇帝宴饮于太清楼之作。太清楼为北宋宫中宴飨之所，位处崇政殿北，每遇重九，常有赐宴群臣之礼，恩荣极盛。方平此时已在朝任职，得预侍宴之列，亲历其盛。宋承唐制，重九有登高、饮菊酒、佩茱萸之俗，而宫廷赐宴更添荣耀。诗中「近从叨慈渥，区区祝寿昌」二句，道出作于恩宠方隆之时，字里行间既有对清时同乐的由衷欣悦，亦有臣子得侍君侧的荣誉之感。欲读懂此诗，须将之置于北宋中期朝局清平、君臣相得的大背景中，方能体会其雍容颂声之下那份真实的感恩与自谦，而非徒然的谀词。方平此诗不作寻常应制之泛语，而能以清景起、以颂声收，于雍容中见真忱，正是北宋台阁体渐趋疏畅一脉的先声，亦可见仁宗朝文治之盛在诗章中的回响。是故读此诗当置于北宋台阁雅颂之脉络中，方能见其雍容中之真忱，非徒应制颂圣之常格所可笼罩。

Art

This is a five-character regulated verse in extended form (pai lü), with eight couplets in a single rhyme scheme. The structure is evenly divided: the opening introduces the festival custom and the imperial banquet; the next couplets depict the royal procession and autumn scenery; then regional products and court music are presented; the closing turns to praise and personal humility. The parallel couplets are meticulously crafted, and the diction is steady and appropriate. The poem is dignified without being ostentatious, showing the author's clear and fluent style.

此诗为五言排律，八联一韵，属台阁应制之正格。章法以「景—宴—颂」为经：起首「登高闻旧俗，况此奉尧觞」由民俗引入侍宴，破题稳妥而不突兀；「鸣跸遥空下，层楼颢气傍」写銮驾临幸与楼观之胜，气象已自开阔；「御沟新过雨，苑树未经霜」以新雨、未霜点出秋日清景，工于体物；「楚泽丹苞重，吴畦紫穗香」以楚吴物产对举，暗写四方丰饶来献；「三侯天纵妙，九节召南章」用古乐之典转入颂圣；「中岂矜多艺，威将慑四方」先谦后颂，收放有度；「清时人共乐，白日坐间长」写宴乐之酣、坐久不知；终以「近从叨慈渥，区区祝寿昌」献忱收束。通篇对仗精严，中间六联几无不对，且炼字稳妥，「傍」「重」「香」「长」等字各得其宜。气度雍容而不浮夸，是宋初台阁体中规中矩的佳作，亦见方平疏畅明快的诗风。中间写景数联尤见体物之细，新雨未霜写节候之真，丹苞紫穗写物产之盛，皆以实笔状太平，不着虚夸，故虽为颂体而自有清骨，非唐人应制堆垛祥瑞者可及。

Allusions

The 'sage-king's cup' (Yao shang) compares the emperor to the legendary sage-king Yao. 'Ming bi' refers to the imperial outriders clearing the way. 'Hao qi' denotes the bright and vast autumn air. The 'Shao-nan' are odes from the Book of Songs associated with virtuous governance. The 'Three Hou' likely refers to the 'Song of the Big Wind' by Emperor Gaozu of Han, also known as the 'Three Hou's Ode.' These allusions appropriately underscore the solemnity of the imperial banquet without excessive ornamentation.

诗中用典须辨其源流。「尧觞」以古圣尧喻当朝皇帝，「奉尧觞」即奉御酒，托古颂今，是应制诗惯用之手法。「鸣跸」出《周礼》警跸之制，谓帝王出行清道止人，此写銮驾临幸太清楼，暗含金舆莅止之威。「颢气」语本《礼记·月令》秋日之气，亦近柳宗元「况见原野颢」句，指秋日清明浩大之气。「召南」为《诗经》国风之一，多歌文王之德、后妃之化；「九节召南章」谓奏《召南》乐章以颂圣治，与「三侯」相对。三侯或指《三侯之章》，即汉高祖《大风歌》之别称，以古乐拟今宴之盛。「丹苞」「紫穗」状橘柚谷穗之实，虽非僻典，却暗含四方来贡的颂意。诸典皆切侍宴颂圣之题，不滥不僻，见出台阁体制之雅正，与唐人应制铺陈祥瑞者迥异。又「尧觞」「召南」皆以古拟今，含蓄而不直露，既尊君上亦存诗人之体，此种托喻之法，正见宋初馆阁君臣相得、以雅颂相尚的礼乐观，于后世台阁诗影响甚远。统观其用典，方平于尧舜周召之故实，皆取其德政雍和之象以配重阳雅宴，使颂不忘规，实得风人之遗意，非徒藻绘升平而已。

Commentary

Although this is an occasional poem written at imperial command, it is highly regarded for its dignified elegance and restraint. Unlike many court poems that pile up auspicious symbols, this work opens with fresh autumnal images and leads naturally into eulogy. The couplet 'In this clear age, all share the joy; / The white sun lingers as we sit at ease' captures the serene mood of a peaceful reign. Zhang's poetry is praised for its clarity and lucidity, and this piece exemplifies the refined court style of the mid-Northern Song.

此诗虽为应制颂圣之作，却颇受后世选家留意，盖因其雍容得体，于台阁体中别具清雅之致。宋人应制诗多堆砌祥瑞、流于谀媚，方平此作则能以「御沟新过雨，苑树未经霜」之清新景语起手，先写秋日实境，再自然转入颂声，避免了直白谀词的板滞与空泛。清人编《宋诗钞》收方平诗，称其「疏畅明快，不事雕琢」，读此篇可见一斑。其「清时人共乐，白日坐间长」一联，以日常闲笔写盛世宴乐，较之唐人「九月龙山饮，黄花笑逐臣」的放达，另是一种温厚气象。方平以直臣名世，其诗亦如其人，颂而不谀、恭而能雅。此篇可视为北宋中期台阁应制诗之典型样本，于研究宋代宫廷诗学、应制传统颇有价值，亦可见仁宗朝清平之治在文人笔下的投影。后之论者每以应制诗为谀体而轻之，然方平此作铺陈有度、情文相生，足当「温厚」二字，殆由其人刚直而诗反雍容，刚柔相济，遂成台阁正声，未可一笔抹杀。综上，此诗虽为应制，而铺陈有度、情文相生，足当温厚之评，未可因体近颂圣而遽加轻薄。

Prosody

Form Five-character Extended Regulated Verse (wuyan pai lü)五言排律

Rhyme Single rhyme in the yang tone (平声阳韵), with rhyme words: 觞、傍、霜、香、章、方、长、昌.通押平声阳韵，入韵字为觞、傍、霜、香、章、方、长、昌，一韵到底，八联宏制，江阳辙开阔洪亮。

Tone pattern The tonal pattern follows the rules of regulated verse; the middle six couplets are strictly parallel with opposing tones and matching parts of speech.五言排律依律调平仄，中六联皆对仗，如「御沟新过雨，苑树未经霜」「楚泽丹苞重，吴畦紫穗香」，平仄相对、词性相侔，严守粘对。

Reading note The yang rhyme class is open and sonorous, fitting the grand atmosphere of the imperial feast. The sustained single rhyme carries the long poem without flagging, and the parallel couplets maintain a formal elegance throughout.此诗既为八联长篇排律，音韵之长者，在一韵到底而气不竭。阳韵属宕摄开口三等，元音宏亮、音色开阔，最宜写「奉尧觞」的雍容气象与铺陈之盛。方平以阳韵笼八联，如长江大河一泻而下，读来声宏势壮，正与所写侍宴之盛相称。中幅连写秋景与乐歌：颢气、新雨、未霜状清景，丹苞、紫穗状物产，三侯、召南状乐舞，皆以阳韵收句，声气一贯。排律最忌中幅疲沓，此诗以实境与颂语层层换境，赖阳韵的洪亮托住，故长篇而不松散。宋人长篇应制，每以文法入诗，此诗音韵与章法相表里，阳韵之宏正是其体格的外显。欲体会宋调排律之壮阔与台阁体之雅，此篇足堪取法。全诗以阳韵一以贯之，音响洪亮而气脉舒徐，读之如闻雅乐在庭，与重阳登高大酺之气象正相表里，诚台阁排律中声情相称之作。

Line by line

登高闻旧俗，况此奉尧觞。

Climbing high on the Double Ninth is an old tradition; how much more so when one is honored to present the wine cup to the emperor, likened to the sage-king Yao.

重阳登高本有旧俗，何况此日更奉御酒侍宴于君前。

Climbing heights is the old custom; and now, besides, I serve the imperial cup before the ruler.

此开篇一联是全诗破题，由民俗引入圣宴，作法老到。上句「登高闻旧俗」先点重九登高之古俗，下句「况此奉尧觞」以「况」字一转，落到自身陪侍君宴、奉觞献寿的殊荣。「尧觞」托古颂今，以尧比君，是应制诗安顿颂语最得体之法，既不突兀亦不谀滥。一联之间，由天下之俗转入一人之宠，空间由广而狭、由远及近，层次分明。更可味者，题中「侍宴」二字在此方得落实——并非泛写登高，而是以登高之俗为引，真正的主角是那杯君王所赐之酒。后文铺写楼观、秋景、乐歌、颂声，皆自此「奉尧觞」三字生发，是长篇应制稳妥的起手。

This opening couplet strikes the theme, moving from folk custom to the imperial feast with a masterly touch. The first line names the ancient custom of climbing heights on the Double Ninth; the second turns with the word besides, landing on the rare honor of attending the ruler's feast and raising the cup in birthday wish. Comparing the ruler to Yao is the most fitting way to place praise in an official ode, neither jarring nor excessive. In one couplet the poem moves from the custom of all the world to the favor of one man, space narrowing from broad to close, far to near, layer by layer. The word attend in the title is only now fulfilled - it is not a general climbing but a climb whose true subject is the cup the ruler has bestowed. The later description of towers, autumn scenery, music and praise all grow from these words, serve the Yao cup, a steady opening for the long official piece.

中岂矜多艺，威将慑四方。

How would the emperor boast of his many talents? His august majesty will awe all the four quarters.

心中岂敢自夸多才多艺，威仪却将震慑四方。

How could the heart boast of manifold arts, yet its majesty awes the four quarters.

此联写颂圣而能自谦，是应制诗中难得的收放之笔。上句「中岂矜多艺」之「中」指宸衷、圣心，言君王岂以多艺自夸，谦光之怀见于言外；下句「威将慑四方」转写帝王威仪远播，足以慑服四方。一谦一颂，先抑后扬，恰成对照。应制诗最易犯平直谀媚之病，方平于此先以「岂矜」自敛圣德，再以「慑四方」宏开气象，便觉有分寸、有余地。细味「岂」字，是虚设之辞，实则以退为进，反衬圣德之不可名状。此联上承「三侯天纵妙」之颂乐，下启「清时人共乐」之宴乐，在全篇结构中处于由颂德转入写乐的过渡枢纽，位置极要。

This couplet praises the sage yet keeps self-restraint, a rare controlled stroke in official verse. The word heart in how could the heart boast of manifold arts means the imperial mind, arguing the ruler does not plume himself on many skills, a humility beyond the words; the second turns to the emperor's majesty reaching far, enough to awe the four quarters. One humble, one praised; first restrained, then raised, a clear contrast. Official odes most easily fall flat and fawning, yet here Fangping first reins in the sage's virtue with how could, then opens the realm with awes the four quarters, giving measure and room. Tasting the word how could, it is a feigned denial that really advances by retreat, setting off the namelessness of the sage's virtue. The couplet follows the praise of the ruler's natural genius above and opens the banquet joy of the present age below, serving as the hinge between praising virtue and writing pleasure - a most important position in the structure.

近从叨慈渥，区区祝寿昌。

Recently I have been graciously granted deep kindness; with my humble heart I only wish the emperor a long and prosperous life.

近来得沐慈恩深渥，唯愿区区微忱恭祝圣寿绵长。

Of late I have received the sovereign's deep grace; in my humble zeal I wish the imperial years long and bright.

此收束一联是全诗归旨，由铺陈回到自身，献曝微忱。上句「近从叨慈渥」言近来叨蒙君王深厚恩泽，「叨」字是自谦之辞，不敢当而受之，见臣子敬慎；下句「区区祝寿昌」以「区区」自状微忱，恭祝圣寿绵长。二句将前面所有楼观之壮、乐歌之盛、秋景之清，统统收束为一句感恩与一语祝嘏，章法由放转收，如百川归海。尤妙在「近从」二字，暗示恩宠方新、感念方切，非泛泛套语。方平以直臣立身，此处却极尽恭谨，正见北宋大臣侍宴时那种既自重身份、又深感皇恩的复杂心理，雍容中带着真实的欣悦。

This closing couplet is the poem's resolution, returning from description to the self and offering a humble wish. Of late I have received the sovereign's deep grace means the recent, deep kindness of the ruler; the word unworthily is a self-deprecation, receiving what one does not deserve, showing the minister's reverent care. In my humble zeal I wish the imperial years long uses humble to describe his own small devotion, wishing the imperial longevity. The two lines gather all the towers' grandeur, the music's splendor, the autumn scenery's clarity into one line of gratitude and one utterance of birthday wish, the structure turning from expansion to close, like a hundred rivers returning to the sea. The beauty lies in the words of late: they hint the favor is fresh and the gratitude keen, no mere formula. Fangping stood as a straight official, yet here he is all reverence, showing the complex mind of a Northern Song grandee attending a feast - carrying his own dignity while feeling the imperial grace, unhurried and truly glad.

Study

Word focus

傍 The word 'bang' (to lean beside) here vividly conveys the sense of the bright autumn air clinging to the lofty tower, turning an abstract phenomenon into a living presence. 「层楼颢气傍」之「傍」字，是全诗炼字之眼，最见体物之工。傍者，依傍、亲近也，此处写太清楼高耸，清明的秋气（颢气）依傍楼阁而生，似楼与人同沐浩气。寻常写楼，多言「临」「对」「倚」，方平独用「傍」，便有一股清气氤氲、若有若无的流动感，较之静止的方位词更活。此字与上文「鸣跸遥空下」的「下」字相呼应——銮驾自空而下，皓气傍楼而生，一上一下，空间顿开。更可味者，颢气本无形，以「傍」字赋予其依偎之态，是为以实写虚、以静写动之法。宋诗尚理尚巧，此一字之炼，正见方平疏畅诗风中精细的一面，于台阁应制之体亦有生意。

尧觞 The term 'Yao shang' (sage-king Yao's cup) elevates the imperial banquet by comparing the reigning emperor to the legendary sage-king Yao, a time-honored device in panegyric poetry. 「况此奉尧觞」之「尧觞」，是以古圣喻今皇的颂语组合，亦全诗安顿颂意的关键。尧为儒家理想圣王，以尧比君，既崇其德又避直斥其名，是应制诗最稳妥的托古之法。「觞」即酒器，「奉尧觞」谓手奉君王所赐之酒，点出「侍宴」本题。二字连用，将一场普通的宫廷赐宴，提升到「奉圣」的精神高度，却不流于谀媚，全赖「尧」字所带的文化重量作缓冲。后人读应制诗每嫌其谀，然方平此处的「尧觞」，实承《诗经》「君子万年，介尔景福」的颂传统而来，是臣子对圣治的真挚礼赞，与后世纯粹的拍马迥异。一词而兼点题、颂圣、托古三用，炼意之巧可见。

区区 The reduplicated word 'ququ' means 'small, humble.' Used in the closing couplet, it emphasizes the poet's sincere modesty in offering birthday wishes to the emperor. 「区区祝寿昌」之「区区」，是自谦之辞，状微薄诚恳之心，亦全诗情感收束的落点。区区本谓小、少，引申为自谦其情之微，如「区区之心」。方平以直臣名世，侍宴诗中却连用「叨」「区区」等谦词，正见北宋大臣在君前既自重又知礼的分寸。此词置于篇末，与起首「奉尧觞」的荣耀形成对照：开头是受宠的殊荣，结尾是献曝的微忱，一显一隐，恰好构成臣子恭谨心理的完整弧线。更可味者，「区区」与「寿昌」对举，以我之微衬圣之永，愈显祝嘏之诚。一词而收束全篇情感、安顿臣节，是应制诗结尾最得体之法。