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唐 Tang · 诗 Poem

出塞

On the Frontier

王昌龄

Wang Changling

边塞Frontier 爱国Patriotic

秦时明月汉时关，万里长征人未还。
但使龙城飞将在，不教胡马度阴山。

Still shine the moon of Qin, still stands the pass of Han,
But none return from the long, long march.
If only the Flying General of Dragon City were at hand,
No Tartar horse would dare to cross Yinshan.

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Meaning

The moon and the pass remain the same as in the Qin and Han dynasties, yet the soldiers who marched thousands of miles have never returned. If only the Flying General Li Guang of Dragon City were still here, he would never allow the enemy cavalry to cross the Yinshan Mountains.

依然是秦汉时代那轮明月、那座关隘，可万里出征的将士们却一去不返。倘若龙城飞将李广还在，绝不会让敌人的骑兵越过阴山半步。

Appreciation

The first line uses intertextuality to superimpose the Qin and Han periods onto the present, creating a vast, timeless scene. The moon and the pass have witnessed endless frontier campaigns. The line 'but none return' carries immense weight, lamenting the endless sacrifice. The last two lines express a longing for a capable general like Li Guang, implying criticism of contemporary military incompetence. The poem blends historical grief with a wish for peace, making it one of the most powerful seven-character quatrains of the Tang.

【白话串讲】秦朝的明月照着汉朝关，一首诗把千年的边关战事浓缩成一声叹息。王昌龄被称为“七绝圣手”，这首出塞更被后人推为唐人七绝的压卷之作。【意象与手法】首句互文见义，“秦”“汉”与“明月”“关”交错互补，营造跨越千年的苍茫时空【情感与主旨】出塞为汉乐府旧题，多写边塞征戍。王昌龄盛唐时以七绝名世，人称“七绝圣手” 【名句点睛】常考首句“秦时明月汉时关”的互文手法与时空苍茫之境；末句渴盼良将、平息边患之旨

Background

The title 'Out of the Fortress' is a Han yuefu theme often used for frontier poems. Wang Changling, renowned as the 'Master of Seven-Character Quatrains' in the High Tang, wrote this poem to criticize the current frontier policy by recalling the past. During the Kaiyuan and Tianbao reigns, frontier generals often sought merit through aggressive campaigns, leading to endless suffering. This poem implicitly criticizes the lack of competent generals and calls for peace.

王昌龄，字少伯，京兆长安人，盛唐著名诗人，约生于武则天圣历元年，开元十五年进士及第，曾任校书郎、汜水尉、江宁丞，晚年贬龙标尉，世称王龙标。其以七绝名世，尤擅边塞、宫怨、送别诸体，人称七绝圣手。《出塞》为汉乐府横吹曲旧题，多写边塞征戍之事，王昌龄借古题抒当代之感。此诗约作于开元、天宝年间，时唐王朝国力鼎盛而边患未息，朝廷屡发大军远征蓟北、河西、陇右一带，将士久戍不归。诗人身处长安，遥念边庭，感慨良将难求、征人远戍，遂借秦汉明月关塞之象，发思古之幽情与盼将之深慨。在文学传统上，出塞题沿自汉魏乐府，经初唐卢照邻、沈佺期等人拟作渐成气候，至王昌龄此篇以二十八字笼千里、贯古今，遂为唐人七绝边塞之冠，垂范后世。出塞题沿自汉魏乐府横吹曲，经初唐卢照邻、沈佺期等人拟作渐成气候，至王昌龄此篇以二十八字笼千里、贯古今，遂为唐人七绝边塞之冠。唐王朝虽国力鼎盛而边患未息，朝廷屡发大军远征蓟北、河西、陇右，将士久戍不归，诗人遥念边庭，遂借秦汉明月关塞之象发思古之幽情与盼将之深慨，其忧乐关天下之心于此可见。

Art

The first line employs intertextuality, blending 'Qin' and 'Han' with 'moon' and 'pass' to create a cross‑century expanse. The last two lines use a hypothetical structure ('If only... would not') to fuse scene, history, and emotion. The poem is grand in scope and vigorous in spirit, using only 28 characters to encompass past and present. It is often regarded as the quintessential Tang quatrain.

全诗四句，章法以时空交错、古今映带取胜。首句秦时明月汉时关运用互文见义之法，秦与汉、明月与关交错互补，意谓秦汉以来明月照临、关塞依旧，遂将眼前之景推展为千百年之历史纵深，苍茫大气。次句万里长征人未还由景入情，以万里极言征程之遥，人未还三字收束多少白骨，沉痛凝练。三四句却以但使龙城飞将在，不教胡马度阴山的假设翻进，由悲慨转作盼将之呼，以李广典故托出平息边患、珍视士卒之旨。修辞上，首句以互文造时空之广，末句以虚拟立议论之锋，情景与史论相生；意象上明月、雄关、阴山、胡马层叠，构成宏大而沉郁的边塞画卷，诚七绝中以小见大、以古驭今之极则。全诗不事铺陈而境界独绝，以互文造时空之广，以虚拟立议论之锋，情景与史论相生。明月、雄关、阴山、胡马层叠，构成宏大而沉郁的边塞画卷。其章法由景入情、由悲转盼，开阖之间见盛唐七绝以少总多、以古驭今之极则。后之论诗者每举此篇，以为七绝虽短而能纳千载之思、万里之愁，正赖此种举重若轻、不黏不脱之手眼，诚唐人边塞绝句中不可逾之境。

Allusions

'Flying General of Dragon City' refers to Li Guang, a Han dynasty general famed for bravery, whom the Xiongnu called the 'Flying General'. Some also associate it with Wei Qing's victory at Dragon City. 'Yinshan' marks the frontier barrier against northern nomads. By invoking Li Guang, the poet expresses a hope for capable commanders, criticizing contemporary generals by contrast.

诗中用典与字法多有所本。龙城飞将指西汉名将李广，《史记·李将军列传》载广骁勇善射，匈奴畏之号曰汉之飞将军，避之数岁不敢入右北平。龙城一说本指卫青奇袭匈奴祭天之所，后人常以龙城飞将并称李广，此处借指御边良将。阴山为漠南大山脉，自古中原农耕与北方游牧之分界，胡马度阴山即指边患侵入。字词训诂方面，明月与关之互文，自宋人已发之，明李攀龙《唐诗选》谓秦时明月汉时关为万里长征之背景。人未还之还字，兼含归乡与生还二义，唐人边塞诗常以未还写征人埋骨。全诗不堆砌深典，而秦汉李广阴山诸象皆根柢史传，用事自然，不着痕迹而意蕴深厚，足见盛唐诗人融化故实之高明。要之，全诗不堆砌深典，而秦汉李广阴山诸象皆根柢史传，用事自然，不着痕迹而意蕴深厚。人未还之还兼归乡与生还二义，唐人边塞诗常以未还写征人埋骨，此处万里长征人未还收束自秦汉以来无数戍卒之惨。飞将龙城皆史传故实，以古将反衬今帅，暗含讽时。此正盛唐诗人融化故实入诗、以少许胜多许之高明，亦见其学问暗附性情、不假雕饰而自工之境。

Commentary

The Ming critic Li Panlong hailed this poem as the supreme of all Tang seven-character quatrains. The Qing critic Shen Deqian praised it as 'solemn and rounded, the best frontier poem of the Tang.' Their unanimous acclaim confirms its immortal status.

此诗向被誉为唐人七绝压卷，明人李攀龙推为唐人乐府第一，王世贞亦称其与李白、王之涣数章并为大家。清沈德潜《唐诗别裁集》析其首句互文之妙，谓用意之深、措语之妙，直与少陵（杜甫）争衡。历代选本如《唐诗三百首》必录此篇，童蒙诵读、科场取士皆重之。其经典地位在于以二十八字熔时空、史论、悲慨于一炉：前二句写尽征戍之惨，后二句转出盼良将之思，怨而不怒、悲而能壮。今人论盛唐之音，每举此诗为边塞七绝之标的；在语文教育中，秦时明月汉时关之互文手法与万里长征人未还之沉痛，皆列为必讲名句意象。其流传之广、接受之深，足证短章亦可涵千古之思。其经典地位在于以二十八字熔时空、史论、悲慨于一炉：前二句写尽征戍之惨，后二句转出盼良将之思，怨而不怒、悲而能壮。今人论盛唐之音，每举此诗为边塞七绝之标的；在语文教育中，秦时明月汉时关之互文与万里长征人未还之沉痛皆列必讲名句意象。其流传之广、接受之深，足证短章亦可涵千古之思，垂范后世而为七绝之冠，非偶然也。

Prosody

Form Seven-character quatrain (level-tone first line with rhyme)七言绝句（依汉乐府横吹曲《出塞》旧题拟作，边塞题材）

Rhyme Rhymes in the fifteenth rhyme group: 关, 还, 山押平声删韵（或寒删先通押），关、还、山三句末字属平水韵上平十五删，首句入韵，一韵到底，声情开阔而沉郁。

Tone pattern First line: 秦时明月汉时关 (píng píng píng zè zè píng píng); uses past to criticize present, with fluctuating structure.平仄合七绝平起首句入韵格：平平平仄仄平平，仄仄平平平仄平。仄仄平平平仄仄，仄平平仄仄平平。首句秦时明月为平平平仄，关字平收，格律严整自然。

Reading note The opening line is a model of intertextuality, overtly nostalgic but covertly critical of the present. It is one of the supreme seven-character quatrains of the Tang.此诗四句二十八字，声律暗合七绝平起首句入韵之格，关还山三平声在删韵中开口宏阔、余音邈远，最宜发苍茫之慨与盼将之呼。首句以平平平仄起势，气象舒徐而包孕古今；末句以仄平平仄收束，劲健中有余韵。盛唐七绝重天然音节，此篇不刻意雕琢而自然合度，明月关山诸字平仄相谐，读来朗朗而终觉沉郁。其韵脚之选与格律之稳，使短章兼具歌唱之畅与吟咏之深，宜乎千载推为七绝压卷而不移。要之，此诗声情与辞情互为表里，关还山三平声在删韵中开口宏阔、余音邈远，与苍茫之慨、盼将之呼相得益彰。盛唐七绝重天然音节，此篇不刻意雕琢而自然合度，读来朗朗而终觉沉郁。其韵脚之选与格律之稳，使短章兼具歌唱之畅与吟咏之深，宜乎千载推为七绝压卷而不移。论者谓七绝至王昌龄而体尊，此诗正其弁冕，信然。

Line by line

秦时明月汉时关，万里长征人未还。

The moon of Qin, the pass of Han; the men who marched ten thousand li have not returned.

依然是秦汉时代那轮明月、那座关隘，可万里出征的将士们却一去不返。

The bright moon of Qin, the frontier pass of Han; the men on the ten-thousand-li campaign have not returned.

首句以互文见义之法，将明月与关隘分属秦汉，意谓自秦汉以来明月依旧、雄关如故，刹那间把眼前边景推入千百年的历史纵深，苍茫旷远，气象浑成。次句万里长征人未还由景入情，万里极言路途之遥与戍期之长，人未还三字收束无数征人埋骨荒外之惨，沉痛至极而字极简净。两句一舒一敛，以永恒之明月关山反衬短暂之生命、无常之归程，乐景（清辉雄关）写哀情（白骨不归）之张力已然立起。此联不事雕琢而境界独绝，正是盛唐七绝以少总多、以古写今之典范笔力。

The opening line uses interwoven meaning, assigning the moon to Qin and the pass to Han, meaning that since Qin and Han the moon remains and the mighty pass stands, in an instant pushing the present border scene into the historical depth of a thousand years, vast and remote, the air fused. The second line, the men who marched ten thousand li have not returned, moves from scenery to feeling; ten thousand li writes to the utmost the road's distance and the garrison's length, the three words have not returned gathering in the countless conscripts buried beyond the waste, the grief extreme yet the words most spare. The two lines, one release one gather, set the eternal moon and mountain pass against the short life and the impermanent homecoming, the tension of writing grief through joyous scenery (clear moonlight, mighty pass) already established. This couplet, unadorned yet with a realm apart, is exactly the high Tang seven-character quatrain's model brush of summing the many in the few and writing the present through the ancient.

但使龙城飞将在，不教胡马度阴山。

Were the Flying General of Dragon City still here, he would not let the Tartar horses cross the Yin Mountains.

倘若龙城飞将李广还在，绝不会让敌人的骑兵越过阴山半步。

Were the Flying General of Dragon City still alive, he would never let the Tartar horsemen cross the Yin Mountains.

三四句由悲慨转出议论，以但使领起的虚拟句式，渴盼如李广那样的良将镇守边关，使胡马不敢度阴山半步。表面颂古将之勇，实则以古讽今，暗责当世边帅无能、致使征人虚死。不教二字斩钉截铁，见诗人对和平与将士生命的珍重；飞将阴山皆史传故实，用事自然。此联将前二句之沉痛翻为壮语，怨而不怒、悲而能豪，于短章中见史识与襟抱。其妙在不全写哀而哀自深，不直斥时政而时弊自见，遂成千古传诵之期盼良将、止息边患的至情至论。

The third and fourth lines turn from grief to argument, using the were-it virtual sentence led by did but to long for a good general like Li Guang guarding the border, so that the Tartar horses dare not cross the Yin Mountains by a step. On the surface praising the ancient general's valor, in truth satirizing the present through the past, secretly blaming the present border commanders' incapacity that let the conscripts die in vain. The two words would not let are decisive, showing the poet's treasuring of peace and the soldiers' lives; the Flying General and the Yin Mountains are both historical facts, the allusion natural. This couplet turns the previous two lines' grief into a heroic strain, resentful yet not angry, mournful yet able to be heroic, showing historical insight and breadth of mind within the short piece. Its beauty lies in not fully writing the grief yet the grief of itself deep, not directly censuring the times yet the times' abuse of itself showing, becoming the age-praised cry of longing for the good general and ending the border woe.

Study

Word focus

未还 The three characters '未还' condense the blood and tears of countless soldiers, contrasting with the eternal moon and pass, evoking deep sorrow. 未还二字为全诗情感枢纽，字极平易而意极沉痛。还兼归乡与生还二义，唐人边塞诗多以不还、未还写征人埋骨荒外，此处万里长征人未还一句，收束自秦汉以来无数戍卒白骨之惨，不着血泪而血泪已满。与首句永恒之明月雄关对照，短暂生命之不能还愈显苍凉。此词以否定之辞写肯定之悲，以简净之形涵厚重之史，正是盛唐诗人于常语中见至情者；后世评家每拈此三字与秦时明月并读，谓其低回不尽，足证二字之重。

飞将 A key expression in the poem. Read it as an image, mood, or grammar point in context. 飞将本指西汉李广，匈奴号曰汉之飞将军，诗中以龙城飞将并称，借指御边良帅。此词既实写李广之勇，又虚托诗人对当代良将的渴盼，以古之能将反衬今之边帅，暗含讽时之旨。飞将二字声情飞动，与胡马度阴山之沉重形成劲健对比，使末句不教之决心格外有力。用典而不滞于典，借古以谕今，正是盛唐七绝融化史传、以少许胜多许之高境；一词而兼颂古、盼今、刺时三意，足见诗人炼意之深。

出塞