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唐 Tang · 诗 Poem

山中与幽人对酌

Drinking with a Recluse in the Mountains

李白

Li Bai

友情Friendship 饮酒Drinking 闲适Leisure

两人对酌山花开，一杯一杯复一杯。
我醉欲眠卿且去，明朝有意抱琴来。

We two drink face to face while the mountain flowers bloom;
One cup, one cup, and yet another cup.
When I am drunk and want to sleep, you may as well go;
If the mood takes you tomorrow, come back with your qin in your arms.

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Meaning

Amid blooming mountain flowers, two friends drink cup after cup without restraint. When Li Bai grows drunk and drowsy he plainly tells his companion to leave, inviting him back the next day with a qin. The poem celebrates a friendship so genuine that it needs no ceremony — spontaneity itself becomes the deepest courtesy.

两人在山中对坐饮酒，山花烂漫正开。一杯一杯又一杯，喝得酣畅淋漓。我醉意上来想要睡去，你暂且回去；明天若是还有兴致，就抱着琴再来吧。

Appreciation

[Plain Paraphrase] Two of us sit drinking as the mountain flowers open; cup after cup we drink on. Drunk, I want to sleep, so you may go — if you feel inclined tomorrow, bring your qin and come again. [Structure] The four lines follow the arc of a drinking session: the setting, the drinking, the blunt dismissal, and the warm invitation that undoes it. [Imagery] Nothing is described but flowers, cups, sleep, and a qin, yet the plainest words build a complete scene of trust. The repetition of 'one cup' beats like the rhythm of the wine itself.

【白话串讲】李白写《山中与幽人对酌》：“两人对酌山花开，一杯一杯复一杯”——“我醉欲眠卿且去，明朝有意抱琴来”——我醉了要睡，你先走吧，明天想喝再抱琴来——他写山中与友人对饮的豪放。【意象与手法】此诗是李白写山中与幽人对酌的七言绝句，以大白话写尽真性情，是李白最见率真的作品之一。首句「两人对酌山花开」写对酌的环境——山中、对酌、山花开，点出人物的闲雅与环境的清幽；次句「一杯一杯复一杯」以复沓的句式写饮酒的酣畅——那「一杯一杯复一杯」没有一丝修饰，却写尽对酌的尽兴，是千古名句；三句「我醉欲眠卿且去」写醉后的直率——醉意上来便直言请你回去，毫不客套，是千古名句；末句「明朝有意抱琴来」写来日的邀约——明天若有兴致，就抱琴再来，余韵悠长。全诗以口语入诗，看似信口而成，实则将幽人的闲雅、对酌的尽兴、醉后的率真、来日的期待写得意趣盎然，是李白「清水出芙蓉，天然去雕饰」诗风的最佳注脚。【情感与主旨】此诗约作于李白隐居山林时期（一说作于其与友人在山中饮宴时），具体年月不详。诗中「幽人」指隐居山林的高士，与李白一见如故，山中对酌、开怀畅饮。那「两人对酌山花开」写对酌的雅兴，那「一杯一杯复一杯」写畅饮的尽兴，那「我醉欲眠卿且去」写醉后的率真（用陶渊明典故，见下文），那「明朝有意抱琴来」写来日的期许。全诗以最朴素的言语写最真挚的友情——不客套、不造作，醉则直言欲眠，兴则相约抱琴，正是李白旷达率真天性的自然流露。那「山花开」的雅致、「一杯复一杯」的尽兴、「抱琴来」的期待，共同构成了一幅山中饮者的生动画面，是李白写饮酒与友情的名篇，也是理解李白「诗酒风流」精神的窗口。【名句点睛】常考“两人对酌山花开，一杯一杯复一杯”以复沓写对酌之尽兴；“我醉欲眠卿且去，明朝有意抱琴来”写醉后的率真，是千古名句。

Background

Li Bai (701-762), the Poet Immortal, is China's most celebrated romantic poet, famous for wine, moon, and freedom. This quatrain belongs to his mountain-reclusion years, when he wandered among hermits and kindred spirits, and the recluse named in the title is an unnamed hermit met in the hills. The poem draws directly on the biography of Tao Yuanming in the Song Shu, where the hermit-poet, once drunk, tells his guests that he is sleepy and they may go — candor so complete it became proverbial.

此诗是唐代诗人李白的一首七言绝句，写与山中幽人对酌的情景。李白一生好酒，自称「臣是酒中仙」，其诗多写饮酒，此诗即是其饮酒诗中最率真的作品之一。诗中「幽人」指隐居山林的高士（幽，隐也；幽人即隐士），与李白在山中相遇，对酌畅饮。此诗的具体作年与地点不可确考，从内容看，当是李白隐居山林（如终南山、徂徕山等）期间与隐士交游之作。李白常以陶渊明自比，陶渊明是著名的隐士与酒徒，李白此诗「我醉欲眠卿且去」即化用陶渊明「我醉欲眠，卿可去」的典故（《宋书·隐逸传》载：陶渊明性嗜酒，贵贱造之者，有酒辄设。渊明若先醉，便语客曰：「我醉欲眠，卿可去。」其真率如此）。全诗以口语化的语言写对酌的尽兴与醉后的真率，毫无斧凿痕迹，是李白诗风「清水出芙蓉，天然去雕饰」的典型体现，也是中国诗歌史上写饮酒真趣的经典之作，历来脍炙人口、广为传诵。

Art

Li Bai's craft here is the courage to say plain things. The diction is pure spoken language, and the line about one cup after another is almost a child's counting, yet its triple repetition registers both the action and the mounting exhilaration. The line about being drunk and wanting to sleep turns apparent discourtesy into the highest intimacy: only true friends are told to leave to their faces. The closing invitation to come back with a qin lifts the scene from mere drinking to a tryst of shared art, the very ideal of natural, unadorned poetry that Li Bai prized.

此诗的艺术特色可从四个层面解析。其一，口语化的语言。全诗以大白话写就——「两人对酌山花开」「一杯一杯复一杯」「我醉欲眠卿且去」「明朝有意抱琴来」，几乎没有一句雕琢，却字字传神，是「以俗为雅」的典范。其二，复沓的句式。「一杯一杯复一杯」以「一杯」的三次复沓写饮酒的酣畅，那重复的句式既是饮酒动作的重复（一杯接一杯），也是尽兴情绪的累积，如民歌般自然，是千古名句。其三，真率的情态。「我醉欲眠卿且去」写醉后的直率——不客套、不挽留，直言欲眠请你回去，化用陶渊明典故而更见洒脱，是千古名句；那「卿且去」三字，写尽李白与幽人之间不假客套的真友情。其四，余韵的悠长。「明朝有意抱琴来」以抱琴的意象写来日的邀约——「抱琴」是高士的雅兴（琴是隐士的象征），「明朝有意」写来日的期待，以一句平淡的邀约收束，余味无穷。四重手法，使这首二十八字的小诗写尽饮酒的真趣与友情的真挚，正是李白「天然去雕饰」诗风的本领。

Allusions

The key allusion is to Tao Yuanming: the Song Shu records that when the hermit-poet grew drunk first he would tell his guests he was sleepy and they could go, and Li Bai borrows the sentence wholesale, paying silent tribute to the tradition of wine, candor, and reclusion he inherited. The qin in the closing invitation is the emblem of the cultivated recluse, echoing the Bo Ya and Zhong Ziqi tradition of the friend who understands music — and by extension, the friend who understands the man.

此诗的用语深植于饮酒与隐逸传统。「两人对酌山花开」写山中对酌——那「山花开」点出山中环境的清幽与春日的生机，令人想到「山中何所有，岭上多白云」（陶弘景《诏问山中何所有赋诗以答》）的隐逸意象；「一杯一杯复一杯」写畅饮——那复沓的「一杯」令人想到民歌的自然韵律，也令人想到李白「会须一饮三百杯」（《将进酒》）的豪饮。「我醉欲眠卿且去」化用陶渊明的典故——陶渊明性嗜酒，「贵贱造之者，有酒辄设。渊明若先醉，便语客曰：我醉欲眠，卿可去」（《宋书·隐逸传》），李白化用此典写醉后的真率，令人想到陶渊明「采菊东篱下，悠然见南山」（《饮酒·其五》）的隐士形象，也令人想到李白以陶自比（「龌龊东篱下，渊明不足群」）的旷达；「明朝有意抱琴来」写抱琴的雅兴——「抱琴」是高士的象征（琴是隐士与雅士的标志），令人想到「伯牙鼓琴」的知音传统与「左琴右书」的隐逸生活。全诗化用陶渊明饮酒与隐逸的传统，以最朴素的语言写最率真的友情，正是李白「以陶为师」而更见洒脱的本领——那「我醉欲眠」的直率、那「抱琴来」的雅兴，都是中国隐逸文化与饮酒文化的生动写照。

Commentary

This quatrain is the classic statement of Li Bai's romance of poetry and wine. Critics have called the lines about cup after cup and about being drunk and wanting to sleep among the most famous in Chinese poetry for capturing unforced character in everyday words. Read beside 'Drinking Alone under the Moon', it forms a pair — the loneliness of the moonlit cups and the warmth of the shared ones — and it remains the finest poetic witness to friendship without etiquette.

此诗历来被推为李白写饮酒真趣的绝唱，也是其「天然去雕饰」诗风的代表作。历代论者对此诗评价极高：明人评此诗「语浅而情深，率然而真」；近人更指出此诗「一杯一杯复一杯」「我醉欲眠卿且去」以最平淡的语言写最真率的性情，是李白「清水出芙蓉，天然去雕饰」诗风的绝佳体现。在文学史上，此诗的特殊价值在于：它以二十八字写尽饮酒的真趣与友情的真挚——那「两人对酌山花开」的雅兴，那「一杯一杯复一杯」的尽兴，那「我醉欲眠卿且去」的真率，那「明朝有意抱琴来」的期待，都写尽了李白旷达率真的天性，也写出了中国隐逸文化中「诗酒风流」的精神。诗中「一杯一杯复一杯」「我醉欲眠卿且去」都是千古名句，前者以复沓写尽兴，后者以直率写真性情。此诗与李白的《月下独酌·其一》（「举杯邀明月，对影成三人」）同为写饮酒的名篇，一写独酌的寂寞，一写对酌的尽兴，都是「诗酒风流」的写照。对于今日读者，此诗是理解李白「诗酒风流」精神的窗口，也是感受中国诗歌「以俗为雅」传统的经典——那山中盛开的花、一杯复一杯的酒、抱琴而来的约定，穿越千年，仍在诉说着率真与友情。

Prosody

Form Seven-character quatrain (qiyan jueju), oblique start with level close, the first line rhyming.七言绝句（仄起平收，首句入韵）

Rhyme The rhyme falls on the level-tone words kai (bloom), bei (cup), and lai (come), all in the hui rhyme group, and one rhyme is carried through all four lines. The open, flowing hui rhyme matches the easy warmth of the drinking scene.全诗押平声灰韵（开、杯、来），一韵到底，韵音开阔流丽，正合山中对酌的闲雅畅快。

Tone pattern The rhythm follows speech: 'liang ren dui zhuo shan hua kai, yi bei yi bei fu yi bei' has the natural cadence of talk, and the triple repetition of 'one cup' sets a repeating beat like the pace of the wine; 'wo zui yu mi qing qie qu, ming chao you yi bao qin lai' relaxes into the offhand ease of a man speaking to an old friend.此诗为七言绝句，四句二十八字，押平声韵。全诗按内容可分为两层：前两句写对酌的雅兴与尽兴（两人对酌山花开、一杯一杯复一杯）；后两句写醉后的真率与来日的邀约（我醉欲眠卿且去、明朝有意抱琴来）。声调上，全诗以口语化的语言入诗，节奏自然流丽，尤其「一杯一杯复一杯」以复沓的句式造成回环的节奏，如饮酒的节拍；平声韵一韵到底，韵音开阔，正合山中对酌的畅快。

Reading note The quatrain form is kept — four lines, twenty-eight characters, one rhyme — but the tone is that of conversation, which is precisely the poem's achievement: strict form with complete naturalness. The hui rhyme's broad resonance suits the open-air mountain setting. Read the first couplet brightly, then let the voice drop into lazy, smiling candor for 'you may as well go', and lift again warmly on the final invitation.此诗是七言绝句写饮酒真趣的经典，以口语化的语言与复沓的句式写对酌的尽兴与醉后的真率，正是李白「天然去雕饰」的本领。全诗四句：首句写对酌的雅兴（两人对酌山花开），次句写畅饮的尽兴（一杯一杯复一杯），三句写醉后的直率（我醉欲眠卿且去），末句写来日的邀约（明朝有意抱琴来）。声调上，全诗以口语入诗，节奏自然，那「一杯一杯复一杯」的复沓如民歌般明快，那「卿且去」「抱琴来」的收束余韵悠长。诵读此诗，宜以明快的语调读前两句的畅快，以洒脱的语调读后两句的真率，尤其「我醉欲眠卿且去，明朝有意抱琴来」两句，要读得随意而洒脱，方能传达出李白诗酒风流的深意。七绝在李白手中，或豪放（早发白帝城）或真率（此诗），正是其「清水出芙蓉」诗风的体现。

Line by line

一杯一杯复一杯。

One cup, one cup, and yet another cup.

一杯又一杯，再一杯，喝得酣畅淋漓。

Cup after cup, and yet another cup.

这句是写饮酒尽兴的名句，也是千古名句，以「一杯」的三次复沓写饮酒的酣畅，如民歌般自然。「一杯一杯复一杯」没有任何修饰——没有写酒的好坏、没有写饮者的情态，只有「一杯」的重复，却写尽了饮酒的尽兴与酣畅；那「一杯」的重复，既是动作的重复（一杯接一杯地喝），也是情绪的累积（越喝越酣畅），以最朴素的语言写出了最真切的感受。这句的深意在于：它以复沓的句式写出了饮酒的「忘我」之境——当一个人真正喝到尽兴时，眼中便只有「一杯一杯」，没有别的；那「复一杯」三字，更写尽了不加节制、畅饮不止的率真。与「两人对酌山花开」的清雅环境相对，这一句写出了对酌的酣畅——山中花开、对坐畅饮，一杯复一杯，正是人间至乐。以「一杯」的复沓写尽兴、以无修饰写真率，正是李白「天然去雕饰」的本领，也让这句成为写饮酒的千古名句。

This line is a famous writing of drinking to the full, and a famous line through the ages, through the threefold repetition of 'cup' writing the drinking's thoroughness, natural as a folk song. 'Cup after cup, and yet another cup' has no adornment — no writing the wine's quality, no writing the drinker's state, only the repetition of 'cup', and it writes to the full the drinking's fullness and abandon; the repetition of 'cup' is both the repetition of action (cup after cup) and the accumulation of feeling (the more drunk the more thorough), writing the truest feeling in the plainest words. The depth: through the repeated form it writes the drinking's self-forgetting realm — when a man truly drinks to the full, his eyes hold only 'cup after cup', nothing more; and the words 'yet another cup' write the uncurbed, unceasing drinking's candor. Set against the elegant setting of 'two men facing drink among the mountain flowers', this line writes the thoroughness of the facing cup — the mountain flowers blooming, the two sitting and drinking, cup after cup, precisely the world's highest joy. Writing the fullness through the repetition of 'cup', writing candor through the unadorned, Li Bai's craft of 'the natural without ornament', and the reason this line became a famous line of drinking.

我醉欲眠卿且去，明朝有意抱琴来。

When I am drunk and want to sleep, you may as well go; if the mood takes you tomorrow, come back with your qin in your arms.

我醉意上来想要睡去，你暂且回去；明天若是还有兴致，就抱着琴再来吧。

I am drunk and would sleep; you may go. Tomorrow, if the mood is on you, come with your lute.

这句是全诗的点睛之笔，也是千古名句，以醉后的真率与来日的邀约写尽友情的真挚。「我醉欲眠卿且去」写醉后的直率——醉意上来，便直言请你暂且回去，毫不客套、毫不挽留，那「卿且去」三字，化用陶渊明「我醉欲眠，卿可去」的典故，写尽李白与幽人之间不假客套的真友情——正因为是知己，才不必客套；正因为尽兴，才直言欲眠；「明朝有意抱琴来」写来日的邀约——明天若是还有兴致，就抱着琴再来吧，那「抱琴」是高士的雅兴，「明朝有意」写来日的期待，以一句平淡的邀约收束，余味无穷。这句的深意在于：它写出了知己之间最自然的相处方式——不客套、不勉强，醉则直言欲眠，兴则相约抱琴，这正是「君子之交淡如水」的最高境界；那「抱琴来」的约定，更写出了两人之间不是酒肉之交，而是以琴（雅兴）相期的知音。以「醉眠」写真率、以「抱琴」写雅兴，正是李白旷达真率天性的自然流露，也让这句成为写友情与真率的千古名句。

This line is the poem's eye, and a famous line through the ages, through the candor of drunkenness and the invitation of another day writing the sincerity of friendship. 'I am drunk and would sleep; you may go' the candor after drink — the drunkenness rising, and he plainly asks the friend to go for now, no courtesy, no holding back; the words 'you may go' use the allusion to Tao Yuanming's 'I am drunk and would sleep; you may go', writing the true friendship between Li Bai and the recluse that needs no courtesy — precisely because they are intimates, no formality needed; precisely because the drinking was full, he plainly says he would sleep. 'Tomorrow, if the mood is on you, come with your lute' the invitation of another day — tomorrow, if the mood is on you, come with your lute; the 'lute' the lofty man's elegant fancy, 'if the mood is on you tomorrow' the expectation of another day, closing in a plain invitation, the aftertaste endless. The depth: it writes the most natural way of being between intimates — no courtesy, no force, drunk he plainly says he would sleep, in the mood they meet with the lute, precisely the highest realm of 'the friendship of gentlemen is plain as water'; and the appointment to 'come with your lute' further writes that the bond between the two is not a wine-and-meat friendship, but the meeting of souls through the lute. Writing candor through 'drunk and sleep', writing elegant fancy through 'the lute', the natural overflow of Li Bai's open, candid nature, and the reason this line became a famous line of friendship and candor.

Study

Word focus

复 Again, and yet: the connective in the line about one cup after another, whose repetition beats like the pace of the drinking and accumulates the joy of endless cups. 「复」字是写饮酒酣畅的关键字，一个「复」字写尽畅饮不止的尽兴，是「一杯一杯复一杯」的枢机。复者，又、再也。李白以「一杯一杯复一杯」写饮酒，一个「复」字，至少有双重意味：其一，写动作的连续——那「一杯」「一杯」「复一杯」，以「复」连接，写尽饮酒动作的连续不断，一杯接一杯、喝了又喝，「复」字写尽畅饮的节奏；其二，写情绪的累积——那「复」字既是动作的重复，也是情绪的累积，一杯复一杯，越喝越酣畅，越喝越忘我，「复」字写尽尽兴之境的到达。以「复」字写饮酒，正是李白以最朴素的字写最真切感受的本领——若不用「复」，则「一杯一杯一杯」只是单调的重复；加了「复」，便有了「又、再」的递进感，写尽了越喝越酣畅的过程。若换作「又」「再」等字，则或失其口语的自然，或失其民歌的韵律；唯「复」字，以一字写尽畅饮的节奏与尽兴的累积，也让「一杯一杯复一杯」成为写饮酒的千古名句。

卿 A term of intimate address, like 'dear you': used between close friends, it makes the blunt dismissal to go affectionate rather than rude. 「卿」字是写友情的点睛字，一个「卿」字写尽知己间的亲切，是「我醉欲眠卿且去」的深情所在。卿者，古时对人的亲昵称呼也。李白以「卿且去」称呼幽人，一个「卿」字，至少有双重意味：其一，写称呼之亲昵——那「卿」是亲昵的称呼（古时夫妻、好友之间互称），李白以「卿」称幽人，写尽两人之间的亲近与随意——不是客套的「君」「公」，而是亲昵的「卿」，正因是知己，才以卿相称；其二，写关系之平等——那「卿且去」既是吩咐（请你回去），也是商量（你且先回），语气亲昵而平等，没有一丝客套与拘束，写尽两人之间真率自然的关系。以「卿」字称呼，正是李白写真友情的关键——那「卿且去」三字，因「卿」而亲切，因「且」而随意，写尽了知己之间不假客套的相处。若换作「君」「子」等字，则或失其亲昵，或失其随意；唯「卿」字，以一字写尽知己间的亲切与真率，也让「我醉欲眠卿且去」成为写友情的千古名句。