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唐 Tang · 诗 Poem

行路难·其一

The Hard Road (Part One)

李白

Li Bai

抒情Lyrical 言志Expression of Ambition 豪放Bold and Unconstrained

金樽清酒斗十千，玉盘珍羞直万钱。
停杯投箸不能食，拔剑四顾心茫然。
欲渡黄河冰塞川，将登太行雪满山。
闲来垂钓碧溪上，忽复乘舟梦日边。
行路难，行路难，多歧路，今安在？
长风破浪会有时，直挂云帆济沧海。

Gold cup of clear wine, ten thousand coins a gallon,
Jade plate of costly dishes, worth ten thousand cash.
I put down cup and chopsticks, cannot eat,
Draw my sword, look around, my heart lost and blank.
I want to cross Yellow River, ice blocks the stream,
I want to climb Taihang Mountain, snow fills the peaks.
At leisure, I fish by a green stream,
Then suddenly take a boat and dream of the sun's rim.
Hard is the road, hard is the road,
So many crossroads, where am I now?
There will be a time to ride the wind and break the waves,
Then I'll set my cloudy sail straight across the blue sea.

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Meaning

The poem begins with a lavish feast that the poet cannot enjoy, expressing his deep frustration. The obstacles of ice and snow symbolize political setbacks. Through allusions to ancient sages who succeeded after hardship, he finds hope, and ends with a powerful declaration of confidence in overcoming difficulties.

金杯中的清酒一斗值十千钱，玉盘里的珍馐价值万钱。我却放下酒杯、丢了筷子吃不下去，拔出剑来四下张望，心中一片茫然。想渡黄河，坚冰堵塞了河川；想登太行，大雪封住了山峰。闲时忽想起当年吕尚垂钓碧溪，又恍如伊尹梦中乘舟经过日月之旁。行路艰难啊行路难，岔路那么多，如今我该走向何方？但我相信总有长风破浪的时机，到那时高挂云帆，横渡那茫茫沧海。

Appreciation

The poem opens with a lavish feast, but the poet sets aside his cup and chopsticks, unable to eat—a stark contrast that highlights inner turmoil. He then uses natural obstacles (ice, snow) to symbolize political setbacks. The allusions to Lü Shang and Yi Yin bring a glimmer of hope, and the climax 'Hard is the road' gives way to a resolute ending, conveying Li Bai's unyielding spirit despite adversity.

【白话串讲】满桌好酒好菜，李白却吃不下，拔出剑来四顾茫然。冰塞黄河、雪满太行，可最后他还是喊出“长风破浪会有时”——这首诗，是盛唐最硬气的一次自愈。【意象与手法】情感跌宕如波峰浪谷，短短十四句写尽理想与现实的撕扯。用典贴切自然，吕尚、伊尹皆由困顿而遇明主，暗藏期待【情感与主旨】李白入长安任翰林供奉仅约两年，便遭谗言见疏、被迫离京。此诗约作于离开长安之后，正值政治上失意、前路迷茫之际【名句点睛】此诗为唐李白之作，精要赏析详见下方深度赏析。

Background

Li Bai served as a Hanlin academician in Chang'an for only about two years before being slandered and forced to leave the capital. This poem was written shortly after his departure, expressing his political frustration and uncertainty about the future. It is the first of three poems under the title 'Hard Road,' and is the most famous for its blend of sorrow and heroic spirit.

李白，字太白，号青莲居士，盛唐浪漫主义诗歌之巅。《行路难》为乐府旧题，属杂曲歌辞，古辞多写世道艰难、离别伤感，鲍照拟作最著，以奔放见称。李白此题共三首，此为其一。诗约作于唐玄宗天宝三载（744）诗人被赐金放还、离开长安之后。白于天宝元载应诏入京，任翰林供奉，本望大展经世之志，然仅约两年便遭谗见疏，自知不为所用，遂愤而离京。此诗即离京后行旅中所作，正值政治抱负落空、前路迷茫之际。今传文本大体一致，惟题下宋本注云行路难三首。在文学传统上，李白承鲍照《行路难》以七言抒愤之脉，又融入个人浪漫豪情，将乐府写困顿之题升华为写理想与现实的撕扯，开盛唐歌行跌宕起伏、终见亮色之范式，对后世宦途失意者的抒怀诗影响深远。在文学传统上，李白承鲍照拟行路难以七言抒愤之脉，又融入个人浪漫豪情，将乐府写困顿之题升华为写理想与现实的撕扯，开盛唐歌行跌宕起伏、终见亮色之范式。白于天宝元载应诏入京，任翰林供奉，本望大展经世之志，然仅约两年便遭谗见疏，自知不为所用，遂愤而离京。此诗即离京后行旅中所作，正值政治抱负落空、前路迷茫之际，其困顿之慨最为真切，遂成写失意之双璧之一。

Art

The emotional shifts are like waves—from despair to hope. The use of allusions is natural: Lü Shang and Yi Yin both rose from obscurity to serve wise rulers. The repetition of 'Hard is the road' intensifies the sense of confusion, but the final couplet soars with confidence. The lines 'I want to cross Yellow River but ice blocks the stream' vividly portray obstacles as concrete scenes.

全诗十四句，章法以情感跌宕如波峰浪谷见长，短短篇幅写尽理想与现实的剧烈撕扯。开篇金樽清酒、玉盘珍羞极写盛宴之丰，却以停杯投箸、拔剑四顾陡转，乐景反衬茫乱，四顾二字写尽失路之态；欲渡黄河冰塞川，将登太行雪满山以冰塞雪满两个比喻写仕途阻塞，对仗工整而意象奇壮；忽入闲来垂钓碧溪、乘舟梦日，用吕尚、伊尹典故暗藏期待，于绝望中见希望；行路难三叠句如裂帛顿呼，多歧路今安在逼出茫然；末以长风破浪会有时，直挂云帆济沧海振起，由抑转扬，收束于豪迈自信。修辞上以乐景写哀、以自然险阻喻世路、以叠句强化抒情；意象上金樽、玉盘、黄河、太行、碧溪、云帆层叠，大小虚实相生，诚歌行中起伏开阖、卒章显志之极笔。其妙在情感跌宕如波峰浪谷，短短篇幅写尽理想与现实的剧烈撕扯。由宴乐之丰转茫乱之态，由冰雪之阻转云帆之扬，三折之后卒章显志，悲而不颓、抑而能扬。修辞上以乐景写哀、以自然险阻喻世路、以叠句强化抒情；意象金樽、玉盘、黄河、太行、碧溪、云帆层叠，大小虚实相生。盛唐歌行以开阖胜，此篇正是不雕而工、以景喻情之范式，后之困顿者读之每觉振起，足见其鼓舞之力，千载传诵而不衰。

Allusions

The line 'At leisure, I fish by a green stream' refers to Lü Shang (Jiang Ziya), who fished by the Panxi River and later met King Wen of Zhou. 'Then suddenly take a boat and dream of the sun's rim' alludes to Yi Yin, who dreamed of passing the sun and moon before being summoned by King Tang of Shang. Both stories imply that even in obscurity, one may soon meet a worthy ruler.

诗中用典与比喻多有所本。闲来垂钓碧溪上用吕尚（姜太公）典，《史记·齐太公世家》载吕尚钓于渭滨之磻溪，遇周文王而兴周；忽复乘舟梦日边用伊尹典，《宋书·符瑞志》载伊尹将佐商汤，梦乘舟过日月之傍，后果为相。二典皆由困顿而遇明主，李白暗以自况，言己虽暂蹇而终当有为。行路难本乐府杂曲，鲍照《拟行路难》以泻水置地、安能行叹写门第压抑，太白承其抒愤而更见豪宕。字词训诂方面，珍羞之羞通馐，美味也；直万钱之直同值；长风破浪用《宋书·宗悫传》愿乘长风破万里浪之语，喻壮志。全诗用事自然，吕伊二典于绝望中植希望，正见盛唐诗人融化史传入歌行之高境。要之，全诗用事自然，吕尚、伊尹二典皆由困顿而遇明主，暗藏期待，于绝望中植希望，正见盛唐诗人融化史传入歌行之高境。行路难本乐府杂曲，鲍照拟作最著，太白承其抒愤而更见豪宕。长风破浪用宗悫愿乘长风破万里浪之语，喻壮志；珍羞之羞通馐，直万钱之直同值。此正学问暗附性情、不滞于典之证，以常见故实写不常之困，举重若轻，遂成唐人乐府写失意之范式，足为后世楷式。

Commentary

Critics praise this poem for its heroic pathos. The 'Tangshi Pin Hui' says: 'Li Bai's three poems 'Hard Road' express the sorrows of his life.' Shen Deqian in 'Tangshi Bie Cai' notes the poem's 'magnificent vision and surging changes,' capturing the essence of the seven-character ancient verse.

此诗向为李白乐府名篇，与《将进酒》并称写失意之双璧。历代评家赏其起伏跌宕，明人胡震亨《唐音癸签》谓太白歌行，如就中疾徐，行路难最见开阖。清沈德潜《唐诗别裁集》称末二句云：落笔仍含豪气，不作衰飒语。其经典地位在于将宦途失意写为宇宙级的人生困境，又在结尾翻出长风破浪的自信，悲而不颓、抑而能扬，予无数困顿者以鼓舞。长风破浪会有时一句更成千古格言，常被人引以自勉。传播史上，此诗入选《唐诗三百首》及各类教材，现代语文教育尤重其卒章显志、以乐写哀之法；在励志语境中，它与将进酒同被奉为盛唐浪漫精神之不屈标本，足证短歌亦能涵千回百折之思。其经典地位在于将宦途失意写为宇宙级的人生困境，又在结尾翻出长风破浪的自信，悲而不颓、抑而能扬，予无数困顿者以鼓舞。长风破浪会有时一句更成千古格言，常被人引以自勉。传播史上，此诗入选唐诗三百首及各类教材，现代语文教育尤重其卒章显志、以乐写哀之法；在励志语境中，它与将进酒同被奉为盛唐浪漫精神之不屈标本，足证短歌亦能涵千回百折之思，千载传诵而不衰，信非偶然。

Prosody

Form Yuefu miscellaneous song (the title 'Hard Road' is a traditional yuefu theme, written in seven-character ancient style with occasional three- or four-character lines)乐府歌行（七言歌行，杂以三、七言，依乐府《行路难》杂曲旧题）

Rhyme Shifts rhyme sections: first part rhymes with flat tone xian/shan (千, 钱, 川, 山, 边), second part changes to han (难, 安), with the short line 'where am I now' shifting to oblique tone, not strictly consistent.换韵多次：前四句钱、然、山押平声先删，中四句边、在、海押仄声（边先韵、在贿、海贿），后四句难、安、沧押平声寒删，随情换韵，声情起伏。

Tone pattern Primarily seven-character lines, interspersed with three-character 'Hard is the road' to match emotional shifts.杂言歌行，不依近体平仄，以气脉驱遣，三言（行路难、多歧路）与七言错落，诵读如波折顿挫，自由奔放。

Reading note From the lavish feast to the loss, then hope via allusions, the structure opens and closes with dramatic contrasts, typical of Li Bai's seven-character song style.此诗为乐府歌行，本不绳以近体声律，而以换韵随情、句式长短写情感跌宕。开篇钱、然平声舒展，写盛宴之丰；转山平声忽接冰塞之抑，乐哀暗换；中联边、在、海仄声收束，困顿渐深，行路难三叠如裂帛顿呼，声情最促；末难、安、沧平声振起，由抑转扬。平仄韵交替正如情绪之起落，与内容三折（乐—哀—豪）同构。歌行之妙在不被律缚而气韵自畅，太白此篇以三言叠句写呼告、以换韵写开阖，遂成唐人乐府写困顿而终见亮色之范式。其声情即心境，读来如舟行峡江，宜乎千载传诵而不衰。要之，歌行之妙在不被律缚而气韵自畅，太白此篇以三言叠句写呼告、以换韵写开阖，遂成唐人乐府写困顿而终见亮色之范式。其声情即心境，读来如舟行峡江，平仄韵交替正如情绪之起落，与内容三折同构。论者谓太白歌行如峡江九折，此诗正其波谷波峰最分明处，声情与辞情互为表里，宜乎千载传诵而不衰，非浅率者所能到，足为写怀之极则。

Line by line

欲渡黄河冰塞川，将登太行雪满山。

Ice blocking the Yellow River and snow covering Taihang Mountain symbolize political obstacles, turning abstract 'hard road' into visual imagery of entrapment.

想渡黄河，坚冰堵塞了河川；想登太行，大雪封住了山峰。

I would cross the Yellow River, but ice blocks the course; I would climb the Taihang, but snow covers the mountains.

此联承停杯拔剑之茫然而来，以黄河、太行两大雄奇意象写仕途之阻塞。欲渡、将登表进取之志，冰塞川、雪满山却以自然险阻横亘眼前，志与境剧烈反差，正是诗人离京后抱负难展的绝妙隐喻。两句对仗工整，黄河对太行、冰塞对雪满，色冷境阔，于壮丽中见压抑。其妙在以江山之险写世路之难，不直说谗间不用，而借天地闭塞传出，含蓄而有力；与前联金樽玉盘之盛宴暖景对照，乐哀顿转，章法跌宕。此联将抽象的政治失意化为可感的冰雪山川，遂成唐人写困顿最警拔之对句，足见太白以景喻情之浪漫手段。

This couplet continues the bewilderment of stopping wine and drawing the sword, using two grand images - the Yellow River and the Taihang - to write official road's blockage. Would cross and would climb express ambition; ice blocks and snow covers set natural barriers before the eyes; ambition and circumstance in sharp contrast, precisely the superb metaphor for the poet's thwarted aspirations after leaving the capital. The two lines are refined parallel: Yellow River against Taihang, ice blocks against snow covers - cold hue, vast realm, oppression within grandeur. Their art: using rivers and mountains' peril to write the world road's difficulty, not directly speaking of slander and rejection, but conveying it through heaven-and-earth's occlusion - reserved yet forceful. Contrasting with the previous couplet's golden goblets and jade platters of warm feast, joy and grief turn abruptly, the structure rising and falling. The couplet converts abstract political disappointment into sensible ice-and-snow mountains, becoming Tang poetry's most striking couplet on hardship, showing Li Bai's romantic means of metaphor.

长风破浪会有时，直挂云帆济沧海。

Adapting Zong Que's phrase, this couplet turns despair into confidence, asserting that the future holds a time for grand achievement.

但我相信总有长风破浪的时机，到那时高挂云帆，横渡那茫茫沧海。

Yet there will be a time to ride the long wind and break the waves; then I shall hoist my cloud sail and cross the vast sea.

末联为全诗精神之脊，于层层抑遏之后陡然振起。长风破浪用宗悫愿乘长风破万里浪之语，会有时三字斩钉截铁，写必胜之自信；直挂云帆济沧海以云帆沧海的壮阔收束，将前此冰塞雪满之困一笔扫空。由抑转扬，卒章显志，悲慨中见豪宕，颓唐里出亮色。其所以成千古格言，正在其道出困顿者共有的信念：眼前的阻塞终会过去，理想终当实现。唐人抒怀多重愁苦，太白却以云帆济海作结，举重若轻，正是盛唐浪漫精神不屈之表征。此联与开篇盛宴、中联冰雪呼应，完成由乐而哀、由哀而豪的情感三折，结构圆紧而气象宏开。

The closing couplet is the poem's spiritual spine, rising abruptly after layer upon layer of suppression. Ride the long wind and break the waves adopts Zong Que's wish to ride the long wind and break ten thousand li of waves; there will be a time is decisive, writing the certainty of triumph. Hoist my cloud sail and cross the vast sea closes in the grandeur of cloud sail and blue sea, sweeping away the ice-blocked, snow-filled hardships in one stroke. From suppression to exaltation, the closing declaring resolve - grandeur within sorrow, brightness emerging from dejection. Its becoming an age-old maxim lies precisely in voicing the belief shared by all in hardship: the present blockage will pass, the ideal will be realized. Tang lyric poetry usually dwells on sorrow; Li Bai closes with the cloud sail crossing the sea, handling weight lightly - precisely the High-Tang romantic spirit's unconquered mark. This couplet echoes the opening feast and the middle ice and snow, completing the three emotional turns: joy, grief, grandeur; the structure round and tight, the realm grand.

Study

Word focus

冰塞 A key expression in the poem. Read it as an image, mood, or grammar point in context. 冰塞二字为全诗困境之象，欲渡黄河冰塞川以坚冰堵塞河川写仕途之阻。塞字最重，既状物理之壅，亦喻谗间之蔽、明主之远，一字而兼景与政两重封闭。黄河本奔流浩荡，偏逢冰塞，壮阔与阻塞对撞，愈显抱负之不得骋。此词以自然险阻写人生困顿，含蓄而有力，不呼号而压抑自见。唐人写失意多直抒，太白却以冰塞雪满的天地闭瑟传出，举重若轻，正见其以景喻情之浪漫手段。与下联雪满山对举，构成全诗最低抑之境，亦为末联长风破浪之扬蓄足气势，一字而定全篇跌宕之枢。

云帆 A key expression in the poem. Read it as an image, mood, or grammar point in context. 云帆为全诗亮色之眼，直挂云帆济沧海以高帆入云、横济沧海写终极之舒展。云字极妙，既状帆之高渺如悬云际，亦喻心境之超拔脱俗；帆而称云，举重若轻，将前此冰塞雪满之重压一笔掀翻。济沧海三字气象宏开，沧海喻广阔前程，济言渡过困境、抵达理想。此词与开篇金樽、中联冰雪呼应，完成由宴乐而阻塞而超越的三折；以最壮之景写最豪之志，悲慨尽化为亮色。盛唐诗人炼意于常语，云帆二字正是不炼之炼，足证李白以景结情、以豪写痛之高手笔，遂成千古励志之象。