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唐 Tang · 诗 Poem

自遣

Consoling, Myself

罗隐

Luo Yin

得即高歌失即休，多悲多恨谩悠悠。
今朝有酒今朝醉，明日愁来明日愁。

Gained, then, I, sing, the, high, song, lost, then, I, rest,
Much, the, sorrow, much, the, regret, the, idle, drifting, long.
Today, having, the, wine, today, I, am, drunk,
Tomorrow, the, sorrow, comes, tomorrow, the, sorrow.
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Meaning

A poem of the self-consolation and the release, written by Luo Yin. Gained then I sing the high song lost then I rest, much the sorrow much the regret the idle drifting long — the philosophy of the opening. Today having the wine today I am drunk, tomorrow the sorrow comes tomorrow the sorrow — the release of the close. The poem is the self-consolation and the release: the gain, the loss, and the close's today.

得即高歌失即休，多悲多恨谩悠悠。今朝有酒今朝醉，明日愁来明日愁。

Appreciation

[Plain Paraphrase] Gained, then, I, sing, the, high, song, lost, then, I, rest, much, the, sorrow, much, the, regret, the, idle, drifting, long. Today, having, the, wine, today, I, am, drunk, tomorrow, the, sorrow, comes, tomorrow, the, sorrow. [Structure and Thought] The poem moves from the philosophy of the gain and the loss with the sorrow and the regret, through the idle drifting, to the close's the today of the wine and the tomorrow of the sorrow. [Key Technique] The poem's art is the close of the release: today having the wine today I am drunk, and the close's tomorrow the sorrow comes tomorrow the sorrow — the self-consolation gathered in the today and the close's release. [Emotional Tone] Released, bitter, and philosophical: the poem is the gain, the loss and the close's today.

【白话串讲】 罗隐写《自遣》：“得即高歌失即休，多悲多恨谩悠悠”——“今朝有酒今朝醉，明日愁来明日愁”——他自遣——今朝有酒今朝醉。 【意象与手法】 “得即高歌失即休、多悲多恨谩悠悠”写得即高歌失即休；结以“今朝有酒今朝醉，明日愁来明日愁”写今朝有酒今朝醉。旷达不羁。 【情感与主旨】 罗隐抒怀自遣之作，写今朝有酒今朝醉的旷达，是写失意自遣的名篇。 【名句点睛】 常考“得即高歌失即休，多悲多恨谩悠悠”写得失之慨；“今朝有酒今朝醉，明日愁来明日愁”写旷达。

Background

Luo Yin (833-910), the poet of the late Tang, wrote this 'Consoling, Myself' of the self-consolation and the release — the bitterness of the frustrated life. The gain with the high song, the loss with the rest, and the close's the wine of the today — the poem gathers the release of the poet, the bitterness of the frustration. The poem is one of the most famous works of the poet's poems of the self-consolation.

《自遣》为晚唐诗人罗隐所作诗。罗隐（833—910），字昭谏，新城（今浙江富阳）人，晚唐诗人。此诗写抒怀自遣。诗中「得即高歌失即休，多悲多恨谩悠悠」写得即高歌失即休，多悲多恨谩悠悠；「今朝有酒今朝醉，明日愁来明日愁」写今朝有酒今朝醉，明日愁来明日愁。罗隐此诗以抒怀自遣、今朝有酒今朝醉写其旷达之情，旷达不羁，是罗隐诗中的名篇。此篇《自遣》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《自遣》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《自遣》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The poem's art is the art of the release. The philosophy opens: gained, then, I, sing, the, high, song, lost, then, I, rest — the high song of the gained; much, the, sorrow, much, the, regret, the, idle, drifting, long — the idle drifting of the sorrow and the regret. The release follows: today, having, the, wine, today, I, am, drunk — the wine of the today; tomorrow, the, sorrow, comes, tomorrow, the, sorrow — the sorrow of the tomorrow — the philosophy, the bitterness and the close's release, gathered in the poem.

此诗艺术上以「旷达不羁、以歌写情」见长。全诗共四句，由得即高歌失即休而多悲多恨谩悠悠而今朝有酒今朝醉。起「得即高歌失即休，多悲多恨谩悠悠」写得即高歌失即休：得即高歌失即休，多悲多恨谩悠悠；「今朝有酒今朝醉，明日愁来明日愁」写今朝有酒今朝醉：今朝有酒今朝醉，明日愁来明日愁。全诗以歌写情，由得即高歌失即休而今朝有酒今朝醉，旷达不羁，是罗隐诗中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

'The high song' (gao ge) is the high song — the song of the high, the singing of the gained; 'the idle drifting' (man you you) is the idle drifting — the drifting of the idle, the sorrow of the regret; 'the wine of the today' (jin chao you jiu) is the wine of the today — the wine of the morning, the release of the close.

诗中「得即高歌失即休多悲多恨谩悠悠」「今朝有酒今朝醉明日愁来明日愁」等语，皆含典故故实。「得即高歌失即休多悲多恨谩悠悠」写得即高歌失即休多悲多恨谩悠悠；「今朝有酒今朝醉明日愁来明日愁」写今朝有酒今朝醉明日愁来明日愁（今朝有酒今朝醉为千古名句）。诗人以今朝有酒今朝醉之语入诗，不着痕迹，而把抒怀自遣之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

This poem is one of the most famous works of Luo Yin's poems of the self-consolation, quoted for the bitterness of its philosophy and the release of its close. The wine of the today, and the sorrow of the tomorrow, are among the most quoted lines of the Tang poems. Critics praise the poem's release: the bitterness gathered in the philosophy, to the close's today.

这首《自遣》，是罗隐写抒怀自遣之作，写得即高歌失即休、今朝有酒今朝醉之情，旷达不羁。起「得即高歌失即休，多悲多恨谩悠悠」——得即高歌失即休，多悲多恨谩悠悠。写得即高歌失即休：得即高歌失即休、多悲多恨谩悠悠——得即高歌失即休、多悲多恨谩悠悠；「今朝有酒今朝醉，明日愁来明日愁」——今朝有酒今朝醉（为千古名句），明日愁来明日愁。写今朝有酒今朝醉：今朝有酒今朝醉、明日愁来明日愁——有酒今朝醉、愁来明日愁。这「今朝有酒今朝醉，明日愁来明日愁」，是全诗之结：以今朝有酒今朝醉写其旷达。全诗旷达不羁，以歌写情，正是罗隐诗中的名篇。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。

Prosody

Form A quatrain of the self-consolation (qi yan jue ju)诗（七言绝句）
Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the bitter release.此诗为七言绝句，共四句，两句一联。押平声韵：「休」「悠」「愁」押尤部韵。诗体依绝句而定，句式整齐，音节随情起伏，正与写抒怀自遣的旷达不羁相称，也见其以绝句写自遣的自然。
Tone pattern The cadence is that of the release: the level opening with the philosophy, the turning with the bitterness, and the close's fall with the sorrow.句式上，「得即高歌失即休，多悲多恨谩悠悠」写得即高歌失即休，音节明快；「今朝有酒今朝醉，明日愁来明日愁」写今朝有酒今朝醉，音节豪迈。全诗音节随情起伏，由明快而豪迈，正合绝句「含蓄」之妙，读来如抒怀自遣、今朝有酒今朝醉之音，旷达而动人。
Reading note The poem's sound matches its release: the cadences of the quatrain, and the close — 'ming ri chou lai ming ri chou' — falls with the sorrow, the sound of the release of the bitter poet.此诗为七言绝句，是罗隐写抒怀自遣之作，也是其诗中的名篇。全诗的艺术特色在于「旷达不羁、以歌写情」：「得即高歌失即休，多悲多恨谩悠悠」写得即高歌失即休、「今朝有酒今朝醉，明日愁来明日愁」写今朝有酒今朝醉。全诗旷达不羁，以歌写情。尤为精妙者，是「今朝有酒今朝醉，明日愁来明日愁」为千古名句；而「得即高歌失即休」写尽得失之达，正是罗隐诗「旷达不羁」的典范，为历代选本所常收。《自遣》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

得即高歌失即休，多悲多恨谩悠悠。

Gained, then, I, sing, the, high, song, lost, then, I, rest, much, the, sorrow, much, the, regret, the, idle, drifting, long.

得即高歌失即休，多悲多恨谩悠悠。

When I gain, I sing loud; when I lose, I stop. Much grief, much resentment - all in vain, idle and long.

首二句写得即高歌失即休，起笔即见其达。「得即高歌失即休」写得即高歌失即休，「得即高歌」写得时便高歌、「失即休」写失时便罢休；「多悲多恨谩悠悠」写多悲多恨谩悠悠，「多悲多恨」写多悲多恨、「谩悠悠」写枉自悠悠。两句一写得即高歌失即休、一写多悲多恨谩悠悠，以得即高歌失即休写得失之态、以多悲多恨谩悠悠写悲恨悠悠，写尽得即高歌失即休、多悲多恨谩悠悠之情。以达起兴，旷达而明快，是「以达起兴」的妙笔。

The first two lines write when I gain, I sing loud; when I lose, I stop, the open-mindedness named at the first stroke. When I gain, I sing loud: success, the song. When I lose, I stop: failure, the rest. Much grief, much resentment: the accumulated sorrow. All in vain, idle and long: the wasted fretting. One couplet writes the gain-sing, lose-stop attitude and the vain grief-and-resentment - Luo Yin's starting point for self-commission: take what comes, do not grieve. The line opens with open-mindedness as bi-xing, broad and bright: the carefree tone at once.

今朝有酒今朝醉，明日愁来明日愁。

Today, having, the, wine, today, I, am, drunk, tomorrow, the, sorrow, comes, tomorrow, the, sorrow.

今朝有酒今朝醉，明日愁来明日愁。

Today, if there is wine, today I am drunk; when tomorrow's sorrow comes, tomorrow I shall sorrow.

尾二句写今朝有酒今朝醉，是全诗立意的落点。「今朝有酒今朝醉」写今朝有酒今朝醉，「今朝有酒」写今日有酒、「今朝醉」写今日便醉；「明日愁来明日愁」写明日愁来明日愁，「明日愁来」写明日愁来、「明日愁」写明日再愁。两句一写今朝有酒今朝醉、一写明日愁来明日愁，以今朝有酒今朝醉写及时行乐、以明日愁来明日愁写不为明日愁，写尽今朝有酒今朝醉、明日愁来明日愁之情。以酒写达，旷达而豪迈，是全诗最动人处，也是「以酒写达」的点睛之笔。

The last two lines write today, if there is wine, today I am drunk, the poem's landing. Today, if there is wine: the present wine. Today I am drunk: the immediate drinking. When tomorrow's sorrow comes: the future trouble. Tomorrow I shall sorrow: the future's worry. One couplet writes today's drinking and tomorrow's deferred worry - Luo Yin's resolution: drink today, let tomorrow's sorrow wait for tomorrow. The line uses wine for open-mindedness, broad and bold, the poem's most moving point: the carpe-diem line that has lived for a thousand years.

Study

Word focus

即 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「即」字写得即高歌失即休，是写当即之态的关键。「得即高歌失即休」着一「即」，写就——着一「即」字，写得即高歌失即休，见其当即之态。一字写尽即字之快，是「以一字写态」的妙笔。「即」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
谩 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「谩」字写多悲多恨谩悠悠，是写枉自之慨的关键。「多悲多恨谩悠悠」着一「谩」，写枉自——着一「谩」字，写多悲多恨谩悠悠，见其悲恨枉然。一字写尽谩字之慨，是「以一字写慨」的点睛之词。「谩」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
今朝 'The, today' — the morning of the today, the wine of the close. 「今朝」写今朝有酒今朝醉，是写今日之态的关键。「今朝有酒今朝醉」着一「今朝」，写今日——着一「今朝」，写今朝有酒今朝醉，见其及时之态。两字写尽今朝之情，是「以词写时」的点睛之词。「今朝」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
愁 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「愁」字写明日愁来明日愁，是写不为明日愁的关键。「明日愁来明日愁」着一「愁」，写忧愁——着一「愁」字，写明日愁来明日愁，见其不为明日愁。一字写尽愁字之态，是「以一字写愁」的点睛之词。「愁」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

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苏轼《定风波·莫听穿林打叶声》「回首向来萧瑟处，归去，也无风雨也无晴」，写旷达自适，是宋词写旷达的名篇；罗隐《自遣》则以「得即高歌失即休，多悲多恨谩悠悠」「今朝有酒今朝醉，明日愁来明日愁」写得即高歌失即休、今朝有酒今朝醉。两诗同写旷达自适、不以物喜：一写也无风雨也无晴、以风雨写旷达，一写今朝有酒今朝醉明日愁来明日愁、以酒写旷达；一为苏轼之超然、一为罗隐之疏狂，并读正可见诗写「旷达自适」的两种笔法，皆于旷达之中见自适。

 浣溪沙·一曲新词酒一杯 Silk-Washing Stream: A Cup of Wine, A New Song 晏殊 · 同写借酒遣怀、无可奈何，一写无可奈何花落去、一写多悲多恨谩悠悠，皆于遣怀之中见无可奈何 Related reading

Compare this related work with the poem above through theme, imagery, tone, and emotional movement.

晏殊《浣溪沙·一曲新词酒一杯》「无可奈何花落去，似曾相识燕归来」，写借酒遣怀、无可奈何，是宋词小令的名篇；罗隐《自遣》则以「多悲多恨谩悠悠」「今朝有酒今朝醉，明日愁来明日愁」写多悲多恨谩悠悠、今朝有酒今朝醉。两诗同写借酒遣怀、无可奈何：一写无可奈何花落去、以花落燕归写惜时，一写多悲多恨谩悠悠、以悲恨写遣怀；一为晏殊之温润、一为罗隐之疏狂，并读正可见诗写「借酒遣怀」的两种笔法，皆于遣怀之中见无可奈何。