魏晋 Wei-Jin · 文 Prose
酒德颂
In Praise of the Virtue of Wine (Jiu De Song)
有大人先生，以天地为一朝，万期为须臾，日月为扃牖，八荒为庭衢。
行无辙迹，居无室庐，幕天席地，纵意所如。
止则操卮执觚，动则挈榼提壶，唯酒是务，焉知其余？
有贵介公子、搢绅处士，闻吾风声，议其所以。
乃奋袂攘襟，怒目切齿，陈说礼法，是非锋起。
先生于是方捧甖承糟，衔杯漱醪，奋髯箕踞，枕麹藉糟，无思无虑，其乐陶陶。
兀然而醉，豁尔而醒。
静听不闻雷霆之声，熟视不睹泰山之形，不觉寒暑之切肌、利欲之感情。
俯观万物，扰扰焉如江汉之载浮萍；
二豪侍侧，焉如蜾臝之与螟蛉。
Then the noble heir and the girdled gentleman, hearing my fame, debate my ways. They roll up their sleeves, bare their bosoms, glare and gnash, declaring rites and law, right and wrong bursting forth like thorns. The Gentleman then cups the lees from the jar, sips the brew from his cup, bristles his whiskers and sits cross-legged, pillow of ferment and mattress of lees, no thought no care, his joy serene.
Sudden he is drunk, sudden he wakes. He hears no thunder, sees no Mount Tai; feels not cold or heat bite the skin, nor lust and gain stir the heart. He looks down on the myriad things, bustling like driftwood on the Yangzi and Han; the two worthies attending at his side are but as the spider-wasp and the caterpillar-moth.
Meaning
Liu Ling, styled Bo Lun of Pei, was one of the Seven Sages of the Bamboo Grove. At the Wei-Jin turn, the Sima clan used Confucian name-and-rite to clamp scholars; Ji Kang, Ruan Ji, some died, some played mad to escape. Liu Ling feigned drunkenness and madness to save himself. The In Praise of the Virtue of Wine was written then: through the ideal drunkard 'Great Gentleman' he ribes the rites-and-law the noble heir and girdled gentleman keep—really a spiritual refuge for the frustrated scholar in troubled times, lodging indignation in jest, subtle words in deep drunkenness.
有一位道德高尚的先生，把天地当作一个早晨，把万年当作片刻，日月当作门窗，八方荒远当作庭院街衢。行路不留辙迹，居处没有房舍，以天为幕以地为席，纵心所欲。停下便执杯举觚，走动便提榼携壶，只以饮酒为务，哪管其余？有富贵公子和乡绅处士，听到我的名声，议论我的所作所为。于是振袖撩襟，怒目咬牙，陈说礼法，是非蜂起。先生这时正捧瓮承糟，衔杯漱醪，抖须盘腿而坐，枕曲藉糟，无思无虑，其乐陶陶。恍然醉倒，豁然清醒。静听不闻雷霆之声，细看不见泰山之形，不觉得寒暑侵肌、利欲动情。俯看万物，纷纷扰扰如江汉上漂着的浮萍；两位豪士侍立身旁，不过像蜾臝与螟蛉罢了。
Appreciation
The whole unfolds by binary opposition: the 'Great Gentleman' with heaven for curtain and earth for mat, his will where it will, against the 'noble heir and girdled gentleman' rolling sleeves and declaring rites—a strong contrast. In prose-fu brush, mixed with four-character couplets, parallel within loose; 'cupping the lees,' 'pillow of ferment' white-describe the drunk pose to the full; 'hears no thunder' four lines write deep drunkenness by hyperbole, witty yet sad, showing bone within the jest.
【白话串讲】 刘伶说：有个大人先生，以天地为一朝，把日月当门窗，幕天席地，只顾喝酒。“唯酒是务，焉知其余”——魏晋最狂的一个人，用酒对抗整个时代。 【意象与手法】 全篇以二元对立结构展开：「大人先生」幕天席地、纵意所如，与「贵介公子、搢绅处士」奋袂攘襟、陈说礼法形成强烈反差。作者以散体赋笔法，杂以四言偶句，寓骈于散；「捧甖承糟」「枕麹藉糟」等白描极尽醉态之恣，「静听不闻雷霆」四句以夸饰写沉醉忘机，语带诙谐而意含悲凉，于戏笑中见风骨。 【情感与主旨】 刘伶字伯伦，沛国人，「竹林七贤」之一。魏晋易代之际，司马氏以名教钳制士人，嵇康、阮籍等或以死、或以狂避祸。刘伶纵酒佯狂，以求自全。《酒德颂》当为此时所作，借「大人先生」这一理想酒徒形象，排调贵介公子与搢绅处士所恪守的礼法，实为乱世中失志文人的精神避难所，寓愤懑于戏谑，托微言于酣醉。 【名句点睛】 中高考阅读可设三向：一、形象鉴赏，分析「大人先生」超脱礼法、纵酒自适的隐逸者形象；二、手法赏析，二元对立的构思与夸张、白描的运用；三、主旨探究，「以醉避世」背后的魏晋风度与乱世士人的生存智慧。
Background
Liu Ling, styled Bo Lun of Pei, one of the Seven Sages of the Bamboo Grove. At the Wei-Jin turn the Sima clan used name-and-rite to clamp scholars; Ji Kang, Ruan Ji died or played mad. Liu Ling feigned drunkenness to save himself. The In Praise was written then: through the 'Great Gentleman' he ribes the rites the noble heir and girdled gentleman keep—a spiritual refuge for the frustrated, indignation in jest, subtle words in drunkenness.
刘伶（约221—300），字伯伦，沛国（今安徽宿州）人，「竹林七贤」之一，身长六尺，容貌甚陋，放情肆志，以饮酒闻名。《酒德颂》当作于魏晋易代之际。当时司马氏篡魏，以名教（礼法名分）为工具钳制士人，动辄以「不孝」「放诞」之名诛杀异己：嵇康因吕安事被杀，临刑弹《广陵散》；阮籍「口不臧否人物」，以沉醉自全。在这样血腥的政治空气里，名士们或以死明志、或以狂避祸。刘伶选择了以酒自晦：他纵酒佯狂，常乘鹿车携酒，使人荷锸随之，曰「死便埋我」，正是乱世中保全性命的生存策略。《酒德颂》借「大人先生」这一理想化的酒徒形象，与恪守礼法的「贵介公子、搢绅处士」相对照，实为失志文人于乱世中的精神避难所——寓愤懑于戏谑，托微言于酣醉，在荒诞的表象下藏着对时代深刻的清醒与无奈。魏晋之际，司马氏以名教为武器诛锄异己，竹林名士或以玄谈自晦、或以佯狂避祸，饮酒遂成为名士群体的精神仪式：阮籍饮酒昏酣、遗落世事，嵇康浊酒一杯、弹琴一曲，皆以酒为盾。刘伶更是其中的极端者，史载其常乘鹿车，携一壶酒，使人荷锸而随之，谓曰死便埋我，其纵酒佯狂几近疯癫，而实为乱世中最清醒的自保之术。《酒德颂》正是这种生存智慧的宣言：以酒为德，正是对以礼法为德的名教的嘲讽，其戏谑的外表下，是对时代最沉痛的清醒认识。
Art
The whole unfolds by binary opposition: the Great Gentleman free against the rites-clutching gentlemen—strong contrast. Prose-fu brush, parallel within loose; 'cupping the lees,' 'pillow of ferment' white-describe the drunk pose; 'hears no thunder' four lines write deep drunkenness by hyperbole, witty yet sad, bone within jest.
全篇以二元对立的结构展开，构思极为鲜明：「大人先生」幕天席地、纵意所如，是道家理想人格的化身；「贵介公子、搢绅处士」奋袂攘襟、怒目切齿，是名教礼法之士的写照。作者以对比写人物：一方是「唯酒是务，焉知其余」的超脱，一方是「陈说礼法，是非锋起」的执拗；一方「无思无虑，其乐陶陶」，一方喧嚣躁动、徒劳无功。写法上以散体赋笔法为主，杂以四言偶句，寓骈于散：「以天地为一朝，万期为须臾，日月为扃牖，八荒为庭衢」四句连排，气魄极大；「捧甖承糟，衔杯漱醪，奋髯箕踞，枕麹藉糟」以四言白描极尽醉态之恣，如漫画般生动；「静听不闻雷霆之声，熟视不睹泰山之形」以夸饰写沉醉忘机，天地雷霆、泰山利欲皆不能动其心。全文语带诙谐而意含悲凉，于戏笑中见风骨，正是「正言若反」的典范。此文在语言上还有一个特点，即骈散相间而不失文气：四言偶句如『以天地为一朝，万期为须臾』『幕天席地，纵意所如』，音节铿锵，有赋的铺排之美；散句如『先生于是方捧甖承糟，衔杯漱醪』『俯观万物，扰扰焉如江汉之载浮萍』，行云流水，有文的自然之致。骈与散的交替，正如醉与醒的交替：偶句是酒酣时的纵横排荡，散句是微醺时的纵意恣肆，文气与酒气相表里，读之如饮醇醪，酣畅淋漓，正是魏晋文章通脱之风的极致。
Allusions
The end 'the two worthies attending, but as the spider-wasp and the caterpillar-moth' is from the Shi Jing ('the caterpillar has young, the wasp carries it'), originally the wasp raising the caterpillar as its own; here reversed, the noble heir and girdled gentleman are the 'two worthies' at his side, seen as futile as wasp and moth. 'Windows and doors,' 'court and road' transform the Zhuang Zi's boundless heaven-and-earth, using the immortal realm to figure the drunk realm; allusions hide xuan principle.
篇末「二豪侍侧，焉如蜾臝之与螟蛉」，典出《诗经·小雅·小宛》「螟蛉有子，蜾臝负之」：古人以为蜾臝（细腰蜂）不产子，取螟蛉幼虫养为己子（实为寄生），故「螟蛉」成为养子之代称。刘伶此处反用其意，把贵介公子、搢绅处士比作蜾臝与螟蛉——一说是讥其如蜂虫般徒劳无益，一说是视二豪如蜾臝之养螟蛉，终属徒然，总之是极言其渺小可笑，与「大人先生」的宇宙胸怀形成鲜明对照。前文「以天地为一朝，万期为须臾」化用《庄子·齐物论》「天下莫大于秋豪之末，而大山为小」及《逍遥游》的齐物精神：天地至大、万期至久，而于「大人」视之不过一朝一须臾，正是庄子的相对时空观。「幕天席地」则暗承《庄子·马蹄》「同乎无知，其德不离」的返朴思想。典故皆化入形象，暗藏玄理而不着痕迹。『扃牖』『庭衢』的宇宙化想象，暗承《庄子·秋水》以天下为之笼则雀无所逃的齐物精神，把至大的宇宙收为至小的居所，正是庄子天地与我并生、万物与我为一的诗意表达；『行无辙迹』则化用《老子》『善行无辙迹』，写其不落痕迹、无迹可求的逍遥。至于二豪侍侧的典故，更与《庄子·逍遥游》『鹪鹩巢林，不过一枝；偃鼠饮河，不过满腹』的对比精神相通：大人先生视礼法之士如蜾臝螟蛉，正如鹏鸟视斥鴳，境界高下，一目了然。
Commentary
The Shi Shuo Xin Yu records Liu Ling 'vague and drifting, a clay-and-wood shape'; Wen Xin Diao Long's Talents says 'Ji Kang sent his heart in essays, Ruan Ji his spirit in poetry—different sounds yet joint resonance.' Song critics call the In Praise 'a bold brush, with the air of a great man.' Qing's Zhang Pu says he entrusted to wine to preserve life—though jesting, it is a microcosm of Wei-Jin demeanor and the scholar's plight.
《世说新语·容止》载刘伶「悠悠忽忽，土木形骸」，谓其形貌如土木般不加修饰，正是「大人先生」的现实原型。《文心雕龙·才略》评竹林诸贤：「嵇康师心以遣论，阮籍使气以命诗，殊声而合响」，刘伶以《酒德颂》一家之言，与嵇、阮并立。宋人评《酒德颂》「笔力雄肆，有大人气象」，推其文气之壮；明人张溥谓刘伶「托于酒以全生」，一语道破其纵酒背后的生存智慧。此文虽只寥寥三百字，却把魏晋名士「以酒避祸、以狂存真」的精神写得淋漓尽致，历来被视为魏晋风度的经典文本：其荒诞处是放达，其清醒处是悲哀。以戏谑写沉痛，以醉态写清醒，正是《酒德颂》超越一般饮酒文字之处，也是理解魏晋士人精神世界的一把钥匙。此文在后世的影响，首先在酒德一词的流传：后世以酒德称善饮，以酒仙、醉乡写纵酒，皆自刘伶此文及其本事而来；李白《将进酒》的豪放、苏轼醉乡路稳不妨行的旷达，其精神源头皆可上溯至此。其次，此文以游戏之笔写严肃之思，开后世以文为戏一途：韩愈《毛颖传》、柳宗元《三戒》等寓言杂文，其嬉笑怒骂的笔法，皆与《酒德颂》一脉相通。今人评此文，多谓其寓庄于谐、千古绝调，它不仅是魏晋风度的经典文本，更是中国散文史上以谐趣写沉痛的开山之作。
Prosody
Line by line
以天地为一朝，万期为须臾，日月为扃牖，八荒为庭衢
He takes heaven and earth as a single morning, ten thousand ages as a moment; the sun and moon are his windows and doors, the eight wastes his court and road.
把天地当作一个早晨，把万年当作片刻，日月当作门窗，八荒当作庭院街衢。
He takes heaven and earth as a single morning, ten thousand ages as an instant, sun and moon as doors and windows, the eight wastes as courtyard and highway.
开篇四句连排，以极度的时空压缩写「大人先生」的宇宙胸怀，是全文气魄最大的起笔。「以天地为一朝」写空间之无限被收于一日，「万期为须臾」写时间之久长被缩为一瞬，「日月为扃牖」写日月只是他的门窗，「八荒为庭衢」写八方荒远只是他的庭院街衢——天地、万年、日月、八荒，这些至大至久的存在，在他眼中不过是朝夕、片刻、门窗、庭院。此四句化用《庄子》的相对时空观，把「大人先生」塑造成一个超越时空的存在：他不是生活在世界中，而是把整个世界收为自己的居所。以排比句势写磅礴想象，开篇即定下全篇「大人气象」的基调，也为下文「纵意所如」的逍遥作了铺垫。
The opening four lines use extreme space-time compression to write the great man's cosmic mind, the most ambitious opening. Heaven-and-earth-as-a-morning writes infinite space reduced to a day; ten-thousand-ages-as-an-instant writes long time shrunk to a moment; sun-and-moon-as-doors-and-windows writes the heavenly bodies as his windows; eight-wastes-as-courtyard-and-highway writes the far reaches as his yard. Heaven, ten thousand years, sun, moon, wastes - the vastest, longest existences are to him but morning, instant, door, yard. The four lines transform Zhuangzi's relative space-time, making the great man a being beyond time and space: he does not live in the world; he takes the whole world as his dwelling. The parallel momentum sets the great-man tone, preparing the following will-go-wherever.
幕天席地，纵意所如
Heaven his curtain, earth his mat; his will goes where it will.
以天为幕以地为席，纵心所欲。
With heaven for his curtain and earth for his mat, he goes wherever his will takes him.
此八字写尽「大人先生」的栖居方式与精神状态，是全文最精炼的写照。「幕天席地」写他无须屋宇：天是他的帷幕，地是他的席褥，走到哪里，天地便在哪里安家——不是他无家，而是天地皆家；「纵意所如」写他无须约束：随心所欲，想到哪里便到哪里，无迹可寻。前四句写其胸怀之大，此八字写其生活之旷：上与天地同游，下与万物无碍，正是《庄子·逍遥游》「乘天地之正，而御六气之辩，以游无穷者」的人格化。此八字化用庄子精神而更具象：以天为幕、以地为席，是何等恣肆的想象；纵意所如，是何等自由的境界。八字而下，一个超然物外、无拘无束的「大人」形象已然立在读者面前。
These eight characters exhaust the great man's dwelling and spirit, the most concise portrait. With-heaven-for-his-curtain-and-earth-for-his-mat writes his need for no house: heaven is his curtain, earth his mat; wherever he goes, heaven and earth settle there - not that he has no home, but that all heaven and earth are home. He-goes-wherever-his-will-takes-him writes his need for no constraint: he goes where his will leads, untraceable. The first four lines wrote his mind's vastness; these eight write his life's freedom: above roaming with heaven and earth, below unobstructed with all things - the personification of Zhuangzi's free and wandering. The eight lines make the detached, unbound great man stand before the reader.
捧甖承糟，衔杯漱醪，奋髯箕踞，枕麹藉糟，无思无虑，其乐陶陶
He cups the vat to catch the lees, holds the cup to rinse the mash, flares his whiskers and squats legs apart, pillowed on yeast, matting on lees; no thought, no care, his joy is mellow.
捧瓮承糟，衔杯漱酒，抖须盘坐，枕曲藉糟，无思无虑，其乐陶陶。
He cups the vat for the lees, holds the cup to rinse the wine, flares his whiskers and squats, pillowed on yeast, matting on lees; no thought, no care, his joy is mellow.
此段以四言白描极尽醉态之恣，是全文最有画面感的一笔。「捧甖承糟」写捧着酒瓮承接酒糟，「衔杯漱醪」写含着酒杯漱饮浊酒，「奋髯箕踞」写抖着胡须、盘腿箕踞而坐，「枕麹藉糟」写枕着酒曲、垫着酒糟而卧——四句连用四个醉态特写，把「大人先生」泡在酒里的生活写得如在目前：不是风雅地小酌，而是肆无忌惮地沉酣。而这一切的归结是「无思无虑，其乐陶陶」：正因为泡在酒里，才能不思不想，才能其乐陶陶。此段白描的妙处，在于以形写神：醉态越恣肆，越见其解脱之彻底；其乐越陶陶，越见其避世之决绝。表面的狂欢之下，藏着乱世士人借酒忘忧的深衷。
This passage uses four-character plain description to exhaust the drunkenness, the most visual passage. Cup-the-vat-to-catch-the-lees writes holding the vat for dregs; hold-the-cup-to-rinse-the-wine writes sipping turbid wine; flare-his-whiskers-and-squats writes the bearded, legs-apart posture; pillowed-on-yeast-matting-on-lees writes lying on yeast and dregs. Four drunken close-ups in succession make the great man's life in wine vivid: not refined sipping but unrestrained drowning. The resolution is no-thought-no-care, his-joy-is-mellow: precisely because submerged in wine, he can stop thinking, can be mellow. The passage's subtlety is writing spirit through form: the more unrestrained the drunkenness, the more complete the release; the more mellow the joy, the more absolute the world-avoidance. Beneath the surface revelry lies the troubled-era scholar's wine-forgetting.
静听不闻雷霆之声，熟视不睹泰山之形
He hears no thunder, sees no Mount Tai.
静听不闻雷霆之声，细看不见泰山之形。
Listening closely, he does not hear the thunder; staring hard, he does not see Mount Tai.
此二句以夸饰写沉醉忘机的境界，是全文由醉态描写转入哲理升华的关键。「静听不闻雷霆之声」写他静静聆听，却听不见雷霆的轰鸣；「熟视不睹泰山之形」写他定睛细看，却看不见泰山的形貌——雷霆至响、泰山至大，而皆不能入其耳目，可见其沉醉之深。此二句的深意，不在写酒醉的生理状态，而在写「大人先生」的超然境界：雷霆代表外界的惊扰，泰山代表可畏的权威，而他一概不闻不睹，正是庄子「堕肢体，黜聪明，离形去知」的坐忘之境——不是听不见，而是不屑于听；不是看不见，而是无关于心。以雷霆泰山之巨衬其无动于衷，夸饰而不失其理，为下文「不觉寒暑之切肌、利欲之感情」的进一步超脱作了铺垫。
These two lines use hyperbole for the drunken forgetfulness, the turning from drunken description to philosophical elevation. Listening closely, he does not hear the thunder writes his listening yet not hearing thunder. Staring hard, he does not see Mount Tai writes his gazing yet not seeing Mount Tai. Thunder is the loudest, Mount Tai the largest, yet neither enters his ear or eye, showing the depth of his intoxication. The deep meaning is not the physiological drunkenness but the great man's detached realm: thunder represents external disturbance, Mount Tai represents fearsome authority, yet he hears neither, sees neither - this is Zhuangzi's sitting-forgetfulness: not deaf, but disdainful of hearing; not blind, but indifferent to seeing. Using thunder and Mount Tai's vastness to set off his unconcern, hyperbole yet reasoned, preparing the further detachment of not feeling cold or heat, not being moved by profit or desire.
俯观万物，扰扰焉如江汉之载浮萍
Looking down on the myriad things, they bustle like duckweed borne on the Yangtze and Han.
俯看万物，纷纷扰扰如江汉上漂着的浮萍。
Looking down on all things, they bustle like duckweed on the Yangtze and Han.
此句是全文视野的最高点，也是「大人先生」睥睨万物的总结。「俯观万物」写他以居高临下的姿态俯瞰世间——这「俯」字见其位置之高、胸襟之大；「扰扰焉如江汉之载浮萍」写万物纷纷扰扰，不过是江汉水上漂浮的浮萍，随波逐流、无足轻重。在「大人先生」的宇宙视野里，世人汲汲于名利、攘攘于是非，正如浮萍漂于江汉，徒然喧嚣而终归无谓；这一俯视的视角，把贵介公子的「陈说礼法」、处士的「是非锋起」都化为一江浮萍般的扰扰，轻蔑而不动声色。此句以浮萍喻万物，意象平易而境界极大，正是庄子「齐物」精神的形象化：万物齐一、是非无辨，唯有超然其上者能见其渺小，是全文「大人气象」的顶点。
This line is the vision's summit, the great man's summary contempt for all things. Looking-down-on-all-things writes his high-angle view of the world - the look-down character shows his height and breadth. They-bustle-like-duckweed-borne-on-the-Yangtze-and-Han writes the myriad things' bustle as duckweed on the rivers, drifting, weightless. In the great man's cosmic view, the world's rushing after fame and right is like duckweed on rivers, vain noise ultimately meaningless. This downward gaze converts the noble sons' discussion of rites and the scholars' controversy into a river of duckweed, contemptuous yet quiet. The duckweed metaphor for all things is simple yet vast, Zhuangzi's equal-things spirit made visible: all things are one, right and wrong undifferentiated, only the detached above can see their smallness. This is the great-man vision's peak.
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