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唐 Tang · 诗 Poem

行路难·其二

The, Hard, Road, No. 2

李白

Li Bai

咏怀memory 怀才不遇memory

大道如青天，我独不得出。
羞逐长安社中儿，赤鸡白雉赌梨栗。
弹剑作歌奏苦声，曳裾王门不称情。
淮阴市井笑韩信，汉朝公卿忌贾生。
君不见昔时燕家重郭隗，拥簪折节无嫌猜。
剧辛乐毅感恩分，输肝剖胆效英才。
昭王白骨萦蔓草，谁人更扫黄金台？
行路难，归去来！

The, great, road, like, the, blue, sky,
I, alone, cannot, get, out.
Ashamed, to, chase, the, youths, of, the, market, of, the, Chang'an,
Betting, the, red, chickens, the, white, pheasants, the, chestnuts, and, the, pears.
Playing, the, sword, composing, the, song, playing, the, bitter, sounds,
Trailing, the, robes, at, the, gates, of, the, kings, not, fitting, the, feelings.
The, market, of, the, Huaiyin, mocked, Han, Xin,
The, ministers, of, the, Han, court, envied, Jia, Sheng.
Do, you, not, see, in, the, old, days, the, Yan, honored, Guo, Wei,
Holding, the, broom, folding, the, dignity, without, the, suspicion, and, the, suspicion.
Ju, Xin, and, Yue, Yi, feeling, the, grace, and, the, favor,
Giving, the, liver, laying, open, the, gall, serving, the, worthy, talents.
The, white, bones, of, the, King, Zhao, wrapped, in, the, creeping, weeds,
Who, will, again, sweep, the, Terrace, of, the, Golden, Platform.
The, road, is, hard, the, road, is, hard,
Go, back, and, come.

Listen

Meaning

A poem of the road and the grief, written by Li Bai. The great road like the blue sky, I alone cannot get out — the road of the opening. Ashamed to chase the youths of the market of the Chang'an, betting the red chickens the white pheasants the chestnuts and the pears — the contempt of the middle. Playing the sword composing the song playing the bitter sounds, trailing the robes at the gates of the kings not fitting the feelings — the grief of the middle. And the close's the road is hard the road is hard, go back and come — the close's going back. The poem is the road and the grief: the great road, the kings, and the close's going back.

大道像青天一样广阔，唯独我却不能出人头地。羞于追随长安市井中的少年，玩斗鸡赌狗的游戏。我像冯谖一样弹剑作歌，发出苦闷之声；像曳裾王门的食客一样，却得不到知遇之情。淮阴市井之人嘲笑韩信，汉朝公卿嫉妒贾谊。君不见从前燕昭王重用郭隗，亲自拥彗折节，毫无猜嫌。剧辛、乐毅感念知遇之恩，披肝沥胆效力英才。如今昭王的白骨早已缠绕着蔓草，谁还会去扫黄金台呢？行路难啊，不如归去吧！

Appreciation

[Plain Paraphrase] The, great, road, like, the, blue, sky, I, alone, cannot, get, out. Ashamed, to, chase, the, youths, of, the, market, of, the, Chang'an, betting, the, red, chickens, the, white, pheasants, the, chestnuts, and, the, pears. Playing, the, sword, composing, the, song, playing, the, bitter, sounds, trailing, the, robes, at, the, gates, of, the, kings, not, fitting, the, feelings. The, market, of, the, Huaiyin, mocked, Han, Xin, the, ministers, of, the, Han, court, envied, Jia, Sheng. Do, you, not, see, in, the, old, days, the, Yan, honored, Guo, Wei, holding, the, broom, folding, the, dignity, without, the, suspicion, and, the, suspicion. Ju, Xin, and, Yue, Yi, feeling, the, grace, and, the, favor, giving, the, liver, laying, open, the, gall, serving, the, worthy, talents. The, white, bones, of, the, King, Zhao, wrapped, in, the, creeping, weeds, who, will, again, sweep, the, Terrace, of, the, Golden, Platform. The, road, is, hard, the, road, is, hard, go, back, and, come. [Structure and Thought] The poem moves from the road of the blue sky with the alone cannot get out, through the contempt of the market and the grief of the kings, to the close's the going back of the road is hard. [Key Technique] The poem's art is the close of the going back: the white bones of the King Zhao wrapped in the creeping weeds, and the close's the road is hard the road is hard go back and come — the grief gathered in the going back and the close's return. [Emotional Tone] Grieving, proud, and defiant: the poem is the road, the kings and the close's going back.

【白话串讲】李白写《行路难·其二》：“大道如青天，我独不得出”——“羞逐长安社中儿，赤鸡白雉赌梨栗”——“弹剑作歌奏苦声，曳裾王门不称情”——“淮阴市井笑韩信，汉朝公卿忌贾生”——他写行路难、知音难。【意象与手法】此诗写怀才不遇的愤慨，是李白《行路难》组诗之一。起句「大道如青天，我独不得出」以青天喻大道，以「独」字写尽失意，是千古名句；中段连用韩信、贾谊、郭隗、剧辛、乐毅等典故，写自己怀才不遇与对知遇的渴望；「羞逐长安社中儿」写耻与市井少年为伍，见其孤高；「弹剑作歌奏苦声」用冯谖弹剑典，写寄人篱下的苦闷；尾段「昭王白骨萦蔓草，谁人更扫黄金台」以古讽今，写当世无人识才；结句「行路难，归去来」以归隐收束，愤慨中见旷达。全诗以典言志，直抒胸臆，正是李白「大言」诗风的代表。【情感与主旨】此诗为李白《行路难》三首之二，约作于唐玄宗天宝三载（744）李白离开长安前后。李白于天宝元年（742）奉诏入京，供奉翰林，本欲一展抱负，却遭权贵谗毁，于天宝三载被「赐金放还」，离开长安。此诗即写于诗人失意离开长安、功业无成之时。诗中「羞逐长安社中儿」写耻与长安市井少年为伍，「弹剑作歌」写寄人篱下的苦闷，皆暗写诗人在长安的遭遇；「淮阴市井笑韩信，汉朝公卿忌贾生」以韩信、贾谊自比，写才高遭忌；「昭王白骨萦蔓草，谁人更扫黄金台」更以燕昭王筑黄金台招贤的往事，反衬当世无识才之君。全诗写尽怀才不遇的愤慨与对知遇的渴望，是李白失意时的心声。【名句点睛】常考「大道如青天，我独不得出」的千古名句，其以青天喻大道、以「独」写失意之妙；韩信、贾谊、郭隗等典故的运用与自比之意；「昭王白骨萦蔓草，谁人更扫黄金台」以古讽今的深意；以及全诗直抒胸臆、以典言志的豪放风格，与《行路难·其一》的联系。

Background

Li Bai (701-762), the great poet of the Tang, wrote this 'The, Hard, Road, No. 2' of the road and the grief — the grief of the unrecognized talent. The great road of the blue sky with the alone cannot get out, the contempt of the market, and the close's the going back of the road is hard — the poem gathers the grief of the poet, the pride of the talent. The poem is one of the famous works of the poet's poems of the hard road.

此诗为李白《行路难》组诗三首中的第二首，约作于唐玄宗天宝三载（744）李白被「赐金放还」、离开长安前后。李白（701—762），字太白，号青莲居士，祖籍陇西成纪（今甘肃秦安），出生于西域碎叶，唐代伟大的浪漫主义诗人，被后人誉为「诗仙」。李白早年胸怀大志，遍干诸侯，历抵卿相，渴望「申管晏之谈，谋帝王之术」。天宝元年（742），经玉真公主、贺知章等举荐，李白奉诏入京，供奉翰林，受到玄宗礼遇，然其狂放不羁的性格与朝中权贵不合，遭高力士、张垍等谗毁，天宝三载春，李白被赐金放还，离开了他本欲大展宏图的长安。此诗即写于这一失意离京之时。诗中「羞逐长安社中儿，赤鸡白雉赌梨栗」写耻与长安市井斗鸡走狗的浮浪少年为伍，暗写对长安繁华表象下庸俗世风的鄙弃；「弹剑作歌奏苦声，曳裾王门不称情」以冯谖弹剑、曳裾王门自况，写自己在长安寄人篱下、不得知遇的苦闷；「淮阴市井笑韩信，汉朝公卿忌贾生」以韩信早年受辱、贾谊遭忌自比，写才高遭忌的愤慨；「昭王白骨萦蔓草，谁人更扫黄金台」更以燕昭王筑黄金台招贤纳士的往事，反衬当世已无识才之君。全诗写尽一位天才失意时的愤懑与对知遇的渴望，是理解李白「赐金放还」后心境的关键篇章。

Art

The poem's art is the art of the going back. The road opens: the, great, road, like, the, blue, sky — the great road of the blue sky; I, alone, cannot, get, out — the alone of the cannot get out. The grief follows: ashamed, to, chase, the, youths, of, the, market, of, the, Chang'an — the youths of the market; betting, the, red, chickens, the, white, pheasants, the, chestnuts, and, the, pears — the chickens and the pheasants of the betting; playing, the, sword, composing, the, song, playing, the, bitter, sounds — the sword of the bitter sounds; trailing, the, robes, at, the, gates, of, the, kings, not, fitting, the, feelings — the gates of the kings; the, market, of, the, Huaiyin, mocked, Han, Xin — the Huaiyin of the mocked; the, ministers, of, the, Han, court, envied, Jia, Sheng — the Jia Sheng of the envied; do, you, not, see, in, the, old, days, the, Yan, honored, Guo, Wei — the Guo Wei of the honored; holding, the, broom, folding, the, dignity, without, the, suspicion, and, the, suspicion — the dignity of the folding; ju, Xin, and, Yue, Yi, feeling, the, grace, and, the, favor — the grace of the feeling; giving, the, liver, laying, open, the, gall, serving, the, worthy, talents — the liver and the gall of the serving. And the close gathers the going back: the, white, bones, of, the, King, Zhao, wrapped, in, the, creeping, weeds — the white bones of the King Zhao; who, will, again, sweep, the, Terrace, of, the, Golden, Platform — the Terrace of the Golden Platform; the, road, is, hard, the, road, is, hard — the hard of the road; go, back, and, come — the going back of the close — the road, the grief and the close's going back, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以青天喻大道的起句。首句「大道如青天，我独不得出」以青天喻大道——大道本应广阔如青天，而「我独不得出」写唯独自己不得其门而出，以「独」字写尽失意，起势雄浑而悲愤，是千古名句。其二，以典言志的密集用典。中段连用冯谖弹剑（「弹剑作歌奏苦声」）、韩信受辱（「淮阴市井笑韩信」）、贾谊遭忌（「汉朝公卿忌贾生」）、燕昭王招贤（「拥簪折节」「黄金台」）、剧辛乐毅效忠（「输肝剖胆效英才」）等典故，借古人之事写自己怀才不遇之愤与对知遇的渴望，典典关合自身，密集而不堆砌。其三，古今对照的结构。全诗以「君不见昔时燕家重郭隗」领起一段怀古，以「昭王白骨萦蔓草，谁人更扫黄金台」收束，将燕昭王的求贤若渴与当世的无人识才相对照，古之明君愈显其贤，今之世道愈显其暗。其四，直抒胸臆的收束。结句「行路难，归去来」直抒胸臆，以归隐收束全篇，愤慨中见旷达，正是李白「大道直行」的人格写照。四重手法，使此诗以典言志、直抒胸臆，是李白乐府诗「雄奇奔放」风格的典型。

Allusions

'The market of the Huaiyin' (huai yin shi jing) is the market of the Huaiyin — the market of the Huaiyin, the mocking of the middle; 'the Jia Sheng' (jia sheng) is the Jia Sheng — the Jia Yi, the envying of the middle; 'the Yan honored the Guo Wei' (yan jia guo wei) is the Yan honored the Guo Wei — the Guo Wei of the Yan, the honoring of the middle; 'the Terrace of the Golden Platform' (huang jin tai) is the Terrace of the Golden Platform — the platform of the gold, the sweeping of the close.

此诗用典密集，几乎句句有典，是李白以典言志的典范。起句「大道如青天」承《论语》「谁能出不由户」与《老子》「大道甚夷」的传统，以青天喻大道之广阔；「羞逐长安社中儿，赤鸡白雉赌梨栗」暗写长安斗鸡走狗之风，令人想到陈鸿《东城老父传》所载玄宗时斗鸡之盛，也令人想到「斗鸡金宫里，蹴鞠瑶台边」的时风；「弹剑作歌奏苦声」用冯谖客孟尝君弹剑歌「长铗归来乎，食无鱼」之典，写寄人篱下的苦闷；「曳裾王门不称情」用邹阳《狱中上书自明》「饰固陋之心，则何王之门不可曳长裾乎」之意，写干谒王门的失意；「淮阴市井笑韩信」用韩信少时受胯下之辱、为市井所笑之典，写英雄失路；「汉朝公卿忌贾生」用贾谊遭周勃、灌婴等公卿嫉妒之典，写才高遭忌；「燕家重郭隗，拥簪折节」用燕昭王筑宫师事郭隗、亲自拥彗（执帚）折节求贤之典；「剧辛乐毅感恩分，输肝剖胆效英才」用剧辛、乐毅感燕昭王知遇而效忠之典；「黄金台」用燕昭王筑黄金台招贤之典。全诗九用典而一气呵成，正是李白使事如己出的本领。

Commentary

This poem is one of the famous works of Li Bai's poems of the hard road, quoted for the grief of its middle and the pride of its close. The Terrace of the Golden Platform, and the going back of the road is hard, are among the admired passages of the poet's poems. Critics praise the poem's grief: the road gathered in the kings, to the close's going back.

此诗历来被推为李白《行路难》组诗中的名篇，也是其写怀才不遇的代表作。历代论者对此诗评价极高：清人评此诗「以典言志，悲愤淋漓」；近人更指出「大道如青天，我独不得出」以青天喻大道，写尽天才失路的悲愤，是李白诗中的名句。在诗歌史上，此诗的特殊价值在于：它以密集的典故写尽怀才不遇的愤慨与对知遇的渴望——那青天大道的失路之叹，那羞逐市井的孤高，那弹剑曳裾的苦闷，那韩信贾谊的自比，那黄金台无人更扫的哀叹，都写尽了这位「天子呼来不上船」的诗仙失意时的愤懑。此诗与《行路难·其一》（「金樽清酒斗十千」）同为李白离京时的作品，一写「长风破浪会有时，直挂云帆济沧海」的自信，一写「昭王白骨萦蔓草」的愤慨；又与《将进酒》（「天生我材必有用」）的狂放相映，可见李白失意时既悲愤又自信的复杂心境。对于今日读者，此诗是理解李白「赐金放还」后心境的窗口，也是中国诗写怀才不遇的经典——那无人更扫的黄金台，穿越千年，仍在诉说着一位天才失意时的悲愤。

Prosody

Form An old poem of the road (za yan ge xing)诗·乐府古题（七言歌行）

Rhyme The poem rhymes on the level of the group — the cadence of the song that carries the proud grief.押平声灰韵（出、栗、情、生、猜、才、台、来），一韵到底，平韵奔放，正合豪放的气概

Tone pattern The cadence is that of the going back: the level opening with the road, the turning with the grief, and the close's fall with the return.此诗为乐府旧题《行路难》，句式以七言为主，间以五言（大道如青天，我独不得出），长短错落，节奏奔放，正合李白豪放诗风。

Reading note The poem's sound matches its pride: the cadences of the song, and the close — 'xing lu nan, gui qu lai' — falls with the come, the sound of the grief of the road poet.《行路难》为乐府古题，属《杂曲歌辞》，古辞多写世路艰难与离别悲伤。李白此诗沿用旧题而自出新意，句式以七言为主，起句「大道如青天，我独不得出」用五言，长短错落，开篇即见顿挫；中段「羞逐长安社中儿，赤鸡白雉赌梨栗」等七言句一气贯注，以「君不见昔时燕家重郭隗」的「君不见」领起，呼告有力；结句「行路难，归去来」以三言收束，短促有力。全诗押平声灰韵，韵脚「出、栗、情、生、猜、才、台、来」一韵到底，平韵奔放，正合李白豪放的气概。此诗以七言歌行的自由体写怀才不遇，句式于整饬中见奔放，用典于密集中见流畅，正是李白乐府诗「雄奇奔放」的风格。诵读此诗，宜以慷慨的语调读「大道如青天」的起句，以愤慨的语调读中段的用典，以沉痛的语调读「昭王白骨萦蔓草，谁人更扫黄金台」，结句「行路难，归去来」要读得斩截有力，方能传达出李白失意的悲愤与旷达。

Line by line

大道如青天，我独不得出

The great road is like the blue sky; yet I alone cannot find my way out.

大道像青天一样广阔，唯独我却不能出人头地。

The broad highway stretches like the blue sky; only I cannot make my way out.

此句是全诗的起句，也是千古名句，以青天喻大道，以「独」写失意。「大道如青天」写大道之广阔——那「如青天」以青天之大喻大道之广，写前程本应一片光明；「我独不得出」写唯独自己不得其门而出——那「独」字写尽失意，那「不得出」写自己困于其中、无路可走。这句的深意在于：它以「大道如青天」与「我独不得出」的强烈对照，写出天才失路的悲愤——大道那样广阔，别人都能走，唯独「我」走不出去；那「如青天」愈显大道之广，那「独不得出」愈显失意之深，一广一窄、一他我一，写尽怀才不遇的愤慨。若换作「世路艰难多」之类的直说，则失其雄浑与对照；唯以「青天」喻大道、以「独」字写失意，写尽天才失路的悲愤，也让此句成为写怀才不遇的千古名句。以「青天」喻大道，极写大道的宽广光明；而「我独不得出」的「独」字，写尽只有自己被排除在外的孤愤；大道愈宽广，对比愈强烈，愤慨愈深，是李白写怀才不遇最有力的开篇。

This opening line is a famous one, the great road likened to the blue sky and the 'alone' writing frustration. 'The great road like the blue sky' pictures opportunity as boundless; 'yet I alone cannot get out' sets the genius trapped within it. The 'alone' is the cry—everyone else walks the open road, only the poet is locked out. The contrast of the vast sky and the single excluded man is the whole of Li Bai's aggrieved talent. If stated as 'the world is hard to get on in,' the grandeur would vanish; only through the blue-sky road and the 'alone' does the outrage become monumental.

弹剑作歌奏苦声，曳裾王门不称情

I strike my sword and sing a bitter tune; trailing my sash at a prince's gate, it goes against my heart.

我像冯谖一样弹剑作歌，发出苦闷之声；像曳裾王门的食客一样，却得不到知遇之情。

Striking my sword, I sing a plaintive lay; trailing my long sash before a noble's door—this does not suit my heart.

此联写寄人篱下的苦闷，以冯谖弹剑、曳裾王门自况。「弹剑作歌奏苦声」用冯谖弹剑歌「长铗归来乎」之典——那「弹剑作歌」写冯谖客孟尝君时弹剑而歌的苦闷，那「苦声」写所歌之声的悲苦，以冯谖自况，写自己寄人篱下的苦闷；「曳裾王门不称情」写曳裾王门而不得知遇——那「曳裾王门」写干谒王公之门、曳裾而行的屈从，那「不称情」写不能称心如意，写尽干谒的失意。这句的深意在于：它以两个典故写尽李白在长安的处境——他供奉翰林，本欲一展抱负，却不过是「倡优蓄之」般的清客，弹剑作歌是苦闷，曳裾王门是屈从，那「奏苦声」「不称情」写尽天才寄人篱下的屈辱与不得志。若换作直说「寄人篱下真苦闷」，则失其含蓄；唯以冯谖、曳裾两典自况，写尽天才失意时的苦闷与屈从，也让此联成为全诗自伤最深的一笔。「弹剑作歌」用冯谖客孟尝君之典，「曳裾王门」用邹阳「饰固陋之心，则何王之门不可曳长裾乎」之语，两典连用，写尽寄人篱下的屈辱。

This couplet writes the bitterness of dependence, alluding to Feng Xuan and the trailing sash. 'Strike my sword and sing' alludes to Feng Xuan at Lord Mengchang's door, striking his sword and singing 'let us go home'; 'a bitter tune' is the song's plaint. 'Trailing my sash at a prince's gate' alludes to Zou Yang's phrase about dragging one's long sash through a noble's doors; 'does not suit my heart' writes the humiliation of the hanger-on. The two allusions together picture Li Bai as a kept favorite at Chang'an, talent reduced to entertainment. If stated as 'dependence on others is bitter,' the reserve would vanish; only through the sword-striking and the sash-dragging do the grievances become concrete.

淮阴市井笑韩信，汉朝公卿忌贾生

The market folk of Huaiyin laughed at Han Xin; the high officials of Han envied Jia Yi.

淮阴市井之人嘲笑韩信，汉朝公卿嫉妒贾谊。

The street crowds of Huaiyin mocked Han Xin; the grandees of Han court envied Jia Yi.

此联以韩信、贾谊自比，写才高遭忌的愤慨。「淮阴市井笑韩信」用韩信少时受辱之典——那「市井笑韩信」写淮阴市井少年嘲笑胯下受辱的韩信，写英雄未遇时的屈辱；「汉朝公卿忌贾生」用贾谊遭忌之典——那「公卿忌贾生」写汉朝公卿嫉妒才华横溢的贾谊，写才高遭忌的愤慨。这句的深意在于：它以韩信、贾谊两个天才的遭遇自比——韩信最终被刘邦拜为大将，贾谊却遭谗被疏，那「市井笑」写英雄未遇的屈辱，那「公卿忌」写才高遭忌的愤慨，正是李白在长安的处境——他才华横溢，却遭权贵谗毁，正如韩信之受辱、贾谊之遭忌；那「笑」与「忌」两字，写尽小人对天才的嘲弄与嫉妒。若换作直说「才高却遭人嫉妒」，则失其具体；唯以韩信、贾谊两典自比，写尽天才失意的屈辱与愤慨，也让此联成为全诗自比最深的一笔。韩信未遇时受胯下之辱而为市井所笑，贾谊才高而为公卿所忌，二典连用，正写尽天才失意的普遍境遇。

This couplet sets Li Bai beside Han Xin and Jia Yi, writing envy of high talent. 'The market folk of Huaiyin laughed at Han Xin' alludes to Han Xin's youth, enduring the crotch-crossing humiliation while the crowd mocked; 'the Han officials envied Jia Yi' alludes to Jia Yi, whose brilliance roused the ministers' jealousy and drove him from court. The two cases—mocked in obscurity, envied in power—are the poet's own: his talent invites ridicule and slander. The words 'laughed at' and 'envied' name the small men's treatment of genius. If stated as 'talent invites envy,' the concreteness would vanish; only through the two biographical allusions does the grievance become historical.

Study

Word focus

独 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「我独不得出」之「独」字是写失意的关键字，一个「独」字写尽天才失路的孤独与愤慨。独者，唯独、独自也。李白以「我独不得出」写失意，这个「独」字至少有双重意味：其一，写唯独之失——那「独」字写大路通天，众人皆可行，唯独「我」不得其门而出，写尽失意的独特与深重；其二，写孤独之境——那「独」字更是写诗人的孤独——天才失路，无人赏识，那「独」字写尽高处不胜寒的孤独。以「独」字写失意，正是李白写怀才不遇的枢纽——若换作「竟」「终」等字，则或失其对照，或失其孤独；唯「独」字，以一字写尽唯独失路的悲愤与孤独无援的处境，与「大道如青天」的广阔对照，写尽天才失路的愤慨，也让「大道如青天，我独不得出」成为写怀才不遇的千古名句。

谁 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「谁人更扫黄金台」之「谁」字是写世无识才的关键字，一个「谁」字写尽当世无人识才的慨叹。谁者，何人、哪个也。李白以「谁人更扫黄金台」写今世，这个「谁」字至少有双重意味：其一，写无人之问——那「谁人更扫黄金台」以问句写今世还有谁会像燕昭王一样筑台招贤，那「谁」字写尽当世已无识才之君；其二，写自问之叹——那「谁」字更是诗人的自问自叹——黄金台已荒废，昭王白骨已埋，谁还会礼贤下士呢？那「谁」字写尽对当世的失望。以「谁」字发问，正是李白写世无识才的妙笔——若换作「无人扫黄金台」的直说，则失其感慨的摇曳；唯「谁人」以问作结，写尽当世无人识才的慨叹与天才失路的悲愤，也让「昭王白骨萦蔓草，谁人更扫黄金台」成为全诗最沉痛的一笔。