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唐 Tang · 诗 Poem

与史郎中钦听黄鹤楼上吹笛

The, Listening, to, the, Flute, Blowing, on, the, Tower, of, the, Yellow, Crane, with, the, Official, of, the, History, the, Qin

李白

Li Bai

羁旅Theme 思乡Homesickness

一为迁客去长沙，西望长安不见家。
黄鹤楼中吹玉笛，江城五月落梅花。

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Meaning

A poem of the exile and the homesickness, written by Li Bai. Once becoming the exiled official going to the Changsha, looking west to the Chang'an not seeing the home — the exile of the opening. In the Tower of the Yellow Crane the blowing the jade flute, the city of the river in the fifth month the falling the plum flowers — the homesickness of the close. The poem is the exile and the homesickness: the looking, the flute, and the close's flowers.

一为迁客去长沙，西望长安不见家。黄鹤楼中吹玉笛，江城五月落梅花。

Appreciation

[Plain Paraphrase] Once, becoming, the, exiled, official, going, to, the, Changsha, looking, west, to, the, Chang'an, not, seeing, the, home. In, the, Tower, of, the, Yellow, Crane, the, blowing, the, jade, flute, the, city, of, the, river, in, the, fifth, month, the, falling, the, plum, flowers. [Structure and Thought] The poem moves from the exile of the going to the Changsha with the looking to the Chang'an, through the blowing of the flute, to the close's the falling of the plum flowers. [Key Technique] The poem's art is the close of the falling: in the Tower of the Yellow Crane the blowing the jade flute, and the close's the city of the river in the fifth month the falling the plum flowers — the exile gathered in the flute and the close's flowers. [Emotional Tone] Exiled, homesick, and sorrowful: the poem is the looking, the flute and the close's flowers.

【白话串讲】李白写《与史郎中钦听黄鹤楼上吹笛》：“一为迁客去长沙，西望长安不见家”——“黄鹤楼中吹玉笛，江城五月落梅花”——他被贬江陵，在黄鹤楼听笛——五月的江城，笛声像落梅花——他写乡愁。【意象与手法】此诗写听笛，以思乡写听笛，是李白的名篇。前二句写迁谪：「一为迁客去长沙，西望长安不见家」写一为迁客去长沙、西望长安不见家——写尽迁谪的愁绪；后二句写听笛：「黄鹤楼中吹玉笛，江城五月落梅花」写黄鹤楼中吹玉笛、江城五月落梅花——写尽听笛的乡思。全诗以思乡写听笛，写尽迁谪的愁绪与听笛的乡思，是李白的代表作。【情感与主旨】此诗写听笛，以思乡写听笛，是李白的名篇。此诗写李白在武昌黄鹤楼听史郎中（钦）吹笛。李白晚年流放夜郎，遇赦得还，途经武昌，与友人登黄鹤楼听笛，闻《梅花落》曲而思乡。此诗写迁谪：一为迁客去长沙，西望长安不见家——写一为迁客去长沙、西望长安不见家，写尽迁谪的愁绪；黄鹤楼中吹玉笛，江城五月落梅花——写黄鹤楼中吹玉笛、江城五月落梅花，写尽听笛的乡思。全诗以思乡写听笛——那「西望长安不见家」写尽迁谪的愁绪，「江城五月落梅花」写尽听笛的乡思，写尽迁谪的愁绪与听笛的乡思，是理解李白迁谪诗的重要篇章。【名句点睛】常考「一为迁客去长沙，西望长安不见家」写迁谪的愁绪；「黄鹤楼中吹玉笛，江城五月落梅花」写听笛的乡思；以及全诗以思乡写听笛、以曲写乡思的手法。

Background

Li Bai (701-762), the great poet of the Tang, wrote this 'The, Listening, to, the, Flute, Blowing, on, the, Tower, of, the, Yellow, Crane' of the exile and the homesickness — the homesickness of the exile in the Jiangxia. The exile of the going to the Changsha, and the close's the falling of the plum flowers — the poem gathers the sorrow of the poet, the depth of the homesickness. The poem is one of the famous works of the poet's poems of the homesickness.

此诗写听笛，以思乡写听笛，是李白的名篇。李白（701—762），字太白，号青莲居士，陇西成纪（今甘肃秦安）人，唐代诗人，被尊为「诗仙」。此诗写李白在武昌黄鹤楼听史郎中（钦）吹笛。李白晚年流放夜郎，遇赦得还，途经武昌，与友人登黄鹤楼听笛，闻《梅花落》曲而思乡。此诗写迁谪：「一为迁客去长沙，西望长安不见家」写一为迁客去长沙、西望长安不见家——写尽迁谪的愁绪（一为迁客去长沙，西望长安不见家）；「黄鹤楼中吹玉笛，江城五月落梅花」写黄鹤楼中吹玉笛、江城五月落梅花——写尽听笛的乡思（黄鹤楼中吹玉笛，江城五月落梅花）。全诗以思乡写听笛，写尽迁谪的愁绪与听笛的乡思，是理解李白迁谪诗的重要篇章。此诗写于李白流放途中或遇赦之后。唐肃宗至德年间，李白因卷入永王李璘之乱，被流放夜郎（今贵州），途中行至江夏（今武昌），与友人登黄鹤楼听笛。崔颢《黄鹤楼》诗使此楼闻名，李白登楼亦多感慨。此诗以「迁客去长沙」自况，正是以贾谊自比，抒写迁谪之愁与思乡之情。

Art

The poem's art is the art of the falling. The exile opens: once, becoming, the, exiled, official, going, to, the, Changsha — the exiled official of the going to the Changsha; looking, west, to, the, Chang'an, not, seeing, the, home — the looking of the not seeing the home. The homesickness follows: in, the, Tower, of, the, Yellow, Crane, the, blowing, the, jade, flute — the blowing of the jade flute; the, city, of, the, river, in, the, fifth, month, the, falling, the, plum, flowers — the falling of the plum flowers — the exile, the flute and the close's falling, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以典起写迁谪。「一为迁客去长沙」以典起写迁谪——那「迁客去长沙」用贾谊贬长沙之典，以典起写尽迁谪的愁绪。其二，以望写乡思。「西望长安不见家」以望写乡思——那「西望」「不见家」写尽望乡的怅惘，以望写尽迁谪的乡思。其三，以闻写听笛。「黄鹤楼中吹玉笛」以闻写听笛——那「吹玉笛」写尽笛声的悠扬，以闻写尽听笛的所在。其四，以曲写乡思。「江城五月落梅花」以曲写乡思——那「落梅花」用《梅花落》曲名，以曲写尽听笛的乡思。此外，此诗前二句写迁谪的愁绪，后二句写听笛的乡思，由实及曲，正是听笛诗「因声生情」的写法。四重手法，使此诗以思乡写听笛，写尽迁谪的愁绪与听笛的乡思，是李白的代表作。此诗还善于以「一为」二字写身世的转折——一旦成为迁客，便与长安隔断，一个「一为」写尽身世的剧变，正见李白以少总多的笔力。又善以「落梅花」的双关写声情——「落梅花」既是《梅花落》笛曲名，又写五月江城梅花纷落的幻境，双关相生，正见李白用曲名入诗的巧妙，使听笛的乡思更添凄清。

Allusions

'The Changsha' (chang sha) is the Changsha — the exile of the Jia Yi, the going of the opening; 'the Tower of the Yellow Crane' (huang he lou) is the Tower of the Yellow Crane — the tower of the yellow crane, the blowing of the middle; 'the plum flowers' (mei hua) are the plum flowers — the tune of the falling the plum flowers, the falling of the close.

此诗的用语深植于迁谪与思乡的传统。「迁客去长沙」令人想到「迁客去长沙」用贾谊贬长沙之典——贾谊被贬长沙王太傅，遂为迁谪之典，也令人想到「汉文有道恩犹薄，湘水无情吊岂知」（刘长卿）的意象；「长安」令人想到「长安」写京城的意象——也令人想到「长安不见使人愁」（李白）的意象；「黄鹤楼」令人想到「黄鹤楼」写名楼的意象——崔颢《黄鹤楼》「昔人已乘黄鹤去」，也令人想到「故人西辞黄鹤楼」（李白）的意象；「玉笛」令人想到「玉笛」写笛的意象——也令人想到「谁家玉笛暗飞声」（李白）的意象；「落梅花」令人想到「落梅花」用《梅花落》曲名的意象——《梅花落》为汉横吹曲名，也令人想到「江城五月落梅花」的名句。全诗化用迁客长沙、黄鹤楼、玉笛、落梅花的意象典故，以思乡写听笛，正是李白「清新俊逸」而善用典、承迁谪传统写乡思的本领。「黄鹤楼」为武昌名胜，崔颢题诗其上，李白亦有「黄鹤楼中吹玉笛」之句，登楼赋诗正见其才情；又「玉笛」暗合其《春夜洛城闻笛》「谁家玉笛暗飞声」的听笛传统，两诗对读可见其听笛诗的一贯。而「落梅花」为汉横吹曲名，以五月而落梅花，写笛声之感人，正见李白以曲写情的奇妙想象。

Commentary

This poem is one of the famous works of Li Bai's poems of the homesickness, quoted for the exile of its opening and the depth of its close. The looking of the not seeing the home, and the falling of the plum flowers, are among the admired passages of the poet's poems. Critics praise the poem's sorrow: the exile gathered in the flute, to the close's falling.

此诗历来被推为李白迁谪诗的名篇，也是唐人写听笛思乡的代表。历代论者对此诗评价极高：清人评此诗「以思乡写听笛，俊逸凄清」；近人更指出「黄鹤楼中吹玉笛，江城五月落梅花」写听笛的乡思，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽迁谪的愁绪与听笛的乡思——那迁客，那长沙，那长安，那黄鹤楼，那玉笛，那江城，那五月，那梅花，都写尽了李白笔下的黄鹤楼；那「江城五月落梅花」更以曲名写尽听笛的乡思。此诗与李白《春夜洛城闻笛》（「此夜曲中闻折柳」）同为听笛名篇，一写「何人不起故园情」的洛城（春夜洛城闻笛），一写「江城五月落梅花」的江城（黄鹤楼上吹笛）；又与崔颢《黄鹤楼》「日暮乡关何处是」的乡愁一脉相承，可见唐人写黄鹤楼与乡愁的传统。对于今日读者，此诗是理解李白迁谪诗的窗口，也是中国诗写听笛的经典——那五月的落梅花，穿越千年，仍在诉说着听笛的乡思。

Prosody

Form A quatrain of the homesickness (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 sorrowful exile.七绝，押「家」「花」韵（下平六麻），一韵到底，音节凄清

Tone pattern The cadence is that of the falling: the level opening with the exile, the turning with the flute, and the close's fall with the flowers.此诗为七言绝句，押平声韵，一韵到底，音节凄清，正合乡思的凄清。

Reading note The poem's sound matches its sorrow: the cadences of the quatrain, and the close — 'jiang cheng wu yue luo mei hua' — falls with the flowers, the sound of the homesickness of the exile poet.此诗为七言绝句，四句——「一为迁客去长沙，西望长安不见家。黄鹤楼中吹玉笛，江城五月落梅花」，押「麻」韵（家、花），一韵到底，音节凄清。全诗以思乡写听笛：前二句写迁谪的愁绪（一为迁客去长沙、西望长安不见家），后二句写听笛的乡思（黄鹤楼中吹玉笛、江城五月落梅花）。四句短章，前写迁谪，后写听笛，以「江城五月落梅花」写尽听笛的乡思，正见李白「清新俊逸」的本色。诵读此诗，宜以凄清的语调读「西望长安不见家」的愁绪，以悠扬的语调读「江城五月落梅花」的笛声，结句要读得凄清而有余韵，方能传达出李白的俊逸凄清。李白绝句以「清新俊逸」著称，此诗正是其听笛绝句的典范。

Line by line

黄鹤楼中吹玉笛，江城五月落梅花

On Yellow Crane Tower, the jade flute is played; in the river city of the fifth month, plums fall.

黄鹤楼中吹玉笛，江城五月落梅花。

On Yellow Crane Tower they play the jade flute; in the river city of the fifth month, the Plum Blossoms fall.

此二句是全诗写听笛的核心，以黄鹤楼中吹玉笛写吹笛，以江城五月落梅花写落梅，写尽听笛的乡思，是千古名句。「黄鹤楼中吹玉笛」写黄鹤楼中吹玉笛——那「黄鹤楼中」写黄鹤楼中，「吹玉笛」写吹玉笛，写尽楼中的笛声；「江城五月落梅花」写江城五月落梅花——那「江城五月」写江城五月，「落梅花」写落梅花，写尽江城的梅花。这句的深意在于：它以「黄鹤楼中吹玉笛」的笛声与「江城五月落梅花」的梅花，写尽听笛的乡思——黄鹤楼中吹玉笛，那「黄鹤楼中吹玉笛」写尽楼中的笛声——黄鹤楼中，玉笛悠扬，正是听笛的写照，那「吹玉笛」写尽笛声的悠扬；江城五月落梅花，那「江城五月落梅花」写尽江城的梅花——江城五月，落梅纷飞，正是曲声入耳的写照，那「落梅花」写尽笛曲的哀婉；那「黄鹤楼中吹玉笛」写尽楼中的笛声，那「江城五月落梅花」写尽江城的梅花，一写笛，一写曲，写尽听笛的乡思——笛声吹落梅花，正是乡思的写照；此二句以笛声、梅花写尽听笛的乡思，也让此二句成为全诗写听笛的核心与千古名句。若换作直说「听笛子吹梅花落我很想家」，则失其凄清；唯以「黄鹤楼中吹玉笛」写笛声、「江城五月落梅花」写梅花，写尽听笛的乡思，也让此二句成为全诗写听笛的核心。

These two lines are the core of the poem's listening to the flute - a famous line. 'On Yellow Crane Tower, the jade flute is played' the flute's sound in the tower; 'in the river city of the fifth month, plums fall' the tune 'Falling Plum Blossoms.' The flute tune of 'Fending Plum Blossoms' in a fifth-month river city - the sound stirring homesickness, the mournful air.

一为迁客去长沙，西望长安不见家

Once a banished clerk bound for Changsha, I look west to Chang'an, and see no home.

一为迁客去长沙，西望长安不见家。

Once I became an exile bound for Changsha; gazing west to Chang'an, I see no home.

此二句是全诗写迁谪的核心，以一为迁客去长沙写迁客，以西望长安不见家写望乡，写尽迁谪的愁绪，是千古名句。「一为迁客去长沙」写一为迁客去长沙——那「一为迁客」写一为迁客，「去长沙」写去长沙，写尽迁谪的贬途；「西望长安不见家」写西望长安不见家——那「西望长安」写西望长安，「不见家」写不见家，写尽望乡的怅惘。这句的深意在于：它以「一为迁客去长沙」的迁客与「西望长安不见家」的望乡，写尽迁谪的愁绪——一为迁客去长沙，那「一为迁客去长沙」写尽迁谪的贬途——一旦身为迁客，远赴长沙，正是被贬的写照，那「去长沙」写尽迁谪的贬途；西望长安不见家，那「西望长安不见家」写尽望乡的怅惘——西望长安，不见家乡，正是望乡的写照，那「不见家」写尽迁谪的乡思；那「一为迁客去长沙」写尽迁谪的贬途，那「西望长安不见家」写尽望乡的怅惘，一写贬途，一写望乡，写尽迁谪的愁绪——迁客南去而望乡不见，正是迁谪的写照；此二句以迁客、望乡写尽迁谪的愁绪，也为后二句的听笛作铺垫，也让此二句成为全诗写迁谪的核心与千古名句。若换作直说「我被贬到外地很想家」，则失其深沉；唯以「一为迁客去长沙」写迁客、「西望长安不见家」写望乡，写尽迁谪的愁绪，也让此二句成为全诗写迁谪的核心。

These two lines are the core of the poem's exile - a famous line. 'Once a banished clerk bound for Changsha' the road of exile (Jia Yi sent to Changsha); 'I look west to Chang'an, and see no home' the homeward gaze in vain. The exile gone south, gazing west and seeing not the capital - the grief of banishment, priming the flute-listening below.

Study

Word focus

望 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「西望长安不见家」之「望」字是写乡思的关键词，一个「望」字写尽望乡的怅惘。望者，远望、眺望也。李白以「西望长安不见家」写乡思，这个「望」字至少有双重意味：其一，写望之远——那「西望长安不见家」写西望长安不见家，那「望」字写尽望乡的远望——西望长安，正是望乡的写照，那「望」字写尽迁谪的乡思；其二，写望之空——那「望」字更是写空——不见家，正见望而不得，那「望」字写尽望乡的怅惘。以「望」字写乡思，正是李白写迁谪的枢纽——若换作「看」「见」等字，则或失其与「长安」「不见家」的配合，或失其写望的意味；唯「望」字，以西望长安不见家写尽望乡的远望与望而不得，与「一为迁客去长沙」的迁客相合，写尽迁谪的乡思，也让「西望长安不见家」成为全诗写乡思的名句。

落 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「江城五月落梅花」之「落」字是写听笛的关键词，一个「落」字写尽笛曲的哀婉。落者，飘落、凋落也。李白以「江城五月落梅花」写听笛，这个「落」字至少有双重意味：其一，写梅之落——那「江城五月落梅花」写江城五月落梅花，那「落」字写尽梅花的飘落——五月落梅，正见梅落的景象，那「落」字写尽江城的梅花；其二，写曲之哀——那「落」字更是写哀——落梅花，正见笛曲的哀婉，那「落」字写尽听笛的乡思。以「落」字写听笛，正是李白写乡思的枢纽——若换作「飘」「坠」等字，则或失其与「梅花」「五月」的配合，或失其写落的意味；唯「落」字，以江城五月落梅花写尽梅花的飘落与笛曲的哀婉，与「黄鹤楼中吹玉笛」的玉笛相合，写尽听笛的乡思，也让「江城五月落梅花」成为全诗写听笛的名句。