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唐 Tang · 诗 Poem

再游玄都观

The, Again, Visiting, the, Temple, of, the, Xuan, the, Capital

刘禹锡

Liu Yuxi

讽喻Satire 感慨Theme

百亩庭中半是苔，桃花净尽菜花开。
种桃道士归何处？
前度刘郎今又来。

百亩庭中半是苔，桃花净尽菜花开。
种桃道士归何处？前度刘郎今又来。

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Meaning

A poem of the temple and the pride, written by Liu Yuxi. In the hundred mu of the courtyard the half is the moss, the peach blossoms clean all gone the cabbage flowers blooming — the changes of the opening. The Taoist of the planting the peaches returned to where, the Liu of the former visit today again coming — the pride of the close. The poem is the temple and the pride: the changes, and the close's coming.

百亩庭中半是苔，桃花净尽菜花开。种桃道士归何处？前度刘郎今又来。

Appreciation

[Plain Paraphrase] In, the, hundred, mu, of, the, courtyard, the, half, is, the, moss, the, peach, blossoms, clean, all, gone, the, cabbage, flowers, blooming. The, Taoist, of, the, planting, the, peaches, returned, to, where, the, Liu, of, the, former, visit, today, again, coming. [Structure and Thought] The poem moves from the changes of the moss with the cabbage flowers, through the Taoist of the planting, to the close's the coming of the Liu. [Key Technique] The poem's art is the close of the coming: the peach blossoms clean all gone the cabbage flowers blooming, and the close's the Taoist of the planting the peaches returned to where the Liu of the former visit today again coming — the temple gathered in the changes and the close's pride. [Emotional Tone] Changed, mocking, and proud: the poem is the moss, the Taoist and the close's coming.

【白话串讲】刘禹锡写《再游玄都观》：“百亩庭中半是苔，桃花净尽菜花开”——“种桃道士归何处？前度刘郎今又来”——当年种桃的道士去哪了？我刘郎又回来了——他十四年后回京，仍不改傲骨。【意象与手法】此诗写重游，以讽喻写感慨，是刘禹锡的名篇。前二句写重游：「百亩庭中半是苔，桃花净尽菜花开」写百亩庭中半是苔、桃花净尽菜花开——写尽重游的荒凉；后二句写感慨：「种桃道士归何处？前度刘郎今又来」写种桃道士归何处、前度刘郎今又来——写尽讥讽的豪情。全诗以讽喻写感慨，写尽重游的荒凉与讥讽的豪情，是刘禹锡的代表作。【情感与主旨】此诗写重游，以讽喻写感慨，是刘禹锡的名篇。此诗为刘禹锡被贬十四年后回京重游玄都观所作。刘禹锡因永贞革新被贬朗州，元和十年（815）召回，游玄都观作《游玄都观》诗，再遭贬；十四年后（大和二年，828）回京，观中桃花已尽，又作此诗。此诗写重游：百亩庭中半是苔，桃花净尽菜花开——写百亩庭中半是苔、桃花净尽菜花开，写尽重游的荒凉；种桃道士归何处？前度刘郎今又来——写种桃道士归何处、前度刘郎今又来，写尽讥讽的豪情。全诗以讽喻写感慨——那「桃花净尽菜花开」写尽重游的荒凉，「前度刘郎今又来」写尽讥讽的豪情，写尽重游的荒凉与讥讽的豪情，是理解刘禹锡讽刺诗的重要篇章。【名句点睛】常考「百亩庭中半是苔，桃花净尽菜花开」写重游的荒凉；「种桃道士归何处？前度刘郎今又来」写讥讽的豪情；以及全诗以讽喻写感慨、以对照写讽刺的手法。

Background

Liu Yuxi (772-842), the great poet of the Tang, wrote this 'The, Again, Visiting, the, Temple, of, the, Xuan, the, Capital' of the temple and the pride — the pride of the return after the fourteen years. The changes of the moss with the cabbage flowers, and the close's the coming of the Liu — the poem gathers the pride of the poet, the mockery of the times. The poem is one of the famous works of the poet's poems of the mockery.

此诗写重游，以讽喻写感慨，是刘禹锡的名篇。刘禹锡（772—842），字梦得，洛阳人，唐代诗人，与柳宗元并称「刘柳」，与白居易并称「刘白」。此诗为刘禹锡被贬十四年后回京重游玄都观所作。刘禹锡因永贞革新失败被贬朗州，元和十年（815）召回，游玄都观作《游玄都观》诗，诗云「玄都观里桃千树，尽是刘郎去后栽」，讥讽新贵，遂再贬连州；大和二年（828）回京，观中桃花已尽，又作此诗。此诗写重游：「百亩庭中半是苔，桃花净尽菜花开」写百亩庭中半是苔、桃花净尽菜花开——写尽重游的荒凉（百亩庭中半是苔，桃花净尽菜花开）；「种桃道士归何处？前度刘郎今又来」写种桃道士归何处、前度刘郎今又来——写尽讥讽的豪情（种桃道士归何处，前度刘郎今又来）。全诗以讽喻写感慨，写尽重游的荒凉与讥讽的豪情，是理解刘禹锡讽刺诗的重要篇章。此诗写作背景还有一说——刘禹锡与柳宗元同为永贞革新党人，一同被贬，柳宗元早卒，刘禹锡独历四贬，直到晚年才回到长安，故重游玄都观有历尽沧桑之感。「前度刘郎今又来」一句，既是对权贵的讥讽，也是对自身坚忍的自信。此诗与《游玄都观》相隔十四年，一作于第一次回京，一作于第二次回京，二诗相续，正见刘禹锡一生不屈的倔强。

Art

The poem's art is the art of the coming. The changes open: in, the, hundred, mu, of, the, courtyard, the, half, is, the, moss — the moss of the courtyard; the, peach, blossoms, clean, all, gone, the, cabbage, flowers, blooming — the cabbage flowers of the blooming. The pride follows: the, Taoist, of, the, planting, the, peaches, returned, to, where — the Taoist of the planting the peaches; the, Liu, of, the, former, visit, today, again, coming — the Liu of the again coming — the changes, the Taoist and the close's coming, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以白描写荒凉。「百亩庭中半是苔」以白描写荒凉——那「半是苔」写尽庭中的苔藓，以白描写尽重游的荒凉。其二，以对照写变迁。「桃花净尽菜花开」以对照写变迁——那「桃花净尽」「菜花开」写尽桃尽菜开，以对照写尽世事的变迁。其三，以问句写讥讽。「种桃道士归何处」以问句写讥讽——那「归何处」写尽道士的何在，以问句写尽讥讽的冷峻。其四，以自称写豪情。「前度刘郎今又来」以自称写豪情——那「刘郎今又来」写尽重游的豪情，以自称写尽不畏的傲岸。此外，此诗前二句写重游的荒凉，后二句写讥讽的豪情，由景入情，正是讽刺诗「借物讽喻」的写法。四重手法，使此诗以讽喻写感慨，写尽重游的荒凉与讥讽的豪情，是刘禹锡的代表作。此诗还善于以小见大——以一座玄都观的盛衰写朝廷权贵的兴替，以桃花的开落写人事的变迁，尺幅之中有无限感慨。又善用双关，那「种桃道士」既可指当年种桃的道士，也可暗指当年执政的权贵，语带讥讽而不失含蓄，正见刘禹锡讽刺艺术的高妙。

Allusions

'The hundred mu' (bai mu) are the hundred mu — the mu of the hundred, the courtyard of the opening; 'the Taoist of the planting the peaches' (zhong tao dao shi) is the Taoist of the planting the peaches — the Taoist of the planting, the returned of the close; 'the Liu of the former visit' (qian du liu lang) is the Liu of the former visit — the Liu of the former, the coming of the close.

此诗的用语深植于讽刺与感慨的传统。「玄都观」令人想到「玄都观」写道观的意象——玄都观为长安道观，也令人想到「玄都观里桃千树」的意象；「桃花」令人想到「桃花」写桃花的意象——《游玄都观》「尽是刘郎去后栽」以桃花喻新贵，此诗以桃花净尽写新贵之衰，也令人想到「桃花依旧笑春风」（崔护）的意象；「种桃道士」令人想到「种桃道士」写道人的意象——种桃道士喻当年的权贵，也令人想到「种桃道士归何处」的意象；「刘郎」令人想到「刘郎」自称的典故——刘禹锡自称刘郎，也令人想到「前度刘郎」的典故，后成为成语；「菜花开」令人想到「菜花」写菜花的意象——也令人想到「儿童急走追黄蝶，飞入菜花无处寻」（杨万里）的意象。全诗化用玄都观、桃花、刘郎的意象典故，以讽喻写感慨，正是刘禹锡「诗豪」而善用典、承讽刺传统写感慨的本领。「前度刘郎」之语，后世演为成语「前度刘郎」，专指再去、重来之人，如宋人辛弃疾《沁园春》「前度刘郎今又来」即用此典。又「桃花净尽菜花开」以桃李喻门生，亦暗用「桃李满天下」之意——当年种桃道士门下的桃李，今已化为菜花，正见世态的炎凉。

Commentary

This poem is one of the famous works of Liu Yuxi's poems of the mockery, quoted for the changes of its opening and the pride of its close. The cabbage flowers of the blooming, and the Liu of the again coming, are among the admired passages of the poet's poems. Critics praise the poem's pride: the temple gathered in the Taoist, to the close's coming.

此诗历来被推为刘禹锡讽刺诗的名篇，也是唐人写重游感慨的代表。历代论者对此诗评价极高：《旧唐书》载刘禹锡作此诗后「执政又闻诗序，滋不悦」，可见其刺世之深；清人评此诗「以讽喻写感慨，豪健有力」。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽重游的荒凉与讥讽的豪情——那百亩庭，那苔，那桃花，那菜花，那种桃道士，那刘郎，都写尽了刘禹锡笔下的玄都观；那「前度刘郎今又来」更以自称写尽讥讽的豪情。此诗与刘禹锡《游玄都观》（「尽是刘郎去后栽」）同为玄都观组诗，一写「桃花千树」的讥刺（游玄都观），一写「桃花净尽」的豪情（再游玄都观）；又与白居易《放言》「试玉要烧三日满」的讽喻传统一脉相承，可见唐人讽刺诗的传统。对于今日读者，此诗是理解刘禹锡讽刺诗的窗口，也是中国诗写重游感慨的经典——那今又来的刘郎，穿越千年，仍在诉说着讥讽的豪情。

Prosody

Form A quatrain of the pride (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 proud mockery.七绝，押「开」「来」韵（上平十灰），一韵到底，音节豪健

Tone pattern The cadence is that of the coming: the level opening with the changes, the turning with the Taoist, and the close's fall with the coming.此诗为七言绝句，押平声韵，一韵到底，音节豪健，正合讥讽的豪健。

Reading note The poem's sound matches its pride: the cadences of the quatrain, and the close — 'qian du liu lang jin you lai' — falls with the coming, the sound of the pride of the temple poet.此诗为七言绝句，四句——「百亩庭中半是苔，桃花净尽菜花开。种桃道士归何处？前度刘郎今又来」，押「灰」韵（开、来），一韵到底，音节豪健。全诗以讽喻写感慨：前二句写重游的荒凉（百亩庭中半是苔、桃花净尽菜花开），后二句写讥讽的豪情（种桃道士归何处、前度刘郎今又来）。四句短章，前写荒凉，后写豪情，以「前度刘郎今又来」写尽讥讽的豪健，正见刘禹锡「诗豪」的本色。诵读此诗，宜以豪健的语调读「百亩庭中半是苔」的荒凉，以傲岸的语调读「前度刘郎今又来」的豪情，结句要读得豪健而有余韵，方能传达出刘禹锡的豪健。刘禹锡绝句以「雄浑老辣」著称，此诗正是其讽刺绝句的典范。

Line by line

种桃道士归何处？前度刘郎今又来

Where has gone the Taoist who planted the peach trees? I, Liu Lang of old, have come again today.

种桃道士归何处？前度刘郎今又来。

Where has the Taoist who planted the peaches gone? I, Liu Lang of former days, have come once more today.

此二句是全诗写讥讽的核心，以种桃道士归何处写道士，以前度刘郎今又来写刘郎，写尽讥讽的豪情，是千古名句。「种桃道士归何处」写种桃道士归何处——那「种桃道士」写种桃道士，「归何处」写归何处，写尽道士的何在；「前度刘郎今又来」写前度刘郎今又来——那「前度刘郎」写前度刘郎，「今又来」写今又来，写尽刘郎的重游。这句的深意在于：它以「种桃道士归何处」的道士与「前度刘郎今又来」的刘郎，写尽讥讽的豪情——种桃道士归何处，那「种桃道士归何处」写尽道士的何在——当年种桃的道士今归何处，正是权贵已衰的写照，那「归何处」写尽道士的何在；前度刘郎今又来，那「前度刘郎今又来」写尽刘郎的重游——前度刘郎，今又来，正是劫后重游的写照，那「今又来」写尽刘郎的豪情；那「种桃道士归何处」写尽道士的何在，那「前度刘郎今又来」写尽刘郎的重游，一写道士，一写刘郎，写尽讥讽的豪情——道士已去而刘郎又来，正是对权贵的讥讽；此二句以道士、刘郎写尽讥讽的豪情，也让此二句成为全诗写讥讽的核心与千古名句。若换作直说「那些权贵都完蛋了，我还活着」，则失其含蓄；唯以「种桃道士归何处」写道士、「前度刘郎今又来」写刘郎，写尽讥讽的豪情，也让此二句成为全诗写讥讽的核心。

These two lines are the core of the poem's satire - a famous line. 'Where has gone the Taoist who planted the peach trees?' the power's decay; 'I, Liu Lang of old, have come again today' the poet's return after the storm. The Taoist gone, Liu Lang back - the mockery of the once-mighty now faded, while the exiled poet returns. If one said plainly 'those grandees are finished and I still live,' the reserve would be lost.

百亩庭中半是苔，桃花净尽菜花开

In the hundred-mu courtyard, half is moss; the peach blossoms are all gone, and the vegetable flowers bloom.

百亩庭中半是苔，桃花净尽菜花开。

The hundred-mu courtyard is half overgrown with moss; the peach blossoms have vanished, and the rapeseed flowers bloom.

此二句是全诗写荒凉的核心，以百亩庭中半是苔写庭，以桃花净尽菜花开写变迁，写尽重游的荒凉，是千古名句。「百亩庭中半是苔」写百亩庭中半是苔——那「百亩庭中」写百亩庭中，「半是苔」写半是苔，写尽庭中的荒芜；「桃花净尽菜花开」写桃花净尽菜花开——那「桃花净尽」写桃花净尽，「菜花开」写菜花开，写尽桃尽菜开的变迁。这句的深意在于：它以「百亩庭中半是苔」的庭与「桃花净尽菜花开」的变迁，写尽重游的荒凉——百亩庭中半是苔，那「百亩庭中半是苔」写尽庭中的荒芜——百亩之庭，半是苔藓，正是人迹罕至的写照，那「半是苔」写尽庭中的荒芜；桃花净尽菜花开，那「桃花净尽菜花开」写尽桃尽菜开的变迁——桃花净尽而菜花盛开，正是旧景尽改的写照，那「菜花开」写尽世事的变迁；那「百亩庭中半是苔」写尽庭中的荒芜，那「桃花净尽菜花开」写尽桃尽菜开的变迁，一写庭，一写变迁，写尽重游的荒凉——庭中苔满而桃花尽改，正是重游的荒凉；此二句以庭、变迁写尽重游的荒凉，也为后二句的讥讽作铺垫，也让此二句成为全诗写荒凉的核心与千古名句。若换作直说「玄都观荒废了」，则失其形象；唯以「百亩庭中半是苔」写庭、「桃花净尽菜花开」写变迁，写尽重游的荒凉，也让此二句成为全诗写荒凉的核心。

These two lines are the core of the poem's desolation on revisiting - a famous line. 'In the hundred-mu courtyard, half is moss' the deserted ground; 'the peach blossoms are all gone, and the vegetable flowers bloom' the change of things. The moss-grown court, the peach gone and vegetable flowers blooming - the old glory's total reversal, priming the satire below.

Study

Word focus

净尽 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「桃花净尽菜花开」之「净尽」是写变迁的关键词，一个「净尽」写尽桃花的凋尽。净尽者，完全尽、一空也。刘禹锡以「桃花净尽菜花开」写变迁，这个「净尽」至少有双重意味：其一，写桃花之尽——那「桃花净尽菜花开」写桃花净尽菜花开，那「净尽」写尽桃花的凋尽——桃花净尽，正是旧景全非的写照，那「净尽」写尽桃花的一空；其二，写权贵之衰——那「净尽」更是写衰——净尽，正见旧日新贵之衰，那「净尽」写尽世事的变迁。以「净尽」写变迁，正是刘禹锡写讥讽的枢纽——若换作「落尽」「开尽」等词，则或失其与「菜花开」的配合，或失其写净尽的意味；唯「净尽」二字，以桃花净尽菜花开写尽桃花的凋尽与权贵的衰亡，与「种桃道士归何处」的归何处相合，写尽重游的荒凉，也让「桃花净尽菜花开」成为全诗写变迁的名句。

又 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「前度刘郎今又来」之「又」字是写豪情的关键词，一个「又」字写尽刘郎的重游。又者，再次也。刘禹锡以「前度刘郎今又来」写重游，这个「又」字至少有双重意味：其一，写重游之再——那「前度刘郎今又来」写前度刘郎今又来，那「又」字写尽重游的再至——前度刘郎，今又来，正是再度重游的写照，那「又」字写尽刘郎的重游；其二，写傲岸之坚——那「又」字更是写坚——今又来，正见不屈的傲岸，那「又」字写尽讥讽的豪情。以「又」字写重游，正是刘禹锡写豪情的枢纽——若换作「重」「再」等字，则或失其与「前度刘郎」「今来」的配合，或失其写又的意味；唯「又」字，以前度刘郎今又来写尽重游的再至与傲岸的坚毅，与「种桃道士归何处」的归何处相合，写尽讥讽的豪情，也让「前度刘郎今又来」成为全诗写豪情的名句。