《水调歌头·明月几时有》原文赏析
-
shuǐ水diào调gē歌tóu头·míng明yuè月jǐ几shí时yǒu有
-
[sòng宋dài代]sū苏shì轼
-
bǐng丙chén辰zhōng中qiū秋，huān欢yǐn饮dá达dàn旦，dà大zuì醉，zuò作cǐ此piān篇，jiān兼huái怀zǐ子yóu由。míng明yuè月jǐ几shí时yǒu有？bǎ把jiǔ酒wèn问qīng青tiān天。bù不zhī知tiān天shàng上gōng宫qè阙，jīn今xī夕shì是hé何nián年。wǒ我yù欲chéng乘fēng风guī归qù去，yòu又kǒ恐qióng琼lóu楼yù玉yǔ宇，gāo高chù处bù不shèng胜hán寒。qǐ起wǔ舞nòng弄qīng清yǐng影，hé何sì似zài在rén人jiān间？(hé何sì似yī一zuò作：hé何shí时；yòu又kǒ恐yī一zuò作：weí惟/weí唯kǒ恐)
-
zhuàn转zhū朱gé阁，dī低qǐ绮hù户，zhào照wú无mián眠。bù不yìng应yǒu有hèn恨，hé何shì事cháng长xiàng向bié别shí时yuán圆？rén人yǒu有beī悲huān欢lí离hé合，yuè月yǒu有yīn阴qíng晴yuán圆quē缺，cǐ此shì事gǔ古nán难quán全。dàn但yuàn愿rén人cháng长jiǔ久，qiān千lǐ里gòng共chán婵juān娟。(cháng长xiàng向yī一zuò作：piān偏xiàng向)
译文及注释
Translation:
In the year of Bingchen (1076 AD) during the Mid-Autumn Festival I happily drank until dawn completely drunk and wrote this poem also missing my younger brother Su Zhe.
Since when did the bright moon appear? I hold up my wine cup and ask the sky. I don't know which year it is in the heavenly palace tonight. I want to rely on the wind to return to the sky and take a look but I worry that the jade-built buildings are too high and I cannot withstand the cold. I rise and dance enjoying the clear shadow under the moonlight. The moon palace cannot compare to being in the mortal world.
The moon moves passing by the vermilion-colored pavilion hanging low on the carved window shining on those who cannot sleep. The bright moon should not hold any grudges against people but why does it always become full when people are separated? People experience the changes of joy and sorrow parting and reunion just as the moon goes through its phases. This matter has always been difficult to comprehend. I hope people can stay together for a long time even if they are thousands of miles apart and appreciate this beautiful moon together.
Annotations:
Bingchen: Refers to the year 1076 AD (the ninth year of the Xining reign of Emperor Shenzong of the Song Dynasty). In this year Su Shi served as the prefect of Mishi (present-day Zhucheng City Shandong Province).
Dadan: Until dawn.
Ziyu: The courtesy name of Su Shi's younger brother Su Zhe.
Hold up the wine: Lift up the wine cup. Hold means to grasp or hold.
Heavenly palace: Refers to the palace in the moon. Que refers to the stone platform behind the ancient city wall.
Return: Go back here it means returning to the moon palace.
Qiong Tower and Jade Buildings: Jade-built buildings referring to the imagined fairy palace.
Cannot bear: Cannot withstand.
Bear: Undertake endure.
Play with clear shadows: It means that the shadow under the moonlight also dances along. Play: Enjoy.
How can it compare: How can it be compared to.
Turn the vermilion pavilion lower the beautiful windows shine on the sleepless: The moon moves passing by the vermilion-colored pavilion hanging low on the carved window shining on the person (referring to the poet himself) who cannot sleep.
Vermilion pavilion: A splendid red pavilion. Qi windows: Ornately decorated doors and windows.
Should not have any resentment why does it become full only when people are separated: The moon should not hold any grudges against people so why does it become full only when people are separated?
Why: Why.
This matter: Refers to the joy and reunion of people and the clear and full of the moon.
But: Only.
《水调歌头·明月几时有》译文及注释详情»
创作背景
这篇创作背景描述了苏轼在公元1076年（宋神宗熙宁九年）中秋时在密州所作的一首词。在小序中，苏轼交代了写词的过程，他在中秋夜欢饮达旦，大醉后，兼怀念胞弟苏辙，便写下了这首词。
苏轼因与当权的变法者王安石等人政见不同，自愿外放，辗转在各地任官。他曾请求调任到离苏辙较近的地方，以便与兄弟多多聚会。公元1074年，苏轼被任命为密州的差使。然而，即使到了密州，他的愿望仍然无法实现。到了公元1076年的中秋夜，明亮的月亮高悬，银辉洒满大地，词人与胞弟苏辙已经分别七年，未能团聚。此时，词人面对着明亮的月亮，内心起伏不已，于是在酒兴正浓的时候，挥笔写下了这首名篇。
《水调歌头·明月几时有》创作背景详情»
赏析
这首词以明月为主题，表达了词人对胞弟苏辙的思念之情。词中描绘了中秋之夜，苏轼一边赏月一边饮酒，直到天亮，写出了皓月当空、亲人千里、孤高旷远的境界氛围。苏轼一生推崇儒学，但也受到佛道思想的影响，每当遇到挫折失意之际，他会借助老庄思想来解释困惑。词中也反映了苏轼在官场上的险恶体验和郁愤之情。词的上片望月部分展现了苏轼豪放洒脱的风格，通过提问明月的起源，表达了对天地间的追问和思考。整首词以明月为线索，展现了苏轼豪放浪漫的情感和思想。 《水调歌头·明月几时有》赏析详情»
苏轼
苏轼（1037－1101）是北宋时期的文学家、书画家和美食家。他的字是子瞻，号称东坡居士。苏轼是汉族，出生在四川，去世后葬于颍昌（今河南省平顶山市郏县）。
苏轼一生经历了许多仕途上的坎坷，但他的学识非常渊博，天资极高，诗文书画方面都有很高的造诣。他的文笔汪洋恣肆，明白畅达，与欧阳修并称为欧苏，被誉为“唐宋八大家”之一。他的诗作清新豪健，善于运用夸张和比喻，艺术表现独具风格，与黄庭坚并称为苏黄。他的词开创了豪放一派，对后世产生了巨大的影响，与辛弃疾并称为苏辛。他的书法擅长行书和楷书，能够自创新意，用笔丰腴跌宕，具有天真烂漫的趣味，与黄庭坚、米芾、蔡襄并称为宋四家。他在画学方面也有很高的造诣，主张画作要神似，提倡“士人画”。他的著作包括《苏东坡全集》和《东坡乐府》等。