《贺新郎·老去相如倦》原文赏析
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hè贺xīn新láng郎·lǎo老qù去xiāng相rú如juàn倦
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[sòng宋dài代]liú刘guò过
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lǎo老qù去xiāng相rú如juàn倦。xiàng向wén文jūn君、shuō说sì似ér而jīn今，zěn怎shēng生xiāo消qiǎn遣？yī衣meì袂jīng京chén尘céng曾rǎn染chù处，kōng空yǒu有xiāng香hóng红shàng尚ruǎn软。liào料bǐ彼cǐ此、hún魂xiāo消cháng肠duàn断。yī一zhěn枕xīn新liáng凉mián眠kè客shè舍，tīng听wú梧tóng桐shū疏yǔ雨qiū秋fēng风zhàn颤。dēng灯yùn晕lěng冷，jì记chū初jiàn见。
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lóu楼dī低bù不fàng放zhū珠lián帘juàn卷。wǎn晚zhuāng妆cán残，cuì翠é蛾láng狼jí藉，leì泪hén痕níng凝liǎn脸。rén人dào道chóu愁lái来xū须殢jiǔ酒，wú无nài奈chóu愁shēn深jiǔ酒qiǎn浅。dàn但tuō托yì意jiāo焦qín琴wán纨shān扇。mò莫gǔ鼓pí琵pa琶jiāng江shàng上qǔ曲，pà怕dí荻huā花fēng枫yè叶jù俱qī凄yuàn怨。yún云wàn万dié叠，cùn寸xīn心yuǎn远。
译文及注释
译文：
我像相如，你像文君。相如如今年老，常感到精力不济，请问文君，我们现在如此贫困潦倒、疲惫不堪，今后的日子该如何度过呢？回顾当年我们一起居住过的京城，恐怕至今还留着我们依偎相处的痕迹吧。想想当时的情景，怎么不让人感到悲伤呢？那时，我们在凉爽的客舍中同床共枕，一起聆听秋天细雨敲打窗外梧桐树叶的声音。眼前昏暗摇曳的烛光中，我们初次见面的情景总是浮现在我的脑海中。
看如今，在这低矮的楼阁中，帘幕无精打采地垂下，你的妆容褪落，一脸憔悴，首饰和物品摆放得一片混乱，泪水挂满了你的脸庞。人们都说，忧伤可以用酒来排解，可是我们的忧伤如此沉重，而酒却如此稀薄，怎么能够消解我们的痛苦呢？为了排解忧伤，我们只能弹几下焦尾琴，摇几下细绢扇而已。我告诉你，千万不要到江边弹奏那悲切的琵琶曲，我真怕会招惹得荻花也和我们一起伤心，枫叶也和我们一起凄怨。云海层层高如山，但怎么能比得上我们心中积压着的那么多的伤感？
注释：
相如：西汉文人司马相如，此指作者。
文君：即卓文君，此指作者在客舍所遇的一位歌妓。
消遣：消解，排解。
衣袂京尘曾染处：指自己在京城艰苦谋生。
空有香红尚软：意为自己漂泊多年只落得歌楼妓馆中的风流名声。香红，指代歌妓。
翠蛾狼藉：此指歌妓身上杂乱地穿戴一些首饰。狼藉，杂乱的样子。
酒：醉酒。
焦琴：琴名，即焦尾琴。《后汉书·蔡邕传》：“吴人有烧桐以爨者，邕闻火烈之声，知其良木，因请而裁为琴，果有美音，而其尾犹焦，故时人名曰焦尾琴焉。”
琵琶江上曲：指白居易《琵琶行》：“浔阳江头夜送客，枫叶荻花秋瑟瑟。”
云万叠：形容云海苍茫辽远之貌。
《贺新郎·老去相如倦》译文及注释详情»
创作背景
这篇创作背景发生在公元1192年，也就是宋光宗绍熙三年。故事的主人公刘过已经三十九岁了。在这年的秋天，他前往宁波（古称四明）参加选拔举人的牒试，但却遭到了黜落。失意之中，他邂逅了一位半老徐娘式的商女。两人都是天涯沦落人，这种共同的沧桑感使得他们的心灵彼此靠近。因此，刘过写下了这首著名的《贺新郎》相赠。 《贺新郎·老去相如倦》创作背景详情»
赏析
This poem depicts the sorrow of a poor scholar who has failed in his duties cleverly juxtaposing it with the tragic life of a fallen courtesan in a song tower. The writing is intricate and the meaning is extremely mournful evoking a sense of lingering sadness and inexplicable grief. This poem can be read alongside Bai Juyi's poem Song of the Pipa as both share a similar plot of a disillusioned scholar and a fallen woman.
The first three lines of the poem Growing old start off with a sharp and decisive tone immediately conveying a sense of melancholy that runs throughout the entire piece. The story of Zhuo Wenjun who recognized Sima Xiangru's talent and became his beloved is a well-known tale in literary circles. However Liu Guo uses it here to describe their encounter in destitution perhaps more out of a sense of empathy and desolation. The word weary encompasses indescribable setbacks and bitterness. How can he alleviate the melancholy in his heart when he speaks of his current destitution to her? The sense of failure and the tragic fate of a fallen hero are fully revealed here. The two lines about clothing and sleeves are inserted in reverse order using the abstract to introduce a memory of past events in the imperial capital.
Since leaving home in 1186 (the 13th year of Emperor Xiaozong's Chunxi reign) Liu Guo has been away for nearly seven years. During this time he has taken the imperial examination and sought official positions but has achieved nothing. The memories he has of the capital city of Lin'an are nothing more than dirt on his clothes and the remnants of red on his sleeves. The phrase fragrant red still soft refers to the luxurious and sensual lifestyle of the past with its red chambers and Qin-style pavilions. However once the groundwork of capital dust is laid it becomes profoundly poignant. The use of the virtual words once empty and still creates a contrasting and poignant effect. Liu Guo is a patriot who takes the world as his responsibility different from the romantic literati who have no home and indulge in pleasure. He frequents the brothels to alleviate and numb the pain of not being able to fulfill his desire to serve the country finding some warmth in the embrace of red sleeves.
In reality he has never truly experienced joy. The phrase each other ties the two characters together one being a failed scholar and the other a middle-aged woman who has lost everything. Their meeting at this moment is truly heart-wrenching. The four lines about one pillow depict the reality: outside the window is the melancholy autumn rain of the wutong tree while inside the room a flickering green lamp casts its light. These two unfortunate souls find solace in each other's company.
The following four lines continue the theme of the previous stanza describing the living conditions when they first met. The low tower does not raise the pearl curtain (
《贺新郎·老去相如倦》赏析详情»
刘过
刘过（1154～1206）是南宋时期的一位文学家，字改之，号龙洲道人。他出生在吉州太和（今江西泰和县），在庐陵（今江西吉安）长大。他去世于江苏昆山，现在他的墓仍然存在。
刘过四次参加科举考试都没有中选，因此他流落江湖，一直过着平凡的生活。尽管如此，他的才华得到了陆游和辛弃疾的赏识，他也与陈亮、岳珂交好。他的词风与辛弃疾相似，表达了对金朝的抗争和追求自由的豪情壮志。他与刘克庄、刘辰翁一起被称为“辛派三刘”，也与刘仙伦一起被称为“庐陵二布衣”。他的作品有《龙洲集》和《龙洲词》。
贺新郎（送赵伯泳侍郎守温陵）
宋代 王迈
忆昔同时召。正青山、亲提玉尺，量材廊庙。当日班行比元祐，北玉西珠照耀。一转首、宫南移调。君自鸟台登骑首，觉精神、风采增清峭。数贤者，一不肖。
酒酣耳热憔长啸。便翩翩、辍班荷橐，一麾闽峤。堪笑狂生无用处，垂老云耕月钓。这富贵、非由人要。畴昔评君如玉雪，好条然、琴鹤风尘表。清献后，又有赵。
贺新郎（别李参政壁）
宋代 魏了翁
此别情何限。最关情、一林醒石，重湖宾雁。几度南楼携手上，十二阑干凭暖。肯容我、樽前疏散。底事匆匆催人去，黯西风、别恨千千万。截不断，整仍乱。
三年瞥忽如飞电。记从前、心情双亮，意词交划。千古黎苏登临意，人道于今重见。又分付、水流冰泮。满腹余疑今谁问，上牛头、净拭乾坤眼。聊尔耳，恐不免。