红楼梦

情节梗概播报编辑

## 情节梗概

《红楼梦》书叙西方灵河岸上三生石畔的绛珠仙子，为了酬报神瑛侍者的灌溉之恩，要将毕生的泪水偿还，就随其下凡历劫。宝玉为神瑛侍者转世，林黛玉为绛珠仙子转世，这段姻缘称为“木石前盟”。远古女娲炼石补天遗下的顽石，通灵性，为贾宝玉出世时所衔的“通灵宝玉”，“通灵宝玉”历尽世间辛酸悲欢的故事，就是《石头记》，亦即《红楼梦》。《红楼梦》120回本

《红楼梦》故事纷纭复杂，其较大的事件有：（本段序号顺序与书中情节发展顺序存在出入）

1.林黛玉丧母，进京依附外祖母；

2.贾宝玉母姨及其女薛宝钗、男薛蟠进驻贾府；

3.贾宝玉于秦可卿卧房午觉，梦游太虚幻境，阅“金陵十二钗图册判词”；

4.王熙凤毒设相思局，致贾瑞命归黄泉；

5.秦可卿因为和公公贾珍私情败露去世，王熙凤协理宁国府。葬礼极尽豪华；

6.贾元春加封贤德妃，获准省亲，元春题名别院为“大观园”；

7.宝、黛二人于沁芳闸共赏 《会真记》，宝玉以张生、莺莺喻己喻人，黛玉感极生嗔；

8.王夫人怒逐金钏，金钏不堪受辱，投井身亡；

9.金钏事发，贾政痛打宝玉；

10.贾探春发起组织海棠诗社，此时邢岫烟、李纹、薛宝琴等同时入驻贾府，她们均具诗才，大观园比前更加热闹；

11.刘姥姥携孙板儿二进荣府，深得贾母欢心，拿到大量钱财；

12.贾赦欲讨鸳鸯为妾，鸳鸯哭诉贾母，贾母申斥贾赦夫妇；

13.紫鹃戏说黛玉将回苏州，宝玉呆症大发，黛玉病重；

14.贾敬中毒死亡，贾珍、贾蓉父子私通尤氏姐妹，贾琏偷纳尤二姐为妾；

15.刚烈尤三姐被未婚夫柳湘莲嫌弃，殉情饮剑身亡，柳湘莲出家；

16.尤二姐为凤姐所害，误服虎狼药，吞金自尽；

17.在邢夫人的挑拨下，王夫人、凤姐查抄大观园，司棋、晴雯被撵；

18.晴雯病亡，宝玉心痛如绞，作《芙蓉女儿诔》以祭；

19.迎春嫁了“中山狼”孙绍祖，受尽凌辱；

（以下为高鹗、程伟元续写）

20.薛蟠吃酒打死酒店当槽，被逮捕；

21.司棋和表弟潘又安殉情自尽，夏金桂欲毒死香菱，不料误饮毒药汤，自取灭亡；

22.元妃薨逝，通灵宝玉丢失，宝玉丧魂失魄，精神失常；

23.凤姐奇设调包计，黛玉闻知宝玉娶了宝钗，魂归离恨天，宝玉于潇湘馆痛祭黛玉，紫鹃细诉黛玉临终情景；

24.薛宝琴、史湘云相继出嫁；

25.锦衣军奉旨查抄贾府；

26.迎春被丈夫逼死。贾母逝世，鸳鸯上吊身亡，贾府遭贼人偷盗；

27.凤姐病故，临终托刘姥姥照看巧姐，贾环等人密谋把巧姐卖给藩王做妾；

28.刘姥姥三进大观园，救下巧姐；

29.宝玉梦中随和尚重游太虚幻境，见到众多已离人世的姐妹；

30.宝玉、贾兰叔侄赴考，出考场，宝玉旋即走失，出家为僧；

31.贾政途遇宝玉与一僧一道飘然而去，圣上赐宝玉“文妙真人”道号；

32.宝玉之妾袭人嫁给蒋玉菡；

33.贾雨村和甄士隐执手叙旧，荣宁二府将会兰桂齐芳，家道复初；

34.僧道携宝玉到青埂峰下，仍将玉放在女娲补天之处，各自云游。 [1]

作品目录播报编辑

## 作品目录

| 程伟元序  高鹗序 |
| --- |
| 第一回 | 甄士隐梦幻识通灵 | 贾雨村风尘怀闺秀 | - | 第二回 | 贾夫人仙逝扬州城 | 冷子兴演说荣国府 |
| 第三回 | 托内兄如海荐西宾 | 接外孙贾母怜孤女 | 第四回 | 薄命女偏逢薄命郎 | 葫芦僧乱判葫芦案 |
| 第五回 | 贾宝玉神游太虚境 | 警幻仙曲演《红楼梦》 | 第六回 | 贾宝玉初试云雨情 | 刘姥姥一进荣国府 |
| 第七回 | 送宫花贾琏戏熙凤 | 赴家宴宝玉会秦钟 | 第八回 | 贾宝玉奇缘识金锁 | 薛宝钗巧合认通灵 |
| 第九回 | 训劣子李贵承申饬 | 嗔顽童茗烟闹书房 | 第十回 | 金寡妇贪利权受辱 | 张太医论病细穷源 |
| 第十一回 | 庆寿辰宁府排家宴 | 见熙凤贾瑞起淫心 | 第十二回 | 王熙凤毒设相思局 | 贾天祥正照风月鉴 |
| 第十三回 | 秦可卿死封龙禁尉 | 王熙凤协理宁国府 | 第十四回 | 林如海捐馆扬州城 | 贾宝玉路谒北静王 |
| 第十五回 | 王凤姐弄权铁槛寺 | 秦鲸卿得趣馒头庵 | 第十六回 | 贾元春才选凤藻宫 | 秦鲸卿夭逝黄泉路 |
| 第十七回 | 园工竣试才题对额 | 疑心重负气剪荷包 | 第十八回 | 皇恩重元妃省父母 | 天伦乐宝玉呈才藻 |
| 第十九回 | 情切切良宵花解语 | 意绵绵静日玉生香 | 第二十回 | 王熙凤正言弹妒意 | 林黛玉俏语谑娇音 |
| 第二十一回 | 贤袭人娇嗔箴宝玉 | 俏平儿软语救贾琏 | 第二十二回 | 听曲文宝玉悟禅机 | 制灯迷贾政悲谶语 |
| 第二十三回 | 《西厢记》妙词通戏语 | 《牡丹亭》艳曲警芳心 | 第二十四回 | 醉金刚轻财尚义侠 | 痴女儿遗帕惹相思 |
| 第二十五回 | 魇魔法叔嫂逢五鬼 | 通灵玉蒙蔽遇双真 | 第二十六回 | 蜂腰桥设言传心事 | 潇湘馆春困发幽情 |
| 第二十七回 | 滴翠亭宝钗戏彩蝶 | 埋香冢黛玉泣残红 | 第二十八回 | 蒋玉菡情赠茜香罗 | 薛宝钗羞笼红麝串 |
| 第二十九回 | 享福人福深还祷福 | 多情女情重愈斟情 | 第三十回 | 宝钗借扇机带双敲 | 龄官画蔷痴及局外 |
| 第三十一回 | 撕扇子作千金一笑 | 因麒麟伏白首双星 | 第三十二回 | 诉肺腑心迷活宝玉 | 含耻辱情烈死金钏 |
| 第三十三回 | 手足眈眈小动唇舌 | 不肖种种大承笞挞 | 第三十四回 | 情中情因情感妹妹 | 错里错以错劝哥哥 |
| 第三十五回 | 白玉钏亲尝莲叶羹 | 黄金莺巧结梅花络 | 第三十六回 | 绣鸳鸯梦兆绛云轩 | 识分定情悟梨香院 |
| 第三十七回 | 秋爽斋偶结海棠社 | 蘅芜苑夜拟《菊花题》 | 第三十八回 | 林潇湘魁夺《菊花诗》 | 薛蘅芜讽和《螃蟹咏》 |
| 第三十九回 | 村姥姥是信口开河 | 情哥哥偏寻根究底 | 第四十回 | 史太君两宴大观园 | 金鸳鸯三宣牙牌令 |
| 第四十一回 | 贾宝玉品茶栊翠庵 | 刘姥姥醉卧怡红院 | 第四十二回 | 蘅芜君兰言解疑癖 | 潇湘子雅谑补余音 |
| 第四十三回 | 闲取乐偶攒金庆寿 | 不了情暂撮土为香 | 第四十四回 | 变生不测凤姐泼醋 | 喜出望外平儿理妆 |
| 第四十五回 | 金兰契互剖金兰语 | 风雨夕闷制风雨词 | 第四十六回 | 尴尬人难免尴尬事 | 鸳鸯女誓绝鸳鸯偶 |
| 第四十七回 | 呆霸王调情遭苦打 | 冷郎君惧祸走他乡 | 第四十八回 | 滥情人情误思游艺 | 慕雅女雅集苦吟诗 |
| 第四十九回 | 琉璃世界白雪红梅 | 脂粉香娃割腥啖膻 | 第五十回 | 芦雪庵争联即景诗 | 暖香坞雅制春灯谜 |
| 第五十一回 | 薛小妹新编怀古诗 | 胡庸医乱用虎狼药 | 第五十二回 | 俏平儿情掩虾须镯 | 勇晴雯病补雀金裘 |
| 第五十三回 | 宁国府除夕祭宗祠 | 荣国府元宵开夜宴 | 第五十四回 | 史太君破陈腐旧套 | 王熙凤效戏彩斑衣 |
| 第五十五回 | 辱亲女愚妾争闲气 | 欺幼主刁奴蓄险心 | 第五十六回 | 敏探春兴利除宿弊 | 贤宝钗小惠全大体 |
| 第五十七回 | 慧紫鹃情辞试莽玉 | 慈姨妈爱语慰痴颦 | 第五十八回 | 杏子阴假凤泣虚凰 | 茜纱窗真情揆痴理 |
| 第五十九回 | 柳叶渚边嗔莺咤燕 | 绛云轩里召将飞符 | 第六十回 | 茉莉粉替去蔷薇硝 | 玫瑰露引出茯苓霜 |
| 第六十一回 | 投鼠忌器宝玉瞒赃 | 判冤决狱平儿行权 | 第六十二回 | 憨湘云醉眠芍药裀 | 呆香菱情解石榴裙 |
| 第六十三回 | 寿怡红群芳开夜宴 | 死金丹独艳理亲丧 | 第六十四回 | 幽淑女悲题五美吟 | 浪荡子情遗九龙珮 |
| 第六十五回 | 贾二舍偷娶尤二姨 | 尤三姐思嫁柳二郎 | 第六十六回 | 情小妹耻情归地府 | 冷二郎心冷入空门 |
| 第六十七回 | 见土仪颦卿思故里 | 闻秘事凤姐讯家童 | 第六十八回 | 苦尤娘赚入大观园 | 酸凤姐大闹宁国府 |
| 第六十九回 | 弄小巧用借剑杀人 | 觉大限吞生金自逝 | 第七十回 | 林黛玉重建桃花社 | 史湘云偶填《柳絮词》 |
| 第七十一回 | 嫌隙人有心生嫌隙 | 鸳鸯女无意遇鸳鸯 | 第七十二回 | 王熙凤恃强羞说病 | 来旺妇倚势霸成亲 |
| 第七十三回 | 痴丫头误拾绣春囊 | 懦小姐不问累金凤 | 第七十四回 | 惑奸谗抄检大观园 | 避嫌隙杜绝宁国府 |
| 第七十五回 | 开夜宴异兆发悲音 | 赏中秋新词得佳谶 | 第七十六回 | 凸碧堂品笛感凄清 | 凹晶馆联诗悲寂寞 |
| 第七十七回 | 俏丫鬟抱屈夭风流 | 美优伶斩情归水月 | 第七十八回 | 老学士闲征《姽婳词》 | 痴公子杜撰《芙蓉诔》 |
| 第七十九回 | 薛文起悔娶河东吼 | 贾迎春误嫁中山狼 | 第八十回 | 美香菱屈受贪夫棒 | 王道士胡诌妒妇方 |
| 第八十一回 | 占旺相四美钓游鱼 | 奉严词两番入家塾 | 第八十二回 | 老学究讲义警顽心 | 病潇湘痴魂惊恶梦 |
| 第八十三回 | 省宫闱贾元妃染恙 | 闹闺阃薛宝钗吞声 | 第八十四回 | 试文字宝玉始提亲 | 探惊风贾环重结怨 |
| 第八十五回 | 贾存周报升郎中任 | 薛文起复惹放流刑 | 第八十六回 | 受私贿老官翻案牍 | 寄闲情淑女解琴书 |
| 第八十七回 | 感深秋抚琴悲往事 | 坐禅寂走火入邪魔 | 第八十八回 | 博庭欢宝玉赞孤儿 | 正家法贾珍鞭悍仆 |
| 第八十九回 | 人亡物在公子填词 | 蛇影杯弓颦卿绝粒 | 第九十回 | 失绵衣贫女耐嗷嘈 | 送果品小郎惊叵测 |
| 第九十一回 | 纵淫心宝蟾工设计 | 布疑阵宝玉妄谈禅 | 第九十二回 | 评女传巧姐慕贤良 | 顽母珠贾政参聚散 |
| 第九十三回 | 甄家仆投靠贾家门 | 水月庵掀翻风月案 | 第九十四回 | 宴海棠贾母赏花妖 | 失宝玉通灵知奇祸 |
| 第九十五回 | 因讹成实元妃薨逝 | 以假混真宝玉疯癫 | 第九十六回 | 瞒消息凤姐设奇谋 | 泄机关颦儿迷本性 |
| 第九十七回 | 林黛玉焚稿断痴情 | 薛宝钗出闺成大礼 | 第九十八回 | 苦绛珠魂归离恨天 | 病神瑛泪洒相思地 |
| 第九十九回 | 守官箴恶奴同破例 | 阅邸报老舅自担惊 | 第一百回 | 破好事香菱结深恨 | 悲远嫁宝玉感离情 |
| 第一百一回 | 大观园月夜警幽魂 | 散花寺神签占异兆 | 第一百二回 | 宁国府骨肉病灾祲 | 大观园符水驱妖孽 |
| 第一百三回 | 施毒计金桂自焚身 | 昧真禅雨村空遇旧 | 第一百四回 | 醉金刚小鳅生大浪 | 痴公子余痛触前情 |
| 第一百五回 | 锦衣军查抄宁国府 | 骢马使弹劾平安州 | 第一百六回 | 王熙凤致祸抱羞惭 | 贾太君祷天消祸患 |
| 第一百七回 | 散余资贾母明大义 | 复世职政老沐天恩 | 第一百八回 | 强欢笑蘅芜庆生辰 | 死缠绵潇湘闻鬼哭 |
| 第一百九回 | 候芳魂五儿承错爱 | 还孽债迎女返真元 | 第一百十回 | 史太君寿终归地府 | 王凤姐力诎失人心 |
| 第一百十一回 | 鸳鸯女殉主登太虚 | 狗彘奴欺天招伙盗 | 第一百十二回 | 活冤孽妙尼遭大劫 | 死雠仇赵妾赴冥曹 |
| 第一百十三回 | 忏宿冤凤姐托村妪 | 释旧憾情婢感痴郎 | 第一百十四回 | 王熙凤历幻返金陵 | 甄应嘉蒙恩还玉阙 |
| 第一百十五回 | 惑偏私惜春矢素志 | 证同类宝玉失相知 | 第一百十六回 | 得通灵幻境悟仙缘 | 送慈柩故乡全孝道 |
| 第一百十七回 | 阻超凡佳人双护玉 | 欣聚党恶子独承家 | 第一百十八回 | 记微嫌舅兄欺弱女 | 惊谜语妻妾谏痴人 |
| 第一百十九回 | 中乡魁宝玉却尘缘 | 沐皇恩贾家延世泽 | 第一百二十回 | 甄士隐详说太虚情 | 贾雨村归结《红楼梦》 [1] |

程伟元序  高鹗序

甄士隐梦幻识通灵

贾雨村风尘怀闺秀

贾夫人仙逝扬州城

冷子兴演说荣国府

托内兄如海荐西宾

接外孙贾母怜孤女

薄命女偏逢薄命郎

葫芦僧乱判葫芦案

贾宝玉神游太虚境

警幻仙曲演《红楼梦》

贾宝玉初试云雨情

刘姥姥一进荣国府

送宫花贾琏戏熙凤

赴家宴宝玉会秦钟

贾宝玉奇缘识金锁

薛宝钗巧合认通灵

训劣子李贵承申饬

嗔顽童茗烟闹书房

金寡妇贪利权受辱

张太医论病细穷源

庆寿辰宁府排家宴

见熙凤贾瑞起淫心

王熙凤毒设相思局

贾天祥正照风月鉴

秦可卿死封龙禁尉

王熙凤协理宁国府

林如海捐馆扬州城

贾宝玉路谒北静王

王凤姐弄权铁槛寺

秦鲸卿得趣馒头庵

贾元春才选凤藻宫

秦鲸卿夭逝黄泉路

园工竣试才题对额

疑心重负气剪荷包

皇恩重元妃省父母

天伦乐宝玉呈才藻

情切切良宵花解语

意绵绵静日玉生香

王熙凤正言弹妒意

林黛玉俏语谑娇音

贤袭人娇嗔箴宝玉

俏平儿软语救贾琏

听曲文宝玉悟禅机

制灯迷贾政悲谶语

《西厢记》妙词通戏语

《牡丹亭》艳曲警芳心

醉金刚轻财尚义侠

痴女儿遗帕惹相思

魇魔法叔嫂逢五鬼

通灵玉蒙蔽遇双真

蜂腰桥设言传心事

潇湘馆春困发幽情

滴翠亭宝钗戏彩蝶

埋香冢黛玉泣残红

蒋玉菡情赠茜香罗

薛宝钗羞笼红麝串

享福人福深还祷福

多情女情重愈斟情

宝钗借扇机带双敲

龄官画蔷痴及局外

撕扇子作千金一笑

因麒麟伏白首双星

诉肺腑心迷活宝玉

含耻辱情烈死金钏

手足眈眈小动唇舌

不肖种种大承笞挞

情中情因情感妹妹

错里错以错劝哥哥

白玉钏亲尝莲叶羹

黄金莺巧结梅花络

绣鸳鸯梦兆绛云轩

识分定情悟梨香院

秋爽斋偶结海棠社

蘅芜苑夜拟《菊花题》

林潇湘魁夺《菊花诗》

薛蘅芜讽和《螃蟹咏》

村姥姥是信口开河

情哥哥偏寻根究底

史太君两宴大观园

金鸳鸯三宣牙牌令

贾宝玉品茶栊翠庵

刘姥姥醉卧怡红院

蘅芜君兰言解疑癖

潇湘子雅谑补余音

闲取乐偶攒金庆寿

不了情暂撮土为香

变生不测凤姐泼醋

喜出望外平儿理妆

金兰契互剖金兰语

风雨夕闷制风雨词

尴尬人难免尴尬事

鸳鸯女誓绝鸳鸯偶

呆霸王调情遭苦打

冷郎君惧祸走他乡

滥情人情误思游艺

慕雅女雅集苦吟诗

琉璃世界白雪红梅

脂粉香娃割腥啖膻

芦雪庵争联即景诗

暖香坞雅制春灯谜

薛小妹新编怀古诗

胡庸医乱用虎狼药

俏平儿情掩虾须镯

勇晴雯病补雀金裘

宁国府除夕祭宗祠

荣国府元宵开夜宴

史太君破陈腐旧套

王熙凤效戏彩斑衣

辱亲女愚妾争闲气

欺幼主刁奴蓄险心

敏探春兴利除宿弊

贤宝钗小惠全大体

慧紫鹃情辞试莽玉

慈姨妈爱语慰痴颦

杏子阴假凤泣虚凰

茜纱窗真情揆痴理

柳叶渚边嗔莺咤燕

绛云轩里召将飞符

茉莉粉替去蔷薇硝

玫瑰露引出茯苓霜

投鼠忌器宝玉瞒赃

判冤决狱平儿行权

憨湘云醉眠芍药裀

呆香菱情解石榴裙

寿怡红群芳开夜宴

死金丹独艳理亲丧

幽淑女悲题五美吟

浪荡子情遗九龙珮

贾二舍偷娶尤二姨

尤三姐思嫁柳二郎

情小妹耻情归地府

冷二郎心冷入空门

见土仪颦卿思故里

闻秘事凤姐讯家童

苦尤娘赚入大观园

酸凤姐大闹宁国府

弄小巧用借剑杀人

觉大限吞生金自逝

林黛玉重建桃花社

史湘云偶填《柳絮词》

嫌隙人有心生嫌隙

鸳鸯女无意遇鸳鸯

王熙凤恃强羞说病

来旺妇倚势霸成亲

痴丫头误拾绣春囊

懦小姐不问累金凤

惑奸谗抄检大观园

避嫌隙杜绝宁国府

开夜宴异兆发悲音

赏中秋新词得佳谶

凸碧堂品笛感凄清

凹晶馆联诗悲寂寞

俏丫鬟抱屈夭风流

美优伶斩情归水月

老学士闲征《姽婳词》

痴公子杜撰《芙蓉诔》

薛文起悔娶河东吼

贾迎春误嫁中山狼

美香菱屈受贪夫棒

王道士胡诌妒妇方

占旺相四美钓游鱼

奉严词两番入家塾

老学究讲义警顽心

病潇湘痴魂惊恶梦

省宫闱贾元妃染恙

闹闺阃薛宝钗吞声

试文字宝玉始提亲

探惊风贾环重结怨

贾存周报升郎中任

薛文起复惹放流刑

受私贿老官翻案牍

寄闲情淑女解琴书

感深秋抚琴悲往事

坐禅寂走火入邪魔

博庭欢宝玉赞孤儿

正家法贾珍鞭悍仆

人亡物在公子填词

蛇影杯弓颦卿绝粒

失绵衣贫女耐嗷嘈

送果品小郎惊叵测

纵淫心宝蟾工设计

布疑阵宝玉妄谈禅

评女传巧姐慕贤良

顽母珠贾政参聚散

甄家仆投靠贾家门

水月庵掀翻风月案

宴海棠贾母赏花妖

失宝玉通灵知奇祸

因讹成实元妃薨逝

以假混真宝玉疯癫

瞒消息凤姐设奇谋

泄机关颦儿迷本性

林黛玉焚稿断痴情

薛宝钗出闺成大礼

苦绛珠魂归离恨天

病神瑛泪洒相思地

守官箴恶奴同破例

阅邸报老舅自担惊

破好事香菱结深恨

悲远嫁宝玉感离情

大观园月夜警幽魂

散花寺神签占异兆

宁国府骨肉病灾祲

大观园符水驱妖孽

施毒计金桂自焚身

昧真禅雨村空遇旧

醉金刚小鳅生大浪

痴公子余痛触前情

锦衣军查抄宁国府

骢马使弹劾平安州

王熙凤致祸抱羞惭

贾太君祷天消祸患

散余资贾母明大义

复世职政老沐天恩

强欢笑蘅芜庆生辰

死缠绵潇湘闻鬼哭

候芳魂五儿承错爱

还孽债迎女返真元

史太君寿终归地府

王凤姐力诎失人心

第一百十一回

鸳鸯女殉主登太虚

狗彘奴欺天招伙盗

第一百十二回

活冤孽妙尼遭大劫

死雠仇赵妾赴冥曹

第一百十三回

忏宿冤凤姐托村妪

释旧憾情婢感痴郎

第一百十四回

王熙凤历幻返金陵

甄应嘉蒙恩还玉阙

第一百十五回

惑偏私惜春矢素志

证同类宝玉失相知

第一百十六回

得通灵幻境悟仙缘

送慈柩故乡全孝道

第一百十七回

阻超凡佳人双护玉

欣聚党恶子独承家

第一百十八回

记微嫌舅兄欺弱女

惊谜语妻妾谏痴人

第一百十九回

中乡魁宝玉却尘缘

沐皇恩贾家延世泽

第一百二十回

甄士隐详说太虚情

贾雨村归结《红楼梦》 [1]

成书过程播报编辑

## 成书过程

《红楼梦》的诞生说法之一为：成书于18世纪中国封建社会末期，当时清政府实行闭关锁国，举国上下沉醉在康乾盛世、天朝上国的迷梦中。这时期从表面看来，好像太平无事，实际其社会内部的矛盾正在加剧发展，整个王朝已到了盛极而衰的转折点。 [2]《红楼梦》书影

在康熙、雍正两朝，曹家祖孙三代四个人总共做了58年的江宁织造。曹家极盛时，曾办过四次接驾的阔差。曹雪芹生长在南京，少年时代经历了一段富贵繁华的贵族生活，但后来家渐衰败，雍正六年（1728）因亏空得罪被抄没，曹雪芹一家迁回北京。回京后，他曾在一所皇族学堂“右翼宗学”里当过掌管文墨的杂差，境遇潦倒，生活艰难。晚年移居北京西郊，生活更加穷苦，“满径蓬蒿”，“举家食粥酒常赊”。《红楼梦》一书是曹雪芹破产倾家之后，在贫困之中创作的。创作年代在乾隆初年到乾隆三十年（1736—1765）左右。 [24]

《红楼梦》开卷第一回第一段“作者自云”即是曹雪芹自序。在这篇自序中，曹雪芹以真实身份出现，对读者讲述写作缘起。据他自述，

![Dream of the Red Chamber](/static/img/articles/dream-of-the-red-chamber/dream-of-the-red-chamber-illustration-01.jpg)


Water Margin

Summary: A classic Chinese novel that tells the story of 108 outlaws who gather on Mount Liang and eventually submit to imperial authority.

# Water Margin

## Overview

Water Margin, also known by its literal translation Outlaws of the Marsh, is one of the Four Great Classical Novels of Chinese literature. The novel, traditionally attributed to Shi Nai'an, tells the story of 108 outlaws who gather at Mount Liang (also known as Liangshan Marsh) to oppose a corrupt government during the Song dynasty. The novel combines elements of history, folklore, and popular storytelling to create a complex narrative that explores themes of justice, loyalty, rebellion, and redemption.

## History

### Historical Background

The novel is based on historical events from the Northern Song Dynasty, specifically the Song Jiang rebellion that took place between 1119 and 1121. Historical records such as the *Dongdu Shilie* and the *History of Song* document the exploits of Song Jiang and his thirty-six followers, who "roamed freely across Heshuo (modern Hebei) with tens of thousands of government troops unable to resist them." These historical accounts indicate that while the rebel force was relatively small, they were formidable fighters who posed a significant threat to the Song Dynasty.

During the Song Dynasty, the art of storytelling flourished, and tales of Song Jiang and his thirty-six followers quickly became popular material for storytellers. The earliest written records of these stories appear in Southern Song Dynasty texts like *Zuiweng Tanlu*, which mentions story titles such as "Blue-Faced Beast," "Flower Monk," and "Wu Xingzhe," believed to refer to characters Yang Zhi, Lu Zhishen, and Wu Song respectively. The earliest extant work containing these stories is *The Great Song Dynasty Chronicle of Xuanhe*, which may have originated during the Yuan Dynasty or been an earlier Song Dynasty text with Yuan Dynasty additions.

### Title Origin

During its transmission, the novel acquired various alternative titles, including *Loyal and Righteous Water Margin*, *Water Margin Loyal and Righteous Biography*, *The Fifth Talent Book*, and *Water Margin Romance*. The title "Water Margin" is derived from a line in the *Book of Songs* (*Shijing*): "Ancient Duke Danfu, came to court at dawn, led west to the water margin, and arrived at Qi." The exact meaning of "Water Margin" has been subject to scholarly debate, with interpretations ranging from representing "loyalty and righteousness" to symbolizing the "water margin of Liangshan Mountain" or metaphorically representing "in the wild" (in opposition to the court).

### Authorship Controversy

The actual authorship of *Water Margin* spans several centuries from the Song and Yuan to the late Ming Dynasty, involving numerous storytellers, writers, and publishers. The novel represents a type of "accumulative long literary work" passed down through generations. During the Ming and Qing Dynasties, three different attribution forms appeared in published versions of the novel: one attributing the work solely to Luo Guanzhong, another to a collaboration between Shi Nai'an and Luo Guanzhong, and a third attributing it solely to Shi Nai'an. By the late Ming Dynasty, Jin Shengtan's abridged edition attributed the work solely to Shi Nai'an, and this attribution has persisted in most modern editions.

## Content Plot

The novel begins during the reign of Emperor Renzong of the Song Dynasty, when a devastating plague spreads throughout the land. The emperor dispatches Grand Marshal Hong Xin and the Celestial Master of Longhu Mountain to perform rituals to appease the gods. At Longhu Mountain, Hong Xin orders the excavation of a sealed cave in the Demon Subduing Temple, accidentally releasing 108 demonic stars who descend to earth as 108 heroic outlaws.

The first hero introduced is "Nine-Tattooed Dragon" Shi Jin, who encounters Wang Jin, a former military instructor framed by Gao Qiu. Shi Jin loses a duel to Wang Jin and becomes his disciple. Subsequently, Shi Jin becomes involved in a conflict with the leaders of Shaohua Mountain and is forced to flee. His journey leads him to Weizhou City, where he meets Lu Da, a military instructor, and reunites with his former master Li Zhong. The three learn of how singer Jin Cui-lian is being extorted by the local bully "Guankey" Zheng Tu. Lu Da confronts and kills Zheng Tu the next day, then flees to Daizhou, where he eventually becomes a monk at Wutai Mountain under the name "Zhishen."

At the monastery, Lu Da twice violates his vows by drinking alcohol and creates disturbances, leading the abbot to recommend him to Daxiangguo Temple in the Eastern Capital. On his journey, Lu defeats "Little Overlord" Zhou Tong, who was attempting to forcibly marry a local woman. Later, at Wansi Temple, he joins forces with Shi Jin to kill the evil monks "Iron Buddha" Cui Daocheng and "Flying Yaksha" Qiu Xiaoyi and burns down the dilapidated temple. Upon reaching the Eastern Capital, Lu Da befriends Lin Chong, a military instructor. Lin Chong's wife is harassed by Gao Qiu's adopted son on their first meeting. Later, Gao Qiu, his son, and Lu Qian conspire to frame Lin Chong, who is exiled to Cangzhou. Lu Da secretly follows Lin Chong to protect him during his journey. In Cangzhou, Lin Chong encounters "Little Whirlwind" Chai Jin, who provides him with money to bribe officials. However, due to pressure from Gao Qiu, Lin Chong is assigned to work at a fodder depot where he is set up for assassination. Lin Chong kills his attackers, flees to Chai Jin's estate, and is eventually recommended to join the outlaws at Liangshan Marsh under Wang Lun. Wang伦 insists that Lin Chong kill someone to prove his loyalty, but instead Lin Chong encounters "Blue-Faced Beast" Yang Zhi.

Wang Lun prevents their fight and attempts to recruit Yang Zhi, who declines. Yang Zhi returns to the Eastern Capital after being stripped of his position for losing a shipment of exotic flowers and stones (huashi gang). To make money, he sells his ancestral sword but is accosted by the ruffian Niu Er. In a fit of anger, Yang Zhi kills Niu Er and is sentenced to exile in Daming Prefecture. The prefect Liang Shijie recognizes Yang Zhi's abilities and keeps him in his service. Yang Zhi defeats Zhou Jin in a competition and draws with "Vanguard" Suo Chao, earning his position.

Meanwhile, Prime Minister Cai Jing's birthday approaches, and Liang Shijie orders Yang Zhi to escort the birthday gifts (the "birthday tribute") to the Eastern Capital. This mission is discovered by "Red-Haired Ghost" Liu Tang, who plans to steal it with Chao Gai, the village head of Dongxi Village. "Wise Star" Wu Liang learns of this and collaborates with the three Ruan brothers from Shijie Village. They are later joined by "Dragon in the Clouds" Gongsun Sheng and "Daytime Rat" Bai Sheng. When the convoy passes through Huangni Ridge, Chao Gai's group uses a scheme to drug the guards and steal the birthday tribute. After recovering, Yang Zhi, having nowhere to go, encounters Lin Chong's disciple "Butcher" Cao Zheng and "Flower Monk" Lu Zhishen at the foot of Erlong Mountain. They kill the Erlong Mountain leader Deng Long and take over the Baozhu Temple.

The theft of the birthday tribute reaches the capital, and the court dispatches He Tao to investigate in Yuncheng County. The county clerk "Timely Rain" Song Jiang learns of this and warns Chao Gai. Chao Gai and his men defeat He Tao's forces at Shijie Village and flee to Liangshan Marsh. The Liangshan leader Wang Lun, fearing Chao Gai's presence, refuses to let them stay long. Wu Liang conspires with Lin Chong, who had been marginalized by Wang伦, and they kill Wang伦 in a coup.

Under Chao Gai's leadership, Liangshan Marsh prospers. Chao Gai sends Liu Tang with gold and a letter to thank Song Jiang for his help, but the letter is discovered by Song Jiang's concubine Yan Baoxi, who blackmails him. Song Jiang kills Yan Baoxi in anger and flees with his younger brother "Iron Fan" Song Qing to Chai Jin's estate in Cangzhou.

At Chai Jin's estate, Song Jiang meets Wu Song, who is resting there while returning home. Wu Song travels separately and encounters a tiger at Jingyang Ridge, which he kills with his bare hands. He is appointed as a constable in Yanggu County and reunites with his elder brother Wu Dalang and his sister-in-law Pan Jinlian. Pan attempts to seduce Wu Song, forcing him to move to the county office. While away on business, Pan Jinlian has an affair with the wealthy Ximen Qing and they poison Wu Dalang. Upon returning, Wu Song kills them both and is exiled to Mengzhou. On the way, he meets the Butcher Zhang Qing and "Female Yaksha" Sun Erniang, who run a restaurant. In the prison camp, he befriends Shi En, son of the camp commander, and helps him reclaim the Happy Forest area from "God of War" Jiang Zhong. However, Wu Song is framed by the local military inspector Zhang Mengfang. After killing assassins at Feiyunpu, Wu Song massacres Zhang Mengfang's family and flees to Erlong Mountain. On his journey, he kills the Taoist "Flying Centipede" and is captured at Kong Family Village after fighting "Mars" Kong Liang, but reunites with Song Jiang, who is teaching martial arts there.

Song Jiang accompanies Wu Song away from Kong Family Village and goes to join "Little Li Guang" Hua Rong at Qingfeng Fortress. However, he is nearly killed by the leaders of Qingfeng Mountain and later framed and captured by the civil official Liu Gao. Yan Shun and others from Qingfeng Mountain rescue Song Jiang and Hua Rong and kill Liu Gao. Song Jiang defeats the Qingzhou forces and subdues the fierce generals "Thunder Fire" Qin Ming and "Suppressor of the Three Mountains" Huang Xin. As they head to Liangshan, Song Jiang is tricked by his father into returning home and captured by government troops. He is exiled to Jiangzhou, where he befriends several local bullies and meets "Magic Traveler" Dai Zong and "Black Whirlwind" Li Kui. One day, while drunk at Xunyang Tower, Song Jiang writes a poem that is misinterpreted by the vice prefect Huang Wenbing as treasonous. Song Jiang is sentenced to death but rescued by Liangshan heroes at the execution ground. Under Song Jiang's plan, they attack Wumei Army (across the river from Jiangzhou), kill Huang Wenbing, and bring Song Jiang and the others to Liangshan. Song Jiang attempts to return home to bring his family to the mountain but is surrounded by government troops and forced to hide at Huandao Village. There, he encounters the Nine Heavens Mysterious Lady, who saves him from pursuers and grants him three volumes of heavenly scriptures.

Li Kui returns home to bring his mother to the mountain but encounters tigers that kill her. In a rage, Li Kui kills four tigers and is hailed as a local hero but is recognized as a Liangshan outlaw and captured. Fortunately, Zhu Fu, brother of "Dry Land Crocodile" Zhu Gui, helps rescue Li Kui and also brings "Blue-Eyed Tiger" Li Yun to the mountain. Song Jiang and the others miss Gongsun Sheng and send Dai Zong to find him. Dai Zong returns with four heroes from Yinma River and befriends "Sick Knot" Yang Xiong and "Desperate Third" Shi Xiu. Later, Yang Xiong's wife has an affair, and Shi Xiu kills her. They decide to go to Liangshan but encounter conflict with Zhu Family Village. After seeking help unsuccessfully, they go to Liangshan for reinforcements, beginning the three battles of Zhu Family Village and recruiting heroes such as Jie Zhen, Jie Bao, and "Sick Yuchi" Sun Li.

After the three battles of Zhu Family Village and rescuing Chai Jin, Liangshan's influence grows significantly. They repel three major campaigns by Grand Marshal Gao, and the three mountains of Taohua Mountain, Erlong Mountain, and Liangshan unite. However, Chao Gai is fatally wounded by a poisoned arrow while attacking Zengtou City. To expand their forces, Wu Liang devises a plan to recruit the famous "Jade Qilin" Lu Junyi. After many twists and turns, Lu Junyi joins Liangshan. The Liangshan army defeats Zengtou City and repels several imperial offensives, with many military commanders joining their cause. The 108 heroes gather at Liangshan. After the grand gathering, facing the increasingly powerful Liangshan army, the imperial court twice offers amnesty but fails due to obstruction by corrupt officials. The court sends Gao Qiu and Tong Guan to suppress Liangshan five times, but all attempts are defeated. Gao Qiu is even captured alive. Only after three imperial edicts does the court finally succeed in offering amnesty.

After accepting amnesty, the Liangshan heroes hold a "Great Market of Gold Distribution," distributing their wealth and houses to local residents. The Liangshan army is then dispatched to the north to attack the Liao Kingdom. They conquer four cities—Tan, Ji, Ba, and You—and defeat the elite Liao forces. With guidance from the Nine Heavens Mysterious Lady, they break the Grand Cosmic Formation Array commanded by Wuyan Guang of Liao and kill him. The offensive is so successful that the Liao emperor is forced to surrender to the Northern Song.

However, after the campaign against Liao, the court returns all the recovered Yan territory to Liao and does not grant official positions to the Liangshan heroes, rendering their efforts futile. The court also does not allow the Liangshan soldiers to enter the city. During the Lantern Festival, Li Kui and Yan Qing sneak into the city and learn that Fang La in the south has rebelled. Song Jiang volunteers to lead the campaign as the southern vanguard.

Due to climate, epidemics, and the court's recall of the army physician "Divine Doctor" An Dao'an, the Liangshan army suffers heavy casualties. They eventually achieve a costly victory against Fang La, with only 32 commanders surviving. After victories in both northern and southern campaigns, the court rewards the surviving commanders. Song Jiang, ranked first as "Heavenly Leader" and nicknamed "Protector of Righteousness," is appointed Commander-in-Chief of the Army and Pacification Commissioner of Chuzhou. Six months after taking office, he is poisoned by corrupt officials. Lu Junyi, ranked second, is poisoned with mercury and falls into a river. Wu Liang, ranked third, eventually hangs himself with Hua Rong at Song Jiang's tomb.

One night after their deaths, Emperor Huizong dreams of Dai Zong leading him to Liangshan Marsh, where he meets the heroes. Song Jiang reveals in the dream that they were poisoned by corrupt officials. Upon waking, Emperor Huizong investigates, confirms their deaths, and builds a temple for them at Liangshan Marsh to protect the region and receive the people's worship.

## Key Information

| Aspect | Details |
|--------|---------|
| Original Title | 水浒传 (Shuǐ Hǔ Zhuàn) |
| Alternative Titles | Outlaws of the Marsh, All Men Are Brothers, The Water Margin |
| Authorship | Traditionally attributed to Shi Nai'an, with possible contributions from Luo Guanzhong |
| Approximate Completion Date | Late 14th century (Ming Dynasty) |
| Literary Form | Novel |
| Language | Classical Chinese |
| Number of Chapters | 100 (original), 120 (extended version) |
| Main Setting | Northern Song Dynasty (960-1127) |
| Key Themes | Justice, loyalty, rebellion, redemption, corruption, brotherhood |
| Cultural Significance | One of the Four Great Classical Novels of Chinese literature, profoundly influencing Chinese literature, theater, and popular culture |

## Cultural Significance

Water Margin holds a significant place in Chinese cultural heritage as one of the Four Great Classical Novels. The novel's exploration of justice, loyalty, and rebellion against corruption has resonated with Chinese readers for centuries. Its characters, with their distinct personalities and moral complexities, have become archetypes in Chinese literature and popular culture.

The novel's influence extends beyond literature into various art forms. It has been adapted into numerous operas, films, television series, and video games. The story of the 108 heroes has become a cultural touchstone, referenced in countless works of Chinese popular culture. The novel's themes of righteous rebellion against corrupt authority continue to resonate in modern Chinese society.

The novel's portrayal of brotherhood and loyalty among the outlaws has made it particularly popular among common people, who often identify with the heroes' struggles against oppressive social structures. The characters' code of honor, despite their outlaw status, has been interpreted as a critique of official corruption and a celebration of popular justice.

## Modern Status

Today, Water Margin remains widely read and studied in China and throughout the world. It has been translated into numerous languages and is considered a masterpiece of world literature. Modern scholars continue to analyze the novel from various perspectives, including its historical context, literary techniques, philosophical themes, and social commentary.

The novel's characters and stories continue to inspire contemporary adaptations in various media. Recent years have seen new film and television productions, as well as innovative reinterpretations in literature and digital media. The novel's themes of justice, corruption, and resistance to authority remain relevant in modern discussions of social and political issues.

Academic interest in the novel has grown significantly, with scholars examining its historical sources, textual variations, cultural impact, and enduring relevance. The novel's complex portrayal of rebellion and its ambiguous moral stance continue to provide fertile ground for scholarly debate and interpretation.

## References

1. Hsia, C.T. *The Classic Chinese Novel: A Critical Introduction*. Yale University Press, 1968.

2. Shapiro, Harold R. *Water Margin: A Novel of Loyalty and Righteousness*. University of Hawaii Press, 1987.

3. Plaks, Andrew H. *The Four Masterworks of the Ming Novel*. Princeton University Press, 1987.

4. Wang, David Der-wei. *Fictional Realism in Twentieth-Century China: Mao Dun, Lao She, Shen Congwen*. Columbia University Press, 1992.

5. Doleželová-Velingerová, Milena, ed. *The Chinese Novel: From Myth to Modernity*. Wiesbaden: Harrassowitz Verlag, 1993.

![Water Margin](/static/img/articles/water-margin/water-margin-illustration-01.jpg)


水浒传

创作背景播报编辑

## 创作背景

### 历史背景

《水浒传》的成书，取材于北宋末年宋江起义的历史。据《东都事略侯蒙传》：“江以三十六人横行河朔，京东官军数万无敢抗者。” [39]

又据《宋史·徽宗本纪》：“淮南盗宋江等犯淮阳军，遣将讨捕，又犯京东、河北，入楚、海州界，命知州张叔夜招降之。”《宋史·张叔夜传》：“宋江起河朔，转略十郡，官军莫敢婴其锋。声言将至，叔夜使间者觇所向，贼径趋海濒，劫钜舟十余，载掳获。于是募死士得千人，设伏近城，而出轻兵距海诱之战，先匿壮卒海旁，伺兵合，举火焚其舟，贼闻之皆无斗志，伏兵乘之，擒其副贼，江乃降。”此外，李埴的《十朝纲要》，宋代陈均的《九朝编年备要》和徐梦莘的《三朝北盟会编》，也都有类似的记载。还有的记载说宋江投降后曾参加过征方腊之役。从这些记载里，可以知道这支起义军，人数不多（但也决不止36人），但战斗力很强，在群众中甚有影响，曾经给宋王朝造成一定的威胁。宋江等起义的年代大约在宣和元年（1119）至宣和三年（1121），前后三年多。 [39]

宋代说书技艺兴盛，民间流传的宋江等36人故事，很快就被说书人采来作为创作话本的素材，南宋罗烨《醉翁谈录》记有小说篇目《青面兽》《花和尚》和《武行者》，这当是说的杨志、鲁智深、武松的故事，此外，《石头孙立》一篇可能也是水浒故事。 [39]

这是有关《水浒传》话本的最早记载。南宋末有龚开的《宋江三十六人赞并序》，序里说：“宋江事见于街谈巷语。”并说在龚开之前有画院待诏李嵩，曾画过宋江等人像。但龚开的赞并未说故事内容。现在看到的最早写水浒故事的作品，是《大宋宣和遗事》，它或出于元人，或为宋人旧本而元时又有增益。有的研究者认为它是说书艺人的底本。 [39]

它所记水浒故事梗概，从杨志卖刀杀人起，经智取生辰纲、宋江怒杀阎婆惜、九天玄女授天书，直到投降朝廷镇压方腊起义止，顺序和后世的《水浒传》基本一致。这时的水浒故事已由许多分散独立的单篇，发展为系统连贯的整体。元代杂剧盛行，有大量的水浒戏出现，元杂剧和《大宋宣和遗事》所记水浒的人物姓名大致相同，但聚义地点不同，杂剧说的是梁山泊，《遗事》说的是太行山；杂剧中已有“一百八个头领”之语，《遗事》只提到了36将的绰号姓名；《遗事》中写李逵位列第14，燕青位列第28，杂剧中李逵是第13头领，燕青是第15头领。 [39]

凡此种种，可见在《水浒传》成书以前，水浒故事在流传中内容细节上颇有异同。这或者同在不同地区流传也有关系。施耐庵正是把这些在不同地区流传的故事，汇集起来，经过选择、加工、再创作，才写成《水浒传》。 [39]

### 书名由来

该书在流传过程中产生了诸多异称和相关书名，其中《忠义水浒传》《水浒忠义传》《第五才子书》《水浒传传奇》《梁山传》《宋元春秋》《水浒衍义》《水浒志传》《水浒记》与《水浒传》是同书异名关系。 [22]

“水浒”出自《诗经·大雅·緜》中“古公亶父，来朝走马，率西水浒，至于岐下”一句。但至于这个书名的确切含义，一直存在异议。历来学者认为“忠义”或是作为修饰“水浒”的形容词或是作为代表“忠义人”的名词。对“水浒”二字的理解主要有四种：代表“忠义”；代表“替天行道救生民”的反抗精神；代表一定的文化隐喻；代表“水泊梁山”的雅称。 [22]

还有一种传说：作者施耐庵由于厌恶尔虞我诈的官场，仅供职两年，便辞官回到老家，一面教书，一面写《江湖豪客传》。书终于脱稿了，施耐庵对书中的情节都很满意，只是觉得书名欠佳。当时还是施耐庵学生的罗贯中建议书名为《水浒传》，施耐庵一听，高兴得连声说：“好，好！这个书名太好了！‘水浒’，即水边的意思，有‘在野’的含义，且合《诗经》里‘古公檀父，来朝走马，率西水浒，至于岐下’的典故，妙哉！”于是将《江湖豪客传》正式改名为《水浒传》。 [41]

### 作者争议

《水浒传》的实际参与创作者跨越了从宋元到明末的数百年，包括了民间说书人、文人、书商等，是一部世代累积型的长篇文学作品。 [42]

对于《水浒传》的作者，在明清两代出版的《水浒传》中，一直存在三种署名形式：一百十五回《水浒传》单署“东原罗贯中编辑”，单行本失传，只有明崇祯末年与《三国演义》合刻的《英雄谱》留传。明万历二十二年（1594）余氏双峰堂刊《京本增补校正全像忠义水浒传评林》二十五卷本则署“中原贯中罗道本名卿父编集”。嘉靖间出版郭勋家刻的《忠义水浒传》十卷一百回本、明万历四十二年（1614）袁无涯刊《忠义水浒传》一百二十回本署的是“施耐庵集撰、罗贯中纂修”。与之相近的还有明万历三十年（1602）前后容与堂刻本《水浒传》，署名是“施耐庵撰，罗贯中纂修”。直到明崇桢末年，金圣叹删本才署为“东都施耐庵撰”。从此，这著作权便归施耐庵了。光绪大道堂刊本、民国万有文库本、上海中西书局一百二十回本《水浒》均只题施耐庵一人，卷首序言亦持此说。概言之即是罗贯中所著说、施罗合作说、施耐庵所著说。 [43]

内容情节播报编辑

## 内容情节

宋仁宗时期，由于宋朝境内瘟疫横行，皇帝遣太尉洪信与龙虎山张天师同去祈禳。在龙虎山，洪太尉命人开掘伏魔殿中的地穴，误放一百零八个魔星，下凡化身为一百零八条好汉。

书中第一位出场的好汉是“九纹龙”史进，在一日练武时巧遇被高俅陷害的前禁军教头王进，史进与其比武，被击败，遂拜为师。之后，史进因一次冲突，结识了少华山首领“神机军师”朱武等三人，却遭人告发，官兵将史家庄围困，史进与三名首领共同突围，而后决定去延安府投奔王进，却意外行至渭州城。史进在城中结识了经略相公帐下的提辖官鲁达，并重会先师“打虎将”李忠。三人共饮时得知歌女金翠莲遭到当地恶霸“镇关西”郑屠讹诈欺压一事。鲁达翌日当街打死郑屠，随后弃职逃至代州，经金氏父女及当地赵员外介绍，前往五台山出家为僧，寺中智真长老赐其法名“智深”。 [44]

在寺中，鲁智深两次破戒饮酒、大闹山门，长老只得将其荐往东京大相国寺。途中，鲁智深在桃花山刘家庄打伤了试图强娶民女的“小霸王”周通，随后又在瓦罐寺与路过的史进共同击杀恶霸“生铁佛”崔道成和“飞天夜叉”丘小乙，火烧了破败的瓦罐寺。到达东京后，鲁智深结识了禁军教头“豹子头”林冲。林冲的妻子当天遭高俅义子调戏，被林冲喝止。此后，高衙内觊觎林妻美貌，联结高俅、陆谦设计陷害林冲于白虎节堂，将其发配沧州，欲命从人在途中将其谋害，被鲁智深跟踪搭救。随后，林冲又在沧州偶遇富豪“小旋风”柴进。柴进赠其钱财以贿赂沧州管营、差拨等人，但因高俅施压，管营将林冲派遣至草料场任职，欲与陆谦等放火谋杀林冲。林冲杀死三人，逃至柴进庄上，后经柴进与梁山泊头领“旱地忽律”朱贵举荐，至梁山泊王伦处入伙。王伦让林冲杀个人作“投名状”，林冲却遇上了杨家将后人“青面兽”杨志。 [44]

王伦阻止二人争斗，欲留杨志入伙，被拒，任杨志返回东京。杨志因丢失花石纲被削去职位，因经济拮据，被迫拿出家传宝刀游街售卖，却遭遇市井泼皮牛二强夺宝刀，杨志一怒之下拔刀将其杀死，因此获罪，被发往大名府充军。中书梁世杰看中杨志，留下听用。杨志在校场比武时击败周谨，又与留守司正牌“急先锋”索超战平，遂得受用。

此后正逢太师蔡京生辰，梁中书命杨志押送祝寿礼物（即生辰纲）前往东京。此事被游走江湖的“赤发鬼”刘唐得知，意图联合郓城县东溪村保正晁盖共同劫取。“智多星”吴用得知后联合石碣村阮氏三雄共商计谋，期间又得云游道士“入云龙”公孙胜与市井闲汉“白日鼠”白胜加入。在大队路过黄泥岗时，被晁盖八人用计蒙翻，劫走了生辰纲。杨志醒后，走投无路，逃至二龙山山脚，因冲突而结识林冲之徒“操刀鬼”曹正与“花和尚”鲁智深。三人用计杀死二龙山首领邓龙，占二龙山宝珠寺落草。 [44]

生辰纲失陷一事传至东京，朝廷派遣的缉捕使何涛调查至郓城县，当地押司“及时雨”宋公明得知后，迅速报知晁盖。最终，晁盖等人在石碣村击败何涛部领的追兵，落草梁山泊。梁山泊首领王伦担心晁盖对己产生威胁，不肯久留。吴用设计拉拢被王伦排挤的林冲，翌日火并杀死王伦，占山为王。

之后，梁山泊在晁盖等人的领导下逐渐兴旺，晁盖派刘唐携带真金与书信前去郓城感谢宋江私放之恩，但在几日后，信件被宋江小妾阎婆惜发现，以此要挟宋江，宋江被迫怒杀阎婆惜，与胞弟“铁扇子”宋清一同逃往沧州柴进庄处。 [44]

宋江在柴庄结识了在归乡途中因患病而停驻在此的武松。武松与宋江、柴进分别，路经景阳冈时遭遇猛虎袭击。武松徒手杀虎，因此被委任阳谷县都头，遇见迁居阳谷的胞兄武大郎一家，其妻潘金莲欲勾引武松，致其被迫迁居县衙。而后，武松因公出差，潘金莲遂与当地富户西门庆通奸，合谋毒杀武大。武松返乡后杀死二人，被发配孟州，在途中结识了杀人卖肉的“菜园子”张青与“母夜叉”孙二娘夫妇，又在牢城营结识管营之子“金眼彪”施恩，助其夺回被“蒋门神”蒋忠霸占的快活林，却又被当地兵马都监张蒙方设计陷害。武松在飞云浦杀死刺客后，回到张都监府上将其灭门，转投二龙山去，在途中斗杀道人“飞天蜈蚣”，又因在孔家庄酒店殴打“独火星”孔亮，醉酒后被其兄“毛头星”孔明引人生擒，却因此与在庄上教授武艺的宋江重逢。

之后，宋江陪同武松离开孔家庄，自去投靠清风寨武官“小李广”花荣，却险被清风山首领“锦毛虎”燕顺等人杀死，又被清风寨文官刘高陷害擒捉。燕顺等人引清风山人马救出宋江、花荣，杀死刘高。宋江设计击败前来征讨的青州军马，降服猛将“霹雳火”秦明与“镇三山”黄信。几人同向梁山行时，宋江却被宋太公哄骗召回，因走漏风声而被官军擒捉，遂发配江州。在江州，宋江几经曲折结识了当地的几大恶霸，又在牢城结识了“神行太保”戴宗与“黑旋风”李逵。一日在浔阳楼醉酒题诗，遭到通判黄文炳歪曲解读诗句，诬陷宋江谋反，宋江因而被判死刑。梁山诸将从法场救出宋江，又在宋江设计下进攻无为军（江州对岸一处地名），杀死黄文炳，将宋江及江州众人接上梁山。宋江欲回乡接亲上山，再度被官军围困，被逼至还道村九天玄女庙内躲藏，却遭玄女显灵，避过追兵，得授三卷天书。 [44]

“黑旋风”李逵欲回家接母亲上山，半路却遇老虎，因为疏忽，母亲被老虎吃掉，李逵怒杀四虎，被当地人称为英雄，却被人认出是梁山好汉，被灌醉抓捕。幸好有“旱地忽律”朱贵的兄弟朱富帮助，不仅救出李逵，还把“青眼虎”李云带回山上。宋江等人思念公孙胜，命戴宗去找寻，戴宗寻找无果，带回了饮马川四条好汉，并结识了当地的“病关索”杨雄及“拼命三郎”石秀。后杨雄妻子通奸、石秀用计杀死其后，和杨雄商议一起去梁山泊聚义，半路“鼓上蚤”时迁也来加入。三人来到独龙岗却和祝家庄结了仇。杨雄、石秀二人跑到李家庄求救也无果，最后去梁山搬救兵，于是梁山开始三打祝家庄，并收揽了解珍、解宝及“病尉迟”孙立等好汉。

随后，经过三打祝家庄，出兵救柴进，梁山声势甚大，接着又连续打退高太尉三路进剿，桃花山、二龙山和梁山三山会合，同归水泊，但晁盖在攻打曾头市时不幸中毒箭身亡。为了扩充实力，吴用定计，诓大名鼎鼎的“玉麒麟”上山。

卢俊义经历几多曲折也上了梁山。梁山义军大破曾头市，又打退了朝廷几次进攻，其中好些统兵将领也参加了梁山聚义。梁山一百零八位好汉云集。一百零八人大聚义后，面对梁山义军越战越勇的形势，朝廷两次提出招安均因奸臣作梗而致失败。朝廷先后派高俅、童贯五次征剿梁山，尽被击退，高俅甚至被活捉上山，朝廷因而三降丹诏，招安计划才得以成功。梁山众人在被招安后，首先举办“分金大买市”的活动，将财物及房舍以交易的方式分给周边地区的居民。

而后梁山兵马被派遣至北方征讨辽国，连克檀州、蓟州、霸州、幽州四城，杀尽了辽国的精兵强将，最后又经九天玄女点拨，大破辽国统军兀颜光所布的太乙混天象阵，并将兀颜光当场斩杀。梁山兵马攻势之猛最后甚至让辽国国君被迫向北宋请降称臣。

但在征辽后，朝廷将收复的燕山领土全部送还辽国，也并未封官于梁山众人，致使梁山征辽行动功亏一篑。并且不让梁山将士进城安扎。后在元宵夜，李逵燕青遛进城中，得知江南方腊造反，宋江知道后主动请缨，作南征先锋官。

但因气候及流行疫病，加上朝廷在开战后调走了梁山的军医“神医”安道全，致使梁山兵马及头领出现了大规模伤亡。最终，梁山惨胜方腊。幸存的将领也只有三十二员。在南北征伐双双大胜后，朝廷封赏了幸存的诸位将领，为首的天魁星“呼保义”宋江被封为兵马都总管兼楚州安抚使，在其前往楚州赴任半年后，被奸臣倒换御酒毒杀，排名第二的天罡星卢俊义也被水银毒害导致坠河溺死；而天机星吴用最终引天英星花荣在宋江墓前双双自缢。 [44]

在宋江、吴用等人死后某夜，宋徽宗梦遇戴宗前来，引其前往梁山泊，会见梁山泊诸位。宋江于梦中告知徽宗奸臣毒害一事，宋徽宗醒后，着人调查，确认宋江等人已死，遂为众将立庙于梁山泊，保一方风调雨顺，承受万民瞻仰。 [1]

作品目录播报编辑

## 作品目录

### 100回本

选自明容与堂本，为现存最早百回繁本。

| 第1回 | 张天师祈禳瘟疫 | 洪太尉误走妖魔 | 第2回 | 王教头私走延安府 | 九纹龙大闹史家村 |
| --- | --- | --- | --- | --- | --- |
| 第3回 | 史大郎夜走华阴县 | 鲁提辖拳打镇关西 | 第4回 | 赵员外重修文殊院 | 鲁智深大闹五台山 |
| 第5回 | 小霸王醉入销金帐 | 花和尚大闹桃花村 | 第6回 | 九纹龙剪径赤松林 | 鲁智深火烧瓦罐寺 |
| 第7回 | 花和尚倒拔垂杨柳 | 豹子头误入白虎堂 | 第8回 | 林教头刺配沧州道 | 鲁智深大闹野猪林 |
| 第9回 | 柴进门招天下客 | 林冲棒打洪教头 | 第10回 | 林教头风雪山神庙 | 陆虞候火烧草料场 |
| 第11回 | 朱贵水亭施号箭 | 林冲雪夜上梁山 | 第12回 | 梁山泊林冲落草 | 汴京城杨志卖刀 |
| 第13回 | 急先锋东郭争功 | 青面兽北京斗武 | 第14回 | 赤发鬼醉卧灵官殿 | 晁天王认义东溪村 |
| 第15回 | 吴学究说三阮撞筹 | 公孙胜应七星聚义 | 第16回 | 杨志押送金银担 | 吴用智取生辰纲 |
| 第17回 | 花和尚单打二龙山 | 青面兽双夺宝珠寺 | 第18回 | 美髯公智稳插翅虎 | 宋公明私放晁天王 |
| 第19回 | 林冲水寨大并火 | 晁盖梁山小夺泊 | 第20回 | 梁山泊义士尊晁盖 | 郓城县月夜走刘唐 |
| 第21回 | 虔婆醉打唐牛儿 | 宋江怒杀阎婆惜 | 第22回 | 阎婆大闹郓城县 | 朱仝义释宋公明 |
| 第23回 | 横海郡柴进留宾 | 景阳冈武松打虎 | 第24回 | 王婆贪贿说风情 | 郓哥不忿闹茶肆 |
| 第25回 | 王婆计啜西门庆 | 淫妇药鸩武大郎 | 第26回 | 郓哥大闹授官厅 | 武松斗杀西门庆 |
| 第27回 | 母夜叉孟州道卖人肉 | 武都头十字坡遇张青 | 第28回 | 武松威镇安平寨 | 施恩义夺快活林 |
| 第29回 | 施恩重霸孟州道 | 武松醉打蒋门神 | 第30回 | 施恩三入死囚牢 | 武松大闹飞云浦 |
| 第31回 | 张都监血溅鸳鸯楼 | 武行者夜走蜈蚣岭 | 第32回 | 武行者醉打孔亮 | 锦毛虎义释宋江 |
| 第33回 | 宋江夜看小鳌山 | 花荣大闹清风寨 | 第34回 | 镇三山大闹青州道 | 霹雳火夜走瓦砾场 |
| 第35回 | 石将军村店寄书 | 小李广梁山射雁 | 第36回 | 梁山泊吴用举戴宗 | 揭阳岭宋江逢李俊 |
| 第37回 | 没遮拦追赶及时雨 | 船火儿夜闹浔阳江 | 第38回 | 及时雨会神行太保 | 黑旋风斗浪里白跳 [20] |
| 第39回 | 浔阳楼宋江吟反诗 | 梁山泊戴宗传假信 | 第40回 | 梁山泊好汉劫法场 | 白龙庙英雄小聚义 |
| 第41回 | 宋江智取无为军 | 张顺活捉黄文炳 | 第42回 | 还道村受三卷天书 | 宋公明遇九天玄女 |
| 第43回 | 假李逵剪径劫单人 | 黑旋风沂岭杀四虎 | 第44回 | 锦豹子小径逢戴宗 | 病关索长街遇石秀 |
| 第45回 | 杨雄醉骂潘巧云 | 石秀智杀裴如海 | 第46回 | 病关索大闹翠屏山 | 拚命三火烧祝家庄 |
| 第47回 | 扑天雕双修生死书 | 宋公明一打祝家庄 | 第48回 | 一丈青单捉王矮虎 | 宋公明两打祝家庄 |
| 第49回 | 解珍解宝双越狱 | 孙立孙新大劫牢 | 第50回 | 吴学究双掌连环计 | 宋公明三打祝家庄 |
| 第51回 | 插翅虎枷打白秀英 | 美髯公误失小衙内 | 第52回 | 李逵打死殷天锡 | 柴进失陷高唐州 |
| 第53回 | 戴宗智取公孙胜 | 李逵斧劈罗真人 | 第54回 | 入云龙斗法破高廉 | 黑旋风探穴救柴进 |
| 第55回 | 高太尉大兴三路兵 | 呼延灼摆布连环马 | 第56回 | 吴用使时迁盗甲 | 汤隆赚徐宁上山 |
| 第57回 | 徐宁教使钩镰枪 | 宋江大破连环马 | 第58回 | 三山聚义打青州 | 众虎同心归水泊 |
| 第59回 | 吴用赚金铃吊挂 | 宋江闹西岳华山 | 第60回 | 公孙胜芒砀山降魔 | 晁天王曾头市中箭 |
| 第61回 | 吴用智赚玉麒麟 | 张顺夜闹金沙渡 | 第62回 | 放冷箭燕青救主 | 劫法场石秀跳楼 |
| 第63回 | 宋江兵打北京城 | 关胜议取梁山泊 | 第64回 | 呼延灼夜月赚关胜 | 宋公明雪天擒索超 |
| 第65回 | 托塔天王梦中显圣 | 浪里白跳水上报冤 | 第66回 | 时迁火烧翠云楼 | 吴用智取大名府 |
| 第67回 | 宋江赏马步三军 | 关胜降水火二将 | 第68回 | 宋公明夜打曾头市 | 卢俊义活捉史文恭 |
| 第69回 | 东平府误陷九纹龙 | 宋公明义释双枪将 | 第70回 | 没羽箭飞石打英雄 | 宋公明弃粮擒壮士 |
| 第71回 | 忠义堂石碣受天文 | 梁山泊英雄排座次 | 第72回 | 柴进簪花入禁院 | 李逵元夜闹东京 |
| 第73回 | 黑旋风乔捉鬼 | 梁山泊双献头 | 第74回 | 燕青智扑擎天柱 | 李逵寿张乔坐衙 |
| 第75回 | 活阎罗倒船偷御酒 | 黑旋风扯诏谤徽宗 | 第76回 | 吴加亮布四斗五方旗 | 宋公明排九宫八卦阵 |
| 第77回 | 梁山泊十面埋伏 | 宋公明两赢童贯 | 第78回 | 十节度议取梁山泊 | 宋公明一败高太尉 |
| 第79回 | 刘唐放火烧战船 | 宋江两败高太尉 | 第80回 | 张顺凿漏海鳅船 | 宋江三败高太尉 |
| 第81回 | 燕青月夜遇道君 | 戴宗定计出乐和 | 第82回 | 梁山泊分金大买市 | 宋公明全伙受招安 |
| 第83回 | 宋公明奉诏破大辽 | 陈桥驿滴泪斩小卒 | 第84回 | 宋公明兵打蓟州城 | 卢俊义大战玉田县 |
| 第85回 | 宋公明夜度益津关 | 吴学究智取文安县 | 第86回 | 宋公明大战独鹿山 | 卢俊义兵陷青石峪 |
| 第87回 | 宋公明大战幽州 | 呼延灼力擒番将 | 第88回 | 颜统军阵列混天象 | 宋公明梦授玄女法 |
| 第89回 | 宋公明破阵成功 | 宿太尉颁恩降诏 | 第90回 | 五台山宋江参禅 | 双林渡燕青射雁 |
| 第91回 | 张顺夜伏金山寺 | 宋江智取润州城 | 第92回 | 卢俊义分兵宣州道 | 宋

![Water Margin](/static/img/articles/water-margin/water-margin-illustration-01.jpg)


Romance of the Three Kingdoms

Summary: A classic Chinese historical novel depicting the political and military struggles during the Three Kingdoms period.

# Romance of the Three Kingdoms

## Overview

Romance of the Three Kingdoms (三国演义) is a classic Chinese historical novel considered one of the Four Great Classical Novels of Chinese literature. Written in the 14th century during the Ming Dynasty, it spans nearly a century of Chinese history from the late Eastern Han dynasty to the end of the Three Kingdoms period. The novel combines historical accounts with popular legends and folk tales to create a rich tapestry of political intrigue, military strategy, and personal loyalty that has profoundly influenced Chinese culture for centuries.

## History

### Historical Background

The earliest source for the Three Kingdoms period is the Records of the Three Kingdoms (三国志) by the Western Jin historian Chen Shou. This historical text, however, is a concise chronicle that merely provides the basic framework of events. During the Southern Song dynasty, Pei Songzhi added extensive annotations to Chen Shou's work, incorporating many anecdotes and legends that greatly enhanced the narrative's color and readability.

By the mid-Tang dynasty, stories about the Three Kingdoms were already widely circulating among the populace, as evidenced by Liu Zhiji's observation in his *Historical Records* that stories about Zhuge Liang's exploits were "heard from travelers and passed by word of mouth." The Tang poet Li Shangyin's poem "Proud Son" contains lines mocking Zhang Fei's appearance and Deng Ai's speech patterns, indicating that by the late Tang period, Three Kingdoms stories were common knowledge among women and children.

During the Song dynasty, these stories became even more popular through performances by folk storytellers and singers, who began to show a clear preference for the Shu Han kingdom over Cao Wei. In the Jin and Yuan dynasties, Three Kingdoms stories were extensively adapted for the stage, with numerous "yuanben" (early Yuan dramas) and "zaju" (variety plays) based on these tales. According to records like *The Ghostly Register* and *The Grand Harmony of Correct Tones*, there were nearly thirty Yuan dynasty plays based on Three Kingdoms stories.

### Creative Process

During the late Yuan and early Ming dynasties, Luo Guanzhong wrote the *Romance of the Three Kingdoms*, drawing on Chen Shou's *Records of the Three Kingdoms*, Pei Songzhi's annotations, and various popular legends, storyteller scripts, and theatrical performances. The earliest known printed edition dates to 1522 during the Jiajing reign, known as the Jiajing edition. This version was titled "Historical Records by Chen Shou of Jin, Compiled by Luo Ben of Guanzhong," establishing Luo Guanzhong as the author.

In the early Qing dynasty, father-son duo Mao Lun and Mao Zonggang revised the *Romance of the Three Kingdoms* and added chapter-by-chapter commentaries. They further emphasized the legitimacy of the Shu Han kingdom and made numerous textual improvements, tightening the narrative and improving the flow. Their revised and annotated version quickly became the most widely circulated edition of the novel.

### Authorship Controversy

Like many classical Chinese novels that evolved over time, the authorship of *Romance of the Three Kingdoms* remains a subject of academic debate. During the Ming and Qing dynasties, Luo Guanzhong was generally accepted as the author, though some attributed the work to Wang Shifu. However, the "Wang Shifu theory" has never been substantiated, while the "Luo Guanzhong theory" has remained predominant.

Since the 1980s, scholars have challenged Luo Guanzhong's authorship, and debates between the "Luo Guanzhong" and "non-Luo Guanzhong" camps continue to this day. It is now widely accepted that the novel was not the work of a single author but rather the culmination of contributions from many individuals across different historical periods, particularly from the common people who transmitted and developed these stories.

### Title Evolution

The earliest known title was *Romance of the Three Kingdoms in Plain Language* (三国志通俗演义), appearing in the 1522 Jiajing edition. The titles *Romance of the Three Kingdoms* (三国演义) and *Chronicle of the Three Kingdoms* (三国志演义) emerged later during the novel's transmission. The latter appears in Zhou Hongzu's *Ancient and Modern Book Carvings* of the Ming dynasty, while the former appears in Mao Zonggang's *Reading Methods for the Three Kingdoms* of the Qing dynasty.

During the Qing dynasty, Mao Zonggang's edition was often published under titles like "First of the Four Great Classical Novels" or "First Scholarly Book." The name *Romance of the Three Kingdoms* became standardized only after the People's Literature Publishing House adopted it for their influential classical novel collection published after the establishment of the People's Republic of China.

## Key Information

| Aspect | Details |
|--------|---------|
| Chinese Title | 三国演义 (Sānguó Yǎnyì) |
| Alternative Title | 三国志通俗演义 (Sānguózhì Tōngsú Yǎnyì) |
| Author | Luo Guanzhong (attributed) |
| Creation Period | Late Yuan to early Ming dynasty (14th century) |
| Literary Genre | Historical novel |
| Length | Approximately 800,000 Chinese characters |
| Structure | 120 chapters divided into 3 parts |
| Historical Period | Late Eastern Han to end of Three Kingdoms (c. 169-280 CE) |
| Major Themes | Loyalty, political strategy, military tactics, Confucian values |

## Cultural Significance

The novel has profoundly influenced Chinese culture and thought for centuries. It has shaped popular perceptions of historical figures, often creating lasting impressions that differ from historical records. Characters like Guan Yu, Zhuge Liang, and Cao Cao have become archetypes of loyalty, wisdom, and ambition respectively, their stories serving as moral exemplars in Chinese society.

The novel's emphasis on loyalty, particularly exemplified by the brotherhood of Liu Bei, Guan Yu, and Zhang Fei, has become a central cultural value in China. The phrase "sworn brothers" (结义, jiéyì) has entered the Chinese lexicon to describe deep, loyal friendships. Similarly, Zhuge Liang's wisdom has made "borrowing the east wind" (草船借箭, cǎochuán jièjiàn) and "empty fort strategy" (空城计, kōngchéngjì) part of the Chinese cultural vocabulary.

Beyond literature, the novel has influenced numerous art forms including Chinese opera, film, television, video games, and comic books. Its characters and stories have been adapted countless times across Asia and beyond, making it one of the most widely adapted literary works in world literature.

## Modern Status

Today, *Romance of the Three Kingdoms* remains a cornerstone of Chinese literary education and cultural identity. It continues to be widely read in China and translated into numerous languages. The novel has inspired countless adaptations in various media, including films, television series, video games, and manga.

In the digital age, the novel's influence has expanded through video games like *Dynasty Warriors* and *Romance of the Three Kingdoms* by Koei, which have introduced the story to new generations worldwide. Academic interest in the novel remains strong, with scholars examining its historical context, literary techniques, cultural impact, and relationship to actual historical events.

The novel's famous opening lines, "The empire, long divided, must unite; long united, must divide. Thus it has ever been," have become a cultural touchstone in China, reflecting a cyclical view of history that continues to resonate in modern Chinese thought.

## References

1. Moss, R. J. (1976). *The Three Kingdoms: A Historical Novel*. Columbia University Press.
2. Hsia, C. T. (1968). *The Classic Chinese Novel*. Columbia University Press.
3. Rolston, D. L. (Ed.). (1990). *How to Read the Chinese Novel*. Princeton University Press.
4. Cai, Z. (2009). *The Classic of Loyalty and Righteousness: Three Kingdoms*. Beijing University Press.
5. de Crespigny, R. (2007). *A Biographical Dictionary of Later Han to the Three Kingdoms (23-220 AD)*. Brill.

![Romance of the Three Kingdoms](/static/img/articles/romance-of-the-three-kingdoms/romance-of-the-three-kingdoms-illustration-01.jpg)


三国演义

创作背景播报编辑

## 创作背景

### 历史背景

西晋史学家陈寿所著《三国志》是记载三国事迹的最早源头，但这是纪传体的史书，记事简略，粗陈梗概。南朝宋人裴松之为《三国志》作注，增加了许多奇闻轶事，传奇色彩与可读性都大大增强。中唐史学家刘知几在《史通》中说，诸葛亮未死的故事已“得之于行路，传之于众口”，可见这个时期三国故事已广泛流传于民间。晚唐诗人李商隐的《骄儿诗》中有“或谑张飞胡，或笑邓艾吃”的诗句，说明至迟在晚唐时三国故事已妇孺皆知，宋代通过民间艺人的表演说唱，三国故事更为流行，并且已经表现出“尊刘贬曹”的鲜明倾向。金元时代三国故事被大量地搬上舞台，院本和杂剧中有许多三国故事剧。据《录鬼簿》和《太和正音谱》记载，仅元剧中就有近三十种演述三国故事的作品。《辍耕录》中记载的金院本有《襄阳会》《大刘备》《骂吕布》《赤壁鏖兵》等。元英宗至治年间（1321年—1323年）出现新安虞氏（一说建安虞氏）所刊的《全相三国志平话》，这是今存最早的，也是已知仅有的一部以三国故事为题材的平话。该书是民间传说中三国故事的写定本，约八万字，分上中下三卷，每卷都分上下两栏，上栏图相，下栏正文。全书以司马仲相断狱故事为入话，正话从刘关张桃园结义开始，结束于诸葛亮病逝。从平话的内容和结构看，已粗具《三国演义》的规模，但整体描写粗枝大叶，文词鄙陋不通，故事情节离奇，多不符合正史记载，人名地名也多谬误，似乎还是未经文人润色的民间艺人作品。从上述的记载和残留的作品看，从晚唐到元末，在民间流行的三国故事愈来愈丰富，这为《三国演义》的创作提供了充分的条件。 [38]

### 创作过程

元末明初，罗贯中在陈寿《三国志》和裴松之注的基础上，吸收民间传说和话本、戏曲故事，写成《三国演义》。已知最早刊本是嘉靖元年（1522年）刊刻的，称为嘉靖本，题“晋平阳侯陈寿史传，后学罗本贯中编次”，这就是后来《三国演义》各种版本的祖本。罗贯中的署名也由此而来。到清代初年，毛纶、毛宗岗父子对明代的《三国志通俗演义》加以修订，并逐回评论。他们进一步突出蜀汉的正统地位，对文字情节也做了不少改动，改善了原本松散拖沓的地方，使全书更加紧凑畅达。毛宗岗父子修订评点的《三国演义》刊行后，很快成为广泛流传的大众阅读版本。 [29]

### 创作争议

与其他世代累积型的章回小说一样，《三国演义》的作者在学术界是个尚存争议的问题。明清时期，人们倾向于认为罗贯中是《三国演义》的作者，与此同时，也有作者为王实甫的说法。但“王实甫之说”至今没有得到证实，“罗贯中作之说”一直较为盛行。20世纪80年代以来，学术界又出现了否定罗贯中为作者的提法。“罗贯中说”与“非罗贯中之说”的争论，一直持续至今。 [16]

《三国演义》的具体成书时间有争议，但《三国演义》并不是某一个作者的单独创作，而是不同历史时期的各个社会阶层、特别是广大民众长期传讲演说的结果，参与创作的作者不计其数。即使有一个最后的整理写定者，他也只是这众多创作者中的一个。仅就现有文献记载和现存版本情况来看，《三国演义》被刊刻并在社会上广泛流传是从明中叶开始，它的社会影响也是从明中叶开始。 [39]

### 书名演变

明朝嘉靖元年，《三国志通俗演义》刊刻而成，题“晋平阳侯陈寿史传，后学罗贯中编次”，这就是后来《三国演义》各种版本的祖本。 [29]《三国志演义》与《三国演义》，都不是罗贯中原作的名称，而是在小说流传的过程中出现的。前者见于明朝周弘祖的《古今书刻》，相沿已久；后者则见于清朝毛宗岗的《读三国志法》。它们各自从一定角度反映了《三国》的特点。 [19]入清以后，毛宗岗评本多用《四大奇书第一种》或者《第一才子书》的名目，后来便逐渐出现了《三国演义》的新命名。这个名字在清朝还并不很普及，直到人民文学出版社出版了中华人民共和国成立以来影响最大的中国古典小说整理本，其中该书便名为《三国演义》，这个名字才最终定型，成为这部作品的通名。 [15]

与史书的差异

### 与史书的差异

为了突出人物形象和性格，作者采用了一些并不可靠的民间传闻野史加以编排发挥，如诸葛亮七擒孟获和空城计，在陈寿《三国志》中并无记载。但在《三国演义》中，这些故事情节的编排，对塑造诸葛亮的形象起到了画龙点睛的作用。有些情节在正史上虽有记载，但小说做了补充和合理想象。如刘备三顾茅庐是《三国演义》中十分重要的一个情节，为诸葛亮出场做了很好的烘托和铺垫。而在《三国志》中，仅有“由是先主遂诣亮，凡三往，乃见”一句。三是史籍中虽有其事，但为了艺术表现的需要，作者“狸猫换太子”，搬家移位。如张飞怒打势利、跋扈的督邮一节，极好地展示了张飞疾恶如仇的火爆性格，然而在《三国志》中，鞭打督邮的不是张飞，而是小说中谦恭忍让的刘备。 [17]

中国古代小说塑造人物形象的一般规律，正面人物往往得到美化，负面人物则每每遭到丑化，例如关羽，“身长九尺，髯长二尺；面如重枣，唇若涂脂；丹凤眼，卧蚕眉；相貌堂堂，威风凛凛”。其实，史书并没有关羽相貌的记载，其相貌是后人基于对关羽的高度认同而虚构的；负面人物往往形象举止猥琐、贼眉鼠眼、尖嘴猴腮，例如张松，《三国志》中只记载其“为人短小”，由于其卖主求荣，《三国演义》进行了进一步的丑化，“其人生得额钁头尖，鼻偃齿露，身短不满五尺”。以致曹操初见张松，因相貌的原因，甚为不悦。正面人物在《三国演义》中，可能只有庞统一个特例，魏晋时期的典籍均无关于他相貌的描写，甚至宋元“说话”以及元杂剧“三国戏”中，亦没有关于庞统相貌的描写。《三国演义》中将庞统的相貌描写得相当丑陋，成为他的一个突出的缺点，并一度严重影响到了他的仕途。 [11]

内容情节播报编辑

## 内容情节

黄巾起义 群雄逐鹿

### 黄巾起义 群雄逐鹿

东汉末年，皇帝昏聩无能，宦官专权，朝廷腐败，百姓苦不堪言，进而爆发了大型农民起义——黄巾起义。乱世之中，一代枭雄与英雄人物竞相涌现。是时，袁绍和曹操领众诸侯以平“十常侍之乱”为名冲入皇宫，汉少帝刘辩与陈留王刘协慌乱出逃。在各路诸侯争相寻找刘辩和刘协的过程中，原屯兵凉州的董卓因救驾有功随即掌控朝中大权，废汉少帝，立陈留王刘协为汉献帝。生性残暴的董卓倒行逆施，引发多方愤然。曹操假借圣旨之名，召集群雄联合讨伐董卓，迫使其挟汉献帝至长安。董卓后被其义子吕布所杀。 [1]汉朝末年黄巾起义形势

衣带秘诏 官渡之战

### 衣带秘诏 官渡之战

此后，袁绍欲谋长沙太守孙坚手中的传国玉玺，孙坚在逃避途中遭荆州刘表所袭而两相结怨。孙坚在后进攻荆州之时死于战中。与此同时，袁绍与公孙瓒在河北地界争斗，爆发界桥之战。曹操广泛招贤纳才，刘备不断扩充实力。此时，群雄逐鹿中原的雏形初成。

董卓死后，曹操“挟天子以令诸侯”，迎汉献帝于许昌建都，并运用权谋除去了吕布、袁术等人。在其后的官渡之战中，曹操以少胜多大败袁绍，继而一统北方，为此后魏国的建立奠定了坚实的基础。

在江东，孙坚之子孙策多年苦心经营，终于称霸江东六郡八十一州。孙策亡故后，其弟孙权继业。孙权在周瑜等人扶持下，为吴国的建立积聚了强大的实力。 [1]

荆襄风云 火烧赤壁

### 荆襄风云 火烧赤壁

刘备则与关羽、张飞二人桃园结义，共同立起辅佐汉室的大旗。刘备在汝南遭刘表战败，投奔荆州刘表。而后刘备三顾茅庐，请得足智多谋而又心怀天下的诸葛亮辅佐。

曹操统一北方后开始举兵南征，矛头直指荆州和江都。此时，刘表亡故，其长子刘琦守江夏。次子刘琮接管荆州，后投降曹操，荆州于是落入曹操受众。面对曹操南征之势，刘备遣诸葛亮往江东与孙权结盟。诸葛亮凭借机智在江东舌战群儒，最终促成孙、刘联军，并在赤壁之战中通过反间计、连环计、苦肉计等一系列有步骤、有计划的行动，大破曹军。 [1]

赤壁大战过后，刘备、孙权转而互争荆州。孙权遣鲁肃向刘备讨还荆州，刘备在诸葛亮的劝谕下多次推辞。周瑜向孙权献计，欲骗刘备前往东吴迎娶孙权之妹孙尚香为妻，进而扣留刘备，威逼诸葛亮以荆州换之。不料周瑜的计谋都被诸葛亮屡屡识破，致使其“赔了夫人又折兵”。周瑜最终在诸葛亮的讥讽中呕血而亡，留下了“既生瑜，何生亮！”的长叹。 [1]

曹丕篡汉 三国鼎立

### 曹丕篡汉 三国鼎立

周瑜死后，吴军忙于与曹军开战。刘备则在诸葛亮的劝说下打败刘璋，夺取西川，并从曹操手中夺得汉中，自封汉中王。至此，天下大势抵定，三国鼎立局面形成。刘备在巴蜀称帝，国号蜀汉；曹操称霸中原，后由其子曹丕篡汉，改国号为魏；孙权则坐镇江东一方。后东吴与曹魏修好，孙权受封南昌侯。东吴大将吕蒙以白衣渡江之计夺取荆州。此时正在攻打樊城的关羽不得不退守麦城并在突围过程中被擒。关羽宁死不降而被孙权斩首。张飞亦被部下范强、张达所杀，刘备痛心疾首。孙权继而拜陆逊为大都督，大败蜀军。刘备在率败军撤至白帝城之时病倒，并在临终前向诸葛亮托孤。 [1]第105回武侯预伏锦囊计和第106回司马懿诈病赚曹爽的插图第63回诸葛亮痛哭庞统和第64回孔明定计捉张任的插图

七擒孟获 六出祁山

### 七擒孟获 六出祁山

曹丕此时趁机联合东吴、南蛮、羌族和蜀汉降将孟达进攻蜀国。诸葛亮派出马超、赵云等猛将把守关口，又派出李严、邓芝等人说服孟达与东吴。诸葛亮则亲领大军七擒七纵，平定了南蛮孟获之乱。

后曹丕病逝，其子曹叡即位。诸葛亮六出祁山，决心为刘备完成匡复汉室的遗愿。在此其间，诸葛亮收复姜维并以己平生所学相授。诸葛亮最终因操劳过度在五丈原病逝。 [1]

三分归晋 天下一统

### 三分归晋 天下一统

姜维继承诸葛亮遗志，继续兴兵抗魏却被昏主奸臣所害，逃往沓中。魏将邓艾趁蜀国内乱之际发兵进攻，蜀主刘禅不战而降，蜀汉至此灭亡。姜维在司马昭的围攻下身负重伤，拔剑自刎。

东吴孙权死后，内乱不止，吴主孙亮被独揽大权的孙琳所废，孙休被立为帝。孙休联合老将丁奉除掉孙琳将大权夺回手中，但东吴此时也已呈现大江东去之势。在魏国，曹叡死后曹芳继位，司马懿从曹爽手中夺得兵权。后曹芳被废，司马兄弟立曹髦为帝，司马懿之子司马昭大权独揽。后司马昭之子司马炎篡位，改国号为晋，魏国灭。吴国最终被西晋所灭。正所谓“天下大势，分久必合，合久必分”，百年战乱终于在此划下句点，西晋开拓了中国历史上又一个大一统的局面。 [1]

作品目录播报编辑

## 作品目录

| 第001回 | 宴桃园豪杰三结义 | 斩黄巾英雄首立功 | 第002回 | 张翼德怒鞭督邮 | 何国舅谋诛宦竖 |
| --- | --- | --- | --- | --- | --- |
| 第003回 | 议温明董卓叱丁原 | 馈金珠李肃说吕布 | 第004回 | 废汉帝陈留践位 | 谋董贼孟德献刀 |
| 第005回 | 发矫诏诸镇应曹公 | 破关兵三英战吕布 | 第006回 | 焚金阙董卓行凶 | 匿玉玺孙坚背约 |
| 第007回 | 袁绍磐河战公孙 | 孙坚跨江击刘表 | 第008回 | 王司徒巧使连环计 | 董太师大闹凤仪亭 |
| 第009回 | 除暴凶吕布助司徒 | 犯长安李傕听贾诩 | 第010回 | 勤王室马腾举义 | 报父仇曹操兴师 |
| 第011回 | 刘皇叔北海救孔融 | 吕温侯濮阳破曹操 | 第012回 | 陶恭祖三让徐州 | 曹孟德大战吕布 |
| 第013回 | 李傕郭汜大交兵 | 杨奉董承双救驾 | 第014回 | 曹孟德移驾幸许都 | 吕奉先乘夜袭徐郡 |
| 第015回 | 太史慈酣斗小霸王 | 孙伯符大战严白虎 | 第016回 | 吕奉先射戟辕门 | 曹孟德败师淯水 |
| 第017回 | 袁公路大起七军 | 曹孟德会合三将 | 第018回 | 贾文和料敌决胜 | 夏侯惇拔矢啖睛 |
| 第019回 | 下邳城曹操鏖兵 | 白门楼吕布殒命 | 第020回 | 曹阿瞒许田打围 | 董国舅内阁受诏 |
| 第021回 | 曹操煮酒论英雄 | 关公赚城斩车胄 | 第022回 | 袁曹各起马步三军 | 关张共擒王刘二将 |
| 第023回 | 祢正平裸衣骂贼 | 吉太医下毒遭刑 | 第024回 | 国贼行凶杀贵妃 | 皇叔败走投袁绍 |
| 第025回 | 屯土山关公约三事 | 救白马曹操解重围 | 第026回 | 袁本初败兵折将 | 关云长挂印封金 |
| 第027回 | 美髯公千里走单骑 | 汉寿侯五关斩六将 | 第028回 | 斩蔡阳兄弟释疑 | 会古城主臣聚义 |
| 第029回 | 小霸王怒斩于吉 | 碧眼儿坐领江东 | 第030回 | 战官渡本初败绩 | 劫乌巢孟德烧粮 |
| 第031回 | 曹操仓亭破本初 | 玄德荆州依刘表 | 第032回 | 夺冀州袁尚争锋 | 决漳河许攸献计 |
| 第033回 | 曹丕乘乱纳甄氏 | 郭嘉遗计定辽东 | 第034回 | 蔡夫人隔屏听密语 | 刘皇叔跃马过檀溪 |
| 第035回 | 玄德南漳逢隐沦 | 单福新野遇英主 | 第036回 | 玄德用计袭樊城 | 元直走马荐诸葛 |
| 第037回 | 司马徽再荐名士 | 刘玄德三顾草庐 | 第038回 | 定三分隆中决策 | 战长江孙氏报仇 |
| 第039回 | 荆州城公子三求计 | 博望坡军师初用兵 | 第040回 | 蔡夫人议献荆州 | 诸葛亮火烧新野 |
| 第041回 | 刘玄德携民渡江 | 赵子龙单骑救主 | 第042回 | 张翼德大闹长坂桥 | 刘豫州败走汉津口 |
| 第043回 | 诸葛亮舌战群儒 | 鲁子敬力排众议 | 第044回 | 孔明用智激周瑜 | 孙权决计破曹操 |
| 第045回 | 三江口曹操折兵 | 群英会蒋干中计 | 第046回 | 用奇谋孔明借箭 | 献密计黄盖受刑 |
| 第047回 | 阚泽密献诈降书 | 庞统巧授连环计 | 第048回 | 宴长江曹操赋诗 | 锁战船北军用武 |
| 第049回 | 七星坛诸葛祭风 | 三江口周瑜纵火 | 第050回 | 诸葛亮智算华容 | 关云长义释曹操 |
| 第051回 | 曹仁大战东吴兵 | 孔明一气周公瑾 | 第052回 | 诸葛亮智辞鲁肃 | 赵子龙计取桂阳 |
| 第053回 | 关云长义释黄汉升 | 孙仲谋大战张文远 | 第054回 | 吴国太佛寺看新郎 | 刘皇叔洞房续佳偶 |
| 第055回 | 玄德智激孙夫人 | 孔明二气周公瑾 | 第056回 | 曹操大宴铜雀台 | 孔明三气周公瑾 |
| 第057回 | 柴桑口卧龙吊丧 | 耒阳县凤雏理事 | 第058回 | 马孟起兴兵雪恨 | 曹阿瞒割须弃袍 |
| 第059回 | 许褚裸衣斗马超 | 曹操抹书间韩遂 | 第060回 | 张永年反难杨修 | 庞士元议取西蜀 |
| 第061回 | 赵云截江夺阿斗 | 孙权遗书退老瞒 | 第062回 | 取涪关杨高授首 | 攻雒城黄魏争功 |
| 第063回 | 诸葛亮痛哭庞统 | 张翼德义释严颜 | 第064回 | 孔明定计捉张任 | 杨阜借兵破马超 |
| 第065回 | 马超大战葭萌关 | 刘备自领益州牧 | 第066回 | 关云长单刀赴会 | 伏皇后为国捐生 |
| 第067回 | 曹操平定汉中地 | 张辽威震逍遥津 | 第068回 | 甘宁百骑劫魏营 | 左慈掷杯戏曹操 |
| 第069回 | 卜周易管辂知机 | 讨汉贼五臣死节 | 第070回 | 猛张飞智取瓦口隘 | 老黄忠计夺天荡山 |
| 第071回 | 占对山黄忠逸待劳 | 据汉水赵云寡胜众 | 第072回 | 诸葛亮智取汉中 | 曹阿瞒兵退斜谷 |
| 第073回 | 玄德进位汉中王 | 云长攻拔襄阳郡 | 第074回 | 庞令明抬榇决死战 | 关云长放水淹七军 |
| 第075回 | 关云长刮骨疗毒 | 吕子明白衣渡江 | 第076回 | 徐公明大战沔水 | 关云长败走麦城 |
| 第077回 | 玉泉山关公显圣 | 洛阳城曹操感神 | 第078回 | 治风疾神医身死 | 传遗命奸雄数终 |
| 第079回 | 兄逼弟曹植赋诗 | 侄陷叔刘封伏法 | 第080回 | 曹丕废帝篡炎刘 | 汉王正位续大统 |
| 第081回 | 急兄仇张飞遇害 | 雪弟恨先主兴兵 | 第082回 | 孙权降魏受九锡 | 先主征吴赏六军 |
| 第083回 | 战猇亭先主得仇人 | 守江口书生拜大将 | 第084回 | 陆逊营烧七百里 | 孔明巧布八阵图 |
| 第085回 | 刘先主遗诏托孤儿 | 诸葛亮安居平五路 | 第086回 | 难张温秦宓逞天辩 | 破曹丕徐盛用火攻 |
| 第087回 | 征南寇丞相大兴师 | 抗天兵蛮王初受执 | 第088回 | 渡泸水再缚番王 | 识诈降三擒孟获 |
| 第089回 | 武乡侯四番用计 | 南蛮王五次遭擒 | 第090回 | 驱巨兽六破蛮兵 | 烧藤甲七擒孟获 |
| 第091回 | 祭泸水汉相班师 | 伐中原武侯上表 | 第092回 | 赵子龙力斩五将 | 诸葛亮智取三城 |
| 第093回 | 姜伯约归降孔明 | 武乡侯骂死王朗 | 第094回 | 诸葛亮乘雪破羌兵 | 司马懿克日擒孟达 |
| 第095回 | 马谡拒谏失街亭 | 武侯弹琴退仲达 | 第096回 | 孔明挥泪斩马谡 | 周鲂断发赚曹休 |
| 第097回 | 讨魏国武侯再上表 | 破曹兵姜维诈献书 | 第098回 | 追汉军王双受诛 | 袭陈仓武侯取胜 |
| 第099回 | 诸葛亮大破魏兵 | 司马懿入寇西蜀 | 第100回 | 汉兵劫寨破曹真 | 武侯斗阵辱仲达 |
| 第101回 | 出陇上诸葛妆神 | 奔剑阁张郃中计 | 第102回 | 司马懿占北原渭桥 | 诸葛亮造木牛流马 |
| 第103回 | 上方谷司马受困 | 五丈原诸葛禳星 | 第104回 | 陨大星汉丞相归天 | 见木像魏都督丧胆 |
| 第105回 | 武侯预伏锦囊计 | 魏主拆取承露盘 | 第106回 | 公孙渊兵败死襄平 | 司马懿诈病赚曹爽 |
| 第107回 | 魏主政归司马氏 | 姜维兵败牛头山 | 第108回 | 丁奉雪中奋短兵 | 孙峻席间施密计 |
| 第109回 | 困司马汉将奇谋 | 废曹芳魏家果报 | 第110回 | 文鸯单骑退雄兵 | 姜维背水破大敌 |
| 第111回 | 邓士载智败姜伯约 | 诸葛诞义讨司马昭 | 第112回 | 救寿春于诠死节 | 取长城伯约鏖兵 |
| 第113回 | 丁奉定计斩孙綝 | 姜维斗阵破邓艾 | 第114回 | 曹髦驱车死南阙 | 姜维弃粮胜魏兵 |
| 第115回 | 诏班师后主信谗 | 托屯田姜维避祸 | 第116回 | 钟会分兵汉中道 | 武侯显圣定军山 |
| 第117回 | 邓士载偷度阴平 | 诸葛瞻战死绵竹 | 第118回 | 哭祖庙一王死孝 | 入西川二士争功 |
| 第119回 | 假投降巧计成虚话 | 再受禅依样画葫芦 | 第120回 | 荐杜预老将献新谋 | 降孙皓三分归一统 [12] |

宴桃园豪杰三结义

斩黄巾英雄首立功

张翼德怒鞭督邮

何国舅谋诛宦竖

议温明董卓叱丁原

馈金珠李肃说吕布

废汉帝陈留践位

谋董贼孟德献刀

发矫诏诸镇应曹公

破关兵三英战吕布

焚金阙董卓行凶

匿玉玺孙坚背约

袁绍磐河战公孙

孙坚跨江击刘表

王司徒巧使连环计

董太师大闹凤仪亭

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![Romance of the Three Kingdoms](/static/img/articles/romance-of-the-three-kingdoms/romance-of-the-three-kingdoms-illustration-01.jpg)


Li Bai

Summary: Li Bai was a renowned Chinese poet of the Tang Dynasty, celebrated for his romantic style and free-spirited nature.

# Li Bai

## Overview
Li Bai (701-762), also known as Li Taibai, was a major Chinese poet of the Tang Dynasty, often regarded as one of the greatest poets in Chinese literary history. His poems, about 1,000 of which have survived, have been profoundly influential in both Chinese and world literature. Li Bai is best known for his imaginative and romantic works that celebrate the beauty of nature, friendship, and wine, often reflecting his Taoist beliefs and love for freedom.

## History

### Early Life and Talent
Li Bai was born in 701 in Changlong County, Mianzhou, Shu Commandery (modern-day Jiangyou, Sichuan Province), though some sources suggest he was born in Suye (modern-day Tokmak, Kyrgyzstan). His ancestors had migrated to Suye, but his father later fled to Shu, where Li Bai was born. His ancestral home was in Chengji, Longxi Commandery (modern-day Qin'an, Tianshui, Gansu Province). Little is known about his family background.

At the age of five, Li Bai began his education, memorizing the "liu jia" (six categories of characters), which were elementary literacy textbooks in the Tang Dynasty. By fifteen, he had composed numerous poems and gained recognition from some prominent social figures. He showed an early interest in swordsmanship and chivalrous behavior.

### Travels and Early Career
In 724, at the age of twenty-four, Li Bai left his hometown and began his travels. He visited Chengdu, Mount Emei, and traveled east to Yuzhou (modern-day Chongqing). The following year, he left Shu, "bearing a sword, leaving his country, bidding farewell to his family and traveling far."

During his travels, Li Bai met many influential figures. In 726, he met Li Yong in Chenzhou and became friends with Meng Haoran. In 727, he married the granddaughter of former prime minister Xu Yushi and settled in Anlu. The following year, he traveled to Jiangxia (modern-day Wuhan) and met Meng Haoran again.

### Seeking Official Position
In 734, Li Bai presented his "Mingtang Fu" (Ode to the Bright Hall) to Emperor Xuanzong, hoping to secure an official position. This work praised the magnificent beauty of the Bright Hall and the grandeur of the Kaiyuan era, reflecting his political ideals.

In 735, while traveling west, he presented his "Dalie Fu" (Great Hunt Ode) to the emperor, hoping to gain his favor. He also befriended Princess Yuzhen and presented her with poems expressing wishes for her to achieve immortality through Taoist practices. During this time, he met the poet He Zhizhang, who was so impressed by his "Shu Dao Nan" (The Hard Road to Shu) and "Wu Qi Qu" (Song of the Crows Roosting) that he exclaimed, "Sir, you are not of this world! Could you be an incarnation of the Star Tai Bai?" He thus became known as the "Banished Immortal." (xian ren zhe)

### Service at the Imperial Court
In 742, due to the recommendation of Princess Yuzhen and He Zhizhang, Emperor Xuanzong summoned Li Bai to the palace. The emperor was so impressed that he personally welcomed Li Bai, offered him a seat on a precious inlaid bed, and even served him soup personally. Li Bai was appointed to the Hanlin Academy, responsible for composing poems and entertaining the emperor.

During his time at court, Li Bai wrote numerous poems for imperial banquets and outings. However, he grew weary of the life of a court poet and began to indulge in wine. He formed a group of "Eight Immortals of the Wine Cup" with other poets. His behavior, including allegedly asking the powerful eunuch Gao Lishi to remove his boots while drunk, led to resentment and slander. In 743, he was dismissed from his position and sent away with a gift of gold.

### Friendship with Du Fu
In the summer of 744, Li Bai met Du Fu in Luoyang. This meeting between two of China's greatest poets was significant, as described by the scholar Wen Yiduo as "the sun and moon meeting in the blue sky." The two poets, despite an eleven-year age difference, established a deep friendship based on mutual respect.

That autumn, they met again in Liang Song (modern-day Kaifeng and Shangqiu) along with the poet Gao Shi. The three traveled together, discussing poetry and current affairs, expressing concern for the country's future. They visited Wangwu Mountain and sought out the Taoist master Sima Chengzhen, though they found he had already passed away. Li Bai composed the "Shang Yang Tai Tie" (Inscription on the Upper Sun Terrace) in remembrance.

### Later Years and Death
After the outbreak of the An Lushan Rebellion in 755, Li Bai fled south with his wife. In 756, he joined the entourage of Prince Yong (Li Lin), who was rebelling against the emperor. After Prince Yong's defeat, Li Bai was imprisoned in Xunyang. He was rescued by Song Ruosi and Cui Huan but was later sentenced to exile in Yelai (modern-day Tongzi, Guizhou) for his involvement with Prince Yong.

In 759, due to a general amnesty, Li Bai was freed. He traveled downstream along the Yangtze River, expressing his joy in the famous poem "Early Departure from Baidi City." In his later years, he lived in poverty, depending on the generosity of friends. In 762, he fell seriously ill and entrusted his manuscripts to his relative Li Yangbing in Dangtu. He died shortly after, composing his final poem "Lin Lu Ge" (Song on the Road). The circumstances of his death remain uncertain, with accounts suggesting he died of illness, excessive drinking, or drowned while trying to embrace the moon in a drunken state.

## Key Information

| Aspect | Details |
|--------|---------|
| Full Name | Li Bai (李白) |
| Courtesy Name | Li Shier (李十二) |
| Pseudonyms | Taibai (太白), Qinglian Jushi (青莲居士), Li Hanlin (李翰林), Li Gongfeng (李供奉), Li Shi Yi (李拾遗) |
| Birth Year | 701 CE (Chang'an era) |
| Birthplace | Changlong County, Mianzhou, Shu Commandery (modern Jiangyou, Sichuan) |
| Death Year | 762 CE (first year of Qianyuan era) |
| Death Place | Dangtu County (modern Dangtu, Anhui) |
| Ancestral Home | Chengji, Longxi Commandery (modern Qin'an, Gansu) |
| Major Works | "Quiet Night Thought" (静夜思), "Drinking Alone Under the Moon" (月下独酌), "Hard Road to Shu" (蜀道难), "The Song of Everlasting Regret" (长恨歌) |
| Highest Position | Hanlin Academician (翰林学士) |
| Literary Style | Romantic, free-spirited, imaginative, celebrating nature and wine |
| Influence | Profound impact on Chinese and world literature, considered a "Banished Immortal" (谪仙人) |

## Cultural Significance
Li Bai's poetry has had an immense cultural impact in China and beyond. His works are celebrated for their romantic spirit, imaginative imagery, and emotional depth. He is often compared to the Romantic poets of Western literature for his emphasis on individual expression and emotional freedom.

His poems frequently feature themes of wine, friendship, nature, and the transient nature of life. The image of Li Bai drinking wine under the moon has become an iconic cultural symbol in China, representing the free-spirited scholar who finds inspiration in nature and companionship.

Li Bai's influence extends to various art forms. His poems have been illustrated in paintings, set to music, and adapted into films and television programs. The story of his friendship with Du Fu has become legendary in Chinese literary history, symbolizing the ideal relationship between two great artists.

## Modern Status
Today, Li Bai is celebrated as one of China's greatest poets. His works are studied in schools throughout China and beyond, and he continues to inspire writers, artists, and scholars. The "Li Bai Cultural Park" in Jiangyou, his supposed birthplace, and numerous other sites associated with his life attract tourists and literary enthusiasts.

Modern scholars continue to study Li Bai's works, exploring their literary, historical, and philosophical significance. His poetry has been translated into numerous languages, making him one of the most widely translated Chinese poets. The themes of freedom, nature, and the human experience in his works remain relevant to contemporary readers worldwide.

## References

1. Ebrey, Patricia Buckley. *The Cambridge Illustrated History of China*. Cambridge University Press, 1999.

2. Hightower, James Robert. *The Poetry of T'ang China*. Harvard University Press, 1970.

3. Yip, Wai-lim. *Chinese Poetry: An Anthology of Major Modes and Genres*. Anchor Books, 1969.

4. Owen, Stephen. *The Great Age of Chinese Poetry: The High Tang*. Yale University Press, 1981.

![Li Bai](/static/img/articles/li-bai/li-bai-illustration-01.jpg)


李白

人物生平播报编辑

## 人物生平

### 早年天才

长安元年（701年），李白出生于蜀郡绵州昌隆县（一说出生于西域碎叶）。李白先世曾迁居碎叶（今吉尔吉斯斯坦托克马克市），后其父逃归于蜀，定居绵州昌隆县青莲乡，李白即出生于此。 [26] [28]祖籍为陇西郡成纪县（今甘肃省天水市秦安县）。其家世、家族皆不详。

神龙元年（705年）十一月，武则天去世。李白五岁。发奋读书始于是年。《上安州裴长史书》云：“五岁诵六甲。”六甲，唐代的小学识字课本，长史，州之次官。

开元三年（715年），李白十五岁。已有诗赋多首，并得到一些社会名流的推崇与奖掖，开始从事社会干谒活动。好剑术，喜任侠。是年岑参生。

开元六年（718年），李白十八岁。隐居戴天大匡山（在今四川省江油市内）读书。往来于旁郡，先后出游江油、剑阁、梓州（州治在今四川省境内）等地，增长了不少阅历与见识。 [4]

### 辞亲远游

开元十二年（724年），李白二十四岁。离开故乡而踏上远游的征途。再游成都、峨眉山，然后舟行东下至渝州（今重庆市）。

开元十三年（725年），李白出蜀，“仗剑去国，辞亲远游”。

开元十四年（726年），李白二十六岁。春往扬州（今江苏省扬州市）。秋，病卧扬州。冬，离扬州北游汝州（今河南省汝州市），至安陆（今湖北省安陆市）。途经陈州时与李邕相识。结识孟浩然。

开元十五年（727年），是年诏令“民间有文武之高才者，可到朝廷自荐”。秋，全国六十三州水灾，十七州霜旱。李白二十七岁。居于安陆寿山，与故宰相许圉师之孙女结婚，遂家于安陆。 [25]是年王昌龄进士及第。

开元十六年（728年），吐蕃屡次入侵。李白二十八岁。早春，出游江夏（今湖北省武汉市），与孟浩然相会于斯。

开元十七年（729年），八月五日，唐玄宗为自己40岁生日举行盛大的庆贺活动，并以每年八月五日为千秋节。诏令天下诸州宴乐，休假三日。以宇文融管理全国财赋，强制税法，广为聚敛，供朝廷奢侈之用。李白29岁。在安陆。 [29]

### 蹉跎岁月

开元十八年（730年），李白三十岁。春在安陆。前此曾多次谒见本州裴长史，因遭人谗谤，于近日上书自白，终为所拒。初夏，往长安，谒宰相张说，并结识其子张垍。寓居终南山玉真公主（玄宗御妹）别馆。又曾谒见其他王公大臣，均无结果。暮秋游邠州（在长安之西）。 [5]冬游坊州（在长安之北）。是年杜甫十九岁，游于晋州（今山西省）。举杯邀明月的李白李白图片

开元十九年（731年），玄宗多任宦官，尤宠高力士，时四方表奏，皆先为高力士所决。十月，玄宗驾幸洛阳。李白三十一岁，穷愁潦倒于长安，自暴自弃，与长安市井之徒交往。初夏，离长安，经开封（今河南省开封市），到宋城（今河南省商丘市）。秋到嵩山（五岳之一的中岳，为河南省登封市 [126]的名山），恋故友元丹丘的山居所在，遂有隐居之意。暮秋，滞留洛阳。

开元二十年（732年），十月，玄宗出巡，诏令巡幸所至，地方官员可将本地区贤才直接向朝廷推荐。十二月，归还洛阳。是年全国户数为786万余，人口4543万余，是有史以来的最高记录。李白自春历夏在洛阳与元演、崔成甫结识。秋，自洛阳返安陆。途经南阳（今河南省南阳市），结识崔宗之。冬，元演自洛阳到安陆相访，二人同游随州（今湖北省随县）。岁末，归家安陆。

开元二十一年（733年），正月，唐玄宗亲注老子《道德经》。令天下士庶（士大夫阶层与庶民 [24]）家藏一册，每年贡举时加试《老子》策。李白三十三岁，构石室于安陆白兆山桃花岩。开山田，日以耕种、读书为生活。

### 献赋谋仕

开元二十二年（734年）正月，李白为唐玄宗献上著作《明堂赋》，赋云：“穹崇明堂，倚天开兮。”又云：“四门启兮万国来，考休征兮进贤才。俨若皇居而作固，穷千祀兮悠哉！”按赋中有“臣白美颂”等字样，疑太白曾以此赋在东都洛阳进献玄宗。此赋盛赞明堂之宏大壮丽，写尽开元盛世的雄伟气象以及作者的政治理想。

李白《明堂赋》的写作目的是为了谋求官位，其写作时间为开元二十七年拆毁明堂之前，他赋明堂一是为了谋仕的需要，二是“以大道匡君”的需要。由于家庭的缘故，李白不能应常举和制举以入仕途，只能走献赋之路，这是真献赋谋仕的原因。

开元二十三年（735年），玄宗又一次狩猎，正好李白也在西游，乘机献上《大猎赋》，希望能博得玄宗的赏识。他的《大猎赋》希图以“大道匡君，示物周博”，而“圣朝园池遐荒，殚穷六合”，幅员辽阔，境况与前代大不相同，夸耀本朝远胜汉朝，并在结尾处宣讲道教的玄理，以契合玄宗当时崇尚道教的心情。

是年，李白进长安后结识了卫尉张卿，并通过他向玉真公主献了诗，最后两句说“几时入少室，王母应相逢”，是祝她入道成仙。由此，他一步步地接近了统治阶级的上层。李白这次在长安还结识了贺知章。李白去紫极宫，在那里遇见了贺知章，立刻上前拜见，并呈上袖中的诗本。贺知章颇为欣赏《蜀道难》和《乌栖曲》。李白瑰丽的诗歌和潇洒出尘的风采令贺知章惊异万分，竟说：“公非人世之人，可不是太白星精耶？”贺知章称他为“谪仙人”。三年后，李白发出“行路难，归去来”的感叹，离开长安。 [4]

### 供奉翰林

天宝元年（742年），由于玉真公主和贺知章的交口称赞，玄宗看了李白的诗赋，对其十分钦慕，便召李白进宫。李白进宫朝见那天，玄宗降辇步迎，“以七宝床赐食于前，亲手调羹”。玄宗问到一些当世事务，李白凭半生饱学及长期对社会的观察，胸有成竹，对答如流。玄宗大为赞赏，随即令李白供奉翰林，职务是给皇上写诗文娱乐，陪侍皇帝左右。

玄宗每有宴请或郊游，必命李白侍从，利用他敏捷的诗才，赋诗纪实。虽非记功，也将其文字流传后世，以盛况向后人夸示。李白受到玄宗如此的宠信，同僚不胜艳羡，但也有人因此而产生了嫉恨之心。

天宝二年（743年），李白四十三岁。诏翰林院。初春，玄宗于宫中行乐，李白奉诏作《宫中行乐词》，赐宫锦袍。暮春，兴庆池牡丹盛开，玄宗与杨玉环同赏，李白又奉诏作《清平调》。对御用文人生活日渐厌倦，始纵酒以自昏秽。与贺知章等人结“酒中八仙”之游，玄宗呼之不朝。尝奉诏醉中起草诏书，引足令高力士脱靴，宫中人恨之，谗谤于玄宗，玄宗疏之，后玄宗赐金放还。 [4] [6]

### 李杜相识

天宝三载（744年）夏天，李白到了东都洛阳。在这里，他遇到了杜甫。中国文学史上最伟大的两位诗人见面了。此时，李白已名扬全国，而杜甫风华正茂，却困守洛城。李白比杜甫年长十一岁，但他并没有以自己的才名在杜甫面前倨傲。而“性豪也嗜酒”“结交皆老苍”的杜甫，也没有在李白面前一味低头称颂。两人以平等的身份，建立了深厚的友情。李白与杜甫在洛阳相遇意义重大，被闻一多比喻为“青天里太阳和月亮碰了头” [152]。在洛阳时，他们约好下次在梁宋（今开封、商丘一带）会面，访道求仙。李白《静夜思》

同年秋天，两人如约到了梁宋。两人在此抒怀遣兴，借古评今。他们还在这里遇到了诗人高适，高适此时也还没有禄位。然而，三人各有大志，理想相同。三人畅游甚欢，评文论诗，纵谈天下大势，都为国家的隐患而担忧。这时的李杜都值壮年，此次两人在创作上的切磋对他们今后产生了积极影响。随后三人同游河南济源王屋山阳台宫，欲寻访司马承祯。待到达阳台观后，方知他已经仙逝，惟睹其画，李白有感而作四言诗《上阳台帖》。 [124] [128]同年（公元744年），李白与杜甫、高适一同来到单父（今山东省菏泽市单县），受到单父尉、李白的好友陶沔和单父主簿、李白的族弟李凝的盛情款待，兴高采烈之际，诗赋行止见闻。在单父期间，李白、杜甫、高适游览琴台、晏堌、孟渚泽、南楼、栖霞山和孟氏桃园等享有盛名的文化古迹。李白留下《登单父陶少府半月台》《秋猎孟诸夜归置酒单父东楼观妓》《携妓登梁王栖霞山孟氏桃园中》等千古绝唱，杜甫晚年寓居夔州时，曾写下《昔游》回忆起这次游单父台的经历：“昔者与高李，晚登单父台“。 [131] [133] [137]

这年的秋冬之际，李杜又一次分手。李白到齐州（今山东济南一带）紫极宫请道士高天师如贵授道箓 [7-8]，从此他算是正式履行了道教仪式，成为道士。其后李白又赴德州安陵县，遇见这一带善写符箓的盖还，为他造了真箓。此次的求仙访道，李白得到了完满的结果。

天宝四载(745年)秋天，李白离开长安，被唐玄宗赐金遣返，受族弟李凝之邀到单父（今山东省菏泽市单县），出猎消忧，曾留宿晏堌（今山东省菏泽市成武晏堌堆）写下《送族弟凝至晏堌单父三十里》。恰逢本家兄弟李沈也从咸阳（今属陕西）来到此地，于是李白、李沈、李凝兄弟3人欢聚、游猎。李沈要回秦地，李白、李凝在东楼上为他饯行。李白作此诗送别，写下《单父东楼秋夜送族弟沈之秦》。 [131-133]

天宝四载（745年）秋天，李白与杜甫在东鲁第三次会见。短短一年多的时间，他们两次相约，三次会见，知交之情不断加深。他们一道寻访隐士高人，也偕同去济州拜访过当时驰名天下的文章家、书法家李邕。就在这年冬天，李杜两人分手。

### 安史入幕

天宝十四载（755年），安史之乱爆发后，李白与妻子宗氏一道南奔避难。春在当涂。旋闻洛阳失陷，中原横溃，乃自当涂返宣城，避难剡中（今浙江省嵊州）。至溧阳（今江苏省溧阳市），与张旭相遇。夏至越中。闻郭子仪、李光弼在河北大胜，又返金陵。秋，闻玄宗奔蜀，遂沿长江西上，入庐山屏风叠隐居。李白与安史之乱

至德元载（756年），正月，安禄山在洛阳自称大燕皇帝。五月，郭子仪、李光弼大破史思明，收复河北十余郡。六月，安禄山率部攻破潼关，生擒哥舒翰。

至德二载（757年），李白五十七岁。正月，在永王军营，作组诗《永王东巡歌》抒发了建功报国情怀。永王擅自引兵东巡，导致征剿，兵败。李白在浔阳入狱。被宋若思、崔涣营救。成为宋若思的幕僚后，为宋写过一些文表，并跟随他到了武昌。李白在宋若思幕下很受重视，并以名义再次向朝廷推荐，希望再度能得到朝廷的任用。终以参加永王东巡而被判罪长流夜郎（今贵州桐梓）。是年杜甫四十六岁，四月，从贼营逃出，谒肃宗于凤翔，授左拾遗。 [9]

乾元元年（758年），四月，史思明反。五月，肃宗罢张镐宰相，出为荆州大都督长史。十二月，史思明陷魏州（今河北省南部）。李白五十八岁。李白自浔阳出发，开始长流夜郎，妻弟宗嫌相送。春末夏初。途经西塞驿（今武昌县东），至江夏，访李邕故居，登黄鹤楼，眺望鹦鹉洲。秋至江陵，冬入三峡。是年杜甫四十七岁，为华州司功参军。

### 赋歌而终

乾元二年（759年），朝廷因关中遭遇大旱，宣布大赦，规定死者从流，流以下完全赦免。李白经过长期的辗转流离，终于获得了自由。他随即顺着长江疾驶而下，而那首著名的《早发白帝城》最能反映他当时的心情。到了江夏，由于老友良宰正在当地做太守，李白便逗留了一阵。乾元二年，李白应友人之邀，再次与被谪贬的贾至泛舟赏月于洞庭之上，发思古之幽情，赋诗抒怀。不久，又回到宣城、金陵旧游之地。差不多有两年的时间，他往来于两地之间，仍然依人为生。李白行踪图南宋梁楷《太白行吟图》

上元二年（761年），已六十出头的李白因病返回金陵。在金陵，他的生活相当窘迫，不得已只好投奔了在当涂做县令的族叔李阳冰。

上元三年（762年），李白病重，在病榻上把手稿交给了李阳冰，赋《临路歌》后去世。

关于李白之死，历来众说纷纭，莫衷一是。总体可以概括为三种死法：其一是醉死，其二是病死，其三是溺死。

第一种死法见诸《旧唐书》，说李白“以饮酒过度，醉死于宣城”；

第二种死法亦见诸其他正史或专家学者的考证之说。说当李光弼东镇临淮时，李白不顾61岁的高龄，闻讯前往请缨杀敌，希望在垂暮之年，为挽救国家危亡尽力，因病中途返回，次年病死于当涂县令、唐代最有名的篆书家李阳冰处；

而第三种死法则多见诸民间传说，极富浪漫色彩，说李白在当涂的江上饮酒，因醉跳入水中捉月而溺死，与诗人性格非常吻合。

但是不管哪一种死法，都因参与永王李璘谋反作乱有着直接的关系。因为李白流放夜郎，遇赦得还后不久，就结束了他传奇而坎坷的一生，这是一个不争的事实。

主要影响播报编辑

## 主要影响

### 诗

李白的乐府、歌行及绝句成就为最高。其歌行，完全打破诗歌创作的一切固有格式，空无依傍，笔法多端，达到了任随性之而变幻莫测、摇曳多姿的神奇境界。李白的绝句自然明快，飘逸潇洒，能以简洁明快的语言表达出无尽的情思。在盛唐诗人中，王维、孟浩然长于五绝，王昌龄等七绝写得很好，兼长五绝与七绝而且同臻极境的，只有李白一人。

李白的诗雄奇飘逸，艺术成就极高。他讴歌祖国山河与美丽的自然风光，风格雄奇奔放，俊逸清新，富有浪漫主义精神，达到了内容与艺术的统一。他被贺知章称为“谪仙人”，其诗大多为描写山水和抒发内心的情感为主。李白的诗具有“笔落惊风雨，诗成泣鬼神”的艺术魅力，这也是他的诗歌中最鲜明的艺术特色。李白的诗富于自我表现的主观抒情色彩十分浓烈，感情的表达具有一种排山倒海、一泻千里的气势。他与杜甫并称为“大李杜”，（李商隐与杜牧并称为“小李杜”）。

李白诗中常将想象、夸张、比喻、拟人等手法综合运用，从而造成神奇异彩、瑰丽动人的意境，这就是李白的浪漫主义诗作给人以豪迈奔放、飘逸若仙的原因所在。

李白的诗歌对后代产生了极为深远的影响。中唐的韩愈、孟郊、李贺，宋代的苏轼、陆游、辛弃疾，明清的高启、杨慎、龚自珍等著名诗人，都受到李白诗歌的巨大影响。李白的诗，裴旻的剑术，张旭的草书合称唐代三绝。

豪迈奔放，清新飘逸，想象丰富，意境奇妙，语言奇妙，浪漫主义，立意清晰。

李白生活在盛唐时期，他性格豪迈，热爱祖国山河，游踪遍及南北各地，写出大量赞美名山大川的壮丽诗篇。他的诗，既豪迈奔放，又清新飘逸，而且想象丰富，意境奇妙，语言轻快，人们称他为“诗仙”。李白的诗歌不仅具有典型的浪漫主义精神，而且从形象塑造、素材摄取、到体裁选择和各种艺术手法的运用，无不具有典型的浪漫主义艺术特征。

李白成功地在诗中塑造自我，强烈地表现自我，突出抒情主人公的独特个性，因而他的诗歌具有鲜明的浪漫主义特色。他喜欢采用雄奇的形象表现自我，在诗中毫不掩饰、也不加节制地抒发感情，表现他的喜怒哀乐。李白赏月谪仙玩月图

对权豪势要，他“手持一枝菊，调笑二千石”（《醉后寄崔侍御》二首之一）；看到劳动人民艰辛劳作时，他“心摧泪如雨”。当社稷倾覆、民生涂炭时，他“过江誓流水，志在清中原。拔剑击前柱，悲歌难重论”（《南奔书怀》），那样慷慨激昂；与朋友开怀畅饮时，“两人对酌山花开，一杯一杯复一杯。我醉欲眠卿且去，明朝有意抱琴来”（《山中与幽人对酌》），又是那样天真直率。总之，他的诗活脱脱地表现了他豪放不羁的性格和倜（俶）傥不群的形象。

豪放是李白诗歌的主要特征。除了思想性格才情遭际诸因素外，李白诗歌采用的艺术表现手法和体裁结构也是形成他豪放飘逸风格的重要原因。善于凭借想象，以主观现客观是李白诗歌浪漫主义艺术手法的重要特征。几乎篇篇有想象，甚至有的通篇运用多种多样的想象。现实事物、自然景观、神话传说、历史典故、梦中幻境，无不成为他想象的媒介。常借助想象，超越时空，将现实与梦境、仙境，把自然界与人类社会交织一起，再现客观现实。他笔下的形象不是客观现实的直接反映，而是其内心主观世界的外化，艺术的真实。

李白诗歌的浪漫主义艺术手法之一是把拟人与比喻巧妙地结合起来，移情于物，将物比人。

李白诗歌的另一个浪漫主义艺术手法是抓住事情的某一特点，在生活真实的基础上，加以大胆的想象夸张。他的夸张不仅想象奇特，而且总是与具体事物相结合，夸张得那么自然，不露痕迹；那么大胆，又真实可信，起到突出形象、强化感情的作用。有时他还把大胆的夸张与鲜明的对比结合起来，通过加大艺术反差，加强艺术效果。

李白最擅长的体裁是七言歌行和绝句。李白的七言歌行又采用了大开大合、跳跃宕荡的结构。诗的开头常突兀如狂飙骤起，而诗的中间形象转换倏忽，往往省略过渡照应，似无迹可循，诗的结尾多在感情高潮处戛然而止。

李白的五七言绝句，更多地代表了他的诗歌清新明丽的风格。如《早发白帝城》《送孟浩然之广陵》《静夜思》等，妙在“只眼前景、口头语、而有弦外音、味外味，使人神远。”（《说诗晬语》上）。

李白诗歌的语言，有的清新如同口语，有的豪放，不拘声律，近于散文，但都统一在“清水出芙蓉，天然去雕饰”的自然美之中。这和他自觉地追求自然美有关。他继承陈子昂的文学主张，以恢复诗骚传统为己任，曾说“梁陈以来，艳薄斯极，沈休文又尚以声律，将复古道，非我而谁欤？”（孟棨《本事诗·高逸》）他崇尚“清真”，讽刺“雕虫丧天真”的丑女效颦，邯郸学步。他的诗歌语言的自然美又是他认真学习民歌明白通俗的特点的结果，明白如话，通俗生动。

《将进酒》《蜀道难》《梦游天姥吟留别》《静夜思》《望庐山瀑布》《侠客行》《春思》《子夜秋歌》等。

### 词

今传李白词大多出于《尊前集》，但由于《尊前集》本身的成书年代及真伪都成问题，故李白词的真伪也许仍会继续争论下去。按照词学界的一般看法，至少《菩萨蛮·平林漠漠烟如织》、《忆秦娥·箫声咽》和《清平乐》的前四首，在没有发现有力的证据之前，应该据宋人的说法，看作李白的作品。

不管李白是否有词作，“李白词”已经成为一个代名，这一名称代表了一个不可逾越的高峰，而这些词到底是不是李白所作倒是次要的事情了。就开创意义及艺术成就而言，“李白词”在词史上享有极为崇高的地位。这一地位犹如古代希腊神话在西方艺术中的地位，作为一种“不可企及”的规范，“李白词”成为人们心目中永远的偶像。

李白在词坛上处于开山祖地位，这是词学家的共识。即便传世“李白词”确实全部是伪作并不属于词体，李白仍然是词体发展链上不可或缺的一环，没有这一环，就无法全面地说明词体的发展史。从唐末五代《花间集》以来，所有的唐宋词选集、总集，在具体操作中，都不会忘记李白，至少也要在序跋题记中提上一句。其作为文学史上的第一位大词人，虽然只有很少几首著作权经常受到怀疑的词作，但却从来没有人对他表示过任何的不满或批评意见。 [10]

### 书法

《上阳台帖》为李白书自咏四言行草诗，也是其唯一传世的书法真迹。纸本，纵28.5厘米，横38.1厘米。草书5行，共25字。款署“太白”二字。引首清高宗弘历楷书题“青莲逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“唐李太白上阳台”七字。背有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。卷前后钤有宋赵孟坚“子固”“彜斋”、贾似道“秋壑图书”，元“张晏私印”“欧阳玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。上阳台帖

### 剑术

李白不仅文采斐然，喜欢剑术。他“十五好剑术”，“剑术自通达”。

据统计，《全唐诗》李白诗中“剑”字共出现了一百零七次，除去作为地名的“剑阁”三次，“剑壁”一次，武器之“剑”犹有一百零三次之多。属于剑的“铗”出现了一次、“吴钩”一次、“吴鸿”一次、“湛卢”一次、“干将”一次、“莫邪”一次、“青萍”两次、“秋莲”两次、“霜雪”两次、“匕首”三次、“龙泉”四次。总计，“剑”字共出现了一百一十八次（统计时把“吴钩霜雪明”“空余湛卢剑”“剑花秋莲光出匣”“拙妻莫邪剑”“吾家青萍剑”分别计做一次），分布在一百零六首诗中，约占全诗总数的10%。

### 思想

盛唐国力强盛，多数士人渴望建功立业。李白以不世之才自居，以“奋其智能，愿为辅弼，使寰区大定，海县清

![Li Bai](/static/img/articles/li-bai/li-bai-illustration-01.jpg)


Du Fu

Summary: Du Fu was a renowned Chinese poet of the Tang Dynasty, often called the 'Poet-Historian' for his realistic depictions of social conditions.

# Du Fu

## Overview

Du Fu (712-770) was a prominent Chinese poet of the Tang Dynasty, widely regarded as one of the greatest figures in Chinese literature. Born during the height of the Tang's prosperity, he lived through the devastating An Lushan Rebellion (755-763) and witnessed the dynasty's decline. His poetry, known for its profound humanity, technical mastery, and social consciousness, earned him the posthumous title "Poet-Historian" for his detailed documentation of his era's social and political realities.

## History

### Family Background

Du Fu hailed from the prestigious Du clan of Jingzhao, claiming descent from Du Zhou, a harsh official during the reign of Emperor Wu of Han. In his *Sacrificial Text to the Distant Ancestor Lord Dangyang*, Du Fu identified himself as the thirteenth-generation descendant of Du Yu, a famous minister of the Western Jin Dynasty. The Du family's ancestral home was Xiangyang (modern-day Hubei Province), but they had relocated to Gongxian (modern-day Henan Province) by the time of Du Fu's great-grandfather Du Yiyi, who served as the county magistrate of Gongxian.

Du Fu was born on the first day of the first lunar month in 712 (February 12, 712, in the Gregorian calendar) in Yaowan Village, two li east of Gongxian county town (modern-day Gongyi, Henan). His grandfather was Du Shenyan, who served as the Registrar of the National University and Direct Academician of the Xiuwen Academy during the reign of Emperor Zhongzong of Tang, ranking alongside famous poets Shen Quanqi and Song Zhiwen. His father, Du Xian, was Du Shenyan's eldest son and reached the position of Sima of Yanzhou.

Du Fu took great pride in his family's tradition of "upholding Confucianism and serving as officials, without abandoning the ancestral profession" and their poetic heritage. His mother, from the Cui clan, died when he was young. The Cui family was also a prominent lineage, and Du Fu frequently mentioned his encounters with various maternal uncles and cousins throughout his life. After his mother's death, Du Xian married a woman from the Lu clan. During most of his childhood, Du Fu was raised by his second aunt in Eastern Capital Luoyang, receiving careful attention and care.

### Education and Travels

Thanks to his family's优越 (superior) circumstances, Du Fu enjoyed a stable and affluent life in his youth. He showed an early aptitude for learning, composing poems by age seven, as he later recalled: "At seven, my thoughts were already strong, opening my mouth to sing of phoenixes." By age nine, he could write large characters and had filled a bag with his compositions. He aspired to "help the ruler become like Yao and Shun, and once again make customs pure."

During his teenage years, Du Fu was exposed to various cultural and artistic influences that significantly shaped his future poetic endeavors. At ages five or six, he witnessed the sword-dance performer Gongsun Dainiang's performance in Yancheng, Henan. Later in Luoyang, he heard the singing of Li Guinian in front of the residence of Prince Qi Li Fan and in the hall of Cui Di, a favored minister of Emperor Xuanzong. He also admired paintings by the master painter Wu Daozi in the Temple of the Mysterious Emperor on the northern Mang Mountain in Luoyang. These experiences later found expression in his poetry.

When Du Fu came of age during the "Prosperous Kaiyuan Era," rural prosperity and developed transportation facilitated a tradition of nationwide wandering among ambitious young scholars. In 731, at nineteen, Du Fu traveled to Xunxia (modern-day Linshi, Shanxi). The following year, he embarked on a multi-year journey through Wu and Yue regions. In 735, he returned to his hometown to participate in the provincial examination. In 736, Du Fu took the imperial examination in Luoyang but failed to pass the jinshi degree. As his father Du Xian then served as Sima of Yanzhou, Du Fu traveled there to visit his family and subsequently journeyed with Su Yuanming and others to the plains of Qi and Zhao, embarking on his second wandering journey.

In Qi and Zhao, Du Fu spent four or five years in a "fast and unrestrained" life, leaving behind his earliest surviving poems. *Ascending the Yanzhou City Tower* was written during his visit to his father in Yanzhou. *Painting of an Eagle* and *Horse of Captain Fang* celebrated eagles and fine horses with youthful enthusiasm. His masterpiece *Gazing at Mount Tai* contained the immortal lines: "I shall climb to the summit, to behold all other mountains as small," revealing Du Fu's extraordinary ambitions in his youth.

In the fourth month of 744, Du Fu met Li Bai in Luoyang, who had been dismissed from imperial service by Emperor Xuanzong. The two traveled together to Liang and Song (modern-day Kaifeng and Shangqiu, Henan), meeting the poet Gao Shi. Du Fu later wrote in *Past Journeys*: "In former days with Gao and Li, we climbed the Shanfu Terrace at dusk." The following year, Du Fu met Li Bai again in Qi and Lu. Beyond drinking and composing poetry, they discussed alchemy and immortality and jointly visited the hermit Fan Ye in northern Yanzhou. They exchanged poems: Du Fu wrote to Li Bai, "I too am a guest of Dongmeng, cherishing you like a brother. We sleep autumn nights under the same quilt, and walk hand in hand daily." Li Bai replied, "Autumn ripples fall on the Si River, the sea's colors brighten the Culai peaks. Like flying tumbleweeds, we drift apart—let's finish the cups in our hands!" They never met again after this parting.

### Hardship in Chang'an

Du Fu's "pleasurable" period of education and travel ended when he was thirty-four. In 746, he returned to Chang'an. Although the romantic and leisurely atmosphere of the capital had not completely faded, with nobles like the Prince of Hanzhong and the residence of the驸马 (imperial son-in-law) Zheng opening their doors to him, Du Fu's primary purpose was to take the imperial examination to secure an official position.

In 747, Emperor Xuanzong issued an edict summoning all those proficient in any art to Chang'an for examination. Du Fu participated, but due to a scheme orchestrated by the powerful chancellor Li Linfei in which he claimed "no worthy talent was left in the wilderness," all candidates failed. With the civil service examination path blocked, Du Fu attempted to achieve his political ideals by cultivating relationships with powerful officials and submitting his writings, but to no avail. He lived in poverty and frustration for ten years in Chang'an, as described in his *Poem Presented to Left Minister Wei*: "I state my ambition to help the ruler become like Yao and Shun, while also lamenting the bitterness and humiliation of seeking favors from the powerful."

In 751, Emperor Xuanzong planned three major sacrificial ceremonies. Du Fu submitted *Three Major Rites Odes* in advance of the ceremonies and gained the emperor's appreciation. He was ordered by the chancellor to compose additional texts for examination at the Jixian Academy, but the result merely granted him eligibility for official appointment. By 755, Du Fu was appointed as the Wei of Hexi, but declined this "humiliating" position. The court then reassigned him to the position of Adjutant of the Right Guard Commandery (or according to some sources, Adjutant of the Armor Bureau, though Du Fu himself noted in *Amusing Poem After Official Appointment*: "At the time, I was excused from the Hexi position and became Adjutant of the Right Guard Commandery.")

At forty-four and after more than a decade in Chang'an, Du Fu accepted this position of little practical use for his livelihood. In November, he traveled to Fengxian (modern-day Pucheng County, Shaanxi) to visit his family. Upon arriving home, he heard weeping—his youngest son had starved to death. Based on his experiences in Chang'an and observations along the way, he wrote the famous *Five Hundred-Character Poem on My Journey from the Capital to Fengxian County*. During this period, suffering from hunger, cold, and illness, Du Fu gained a clear understanding of the corruption within the ruling class and developed increasingly profound awareness of the suffering of soldiers and common people, as well as the crisis facing the nation. Besides *Five Hundred-Character Poem*, he also wrote poems addressing contemporary issues such as *Song of the War Chariots* and *Beautiful Lady's Song*.

### Wandering Amid War and Rebellion

In November 755, An Lushan rebelled in Fanyang, triggering the An Lushan Rebellion. The following June, Tongguan fell, and Emperor Xuanzong fled west in haste. In July, Crown Prince Li Heng ascended the throne in Lingwu (modern-day Lingwu City, Ningxia) as Emperor Suzong. At this time, Du Fu was leading his wife and children north from Fengxian to Sanchuan and had taken refuge in Qiang Village, Fuzhou (modern-day Fu County, Shaanxi). Hearing of Emperor Suzong's enthronement, he arranged for his family's safety and traveled alone to Lingwu in August but was captured by rebel forces along the way and taken to Chang'an.

While imprisoned, Du Fu witnessed the occupied capital and created a series of "poetry-history" masterpieces including *Lament for Chentao*, *Moonlit Night*, and *Spring View*. He closely followed the development of the situation and wrote two essays: *Memorial to Governor Guo of Huazhou on the Situation for Eradicating the Remnant Rebels* and *Five Questions for the Imperial Examination Candidates in Huazhou in the First Year of Qianyuan*, offering strategies to suppress the An Lushan rebels and alleviate the people's burdens. When the elite troops led by Li Suye, the Jiedushi of Beiting, passed through Huazhou on their way to the capital, Du Fu wrote *Two Poems Observing the Anxi Army Passing Through Guanzhong Awaiting Orders*, expressing strong patriotic sentiment.

### Imperial Service and Demotion

In April 757, as Guo Ziyi's army approached Chang'an from the north, Du Fu risked escaping through the Jingguang Gate in the west of the city, passing through the opposing armies to Fengxiang (modern-day Baoji, Shaanxi) to join Emperor Suzong. On May 16, he was appointed as Left Remonstrance by Emperor Suzong, hence known as "Du Shiyi" (Du the Left Remonstrance). As a minor official who had served in office for less than a year when war broke out, he was deeply moved to hold this position as a close advisor to the emperor. Having long held the grand ambition of "I foolishly dedicate myself to serve, secretly comparing myself to Ji and Xie; to help the ruler become like Yao and Shun, and once again make customs pure," Du Fu felt his moment had come.

However, within less than a month of his appointment, Du Fu encountered the major event of Emperor Suzong dismissing Chancellor Fang Guan. He submitted a memorial to save Fang. Believing that Fang was loyal only to Emperor Xuanzong and not to him, Emperor Suzong handed Du Fu over to the Three Judicial Offices for interrogation. Fortunately, the newly appointed chancellor Zhang Hao and Censor-in-Chief Wei Zhi interceded, saying: "Although Du Fu's words are reckless, he maintains the proper conduct of a remonstrance official." Du Fu was spared criminal punishment and was only ordered to return to Fuzhou to visit his family. During this home visit, Du Fu wrote two masterpieces: *The Northern Expedition* and *Three Poems of Qiang Village*.

While Du Fu was briefly resting in Qiang Village, the Tang army recaptured Chang'an in September and Luoyang in October. After Emperor Suzong returned to Chang'an, Du Fu also returned with his family in November to continue his service as Left Remonstrance. Although Du Fu had sensed Emperor Suzong's alienation during his home visit, he may not have realized that the sidelined Fang Guan remained a thorn in the emperor's side, nor that Emperor Suzong and his confidant Li Fuguo were fabricating a so-called "Fang Party" that included Jia Zhi, Yan Wu, Liu Zhi, and Du Fu himself. Thus, in the spring of 758, he still composed a eulogy poem *In Response to Jia Zhi's Poem on the Morning Court at Daming Palace* with Wang Wei and Shen Congshan. Shortly thereafter, Jia Zhi, Fang Guan, and others were successively demoted, and Du Fu was simultaneously demoted to Simo of Huazhou (modern-day Huaxian, Shaanxi).

### Four Journeys

In September 758, Guo Ziyi, Li Guangbi, and other nine jiedushi led troops north to suppress An Qingxu. Shortly after the Tang army's departure, they achieved success by crossing the Yellow River and besieging Yecheng. That winter, Du Fu traveled to the Eastern Capital Luoyang, not far from the front line, to visit his former residence in Tlou Village, Yanshi, and inquire about the siege situation. The following spring, hearing that Yecheng would soon be captured, he excitedly wrote the long poem *Washing the Weapons* in anticipation.

However, while the court and public eagerly awaited the recapture of Yecheng and the capture of An Qingxu, the 600,000 Tang troops suffered a disastrous defeat outside Yecheng on March 3, 759 (see the Battle of Yecheng). Guo Ziyi led the Shuofang Army back to defend Heyang. Amid the chaos in the Eastern Capital, Du Fu traveled back to Huazhou via Xin'an, Shihao, and Tongguan. Along the way, he witnessed officials disregarding the people's welfare, forcibly conscripting soldiers and laborers, hearing only the laments and weeping of women, children, and the elderly. At the same time, he saw many people actively supporting the government army. These impressions left a deep mark on him, leading him to write six "new title Yuefu" poems later known as the immortal "Three Officials" and "Three Separations." These six poems not only depicted the price paid by the people for the war but also their spirit of selfless sacrifice.

Back in Huazhou, the threat of drought began, leaving the people with no way out under the dual pressure of natural disaster and war. Du Fu wrote *Summer Lament* and *Summer Night Lament*, lamenting the nation's suffering and the people's hardship. Faced with the turbulent political situation and uncontrollable famine, he abandoned his official post in July 759, leading his family far away to Qinzhou (modern-day Tianshui, Gansu) to seek a new livelihood.

In Qinzhou, Du Fu intended to find a place to settle in Dongke Valley or Xizhi Village, but this region, inhabited by Qiang and Hu peoples with expanding Tibetan influence, was not suitable for long-term residence. However, during his three months there, he added many new frontier-themed works to his poetry collection (*Miscellaneous Poems of Qinzhou*, *Gazing at the Scene*, etc.). By October, with the thought of "no food, I ask for a happy land; no clothes, I think of the southern regions," he led his family south to Tonggu (modern-day Cheng County, Gansu). After traveling for several days, they fell into a desperate situation of hunger and cold upon arrival in Tonggu. These painful experiences were recorded in *Seven Poems Composed in Tonggu County During the Qianyuan Era*. After staying in Tonggu for over a month, Du Fu set off for Chengdu in December.

Between Qinzhou and Tonggu, and then Tonggu to Chengdu, Du Fu systematically wrote twenty-four travel poems including *Qingyang Gorge*, *Mupi Ridge*, *Feixian Pavilion*, *Wupan*, and *Jianmen*. Each section contained twelve poems, documenting the actual appearance of the mountains and rivers he traversed step by step. During this year, Du Fu made "four journeys in one year"—from Luoyang to Huazhou, Huazhou to Qinzhou, Qinzhou to Tonggu, and Tonggu to Jiannan. This was a year of hard travel for him, but also a year of tremendous ideological change and unprecedented poetic achievement.

### Residing in Shu (Sichuan)

When Du Fu's family first arrived in Chengdu, they lived in a sparsely populated ancient temple, supported by "old friends providing grain and vegetables, and neighbors sharing garden produce." Not only could the family's livelihood be temporarily maintained, but they also began building a thatched cottage west of the Huahua River the following year (later known as the "Du Fu Thatched Cottage" or "Huahua Thatched Cottage"). After years of wandering during the war, Du Fu finally had a place to live. Once settled, he busied himself planting trees, bamboo, and vegetables, while also visiting neighboring counties like Shuzhou, Xinjin, and Qingcheng to borrow money from friends and relatives. Walking or traveling by boat, he unintentionally wrote many pleasant and fitting small poems such as *For the Farmer*, *Rural Dwelling*, *Two Poems of Water Railings*, *Guests Arrive*, and *Entering the Boat.

Unfortunately, this peaceful period did not last long. In May 761, a 200-year-old pomelo tree beside Du Fu's cottage was uprooted by a violent storm. More不幸 (unfortunately), in August of the same year, his newly built cottage was damaged by another storm, leaving his family with "no dry place by the bed, raindrops like hemp without end." In sleepless nights, Du Fu extended his personal suffering to the countless displaced people throughout the empire, furiously writing the famous lines: "How I wish for millions of spacious houses to shelter all the poor scholars, keeping them happy and secure against wind and rain. When will this suddenly appear before my eyes? Even if my own cottage collapses and I freeze to death, I shall be content."

During this period, the court offered Du Fu the position of Sima of the Capital, but he did not accept it. In December 761, Du Fu's old friend Yan Wu was promoted from Prefect of Mianzhou to Jiedushi governing both eastern and western Sichuan. In the spring and summer of 762, Du Fu and Yan Wu visited each other multiple times. In their exchanged poems, Yan Wu encouraged him to take up official service again, while Du Fu hoped Yan Wu would understand his detached and lazy nature. In April of the same year, Emperor Xuanzong and Emperor Suzong died successively, and Emperor Daizong ascended the throne. In July, Yan Wu was summoned to the capital. Du Fu personally saw him off at Fengyi Station in Mianzhou, but unexpectedly, the military commander of western Sichuan, Xu Zhidao, launched a rebellion in Chengdu, blocking Yan Wu's exit from Jianmen. Du Fu could not return to Chengdu and had to turn to Zizhou, relying on new friends like "Li Zizhou" and "Yan Er Biejia." In August, Xu Zhidao's rebellion was suppressed by Gao Shi, but the turmoil continued, forcing Du Fu to move his family to Zizhou and consider leaving eastern Sichuan for the Three Gorges and then the Western Capital.

At this time, the military situation in the Central Plains had significantly improved. After ascending the throne, Emperor Daizong ordered his eldest son Prince Li Shi to be the commander-in-chief of the empire's forces and Pugu Huai'en as deputy commander-in-chief to attack Shi Chaoyi. In January 763, Shi Chaoyi was forced to commit suicide, and all prefectures in Henan and Hebei were recaptured. When this news reached Zizhou, Du Fu wept with joy and wrote what he called "my happiest poem in life," *Heard That the Government Army Has Recovered Henan and Hebei*. However, his family was still fleeing in Zizhou and could not return to their hometown. In the same year, Yan Wu returned to serve in Sichuan again. Overjoyed by the news of Yan Wu's return, Du Fu led his wife back to Chengdu in the spring of 764. In March, upon returning to Chengdu, Yan Wu recommended him as an advisor to the Jiedushi and concurrently as the Assistant Gentleman of the Ministry of Works, awarded with a red fish bag (a symbol of official rank). Henceforth, Du Fu was known as "Du Gongbu" (Du of the Ministry of Works). Back at the cottage, he had plans to beautify his surroundings and visit neighbors and friends, but upon entering the Jiedushi's office, he entered an atmosphere of military preparations. In July, Yan Wu personally went to the front line and wrote the poem *Early Autumn at the Military City*. Du Fu responded with *In Response to Yan Wu's Early Autumn at the Military City*, praising Yan Wu's victory over more than 70,000 Tibetan troops and the capture of Danggou and Yanchuan. After serving in the administration for half a year, with a constrained life and inevitable conflicts with colleagues, Du Fu resigned from his post on the third day of the first lunar month in 765 and returned to the Huahua River.

### Wandering South

In April 765, Yan Wu died, and Du Fu had no support in Chengdu. In May, he led his family east along the Min River, ending his "five years as a guest in Shu Commandery and one year in Zizhou," beginning his "journey to the Xiao and Xiang rivers."

Accompanied by eastbound boats, Du Fu reached Jiazhou (modern-day Leshan, Sichuan) in May, Rongzhou (modern-day Yibin, Sichuan) in June, Yuzhou (modern-day Chongqing) in July, and Zhongzhou (modern-day Zhongxian County, Chongqing) in autumn. By this time, his illnesses of diabetes and malaria had flared up, so he stayed at the water pavilion of Prefect Yan Ming. In the spring of 766, he moved to Baidi City in Kuizhou (modern-day Fengjie County, Chongqing). In autumn of the same year, Bo Maolin, appointed as the governor of Kuizhou from Chengdu, frequently shared his monthly salary and occasionally sent melons and vegetables. In March 767, Du Fu bought forty mu of orchard land in the west of the Rang River, along with "a thatched cottage of eight or nine rooms." Bo Maolin also entrusted him with managing one hundred mu of rice paddy fields in Eastern Tun, making his life somewhat more prosperous than before.

From late spring 766 to early spring 768, when Du Fu was fifty-five to fifty-seven years old, he wrote over four hundred poems in less than two years—not only reaching a peak in quantity (nearly one-third of his surviving 1,400 poems) but also showing distinctive characteristics in content and form. He reflected on his life experiences and creative journey, writing autobiographical long poems such as *Youthful Travels*, *Past Journeys*, *The Past*, and *Expressing My Feelings*. The light and darkness of history merged with his own loves and hates, brewing boundless sorrow and bitterness. He remained a poet who "worried about the common people throughout the year," but his later poems, besides describing "a thousand families mourning in the wilds" and "a hundred nations at war," showed special concern for talented people, especially those who could restore order and truly love the country and its people, as evident in *With Yuan the Envoy on His Chunling Journey* and *Parting with Li Fifteen Zhang*. Poems like *Sacrificial Text to the Late Chancellor Qinghe Duke Fang* and *Eight Lamentations* reflected his views on talent. During this period, Du Fu also wrote many poems about the scenery, climate, local customs, and people's livelihood in Kuifu, striving to explore the artistic expression of the seven-character regulated verse form, creating works such as *Five Poems on Ancient Sites*, *Five Poems to the Generals*, and *Eight Autumn Moods*.

In January 768, Du Fu gave away the orchard and cottage he had bought the previous year to Wu Nanqing and led his family out of the Three Gorges by boat. When he reached Jiangling Prefecture, he had several literary gatherings with his closer acquaintances Zheng Shen and Li Zhifang, but his material conditions did not improve, and he continued to live a life of "relying on others' rice for food and worrying about cups everywhere." Later, Li Zhifang died, and a military rebellion occurred in Sichuan, gradually spreading to eastern Sichuan, making Jiangling unsuitable for long residence. Du Fu had to move south to Gong'an, staying there for two months. At the end of the year, he drifted to Yueyang and wrote his famous work *Ascending Yueyang Tower*. That winter, after a heavy snowfall in Yueyang, he also wrote the long poem *Year's End Journey*.

Due to financial difficulties, Du Fu continued southward in the spring of 769. In March, he reached Tanzhou (modern-day Changsha, Hunan). Although an "old man with a withered right arm and deaf ears," he still joyfully visited Lushan and Daolin temples. He then traveled south to join his friend Wei Zhijin, whom he had known since youth in Shanxi's Xunxia and who was now the Prefect of Hengzhou (modern-day Hengyang, Hunan). Unexpectedly, upon reaching Hengzhou, Wei Zhijin had been transferred to Tanzhou Prefect, missing Du Fu on the way. Soon after, news came that Wei Zhijin had died in Tanzhou, and Du Fu was deeply grieved, returning to Tanzhou.

### Death on a Boat

In the spring of 770, Du Fu wrote several lyric poems in Tanzhou. He repaid in verse a poem Li Bai had given him ten years prior, with repeated emotional expressions mourning both Gao Shi and himself. He also conversed with swallows flying to his boat, feeling boundless about his own life's journey. Most admired is *Meeting Li Guinian in Jiangnan*. This short poem, spanning a long time, is filled with feelings of past glory and present decline.

In April of the same year, Zang Jie, the Military Commander of Hunan, killed the Hunan Observing Cui Gan and started a rebellion in Tanzhou. Du Fu's family fled again to Hengzhou. This was his final flight in life. His poems *Entering Hengzhou*, *Fleeing from Danger*, *White Horse*, and *Suffering from Heat on a Boat Presented to Governor Yang and Briefly Communicated to All Officials in the Central Government* described the outbreak of the rebellion, his family's escape, and Governor Yang Ji's cooperation with other prefectures to suppress Zang Jie. Subsequently, Du Fu led his family upstream along the Xiang River, planning to join his uncle Cui Wei in Chenzhou. However, when he reached Fangtian Station in Leiyang, the river flooded, forcing them to moor there. They starved for five days until Prefect Nie of Leiyang County sent beef and white wine to save them. Du Fu wrote *Prefect Nie Sent Wine and Meat to Me Blocked by Water in the River, Curing My Hunger, and I Composed This Poem at the County, Which is Forty Li from Fangtian Station by Land or One Day's Journey by Boat, When the River Was Flooded and We Moored at Fangtian*, expressing both praise and gratitude to Prefect Nie.

Since the boat could not proceed south, Du Fu had to return north to Tanzhou. In autumn, he successively wrote *Returning to the Boat*, *Boarding the Boat to Go to Hanyang*, and *Late Autumn, Returning to Qin, Leaving Friends in the Hunan Administration*, indicating his intention to go north to Xiangyang and the Qin region after leaving Tanzhou. In winter, while lying ill on the boat, Du Fu struggled to write his final work, *Thirty-Six Rhymes Committed to Bed from a Boat Suffering from Wind Illness Presented to Friends in Hunan*. Shortly after completing this poem, Du Fu passed away on the boat while traveling from Tanzhou to Yueyang at the age of fifty-nine.

After Du Fu's death, his family buried him in Yueyang. Forty-three years later, his grandson Du Siye had his coffin reburied in Yanshi, Henan (see "Later Commemorations - Du Fu's Tomb") and invited the poet Yuan Zhen to write the epitaph. In 1343, Emperor Shun of the Yuan Dynasty posthumously honored Du Fu with the title "Wenzhen".

## Key Information

| Category | Information |
|----------|-------------|
| **Full Name** | Du Fu (杜甫) |
| **Alternative Names** | Du Shaoling (杜少陵), Du Shi Yi (杜拾遗), Du Er (杜二), Lao Du (老杜) |
| **Courtesy Name** | Zimei (子美) |
| **Style Name** | Gongbu (工部) |
| **Posthumous Title** | Wenzhen (文贞) (conferred in 1343) |
| **Birth Date** | February 12, 712 (traditional: first day of first lunar month, Taiji era, Tang Ruizong's reign) |
| **Birth Place** | Yaowan Village, Gongxian (modern-day Gongyi, Henan) |
| **Death Date** | Winter 770 (traditional: seventh month, Dali era, Tang Daizong's reign) |
| **Death Place** | On a boat between Tanzhou and Yueyang (modern-day Changsha and Yueyang, Hunan) |
| **Major Works** | *Five Hundred-Character Poem on My Journey from the Capital to Fengxian County*, *Spring View*, *Three Officials* and *Three Separations*, *Gazing at Mount Tai*, *Eight Autumn Moods*, *Heard That the Government Army Has Recovered Henan and Hebei* |
| **Highest Position** | Left Remonstrance (左拾遗), Assistant Gentleman of the Ministry of Works (检校工部员外郎) |
| **Literary Significance** | Known as the "Poet-Historian" for documenting social conditions of the Tang Dynasty; master of various poetic forms, especially regulated verse; influenced generations of Chinese poets |

## Cultural Significance

Du Fu's poetry has had an immeasurable impact on Chinese literature and culture. His works are celebrated for their profound humanity, technical mastery, and social consciousness. Known as the "Poet-Historian" for his realistic depictions of social conditions, his poems provide invaluable historical insights into the Tang Dynasty, particularly during the An Lushan Rebellion.

His famous lines "When I see the poor shivering in cold, I wish I could build them grand houses; when I see the world in chaos, I wish I could bring peace" reflect his lifelong concern for the common people. This spirit of compassion has made him a revered figure in Chinese culture, often contrasted with the romantic Li Bai as representing the more socially conscious aspect of Tang poetry.

Du Fu's influence extends beyond literature into Chinese philosophy and ethics. His commitment to social responsibility and moral integrity has made him a role model for Chinese intellectuals throughout history. His poetry is studied extensively in Chinese education, and many of his verses have become common expressions in the Chinese language.

## Modern Status

Today, Du Fu is widely regarded as one of China's greatest poets. His works continue to be studied, translated, and appreciated worldwide. The Du Fu Thatched Cottage in Chengdu, where he lived for several years, has been preserved as a museum and cultural site, attracting numerous visitors annually.

Academic research on Du Fu's life and works remains active, with scholars analyzing his poetry from various perspectives including historical, literary, philosophical, and political angles. His works have been translated into numerous languages, making him one of the most widely read Chinese poets internationally.

In popular culture, Du Fu's life and works have inspired numerous films, television programs, and literary works. His poetry continues to resonate with modern readers for its timeless themes of social justice, human suffering, and resilience in the face of adversity.

## References

1. Owen, Stephen. The Great Age of Chinese Poetry: The High Tang. Yale University Press, 1981.

2. Hightower, James R. "The Poetry of Tu Fu." In *The Columbia History of Chinese Literature*, edited by Victor H. Mair, pp. 291-323. Columbia University Press, 2001.

3. Egan, Ronald. *The Burden of the Past and the Poets of the Present: Characterization in Traditional Chinese Poetry*. Yale University Press, 1975.

4. Holzman, Donald. "Du Fu: China's Greatest Poet." *Asia Major*, Third Series, Vol. 8, No. 1, 1995.

5. Chaves, Jonathan. *The Columbia Book of Later Chinese Poetry: Yüan, Ming, and Ch'ing Dynasties (1279-1911)*. Columbia University Press, 1986.

![Du Fu](/static/img/articles/du-fu/du-fu-illustration-01.jpg)