My Favorite Poet

Allama Iqbal a great Muslim poet and philosopher
(1877-1938)

Allama Iqbal (1877-1938)

Allama Iqbal, a great poet-philosopher and an active political leader was born in 1877 in Sialkot. He obtained Bachelor of Arts Degree from the Government College Lahore. Later he proceeded to Europe for higher studies and did his doctorate at Munich and finally he was able to qualify as a barrister. In 1908, on returning to India, besides teaching and practicing Law, Iqbal continued to write poetry. He resigned from the Government service in 1911 and took to the propagation of his individual thinking to the Muslims through his poetry (Ths Story of Pakistan)

You Are The One by Matthew Jenson

For you I would climb
The highest mountain peak
Swim the deepest ocean
Your love I do seek.

For you I would cross
The rivers most wide
Walk the hottest desert sand
To have you by my side.

For you are the one
Who makes me whole
Youâ??ve captured my heart
And touched my soul.

For you are the one
That stepped out of my dreams
Gave me new hope
Showed me what love means.

For you alone
Are my reason to live
For the compassion you show
And the care that you give.

You came into my life
And made me complete
Each time I see you
My heart skips a beat.

For you define beauty
In both body and mind
Your soft, gentle face
Is the best I can find.

For you are the one
God sent from above
The angel I needed
For whom I do love

Maybe only today by Kara

Sitting beside you, staring into your eyes
my stomach does a flip and my heart cries
i don't think i should be feeling, like i am today
because every time you touch me, our love just melts away
i know you'd do anything, to keep me by your side
but I'm not feeling the same, and i don't know why
it used to be that every time you touched me i felt like flying
but today I'm feeling strange...i feel like our love is dying
so the hardest part now, is for me to figure out
if today will last forever, or am i just having doubts
saying goodbye will be too hard, i already know
I've already figured out that its hard to let people go
i guess you could call me confused, because its obvious that i must be
i guess i could wait for you, but I'd only be hurting me
so until you're in my shoes, and know just how i feel
don't call me crazy,because you don't know the deal
i just want you to get the picture, that its my heart to break
and if I've done the wrong thing, then I'll learn from my mistake
so I'm trying my hardest, I'm going to say goodbye
its hurts for me to keep it in, but it hurts to see you cry
so once again, here i am, not knowing what to do
i don't want to hurt me, but it seems worse to be hurting you
so i guess i'll just hold on, i'll try to keep it in
maybe this feeling i have today, wont ever come again

I Cry Tonight by Amelia osteen

I Cry Tonight
by Amelia osteen
You'd say baby I love you
I'd say I love you too...
I liked it when you called me baby
but now I need someone to save me
from the misery
the sleepless nights
the pain
of a broken heart
of a lost soul
I don;t know what to do anymore
I am so lost without you
My love was real
I'm thinking yours was fake
I would never have hurt you
the way you hurt me
I would never have made you cry
the way you made me cry
I would never have made you cry
as many times you made me
I cry almost every night now
I wish I had saved all those tears
that you made me cry
so I can drown you in them
I wish I had you
I wish I had someone to hold me
the way you held me
I wish I had someone to kiss me
the way you kissed me
I wish I had someone to make me feel special
the way you made me feel special
I wish I had someone to make me feel beautiful
the way you made me feel beautiful
the way you told me I was beautiful
am I not beautiful now?
am I not special now?
am I not kissable now?
am I not holdable now?
I wish so many things
My biggest wish is you
I wish all these things
The only wish I want to come true is you
It's dissapointing
I know I can't have you
But I wish I had you
I have had you in the past
but i screwed up
I made no effort
I love you so much
All I need is your touch
I can't get your touch
and can't have you
The last time you touched me
You hit me
whether you were playing or not
your last touch was when you hit me
the love
the pain
they say dont cry because its over
smile because it happened
but I'm not smiling
I'm crying
I cry tonight

Portraits of Chinese Poets

Portraits of Poets

Chu Yuan, Confucius, Li Bai, Bai Juyi, Tao YuanMing, Qi BaiShi, Pu Hsin-yu

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Chu Yuan
A portrait of Chu Yuan, often called the father of Chinese poetry.

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Confucius

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Li Bai
Li Bai - the best known poet of the Tang Dynasty, perhaps of all times.

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Bai Juyi
Two years after Du Fu died, another great poet was born. Bai Juyi (772-846), the son of a petty official, was born in Xinzheng, Henan. He spent his youth wandring about to escape wars, and was often cold and hungry. He was successful in civil service examinations, became an official, and worked in the central government for about 15 years. Then because he was disliked by those in power, he was sent ot work in Jiangzhou (now Jiujiang), Hangzhou and Suzhou. Later he moved to Luoyang, where he died at the age of 75.

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Tao YuanMing (365-437)
This painting of Tao YuanMing was by the Wang Chungyu, a fourteenth-century literati painter, is in the collection of Beijing Museum, Beijing.
In the work, the painter portrays the poet as he imagines him on the basis of his writings and the most important events of his life.
He gave us the image of a dignified, calm, somewhat haughty man, qualities he displayed in the incident that put an end to his official career.
On this occasion he composed the famous poem Home Again in which he justified what he did.

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Su Shi [Su DongPo] (1037-1101)

The original stone portrait is in the Six-Banyan Pagoda in Guangzhou, Guangdong Province.

Another portrait | More |

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Qi BaiShi [Chi Pai-shih][]
A photograph of Qi BaiShi, one of the most popular painters of the 20-th century, whose paintings are not only in all of the leading museums, but seemingly everywhere.

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[Pu Hsin-yu]
A photograph of Pu Hsin-yu (1896-1963). He was a native of Beijing, a member of the Manchu imperial family. Following the overthrow of the Manchu Ching dynasty, he changed his name to Pu Ju, style Hsin-yu. He spent seven years at the Chien Tai monastery on Mt. Hsi, and took the studio name Hsi-shan I-shih or "Retired official of Mt. Hsi."

Wafa ki Hadd Se Guzar Gaya

Teri Ghaflatoan Ko Khabar Kahan,
Mere Haal-e-Dil pey Nazar Kahan

Tu Jafa Ki Hadd mey b Na Aaska
Main Wafa ki Hadd Se guzar Gaya

History of chinese poetry

Introduction

Chinese poetry can be divided into three main periods: the early period, characterized by folk songs in simple, repetitive forms; the classical period from the Han dynasty to the fall of the Qing dynasty, in which a number of different forms were developed; and the modern period of Westernized free verse.

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Early Poetry

The Shi Jing (literally "Classic of Poetry", also called "Book of Songs") was the first major collection of Chinese poems, collecting both aristocratic poems (Odes) and more rustic poetry, probably derived from folksongs (Songs).
A second, more lyrical and romantic anthology was the Chu Ci (楚辭 Songs of Chu), made up primarily of poems ascribed to the semi- legendary Qu Yuan (c. 340 BCE- 278 BCE) and his follower Song Yu (fourth century BCE).

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Classical Poetry

During the Han dynasty (206 BCE- CE 220), the Chu lyrics evolved into the fu (賦), a poem usually in rhymed verse except for introductory and concluding passages that are in prose, often in the form of questions and answers; often called a poetical essay (i.e. Robert van Gulik). One of the fine examples of fu is Xi Kang's Qin Fu 《琴賦》, or "Poetical Essay in Praise of the Qin".
From the Han dynasty onwards, a process similar to the origins of the Shi Jing produced the yue fu poems. Again, these were song lyrics, including original folk songs, court imitations and versions by known poets (the best known of the latter being those of Li Bai).
From the second century CE, the yue fu began to develop into shi or classical poetry- the form which was to dominate Chinese poetry until the modern era. These poems have five or seven character lines, with a caesura before the last three characters of each line. They are divided into the original gushi (old poems) and jintishi, a stricter form developed in the Tang dynasty with rules governing tone patterns and the structure of the content. The greatest writers of gushi and jintishi are often held to be Li Bai and Du Fu respectively.
Towards the end of the Tang dynasty, the ci lyric became more popular. Most closely associated with the Song dynasty, ci most often expressed feelings of desire, often in an adopted persona, but the greatest exponents of the form (such as Li Houzhu and Su Shi) used it to address a wide range of topics.
As the ci gradually became more literary and artificial after Song times, the san qu, a freer form, based on new popular songs, developed. The use of san qu songs in drama marked an important step in the development of vernacular literature.

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Later Classical Poetry

After the Song dynasty, both shi poems and lyrics continued to be composed until the end of the imperial period, and to a lesser extent to this day. However, for a number of reasons, these works have always been less highly regarded than those of the Tang dynasty in particular. Firstly, Chinese literary culture remained in awe of its predecessors: in a self-fulfilling prophecy, writers and readers both expected that new works would not bear comparison with the earlier masters. Secondly, the most common response of these later poets to the tradition which they had inherited was to produce work which was ever more refined and allusive; the resulting poems tend to seem precious or just obscure to modern readers. Thirdly, the increase in population, expansion of literacy, wider dissemination of works through printing and more complete archiving vastly increased the volume of work to consider and made it difficult to identify and properly evaluate those good pieces which were produced. Finally, this period saw the rise of vernacular literature, particularly drama and novels, which increasingly became the main means of cultural expression.

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Modern Poetry

Modern Chinese poems usually do not follow any prescribed pattern. Poetry was revolutionized after the May Fourth Movement when writers try to use vernacular styles closer to what was being spoken rather than previously prescribed forms. Early twentieth-century poets like Xu Zhimo, Guo Moruo and Wen Yiduo sought to break Chinese poetry from past conventions by adopting Western models; for example Xu consciously follows the style of the Romantic poets with end-rhymes.
In the post-revolutionary Communist era, poets like Ai Qing used more liberal running lines and direct diction, which were vastly popular and widely imitated.
In the contemporary poetic scene, the most important and influential poets are the group known as Misty Poets, who use allusion and hermetic references. The most important Misty Poets include Bei Dao, Gu Cheng, Duo Duo, and

The Tang Dynasty

In 581 Yang Jian, prime minister of the Northern Zhou, seized power and established the Sui Dynasty. Eight years later he unified China after he conquered Chen in the south, thus putting an end to the period of division which lasted more than three centuries.

His son, who succeeded him, was a corrupt and evil emperon. His despotic rule was hated by the people, and peasant uprisings started. The dynasty was overthrown only 37 years after it was founded.

Li Yuan, a military commander in Taiyuan, Shanxi raised an army and occupied Chang'an. In 618 he founded the Tang Dynasty. His chief advisor was his second son, Li Shimin. In a power struggle Shimin killed his two brothers; his father had to five him the throne.

This ambitious and capable young man turned out to be one of the wisest emperors that ruled China. He was later called Tang Tai Zong. The 130 years from his time to the Time of Tang Xuan Zong was the heyday not only of the Tang Dynasty, but of the whole feudal period of China. The Tang emperors ruled over a vast area, larger than /china had been during the Han Dynasty. China was then the largest and strongest country in the world; it was also economically and culturally the most advanced. In Chang'an, the capital, there were over 300,000 households, with a great number of merchants, traders, scholars and students from foreign countries. Chinese culture, including philosophy, and political, legal and economic systems, had a far-reaching influence, especially in East Asia. At the same time, foreign products and culture were introduced into China.

In 755 the revolt of An Lushan and Shi Siming broke out. Their troops entered Chang'an, and Xuan Zong fled to Sichuan in a hurry. This was the beginning of the decline of the Tang Dynasty. But the dynasty,

Li Bai

Li Bai (701-762) was born in Suiye in Central Asia. His ancestors had been banished there by the Sui rulers. At five he moved to Sichuan with his father, who was probably a rich merchant. When young, he studied not only Confucian classics, but works of other schools. After 20 he first travelled for and wide in Sichuan, and then he started a long journey to Central, East and North China. He did not sit for the civil service examination, for he looked down upon it. But he wished to become an official. When he was 42, he was recommended to Tang Xuan Zong, who ordered him to go to Chang'an. He stayed there for three years and was bitterly disappointed. During the years of An Lushan's rebellion, he joined the staff of Prince Li Lin. Later, because Li Lin tried to seize power and failed, Li Bai was exiled to Yelang. On his way to Yelang he was freed by an amnesty. He went to East China and died at 62 in Dangtu, Anhui.

He wrote as many as 900 poems. Some of them describe the life of the people; some describe the magnificent scenery he saw; others express his own wishes and sorrows. His poems are characterized by unusual imagination and free and direct expression of feelings. That is why he is called a romantic poet.

At dawn I left Baidi towering in the midst of colorful clouds,
And reached Jiangling a thousand Li away in a day.
The screams of monkeys on either bank went on and on,
While my light boat passed by ten thousand hills.

Satisfaction and admiration will fill our hearts when we read such beautiful and dashing lines. They are so colorful, so musical, and so impressive. The image in the poem-a boat rushing toward down the gorges-is just a description of the poet himself.

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Du Fu

Du Fu (712-770) was born in Gongxian, Henan. The son of an official, he was interested in learning when he was young. "I read ten thousand volumns until they were worn out," he said. At 20 he started his 10-year-long travels from north to south. At 35 he went to Chang'an, where he stayed for ten years without getting any position in the government. His disappointment made him look at reality and see the sharp contrast between the life of the upper classes and that of the ordinary people. He began to write poems about the sufferings of the poor. After the An Lushan rebellion began, he had a hard time as a refugee, but this brought him closer to the people. His well-known poems describing three officials and three departures were written during this period. In 759 he went to Chengdu. After wandering in Sichuan, Hubei and Hunan for more than ten years, he finally died on board a small boat on his way from Changsha to Yueyang.

Deep sympathy for the people is one of the main characteristics of Du Fu's poems. In this respect he surpassed all earlier poets. His poems have been called "poetic history", for they reflect the political and military situation of his time, and the life and miseries of the people. He pushed the tradition of realism in poetry to a new level.

Here are the first six lines from the poem "The Official of Shihao":

At dusk I came to Shihao Village to stay overnight,
And heard an official trying to catch somone after dark.
The old man in the house climbed over the wall and fled,
Leaving the old woman to face the official at the door.
Shouting loudly, the official was very angry;
Sobbing bitterly, the woman was full of sorrow.

Du Fu exposes the Shameless luxury of the ruling class in these famous lines:

Behind the red doors wine and meat stink,
But on the roads lie men frozen to death.

Li Bai and Du Fu are among the greatest poets that China has produced. Their poems have given the Chinese people boundless inspiration and have been taken as models of poetry. Han Yu, also a famous Tang poet, wrote: "The works of Li and Du are there; their brilliant light will shine for ever."

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Bai Juyi

Two years after Du Fu died, another great poet was born. Bai Juyi (772-846), the son of a petty official, was born in Xinzheng, Henan. He spent his youth wandring about to escape wars, and was often cold and hungry. He was successful in civil service examinations, became an official, and worked in the central government for about 15 years. Then because he was disliked by those in power, he was sent ot work in Jiangzhou (now Jiujiang), Hangzhou and Suzhou. Later he moved to Luoyang, where he died at the age of 75.

Bai Juyi wrote more poems than any other Tang poet-nearly 3,000. Many of them deal with important social and political problems, and show signs of Du Fu's influence. He also wrote many lyrics expressing his personal feelings. His two long narrative poems-"The Everlasting Sorrow" and "The Song of a Pipa Player"-are among the best known. Many of his poems have deep meaning, and they are written in simple and plain language, which ordinary readers can understand.

The following are a few lines from "The Old Man with a Broken Arm":

In the south and in the north of my village people wept sadly;
Children were parting from parents and husbands from wives.
Everyone said that in battles against the southern tribes,
Of ten thousand men sent there not one returned.

The poem clearly shows the poet's opposition to battles against border tribes, which caused miseries to both Han and tribal poeple.

In "The Song of a Pipa Player" there are these lines describing the beautiful music produced by the Pipa:

Strong and loud, the thick string sounded like a sudden shower;
Weak and soft, the thin string whispered in your ear.
When strong and weak, loud and soft sounds were mixed,
They were like big and tiny pearls falling on a jade plate.

History of Urdu poetry

by Anisur Rahman

Urdu language and literature, beyond their spatial confines, have been more heard of than read. With the publication of some notable translations, some of them in the recent past, a new literary culture seems to be emerging from the canons of the old. Modern Urdu poetry, of which this is the first comprehensive selection, has its own tradition of the new. It has developed through stages of a variegated literary history. This history has absorbed both the native and non- native elements of writing in Arabic and Persian, and the Urdu language has survived through several crises and controversies. Some of these are related to its growth and development, its use by the British to divide the Hindus and the Muslims. it estrangement in the land of its birth following the Partition of India and its interaction with Hindi once akin but now an alien counterpart. Even with the extinction of those generations of Sikhs in Punjab, Muslims in Bengal and Hindus elsewhere, who nurtured the language with love and for whom it was the mark of a cultivated man, the language has survived and developed. It is now the cultural legacy of India and the adopted national identity of Pakistan, and significant new literature has emerged in both countries.

Literary centre : Deccan, Delhi and Lucknow

Literature in Urdu grew at three different centres: Deccan, Delhi and Lucknow. As it happened, the Deccan emerged as the earliest centre, even though the language had first developed in northern India, as a result of an interesting linguistic interaction between the natives and the Muslim conquerors from Central Asia, who settled there in the twelfth and thirteenth centuries, The period stretching roughly from the middle of the fourteenth centuries to the middle of the eighteenth produce a number of poets. They are claimed both by Urdu and Hindi literary historians, but Quli Qutub Shah (1565-1611) is generally acknowledged as the first notable poet, like Chaucer is English, with a volume of significant poetry in a language later named Urdu. He was followed by several others, among whom Wali Deccani (1635-1707) and Siraj Aurangabadi ( 1715-1763) deserves special mention. Delhi emerged as another significant centre with Mirza Mohammad Rafi Sauda (1713-80), Khwaja Mir Dard (1721-85), Mir Taqi Mir (1722-1810), Mirza Asadullah Khan Ghalib (1797-1869) and Nawab Mirza Khan Dagh (1831-1905). It reached its height of excellence during the eighteenth and nineteenth centuries. Lucknow made its way as the third important centre with Ghulam Hamdani Mushafi (1725-1824), Inshallah Khan Insha (1757-1817), Khwaja Haidar Ali Atish (1778-1846), Iman Baksh Nasikh (1787-1838), Mir Babr Ali Anis (1802-74) and Mirza Salamat Ali Dabir (1803-1875). These literary capitals, where the classical tradition developed, had their individual stylistic and thematic identities, but broadly it may be said that the ghazal (love lyric) reached its zenith with Mir and Ghalib, qasida (panegyric) with Sauda, mathnawi(romance) with Mir Hasan and marthiya (elegy) with Anis and Dabir.

Hali and Iqbal : new poetry in Urdu

In the period that followed, and before the launching of the Progressive Writers Movement in the 30s, mention should be made of Altaf Husain Hali (1837-1914) and Mohammad Iqbal (1877-1938). Hali was a poet of the newer socio-cultural concerns and advocated 'natural poetry' that had an ameliorative purpose. His Musaddas is an important example of this. He was also a theorist who opened new frontiers in Urdu criticism with his Moqaddama-e-Sher-o-Shairi (Preface to Poetry) which equals Wordsworth's Preface to Lyrical Ballads in importance, and even surpasses it in certain respects. He realized that with the impact of the West a new perspective was required. He, along with Mohammad Husain Azad (1830-1910), laid the foundations of a new poetry in 1867 under the auspices of Anjuman-e-Punjab, Lahore. Azad had asserted in the same year that Urdu poets should come out of the grooves of responses conditioned by Persian culture and root their works in the ethos of the land. Seeing no response to his pleas, he reiterated the same point seven years later on May 8, 1874 during his address on the occasion of the first mushaira of the Anjuman. These appeals failed to make and impact as sensibilities rooted in particular tradition are not easily altered even by impassioned pleas. Hali, creating a new taste for his age. Iqbal, with his remarkable religio-philosphical vision, and Josh Malihabadi (1838-1982), with his nationalistic and political fervour, produced exceptionally eloquent kinds of poetry that continue to reverberate over the years. Iqbal remained the most influential poet to achieve artistic excellence while putting forward a philosophical point of view, and his poetry, quite often, acquired the status of the accepted truth. A host of others Urdu poets and translators of English poetry who appeared on the literary scene during the first quarter of this century experimented with non-traditional poetic forms but they ultimately echoed sentiments and adopted forms that were more or less tradition-bound. They also looked towards the West, the traditional source of literary influence, but that was a world apart and too far to seek, They could reach only the Romantics who had already become outmoded in an age identified with Ezra Pound and T. S. Eliot. A characteristically modern poem in form and value, tone and tenor, remained at best an intriguing possibility.

Progressive Writers Movement

The 1930s emerged as the archway for entry into a new world and achieve the unachieved. Some young Indians-- Sajjad Zaheer, Mulk Raj Anand, and Mohammad Deen Taseer-- who wee then studying in London, musing on the role of literature in a fast-changing world, came up with a manifesto for what came to be known as the Progressive Writers Movement. Even before this, Sajjad Zaheer, during his stay in India had published Angare (Embers), an anthology of short stories, with explicit sexual references and an attack on the decadent moral order. The book had to be banned, like Lady Chatterley's Lover, but the stories had an impact, as they were thematically interesting and technically innovative. The reader had suddenly become exposed to the worlds of Freud, Lawrence, Joyce and Woolf. There was a world of new values waiting to be explored by an emotionally charged and intellectually agile reader. the Progressive Writers Movement was launched at the right time. This was the precise hour to shed the age-old traditions, take leave to the clichés, proposed new theories, and explore a new world order.
Akhter Husain Raipuri, in his well-timed Adab aur Inqilab (Literature and Revolution) published in 1934, discarded the classical Urdu poets, including Mir and Ghalib, as degenerate representative of a feudalistic culture. This rejection was, however, based on extra-critical considerations as he was more intent on popularizing Marxist thought in literature. Premchand's famous presidential address to the conference of Progressive Writers Association in Lucknow two years later in 1936, came as a more precise call to relate literature to social reality. ' We will have to change the standards of beauty, ' he had said, and beauty of him was that which Eliot identified as ' boredom and horror' in his own context. The movement focussed on poverty, social backwardness, decadent morality, political exploitation; it dreamt of an ideal society and a just political system.
Every rebel was, therefore, a progressive writer and vice-versa during those exhilarating days. He was basically wedded to the idea of political and social revolution. He drew his inspiration from Marx. He rejected the striving for individual signatures, new modes of expression and new experiments in form. It was important for the poet to denote rather than connote, and to appeal to the larger humanity rather than to the individual. Falling victim of these errors before long, the movement alienated some noted poets, the most important of them being N. M. Rashed (1910-75) and Miraji (1912-49), who came together to lead a group called Halqa-e-Arbab-e-Zauq (Circle of Connoisseurs) in 1939. The progressive writers insistence on ideology and the impatience of those who cared more for art are reminiscent of the British poets of the 1930s and the later stance of W. H. Auden.
Faiz Ahmad Faiz (1911-84) is the most prominent and the finest of the poets who subscribed to the progressive ideology. he was singularly successful in striking a balance between art an ideas. He was drew upon sources other than Urdu and Persian and imparted an individual tone to his poetry. he did not raise slogans; he only uttered soft notes of expostulation. he was inspired more by the spirit of liberation than by slogans raised elsewhere. Prominent among other progressive poets were Asrarul Haq Majaz (1908-56), Makhdoom Mohiuddin (1908-69), Ali Sardar jafri (b.1913), Jan Nisar Akhter (1914-76), Kaifi Azmi (b.1918) and Sahir Ludhianawi (1921-80). They are mentioned here not only for the individual qualities of their poetry by also for their importance in this movement at a particular juncture in literary history. Despite the deep political complexion of the Progressive Writers Movement, it prominence was a short-lived affair. The next generation of poets expressed certain misgivings about their emphasis on class struggle in a materialistic and scientific world. The new poet wished to shake off all external shackles and apprehend his own experience for himself.

The modernism

N. M. Rashed and Miraji are the two most remarkable poets in this group.They along with Faiz, represent in the Urdu language what Eliot and the Symbolists do in English and French. They appeared later but also showed a unique resilience and vitality. Faiz was a poet with a message, one woven artistically into a pattern of symbols and delivered in a mellifluous tones. Rashed treated the Urdu language in a fresh way and created complex symbiotic fusion. Faiz appeals alike to the philanthropist and the philanderer, the pious and profane, the music makers and dreamers of dreams, but Rashed appeals only to a select readership. Faiz emerged as a myth in his own lifetime while Rashed and Miraji are yet to be fully appreciated. Rashed's resources are immense. The merging to the eastern and western influences accounts for the richness of his verse enhanced by linguistic innovation and poetic skill. Miraji, who reminds one of Tristan Corbiere in his bohemianism, drew upon Oriental, American and French sources, meditated upon time, death, the mystery if human desires, the raptures of sex and wrote in a variety of verse forms -- regular, free, and prose-like. He opted for esoteric symbolism, resorted to the stream-of-consciousness method and emerged as a unique modernist movement in Urdu poetry.
It was on this tradition that individual poets later developed their own version of modernism. Majeed Amjad (1914-74), Akhtarul Iman (b.1915) and Mukhtar Siddiqi (1917-72) deserves special mention here. A poem for them was a delicate work of art that succeeded or failed for its artistic worth. Akhtarul Iman wrote ironic, nostalgic and dramatic poems, while Majeed Amjad wrote in an inimitable introspective mood and ideas. They served as models for the younger poets to follow. The impact of Rashed, Miraji and Faiz was immense and far-reaching. Their successors echoed them, learnt from them and so came to acquire their own voices in course of time.
The generations of poets since the 1950s faced new predicaments. The Partition of India was an experience they had suffered, while the world around was also terribly alive and eventful. Groups of poets followed on after another; Wazir Agha (b.1922), Muneer Niyazi (b.1927), Ameeq Hanfi (1922-88), Balraj Komal (b.1928), Qazi Saleem (b.1930) grappled with the world around in an idiom and form that were decidedly new and had nothing to do with Progressive aesthetics. All of them acquired their own individual identities and made their mark in the development of modern poetry. They looked back at their won masters-- Mir and Ghalib-- and fared forward to Eliot and Empson. Modern literary and philosophical movements no longer remained alien. Realism, symbolism, existentialism, and surrealism, were drawn closer home. Kumar Pashi (1935-92), Zubair Rizvi (b.1935), Shahrayar (b.1936), Nida Fazli (b.1938) and Adil Mansoori (b.1941), on the one hand, and Gilani Kamran (b.1926), Abbas Ather (b.1934), Zahid Dar (b.1936), Saqi Farooqi (b.1936), Iftekhar Jalib (b.1936), Ahmed Hamesh (b.1937), Kishwar Naheed (b.1940) and Fehmida Reyaz (b.1946), on the other, experimented in form and technique, bringing in new diction and finding a place for new experiences. The new poem had come into being; modernism had firmly established itself by the mid-1970s.
Shaabkhoon, a literary journal, projected this movement in a big way and identified the poets of the new order. Ever since its inception in 1966, it has done a singular job -- especially during the vital 60s and 70s -- of creating a taste for modernism. Shamsur Rehman Farooqi, the most perceptive of the modern Urdu critics, played a vital role in helping recognize the contours of modernism with his critical studies. his studies appraising modern poets, as well as classical poets who bear upon the modern tradition, developed sound critical theories and helped in creating an atmosphere for the acceptance and appreciation of modernism.

Poetry in Pakistan

It may not seem quite right to speak of Urdu poetry in terms of Indian and Pakistani poetry, but it would be reasonable to say that the new urdu poetry in Pakistan is remarkable for its variety and vitality. Emerging from the common sources and traditions of history and culture, poetry in Pakistan has achieved its own frames of reference, its own tones of voice, its own notes of protest, largely because of the socio-political compulsions. Its poetics is characterized by a healthy adherence to tradition and somewhat virile improvisation of the traditional modes of expression.
The new poet in Pakistan has created his own blend of the lyrical with the prosaic, the manifest with the allegorical. he expressed his own predicament and that of the world around him which arouse both hope and fear, dreams and despair. Faiz Ahmad Faiz, Majeed Amjad and Muneer Niyazi, with their vitality and strength, have led us to the still more varied and vibrant Sermad Sehbai, Asghar Nadeem Syed, Afzal Ahmad Syed, Zeeshan Sahil and the vital feminine voices of Kishwar Nahed, Fehmida Reyaz, Nasreen Anjum Bhatti, Sara Shagufta, Shaista Habib and Azra Abbas. All these and many more form part of a formidable poetic scene. They are rich in their experience and execution and may well be placed among the prominent Third World voices that are being heard today with great curiosity and interest.
Modernism is an international phenomenon and modern Urdu poetry is a part of it. It has made its mark with its recognizably individual poetics. The Urdu poet is now free to make his choice; he has drawn upon sources both indigenous and foreign, literary and extra-literary, including philosophy, sociology and mythology. The issues regarding the form of the poem, the language, experiential capital and aesthetic dimensions have been resolved. the modern reader has finally identified his poem.

اوڈوں ڈھولا مہنئے ڈیندے

وڈوں ڈھولا مہنئے ڈیندےa
ایڈوں چولا مہنئے ڈیندے

اپنا دل اے اپنیاں اکھیں
اپنا رولا مہنئے ڈیندے

میڈے کیتے وا گھلدی ہے
ہر ہِک جھولا مہنئے ڈیندے

سونا پا کے اوکھی تھئی آں
ماسہ تولا مہنئے ڈیندے

جیڑھے ویلے شیشہ ڈیکھاں
تِلک تلولا مہنئے ڈیندے

طارق ڈھولا کینجھا اولا
ڈے کے اولا مہنئے ڈیندے

احمد خان طارق

سمجھ کوئی نی آندی ایہ کیا کیتی بیٹھاں

سمجھ کوئی نی آندی ایہ کیا کیتی بیٹھاں
ولا وار اپڑاں خطا کیتی بیٹھاں
جو میں بد دعا کیتے ہتھ چاتے شاکر
ستمگر دے حق اچ دعا کیتی بیٹھاں

واہ وو سڄن تیڈے وعدے

واہ جو پیار کِتوئی رول ڈِتوئی وِچ روھی
واہ وو سڄن تیڈے وعدے
ـ ڈے کے وِچھوڑا ماہی کر گئیں کِنارے
جِیواں تاں جِیواں ہُڑ کَیندے سہارے
میکُوں نہ نال نِتوئی، رول ڈِتوئی وِچ روھی

shakir shujabadi

ghani khan

Poets (Ghani Khan)

Ghani Khan, whose ninth anniversary is being celebrated today, was not only a poet but a great lover of peace and humanity. His life passed through various phases and almost all of them are reflected in his writings. Most people know little about Ghani Khan. For many, he is only a poet who wrote about love, Music, pleasure, wine and sensuality. For some, he is a rebel while for others he is a heretic. It�s, therefore, makes sense to talk also about his life and times instead of discussing his poetry in isolation.

Ghani Khan was born in January 1914, at Utmanzai village in District Charsadda. He was the eldest son of Bacha Khan who founded the Khudai Khidmatgar Movement and who rose to prominence because of his relentless, non-violent struggle against the British rule in the subcontinent. When Ghani was five, his mother died of influenza and his paternal grandmother took charge of his upbringing, But she also died in 1923
Ghani Khan received his early education from a traditional religious teacher at an Utmanzai mosques. He was then sent to the National High School in Peshawar. After he had studied there for one year, his father set up Azad Islamic Madrassa in his hometown Utmanzai in 1921 and Ghani Khan was admitted to it. At the age of 14, he started composing poetry while he was still at school. But it was in December 1928 that his first poem appeared in Pakhtoon, a monthly journal launched by his father as the organ of the Khudai Khidmatgar Movement for the promotion of the Pashto language.
In 1929, Bacha Khan sent him to London for higher education where he also came to learn about Christianity. Even in those years of adolescence, he was able to impress others with his body and bent of mind. While in London, he got involved in a love affair with an eminent film actress but Bacha Khan did not approve of it. Ghani Khan was told by his father to depart for the United States of America to study of sugar technology at the University of Southern Louisiana.
But though Ghani Khan went to America his heart was in London. It was then that he wrote many verses on the liberalism of the western society. He also wrote about his emotional deprivation. He did Chemical Engine-ering from the US and on his return was appointed in a sugar mill in Uttar Pradesh province as chief chemist.
It was also during these days that, deeply moved by the atrocities committed by the British government against his father�s Khudai Khidmatgars, Ghani Khan sought Bacha Khan�s permission for an armed struggle. Instead he was sent to Allahabad where he stayed with Jawaharlal Nehru.
It is interested to note here that Bacha Khan while sending Ghani Khan, wrote to Nehru
�Teach Ghani Khan our culture, he has been Americanized during his stay in America.�
Therefore, in February 1934 Ghani Khan and Indra Gandhi were admitted to Rabindra Nath Tagore�s Shantiniketan College of Arts where, along with journalism, he started studying sculpture and painting. His stay at Shantiniketan had a profound effect on him.
In his own words, �it was in Shantineketan that I discovered myself and the past greatness of my own culture and civilisation which has produced several men of versatile geniuses, who have been appreciated by historians and scholars of the West.�
In December 1934 he went to Bombay where, at a friend�s house, he met and instantaneously fell in love with Roshan (1907-1987), a Parsi lady of noble birth and the youngest daughter of Nawab Rustum Jang Faridoonji of Hyderabad Deccan. They married on November 24, 1939.
In 1940, he joined Frontier Sugar Mills, Takht-i-Bhai in Mardan District as cane manager. In February 1943, he resigned. But soon the circumstances compelled him, much against his natural inclinations, to actively associate himself with electoral politics.
Ghani Khan was against non-violence preached and practiced by Bacha khan. He believed in struggle through any means possible. This was what prompted him to set up an armed organisation named Zalmey Pakhtun (Pakhtun Youth) to protect Khudai Khidmatgars and members of the Congress Party from violence by the state. But despite his belief in an armed political struggle, he took part in electoral politics. At 32, he was elected as the second youngest member of the Central Legislative Assembly of India in December 1945 on one of the two general seats for the Frontier province.
Zalmey Pakhtoon was banned after Pakistan came into being and Ghani Khan was put behind the bars for allegedly subversive activities. His agricultural land was also confiscated by the provincial government. He remained in different jails for six years and was finally released in 1954.
He devoted the rest of his life entirely to poetry. In 1987 a peasant killed Ghani�s only son Fareedon Khan. Though the incident shook him greatly, he pardoned his son�s killer.
Atrocities by the state, plight of the Pathans and death of his only son gave his poetry a philosophical colour which became a hallmark of his literary persona. Ghani Khan�s first poetic collection was Da Penjery Chaghaar (Chirpings of the Cage) which he wrote from 1947 to 1954 while he was in jail. His other books include Palwashey (Beams of Light), Panoos (Chandelier), Latoon (Search) and Kulyat-e-Ghani (A collection of Ghani�s poetry).
It is because of his varied and colourful personality that one can see so many shades � ranging from freedom, love of God, land and people, nationalism, fate, the mysteries of life and death, the joys of communion, and the woes of separation to beauty � in his poetry.
According to him, it is the duty of the poets to turn man�s attention to those higher centres of his being where he might see the reflection of his own perfection and the face of his eternal beloved beauty. A poet, therefore must worship beauty in thought, in word and in deed. Ghani Khan was of the view that beauty is the essence of civilisation and culture which includes almost all human creative activities like painting, sculpture and music. �Without the search for beauty in thought, word and deed we cannot have any kind of civilisation.�
Ghani khan was a passionate devotee of freedom to whom the slavery of foreign domination was anathema. His love for freedom and hate for slavery is manifested by these verses.
Though tombstones fine of bluish slate Should ornament, adorn, my grave, But I were to have died a slave, Come, spit on and defile them!
Beauty and love are the foundation upon which the building blocks of his poetry are lying. Beauty, according to him, is present everywhere. If one is beautiful from within, then the whole universe would be beautiful. But if one were hypocritical and ugly from within, then the whole world would be dark and unattractive.
In Ghani Khan�s view, God created the world beautifully. It is only man�s narrow-mindedness and prejudices that make it ugly. Ghani commented once, �Allah created light and colour, poetry in nature and taught us so that we can appreciate them and their creator�.
Love for him is the divine gift of God. It is far more superior to beauty because physical beauty is mortal and would perish while the spirit of love is immortal. The beauty of the beloved is essential but it is the passion of the lover which makes love eternal.
He describes his �Beloved� in this manner.

پہ جڑآ

Pa jara ba me yaran v ze ba na yam,
Pa sparli ke ba khazan v ze ba na yam.

Ranga rang golona her khwa ba zarghon v,
Pa chaghaar ba bolbolaan v ze ba na yam.

Daa watan ba rana patey meerasi v,
Zama watan ba qabristan we ze ba na yam.

Pus la marga ba zama khabari keegi
Der ghumjin ba me dustaan ye ze ba na yam.

Ze ba na yam, bya ba jarey ma ba ghwarey
Sry lambey ba da hijraan ye ze ba na yam.

Be parwa dilbara rasha ke deedan kry
Bia pa zra ba de armaan v za ba na yam

da Rahman Baba dewan na yo sher

Vraz de tera pa shomay ka, shepa la khuvaba
Khuday ba kala yadavay khana kharaba
Pa shatab shatab de tlla da ka pohe ge
Ghafil ma sha dade omar la shataba
Delta dum ao kadam duvanra pa hesab de
Pal ghalat da laree magda behesaba
Rastolay Khuday hesab de pa kitab ke
Khabar zdaa ka la hesaba la kitaba
Ta vo khepalo neko bad wata nazar ka
Che baday de so tere ke la savaba
Pa hagha jehan ba senga zavab oke
Che pade jahan aajiz ye la zavaba
Aqubat ba toro khavro lara drumay
So ba zan sanday pa guto la turaba
Da kaghaz pa kekhtay sale ba ke ter koma
Da kekhtay bade margee kande gharqaba
Che aftaab yava neza she beya se kee
Os che soree la ver takhte la aftaba
Pa azaar da cha raze masha Rehmana
Ka khlasay pa qayamat ghuvare la azaba

Rahman Baba Kalam with Translation)

Ma kooza warta lemah kra, zema sar ne teyteida
shayid chi pe ulfat kei hum afghan patey kedam.
I lowered my gaze, but did not bow my head, perhaps even in love i was going to stay an Afghan (Pukhtun).

Talah da newar asman ta lara,
ma chi da sta husan da newar sara talelah!
The pan of the sun (in which it is being weighed) went up to the sky, when i weighed your beauty against it.

Wai aghyar chi da douzakh jaba da,
zeba janaat ta da pukhtu sara zem!
They call it the language of hell, but i shall enter paradise with my Pashto!

La pe afqa da pukhtunkhwa hum zaleydaley na yum,
ze agha newar yum da afaqa chi rakhataley na yum.
I have not yet shown on the horizon of Pukhtunkhwa, i am that universal sun which has not risen.

Chi shepei kala rah shewama shi, pe dei wakht zema pe zre kei shur paida shi
chi rana la dunya lara shi rukhsat shi, de shair da zre dunya ta rana shi.
In the dead of the night when the deep silence reigns, a loud noise rises up in my heart;
when light departs the world and darkness falls, light comes to the inner world of the poet.

Ma wei chi de odu koum ba pe zema chaghu weekh shi, malomah shewa ma ghag karei wu khubulu ta pe khub kei.
I though i would wake up this sleeping nation with my calls, i found that i have been calling a sleepy people in dream.

Bal yaad ba sta da yaad depasa kala rashi mata, da yow da aks da pasa na wi bal pa aeena kei.
Except for that thought of you, how can another come to my mind, when there can be no reflection in a mirror atop the one that is already there.

Chi jewand gran dei ka asan dei khabar na yum,
khu takal da asani ye la mushkil kai.
Whether life is difficult or notm i don’t really know, it is only further compounded by the urges of comforts.

Da chi waim da bal jahan bayan dei,
rakuz shewei da kitab da bal asman dei.
That i say is a story of another world, a book descended from another sky.

Hungama warkygi zema na dei jahan ta, nawei rang warkeygi dei zemakei asman ta
bal Adam zema da khawrei na paidakeygi, marghei warkeygi da ghulam da sauda ow zan ta.
Give excitement to the world from me, paint anew the earth and sky,
create another adam from my clay, kill this slave of profit and loss

da Rahman Baba dewan na yo sher

Vraz de tera pa shomay ka, shepa la khuvaba
Khuday ba kala yadavay khana kharaba
Pa shatab shatab de tlla da ka pohe ge
Ghafil ma sha dade omar la shataba
Delta dum ao kadam duvanra pa hesab de
Pal ghalat da laree magda behesaba
Rastolay Khuday hesab de pa kitab ke
Khabar zdaa ka la hesaba la kitaba
Ta vo khepalo neko bad wata nazar ka
Che baday de so tere ke la savaba
Pa hagha jehan ba senga zavab oke
Che pade jahan aajiz ye la zavaba
Aqubat ba toro khavro lara drumay
So ba zan sanday pa guto la turaba
Da kaghaz pa kekhtay sale ba ke ter koma
Da kekhtay bade margee kande gharqaba
Che aftaab yava neza she beya se kee
Os che soree la ver takhte la aftaba
Pa azaar da cha raze masha Rehmana
Ka khlasay pa qayamat ghuvare la azaba

ma leeedalee da farAng khkule jazoona

ma leeedalee da farAng khkule jazoona
chay da landay tharay ghorsang wahee seendonaa
ma leedalee mahaloona da landan dee
jeenakayay masthee azaday gulbadan dee
ma leedalee italy khaistha kharoona
sara ay angoor sara ay sharab sara ay goloona
ma leedalee paris khaperaye khkulay
po kirdar gufthar khwagay lakka bulbalay
ma leedalee amrika kay da kharoona
chay wraizo tha ay rasee makanoona
ma leedalee taj mahal ghotee da gulo
da dehli khkule kharoona da mughlo
KHO CHAY WAWEENAM ZO DA KHPAL KHATO KOR
RANA HER SHEE MAHALOONA KHESTHA NOR
DA NARAYEE THANGAY KOSSAY ZAMA DA KALLEE
WARTHA SO DEE DAH DUNYA KHAROONA KHKULEE

Rahman Baba

One of the great religious scholar of Swat (A city in current Pakistan),
Swat Sahib, said: “If any other then, the book of God, was permissible for prayer,
I would have defiantly chosen Rahman’s book.” At the dawn of seventeenth century, at the age of invasions from the West by Persians and East by Moghols, a the time when Afghans were in the mist of war in every corner of the nation, a the time when education was the last thing in peoples’ mind, a legend was born. In the high hills of the Afghan nation, in the provincial area of Mohmand, a child was born, by the name of Abdul Rahman. Abdul Rahman would become one of the greatest poet in the history of the Pashto literature.

At the dawn of seventeenth century, at the age of invasions from the West by Persians and East by Moghols, a the time when Afghans were in the mist of war in every corner of the nation, a the time when education was the last thing in peoples’ mind, a legend was born.
In the high hills of the Afghan nation, in the provincial area of Mohmand, a child was born, by the name of Abdul Rahman. Abdul Rahman would become one of the greatest poet in the history of the Pashto literature.
One of the great religious scholar of Swat (A city in current Pakistan), Swat Sahib, said:
“If any other then, the book of God, was permissible for prayer, I would have defiantly chosen Rahman’s book.”

Abdur Rahman Baba popularly known as Rahman Baba (1064-1123A.H/1653-1711 AD) was born to Abdus Sttar at Bahadur Killi, Hazar Khawani, Peshawar.

Rahman is commonly acknowledged as the saint among Pashto Poets. That is why he is called Rahman Baba. Baba means father, and is a common appellation of reverence for age and wisdom. Professor Preshan Khattak writes, ‘there are many excellent poets of Pashto language those of the past and of the present. They are appreciated, loved, but none of them has reached the universal popularity of Rahman Baba and probably no one will’. Rahman Baba a great mystic poet has always been a great source of inspiration for poets and writers. Rahman Baba is an in exhaustible subject for researchers and critics of Pashto language.

Twentieth century gave a new wind of thought to Pukhtoons. With the dawn of the twentieth century, many poets/writers, researchers and critics emerged, they rediscovered Khushal Khan Khattak coupled with ennobling spirit of mysticism of Rahman Baba provided a new spur to the imagination of Pukhtoon poets.

Rahman Baba was well conversant with the prevalent stock of knowledge, fork lore and all the pros and cons of a typical Pukhtoon society. He was not just a detached reclusive mystic, oblivious and blind to the common problems of the people around him. Rahman Baba was a true representative of the spirit of the age he lived in. His poetry is a mirror to the virtues and ills of his period. Many of his verses have become proverbial in Pashto language. His verses have got such a currency in Pashto language that a convincing speech or a sermon remains almost incomplete and even incomprehensible without quoting one or two of his verses as a forceful argument.

The subjects of Baba poetry are universal love, sympathy, humility, peace, humanity and true friendship.

‘Rahman Baba was the king of love, the guide to contemplation and virtue, the walking stick of the blind, the leader of poets, the saint of Pathans, and the master of simple word, observes a critic. Dost Mohammad Kamil who has explored Rahman Baba in his most admirable book “Rahman Baba’ published in 1958 says, ‘Rahman Baba has reached such heights of humanity and honesty that the reader-listener is compelled to accept his words “The Truth”.

The poetry of Baba attracted many linguists, Scholars and researchers to understand the collective wisdom of Pukhtoons. Major Raverty and Plowden jointly translated (A selection from the poetry of Afghans) a celebrated book published during the British era. Markazi Naukhar Pukhto Adabi Jirga founded in 1934 by Abdul Khaliq Khaleeq, Abudl Hanan Hami and others arranged the first ever Pashto Mushaira at the mazar of Rahman Baba in 1938. The Jirga included Amir Hamza Khan Shinwari, Samander Khan Samarder, Abdul Ghufran Baikas, Ashraf Maftoon, Ajmal Khattak, Mian said Rasool Rasa, Abdullah Ustad, Mohammad Akram Mahshood. The poets at the Mushaira demanded that Tablets should be prepared for the graves of literary giants, Khushal Khan Khattak and Rahman Baba so that it could be properly preserved. The demand was put before the ‘Pukhto Tolana Kabul, Afghanistan.

Mohammad Hassan a sculptor along with an engineer came to Peshawar and prepared the designs of the graves, they handed over the Tablets to the Afghan consulate in Peshawar 1949. The provincial government of N.W.F.P built a complex comprising a white marble mazar, a cafeteria, mosque, library and an auditorium where the poets and writers arrange a three days seminar and a Pashto Mushaira at the mazar of Rahmana Baba every year in the spring season. This year the Rahman Baba day coincides with the centenary celebration of N.W.F.P. The Diwan of Rahman Baba was translated into Urdu in verse form by Amir Hamza Khan Shinwari published in 1963.

Jens Kristian Enevoldsen (1922 -1991) a Danish scholar rendered Rahman Baba’s poetry into English under the tile Rahman Baba: the nightingale of Peshawar. Keeping in view the universality of the message of Rahman Baba, I consider him the Nightingale of Humanity

Tang poems

001 張九齡 感遇四首之一

孤鴻海上來
池潢不敢顧
側見雙翠鳥
巢在三珠樹
矯矯珍木巔
得無金丸懼
美服患人指
高明逼神惡
今我遊冥冥
弋者何所慕

English

002 張九齡 感遇四首之二

蘭葉春葳蕤
桂華秋皎潔
欣欣此生意
自爾為佳節
誰知林棲者
聞風坐相悅
草木有本心
何求美人折

English| 上

003 張九齡 感遇四首之三

幽人歸獨臥
滯慮洗孤清
持此謝高鳥
因之傳遠情
日夕懷空意
人誰感至精
飛沈理自隔
何所慰吾誠

English| 上

004 張九齡 感遇四首之四

江南有丹橘
經冬猶綠林
豈伊地氣暖
自有歲寒心
可以薦嘉客
奈何阻重深
運命惟所遇
循環不可尋
徒言樹桃李
此木豈無陰

English| 上

005 李白 下終南山過斛斯山人宿置酒

暮從碧山下
山月隨人歸
卻顧所來徑
蒼蒼橫翠微
相攜及田家
童稚開荊扉
綠竹入幽徑
青蘿拂行衣
歡言得所憩
美酒聊共揮
長歌吟松風
曲盡河星稀
我醉君復樂
陶然共忘機

English| 上

006 李白 月下獨酌

花間一壺酒
獨酌無相親
舉杯邀明月
對影成三人
月既不解飲
影徒隨我身
暫伴月將影
行樂須及春
我歌月徘徊
我舞影零亂
醒時同交歡
醉後各分散
永結無情遊
相期邈雲漢

English| 上

007 李白 春思

燕草如碧絲
秦桑低綠枝
當君懷歸日
是妾斷腸時
春風不相識
何事入羅幃

English| 上

008 杜甫 望嶽

岱宗夫如何
齊魯青未了
造化鍾神秀
陰陽割昏曉
盪胸生層雲
決眥入歸鳥
會當凌絕頂
一覽眾山小

English| 上

009 杜甫 贈衛八處士

人生不相見
動如參與商
今夕復何夕
共此燈燭光
少壯能幾時
鬢髮各已蒼
訪舊半為鬼
驚呼熱中腸
焉知二十載
重上君子堂
昔別君未婚
兒女忽成行
怡然敬父執
問我來何方
問答乃未已
驅兒羅酒漿
夜雨剪春韭
新炊間黃粱
主稱會面難
一舉累十觴
十觴亦不醉
感子故意長
明日隔山岳
世事兩茫茫

English| 上

010 杜甫 佳人

絕代有佳人
幽居在空谷
自云良家子
零落依草木
關中昔喪亂
兄弟遭殺戮
官高何足論
不得收骨肉
世情惡衰歇
萬事隨轉燭
夫婿輕薄兒
新人美如玉
合昏尚知時
鴛鴦不獨宿
但見新人笑
那聞舊人哭
在山泉水清
出山泉水濁
侍婢賣珠迴
牽蘿補茅屋
摘花不插髮
采柏動盈掬
天寒翠袖薄
日暮倚修竹

English| 上

011 杜甫 夢李白二首之一

死別已吞聲
生別常惻惻
江南瘴癘地
逐客無消息
故人入我夢
明我長相憶
君今在羅網
何以有羽翼
恐非平生魂
路遠不可測
魂來楓林青
魂返關塞黑
落月滿屋梁
猶疑照顏色
水深波浪闊
無使蛟龍得

English| 上

012 杜甫 夢李白二首之二

浮雲終日行
遊子久不至
三夜頻夢君
情親見君意
告歸常局促
苦道來不易
江湖多風波
舟楫恐失墜
出門搔白首
若負平生志
冠蓋滿京華
斯人獨憔悴
孰云網恢恢
將老身反累
千秋萬歲名
寂寞身後事

English| 上

013 王維 送別

下馬飲君酒
問君何所之
君言不得意
歸臥南山陲
但去莫復聞
白雲無盡時

English| 上

014 王維 送綦毋潛落第還鄉

聖代無隱者
英靈盡來歸
遂令東山客
不得顧採薇
既至金門遠
孰云吾道非
江淮度寒食
京洛縫春衣
置酒長安道
同心與我違
行當浮桂棹
未幾拂荊扉
遠樹帶行客
孤城當落暉
吾謀適不用
勿謂知音稀

English| 上

015 王維 青谿

言入黃花川
每逐青谿水
隨山將萬轉
趣途無百里
聲喧亂石中
色靜深松裡
漾漾汎菱荇
澄澄映葭葦
我心素已閒
清川澹如此
請留盤石上
垂釣將已矣

English | 上

016 王維 渭川田家

斜光照墟落
窮巷牛羊歸
野老念牧童
倚杖候荊扉
雉雊麥苗秀
蠶眠桑葉稀
田夫荷鋤立
相見語依依
即此羨閒逸
悵然吟式微

English | 上

017 王維 西施詠

艷色天下重
西施寧久微
朝為越溪女
暮作吳宮妃
賤日豈殊眾
貴來方悟稀
邀人傅脂粉
不自著羅衣
君寵益嬌態
君憐無是非
當時浣紗伴
莫得同車歸
持謝鄰家子
效顰安可希

English | 上

018 孟浩然 秋登蘭山寄張五

北山白雲裡
隱者自怡悅
相望始登高
心隨雁飛滅
愁因薄暮起
興是清秋發
時見歸村人
沙行渡頭歇
天邊樹若薺
江畔洲如月
何當載酒來
共醉重陽節

English | 上

019 孟浩然 夏日南亭懷辛大

山光忽西落
池月漸東上
散髮乘夜涼
開軒臥閑敞
荷風送香氣
竹露滴清響
欲取鳴琴彈
恨無知音賞
感此懷故人
中宵勞夢想

English | 上

020 孟浩然 宿業師山房待丁大不至

夕陽度西嶺
群壑倏已暝
松月生夜涼
風泉滿清聽
樵人歸欲盡
煙鳥棲初定
之子期宿來
孤琴候蘿徑

English | 上

021 王昌齡 同從弟南齋翫月憶山陰崔少府

高臥南齋時
開帷月初吐
清輝淡水木
演漾在窗戶
苒苒幾盈虛
澄澄變今古
美人清江畔
是夜越吟苦
千里其如何
微風吹蘭杜

English | 上

022 邱為 尋西山隱者不遇

絕頂一茅茨
直上三十里
扣關無僮僕
窺室惟案几
若非巾柴車
應是釣秋水
差池不相見
黽勉空仰止
草色新雨中
松聲晚窗裡
及茲契幽絕
自足蕩心耳
雖無賓主意
頗得清淨理
興盡方下山
何必待之子

English | 上

023 綦毋潛 春泛若耶溪

幽意無斷絕
此去隨所偶
晚風吹行舟
花路入溪口
際夜轉西壑
隔山望南斗
潭煙飛溶溶
林月低向後
生事且瀰漫
願為持竿叟

English | 上

024 常建 宿王昌齡隱居

清溪深不測
隱處唯孤雲
松際露微月
清光猶為君
茅亭宿花影
藥院滋苔紋
余亦謝時去
西山鸞鶴群

English | 上

025 岑參 與高適薛據登慈恩寺浮圖

塔勢如湧出
孤高聳天宮
登臨出世界
磴道盤虛空
突兀壓神州
崢嶸如鬼工
四角礙白日
七層摩蒼穹
下窺指高鳥
俯聽聞驚風
連山若波濤
奔湊如朝東
青槐夾馳道
宮館何玲瓏
秋色從西來
蒼然滿關中
五陵北原上
萬古青濛濛
淨理了可悟
勝因夙所宗
誓將挂冠去
覺道資無窮

English | 上

026 元結 賊退示官吏并序

癸卯歲，西原賊入道州，焚燒殺掠，幾盡而
去。明年，賊又攻永州，破邵，不犯此州邊
鄙而退，豈力能制敵歟？蓋蒙其傷憐而已！
諸史何為忍苦徵歛！故作詩一篇以示官吏。

昔歲逢太平
山林二十年
泉源在庭戶
洞壑當門前
井稅有常期
日晏猶得眠
忽然遭時變
數歲親戎旃
今來典斯郡
山夷又紛然
城小賊不屠
人貧傷可憐
是以陷鄰境
此州獨見全
使臣將王命
豈不如賊焉
令彼徵歛者
迫之如火煎
誰能絕人命
以作時世賢
思欲委符節
引竿自刺船
將家就魚麥
歸老江湖邊

English | 上

027 韋應物 郡齋雨中與諸文士燕集

兵衛森畫戟
宴寢凝清香
海上風雨至
逍遙池閣涼
煩痾近消散
嘉賓復滿堂
自慚居處崇
未睹斯民康
理會是非遣
性達形跡忘
鮮肥屬時禁
蔬果幸見嘗
俯飲一杯酒
仰聆金玉章
神歡體自輕
意欲淩風翔
吳中盛文史
群彥今汪洋
方知大蕃地
豈曰財賦強

English | 上

028 韋應物 初發揚子寄元大校書

悽悽去親愛
泛泛入煙霧
歸棹洛陽人
殘鐘廣陵樹
今朝為此別
何處還相遇
世事波上舟
沿洄安得住

English | 上

029 韋應物 寄全椒山中道士

今朝郡齋冷
忽念山中客
澗底束荊薪
歸來煮白石
欲持一瓢酒
遠慰風雨夕
落葉滿空山
何處尋行跡

English | 上

030 韋應物 長安遇馮著

客從東方來
衣上灞陵雨
問客何為來
采山因買斧
冥冥花正開
颺颺燕新乳
昨別今已春
鬢絲生幾縷

English | 上

031 韋應物 夕次盱眙縣

落帆逗淮鎮
停舫臨孤驛
浩浩風起波
冥冥日沈夕
人歸山郭暗
雁下蘆洲白
獨夜憶秦關
聽鐘未眠客

English | 上

032 韋應物 東郊

吏舍跼終年
出郊曠清曙
楊柳散和風
青山澹吾慮
依叢適自憩
緣澗還復去
微雨靄芳原
春鳩鳴何處
樂幽心屢止
遵事跡猶遽
終罷斯結廬
慕陶真可庶

English | 上

033 韋應物 送楊氏女

永日方慼慼
出行復悠悠
女子今有行
大江泝輕舟
爾輩苦無恃
撫念益慈柔
幼為長所育
兩別泣不休
對此結中腸
義往難復留
自小闕內訓
事姑貽我憂
賴茲託令門
仁卹庶無尤
貧儉誠所尚
資從豈待周
孝恭遵婦道
容止順其猷
別離在今晨
見爾當何秋
居閑始自遣
臨感忽難收
歸來視幼女
零淚緣纓流

English | 上

034 柳宗元 晨詣超師院讀禪經

汲井漱寒齒
清心拂塵服
閒持貝葉書
步出東齋讀
真源了無取
忘跡世所逐
遺言冀可冥
繕性何由熟
道人庭宇靜
苔色連深竹
日出霧露餘
青松如膏沐
澹然離言說
悟悅心自足

English | 上

035 柳宗元 溪居

久為簪組累
幸此南夷謫
閑依農圃鄰
偶似山林客
曉耕翻露草
夜榜響溪石
來往不逢人
長歌楚天碧

English | 上

036 王昌齡 塞上曲

蟬鳴空桑林
八月蕭關道
出塞復入塞
處處黃蘆草
從來幽并客
皆向沙場老
莫學遊俠兒
矜誇紫騮好

English | 上

037 王昌齡 塞下曲

飲馬渡秋水
水寒風似刀
平沙日未沒
黯黯見臨洮
昔日長城戰
咸言意氣高
黃塵足今古
白骨亂蓬蒿

English | 上

038 李白 關山月

明月出天山
蒼茫雲海間
長風幾萬里
吹度玉門關
漢下白登道
胡窺青海灣
由來征戰地
不見有人還
戍客望邊色
思歸多苦顏
高樓當此夜
歎息未應閑

English | 上

039 李白 子夜四時歌 春歌

秦地羅敷女
采桑綠水邊
素手青條上
紅妝白日鮮
蠶飢妾欲去
五馬莫留連

English | 上

040 李白 子夜四時歌 夏歌

鏡湖三百里
菡萏發荷花
五月西施采
人看隘若耶
回舟不待月
歸去越王家

English | 上

041 李白 子夜四時歌 秋歌

長安一片月
萬戶擣衣聲
秋風吹不盡
總是玉關情
何日平胡虜
良人罷遠征

English | 上

042 李白 子夜四時歌 冬歌

明朝驛使發
一夜絮征袍
素手抽鍼冷
那堪把剪刀
裁縫寄遠道
幾日到臨洮

English | 上

043 李白 長干行

妾髮初覆額
折花門前劇
郎騎竹馬來
遶床弄青梅
同居長干里
兩小無嫌猜
十四為君婦
羞顏未嘗開
低頭向暗壁
千喚不一回
十五始展眉
願同塵與灰
常存抱柱信
豈上望夫臺
十六君遠行
瞿塘灩澦堆
五月不可觸
猿鳴天上哀
門前遲行跡
一一生綠苔
苔深不能掃
落葉秋風早
八月蝴蝶來
雙飛西園草
感此傷妾心
坐愁紅顏老
早晚下三巴
預將書報家
相迎不道遠
直至長風沙

English | 上

044 孟郊 烈女操

梧桐相待老
鴛鴦會雙死
貞婦貴殉夫
捨生亦如此
波瀾誓不起
妾心井中水

English | 上

045 孟郊 遊子吟

慈母手中線
遊子身上衣
臨行密密縫
意恐遲遲歸
誰言寸草心
報得三春輝

English | 上

046 陳子昂 登幽州臺歌

前不見古人
後不見來者
念天地之悠悠
獨愴然而涕下

English | 上

047 李頎 古意

男兒事長征
少小幽燕客
賭勝馬蹄下
由來輕七尺
殺人莫敢前
鬚如蝟毛磔
黃雲隴底白雪飛
未得報恩不能歸
遼東小婦年十五
慣彈琵琶解歌舞
今為羌笛出塞聲
使我三軍淚如雨

English | 上

048 李頎 送陳章甫

四月南風大麥黃
棗花未落桐葉長
青山朝別暮還見
嘶馬出門思故鄉
陳侯立身何坦蕩
虯鬚虎眉仍大顙
腹中貯書一萬卷
不肯低頭在草莽
東門酤酒飲我曹
心輕萬事皆鴻毛
醉臥不知白日暮
有時空望孤雲高
長河浪頭連天黑
津口停舟渡不得
鄭國遊人未及家
洛陽行子空嘆息
聞道故林相識多
罷官昨日今如何

English | 上

049 李頎 琴歌

主人有酒歡今夕
請奏鳴琴廣陵客
月照城頭烏半飛
霜淒萬樹風入衣
銅鑪華燭燭增輝
初彈淥水後楚妃
一聲已動物皆靜
四座無言星欲稀
清淮奉使千餘里
敢告雲山從此始

English | 上

050 李頎 聽董大彈胡笳聲兼寄語弄房給事

蔡女昔造胡笳聲
一彈一十有八拍
胡人落淚沾邊草
漢使斷腸對歸客
古戍蒼蒼烽火寒
大荒沈沈飛雪白
先拂聲絃後角羽
四郊秋葉驚摵摵
董夫子 通神明
深山竊聽來妖精
言遲更速皆應手
將往復旋如有情
空山百鳥散還合
萬里浮雲陰且晴
嘶酸雛雁失群夜
斷絕胡兒戀母聲
川為靜其波
鳥亦罷其鳴
烏孫部落家鄉遠
邏娑沙塵哀怨生
幽音變調忽飄灑
長風吹林雨墮瓦
迸泉颯颯飛木末
野鹿呦呦走堂下
長安城連東掖垣
鳳凰池對青瑣門
高才脫略名與利
日夕望君抱琴至

English | 上

051 李頎 聽安萬善吹觱篥歌

南山截竹為觱篥
此樂本自龜茲出
流傳漢地曲轉奇
涼州胡人為我吹
傍鄰聞者多歎息
遠客思鄉皆淚垂
世人解聽不解賞
長飆風中自來往
枯桑老柏寒颼飀
九雛鳴鳳亂啾啾
龍吟虎嘯一時發
萬籟百泉相與秋
忽然更作漁陽摻
黃雲蕭條白日暗
變調如聞楊柳春
上林繁花照眼新
歲夜高堂列明燭
美酒一杯聲一曲

English | 上

052 孟浩然 夜歸鹿門山歌

山寺鐘鳴晝已昏
漁梁渡頭爭渡喧
人隨沙路向江村
余亦乘舟歸鹿門
鹿門月照開煙樹
忽到龐公棲隱處
巖扉松徑長寂寥
惟有幽人自來去

English | 上

053 李白 廬山謠寄盧侍御虛舟

我本楚狂人
鳳歌笑孔丘
手持綠玉杖
朝別黃鶴樓
五嶽尋仙不辭遠
一生好入名山遊
廬山秀出南斗傍
屏風九疊雲錦張
影落明湖青黛光
金闕前開二峰長
銀河倒挂三石梁
香爐瀑布遙相望
迴崖沓障淩蒼蒼
翠影紅霞映朝日
鳥飛不到吳天長
登高壯觀天地間
大江茫茫去不黃
黃雲萬里動風色
白波九道流雪山
好為廬山謠
興因廬山發
閑窺石鏡清我心
謝公行處蒼苔沒
早服還丹無世情
琴心三疊道初成
遙見仙人彩雲裡
手把芙蓉朝玉京
先期汗漫九垓上
願接盧敖遊太清

English | 上

054 李白 夢遊天姥吟留別

海客談瀛洲
煙濤微茫信難求
越人語天姥
雲霓明滅或可睹
天姥連天向天橫
勢拔五嶽掩赤城
天臺四萬八千丈
對此欲倒東南傾
我欲因之夢吳越
一夜飛渡鏡湖月
湖月照我影
送我至剡溪
謝公宿處今尚在
淥水蕩漾清猿啼
腳著謝公屐
身登青雲梯
半壁見海日
空中聞天雞
千巖萬壑路不定
迷花倚石忽已暝
熊咆龍吟殷巖泉
慄深林兮驚層巔
雲青青兮欲雨
水澹澹兮生煙
列缺霹靂
邱巒崩摧
洞天石扇
訇然中開
青冥浩蕩不見底
日月照耀金銀臺
霓為衣兮風為馬
雲之君兮紛紛而來下
虎鼓瑟兮鸞回車
仙之人兮列如麻
忽魂悸以魄動
怳驚起而長嗟
惟覺時之枕席
失向來之煙霞
世間行樂亦如此
古來萬事東流水
別君去兮何時還
且放白鹿青崖間
須行即騎訪名山
安能摧眉折腰事權貴
使我不得開心顏

English | 上

055 李白 金陵酒肆留別

風吹柳花滿店香
吳姬壓酒喚客嘗
金陵子弟來相送
欲行不行各盡觴
請君試問東流水
別意與之誰短長

English | 上

056 李白 宣州謝朓樓餞別校書叔雲

棄我去者
昨日之日不可留
亂我心者
今日之日多煩憂
長風萬里送秋雁
對此可以酣高樓
蓬萊文章建安骨
中間小謝又清發
俱懷逸興壯思飛
欲上青天覽明月
抽刀斷水水更流
舉杯銷愁愁更愁
人生在世不稱意
明朝散髮弄扁舟

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057 岑參 走馬川行奉送封大夫出師西征

君不見走馬川行雪海邊
平沙莽莽黃入天
輪臺九月風夜吼
一川碎石大如斗
隨風滿地石亂走
匈奴草黃馬正肥
金山西見煙塵飛
漢家大將西出師
將軍金甲夜不脫
半夜軍行戈相撥
風頭如刀面如割
馬毛帶雪汗氣蒸
五花連錢旋作冰
幕中草檄硯水凝
虜騎聞之應膽懾
料知短兵不敢接
車師西門佇獻捷

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058 岑參 輪臺歌奉送封大夫出師西征

輪臺城頭夜吹角
輪臺城北旄頭落
羽書昨夜過渠黎
單于已在金山西
戍樓西望煙塵黑
漢兵屯在輪臺北
上將擁旄西出征
平明吹笛大軍行
四邊伐鼓雪海湧
三軍大呼陰山動
虜塞兵氣連雲屯
戰場白骨纏草根
劍河風急雪片闊
沙口石凍馬蹄脫
亞相勤王甘苦辛
誓將報主靜邊塵
古來青史誰不見
今見功名勝古人

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059 岑參 白雪歌送武判官歸京

北風捲地白草折
胡天八月即飛雪
忽如一夜春風來
千樹萬樹梨花開
散入珠簾濕羅幕
狐裘不煖錦衾薄
將軍角弓不得控
都護鐵衣冷猶著
瀚海闌干百丈冰
愁雲黲淡萬里凝
中軍置酒飲歸客
胡琴琵琶與羌笛
紛紛暮雪下轅門
風掣紅旗凍不翻
輪臺東門送君去
去時雪滿天山路
山迴路轉不見君
雪上空留馬行處

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060 杜甫 韋諷錄事宅觀曹將軍畫馬圖

國初以來畫鞍馬
神妙獨數江都王
將軍得名三十載
人間又見真乘黃
曾貌先帝照夜白
龍池十日飛霹靂
內府殷紅瑪瑙盤
婕妤傳詔才人索
盤賜將軍拜舞歸
輕紈細綺相追飛
貴戚權門得筆跡
始覺屏障生光輝
昔日太宗拳毛騧
近時郭家獅子花
今之新圖有二馬
復令識者久歎嗟
此皆騎戰一敵萬
縞素漠漠開風沙
其餘七匹亦殊絕
迥若寒空雜煙雪
霜蹄蹴踏長楸間
馬官廝養森成列
可憐九馬爭神駿
顧視清高氣深穩
借問苦心愛者誰
後有韋諷前支盾
憶昔巡幸新豐宮
翠花拂天來向東
騰驤磊落三萬匹
皆與此圖筋骨同
自從獻寶朝河宗
無復射蛟江水中
君不見
金粟堆前松柏裡
龍媒去盡鳥呼風

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061 杜甫 丹青引贈曹霸將軍

將軍魏武之子孫
於今為庶為青門
英雄割據雖已矣
文采風流今尚存
學書初學衛夫人
但恨無過王右軍
丹青不知老將至
富貴於我如浮雲
開元之中常引見
承恩數上南熏殿
凌煙功臣少顏色
將軍下筆開生面
良相頭上進賢冠
猛將腰間大羽箭
褒公鄂公毛髮動
英姿颯爽猶酣戰
先帝天馬玉花驄
畫工如山貌不同
是日牽來赤墀下
迥立閶闔生長風
詔謂將軍拂絹素
意匠慘淡經營中
斯須九重真龍出
一洗萬古凡馬空
玉花卻在御榻上
榻上庭前屹相向
至尊含笑催賜金
圉人太僕皆惆悵
弟子韓幹早入室
亦能畫馬窮殊相
幹惟畫肉不畫骨
忍使驊騮氣凋喪
將軍畫善蓋有神
偶逢佳士亦寫真
即今漂泊干戈際
屢貌尋常行路人
塗窮反遭俗眼白
世上未有如公貧
但看古來盛名下
終日坎壈纏其身

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062 杜甫 寄韓諫議

今我不樂思岳陽
身欲奮飛病在床
美人娟娟隔秋水
濯足洞庭望八荒
鴻飛冥冥日月白
青楓葉赤天雨霜
玉京群帝集北斗
或騎麒麟翳鳳凰
芙蓉旌旗煙霧落
影動倒景搖瀟湘
星宮之君醉瓊漿
羽人稀少不在旁
似聞昨者赤松子
恐是漢代韓張良
昔隨劉氏定長安
帷幄未改神慘傷
國家成敗吾豈敢
色難腥腐餐楓香
周南留滯古所惜
南極老人應壽昌
美人胡為隔秋水
焉得置之貢玉堂

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063 杜甫 古柏行

孔明廟前有老柏
柯如青銅根如石
雙皮溜雨四十圍
黛色參天二千尺
君臣已與時際會
樹木猶為人愛惜
雲來氣接巫峽長
月出寒通雪山白
憶昨路繞錦亭東
先主武侯同閟宮
崔嵬枝幹郊原古
窈窕丹青戶牖空
落落盤踞雖得地
冥冥孤高多烈風
扶持自是神明力
正直元因造化功
大廈如傾要梁棟
萬牛迴首丘山重
不露文章世已驚
未辭剪伐誰能送
苦心豈免容螻蟻
香葉終經宿鸞鳳
志士幽人莫怨嗟
古來材大難為用

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064 杜甫 觀公孫大娘弟子舞劍器行并序

大歷二年十月十九日夔府別駕元持宅見臨潁李十二
娘舞劍器，壯其蔚跂。問其所師，曰︰余公孫大娘
弟子也。開元三載，余尚童稚，記於郾城觀公孫氏
舞劍器渾脫。瀏灕頓挫，獨出冠時。自高頭宜春梨
園二伎坊內人，洎外供奉，曉是舞者，聖文神武皇
帝初，公孫一人而已。玉貌錦衣，況余白首！今茲
弟子亦匪盛顏。既辨其由來，知波瀾莫二。撫事慷
慨，聊為劍器行。昔者吳人張旭善草書書帖，數嘗
於鄴縣見公孫大娘舞西河劍器，自此草書長進，豪
蕩感激。即公孫可知矣！

昔有佳人公孫氏
一舞劍器動四方
觀者如山色沮喪
天地為之久低昂
霍如羿射九日落
矯如群帝驂龍翔
來如雷霆收震怒
罷如江海凝清光
絳唇珠袖兩寂寞
晚有弟子傳芬芳
臨潁美人在白帝
妙舞此曲神揚揚
與余問答既有以
感時撫事增惋傷
先帝侍女八千人
公孫劍器初第一
五十年間似反掌
風塵澒洞昏王室
梨園子弟散如煙
女樂餘姿映寒日
金粟堆前木已拱
瞿塘石城草蕭瑟
玳筵急管曲復終
樂極哀來月東出
老夫不知其所往
足繭荒山轉愁疾

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065 元結 石魚湖上醉歌并序

漫叟以公田米釀酒，因休暇，則載酒於湖上，
時取一醉；歡醉中，據湖岸，引臂向魚取酒，
使舫載之，遍飲坐者。意疑倚巴丘，酌於君山
之上，諸子環洞庭而坐，酒舫泛泛然，觸波濤
而往來者，乃作歌以長之。

石魚湖 似洞庭
夏水欲滿君山青
山為樽 水為沼
酒徒歷歷坐洲鳥
長風連日作大浪
不能廢人運酒舫
我持長瓢坐巴丘
酌飲四座以散愁

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066 韓愈 山石

山石犖确行徑微
黃昏到寺蝙蝠飛
升堂坐階新雨足
芭蕉葉大梔子肥
僧言古壁佛畫好
以火來照所見稀
鋪床拂席置羹飯
疏糲亦足飽我飢
夜深靜臥百蟲絕
清月出嶺光入扉
天明獨去無道路
出入高下窮煙霏
山紅澗碧紛爛漫
時見松櫪皆十圍
當流赤足蹋澗石
水聲激激風吹衣
人生如此自可樂
豈必局束為人鞿
嗟哉吾黨二三子
安得至老不更歸

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067 韓愈 八月十五夜贈張功曹

纖雲四捲天無河
清風吹空月舒波
沙平水息聲影絕
一杯相屬君當歌
君歌聲酸辭且苦
不能聽終淚如雨
洞庭連天九疑高
蛟龍出沒猩鼯號
十生九死到官所
幽居默默如藏逃
下床畏蛇食畏藥
海氣濕蟄熏腥臊
昨者州前槌大鼓
嗣皇繼聖登夔皋
赦書一日行萬里
罪從大辟皆除死
遷者追回流者還
滌瑕蕩垢清朝班
州家申名使家抑
坎軻祇得移荊蠻
判司卑官不堪說
未免捶楚塵埃間
同時輩流多上道
天路幽險難追攀
君歌且休聽我歌
我歌今與君殊科
一年明月今宵多
人生由命非由他
有酒不飲奈明何

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068 韓愈 謁衡嶽廟遂宿嶽寺題門樓

五嶽祭秩皆三公
四方環鎮嵩當中
火維地荒足妖怪
天假神柄專其雄
噴雲泄霧藏半腹
雖有絕頂誰能窮
我來正逢秋雨節
陰氣晦昧無清風
潛心默禱若有應
豈非正直能感通
須臾靜掃眾峰出
仰見突兀撐青空
紫蓋連延接天柱
石廩騰擲堆祝融
森然魄動下馬拜
松柏一逕趨靈宮
紛牆丹柱動光彩
鬼物圖畫填青紅
升階傴僂薦脯酒
欲以菲薄明其衷
廟內老人識神意
睢盱偵伺能鞠躬
手持盃珓導我擲
云此最吉餘難同
竄逐蠻荒幸不死
衣食纔足甘長終
侯王將相望久絕
神縱欲福難為功
夜投佛寺上高閣
星月掩映雲曈曨
猿鳴鐘動不知曙
杲杲寒日生於東

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069 韓愈 石鼓歌

張生手持石鼓文
勸我識作石鼓歌
少陵無人謫仙死
才薄將奈石鼓何
周綱淩遲四海沸
宣王憤起揮天戈
大開明堂受朝賀
諸侯劍佩鳴相磨
蒐于岐陽騁雄俊
萬里禽獸皆遮羅
鐫功勒成告萬世
鑿石作鼓隳嵯峨
從臣才藝咸第一
揀選撰刻留山阿
雨淋日炙野火燎
鬼物守護煩撝呵
公從何處得紙本
毫髮盡備無差訛
辭嚴義密讀難曉
字體不類隸與蝌
年深豈免有缺畫
快劍砍斷生蛟鼉
鸞翔鳳翥眾仙下
珊瑚碧樹交枝柯
金繩鐵索鎖鈕壯
古鼎躍水龍騰梭
陋儒編詩不收入
二雅褊迫無委蛇
孔子西行不到秦
掎摭星宿遺羲娥
嗟予好古生苦晚
對此涕淚雙滂沱
憶昔初蒙博士徵
其年始改稱元和
故人從軍在右輔
為我度量掘臼科
濯冠沐浴告祭酒
如此至寶存豈多
氈包席裹可立致
十鼓祇載數駱駝
薦諸太廟比郜鼎
光價豈止百倍過
聖恩若許留太學
諸生講解得切磋
觀經鴻都尚填咽
坐見舉國來奔波
剜苔剔蘚露節角
安置妥帖平不頗
大廈深簷與蓋覆
經歷久遠期無佗
中朝大官老於事
詎肯感激徒媕婀
牧童敲火牛礪角
誰復著手為摩挲
日銷月鑠就埋沒
六年西顧空吟哦
羲之俗書趁姿媚
數紙尚可博白鵝
繼周八代爭戰罷
無人收拾理則那
方今太平日無事
柄任儒術崇丘軻
安能以此上論列
願借辯口如懸河
石鼓之歌止於此
嗚呼吾意其蹉跎

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070 柳宗元 漁翁

漁翁夜傍西巖宿
曉汲清湘燃楚燭
煙銷日出不見人
欸乃一聲山水綠
迴看天際下中流
巖上無心雲相逐

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071 白居易 長恨歌

漢皇重色思傾國
御宇多年求不得
楊家有女初長成
養在深閨人未識
天生麗質難自棄
一朝選在君王側
回眸一笑百媚生
六宮粉黛無顏色
春寒賜浴華清池
溫泉水滑洗凝脂
侍兒扶起嬌無力
始是新承恩澤時
雲鬢花顏金步搖
芙蓉帳暖度春宵
春宵苦短日高起
從此君王不早朝
承歡侍宴無閑暇
春從春遊夜專夜
後宮佳麗三千人
三千寵愛在一身
金星妝成嬌侍夜
玉樓宴罷醉和春
姊妹弟兄皆列士
可憐光彩生門戶
遂令天下父母心
不重生男重生女
驪宮高處入青雲
仙樂風飄處處聞
緩歌慢舞凝絲竹
盡日君王看不足
漁陽鼙鼓動地來
驚破霓裳羽衣曲
九重城闕煙塵生
千乘萬騎西南行
翠華搖搖行復止
西出都門百餘里
六軍不發無奈何
宛轉蛾眉馬前死
花鈿委地無人收
翠翹金雀玉搔頭
君王掩面救不得
回看血淚相和流
黃埃散漫風蕭索
雲棧縈紆登劍閣
峨嵋山下少人行
旌旗無光日色薄
蜀江水碧蜀山青
聖主朝朝暮暮情
行宮見月傷心色
夜雨聞鈴腸斷聲
天旋地轉迴龍馭
到此躊躇不能去
馬嵬坡下泥土中
不見玉顏空死處
君臣相顧盡霑衣
東望都門信馬歸
歸來池苑皆依舊
太液芙蓉未央柳
芙蓉如面柳如眉
對此如何不淚垂
春風桃李花開日
秋雨梧桐葉落時
西宮南內多秋草
落葉滿階紅不掃
梨園子弟白髮新
椒房阿監青娥老
夕殿螢飛思悄然
孤燈挑盡未成眠
遲遲鐘鼓初長夜
耿耿星河欲曙天
鴛鴦瓦冷霜華重
翡翠衾寒誰與共
悠悠生死別經年
魂魄不曾來入夢
臨邛道士鴻都客
能以精誠致魂魄
為感君王輾轉思
遂教方士殷勤覓
排空馭氣奔如電
升天入地求之遍
上窮碧落下黃泉
兩處茫茫皆不見
忽聞海上有仙山
山在虛無縹緲間
樓閣玲瓏五雲起
其中綽約多仙子
中有一人字太真
雪膚花貌參差是
金闕西廂叩玉扃
轉教小玉報雙成
聞道漢家天子使
九華帳裡夢魂驚
攬衣推枕起徘徊
珠箔銀屏迤邐開
雲鬢半偏新睡覺
花冠不整下堂來
風吹仙袂飄飄舉
猶似霓裳羽衣舞
玉容寂寞淚闌干
梨花一枝春帶雨
含情凝睇謝君王
一別音容兩渺茫
昭陽殿裡恩愛絕
蓬萊宮中日月長
回頭下望人寰處
不見長安見塵霧
唯將舊物表深情
鈿合金釵寄將去
釵留一股合一扇
釵擘黃金合分鈿
但教心似金鈿堅
天上人間會相見
臨別殷勤重寄詞
詞中有誓兩心知
七月七日長生殿
夜半無人私語時
在天願作比翼鳥
在地願為連理枝
天長地久有時盡
此恨綿綿無絕期

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072 白居易 琵琶行并序

元和十年，予左遷九江郡司馬。明年秋，送客
湓浦口，聞船中夜彈琵琶者，聽其音，錚錚然
有京都聲；問其人，本長安倡女，嘗學琵琶於
穆曹二善才。年長色衰，委身為賈人婦。遂命
酒，使快彈數曲，曲罷憫然。自敘少小時歡樂
事，今漂淪憔悴，轉徙於江湖間。予出官二年
恬然自安，感斯人言，是夕，始覺有遷謫意，
因為長句歌以贈之，凡六百一十六言，命曰琵
琶行。

潯言江頭夜送客
楓葉荻花秋瑟瑟
主人下馬客在船
舉酒欲飲無管絃
醉不成歡慘將別
別時茫茫江浸月
忽聞水上琵琶聲
主人忘歸客不發
尋聲暗問彈者誰
琵琶聲停欲語遲
移船相近邀相見
添酒回燈重開宴
千呼萬喚始出來
猶抱琵琶半遮面
轉軸撥絃三兩聲
未成曲調先有情
絃絃掩抑聲聲思
似訴平生不得志
低眉信手續續彈
說盡心中無限事
輕攏慢撚抹復挑
初為霓裳後六么
大絃嘈嘈如急雨
小絃切切如私語
嘈嘈切切錯雜彈
大珠小珠落玉盤
間官鶯語花底滑
幽咽泉流水下灘
水泉冷澀絃凝絕
凝絕不通聲漸歇
別有幽愁暗恨生
此時無聲勝有聲
銀瓶乍破水漿迸
鐵騎突出刀鎗鳴
曲終收撥當心畫
四絃一聲如裂帛
東船西舫悄無言
唯見江心秋月白
沈吟放撥插絃中
整頓衣裳起斂容
自言本是京城女
家在蝦蟆陵下住
十三學得琵琶成
名屬教坊第一部
曲罷曾教善才服
妝成每被秋娘妒
五陵年少爭纏頭
一曲紅綃不知數
鈿頭銀篦擊節碎
血色羅裙翻酒汙
今年歡笑復明年
秋月春風等閑度
弟走從軍阿姨死
暮去朝來顏色故
門前冷落車馬稀
老大嫁作商人婦
商人重利輕別離
前月浮梁買茶去
去來江口守空船
繞船月明江水寒
夜深忽夢少年事
夢啼妝淚紅闌干
我聞琵琶已嘆息
又聞此語重唧唧
同是天涯淪落人
相逢何必曾相識
我從去年辭帝京
謫居臥病潯陽城
潯陽地僻無音樂
終歲不聞絲竹聲
住近湓江地低濕
黃蘆苦竹繞宅生
其間旦暮聞何物
杜鵑啼血猿哀鳴
春江花朝秋月夜
往往取酒還獨傾
豈無山歌與村笛
嘔啞嘲哳難為聽
今夜聞君琵琶語
如聽仙樂耳暫明
莫辭更坐彈一曲
為君翻作琵琶行
感我此言良久立
卻坐促絃絃轉急
淒淒不似向前聲
滿座重聞皆掩泣
座中泣下誰最多
江州司馬青衫濕

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073 李商隱 韓碑

元和天子神武姿
彼何人哉軒與羲
誓將上雪列聖恥
坐法宮中朝四夷
淮西有賊五十載
封狼生貙貙生羆
不據山河據平地
長戈利矛日可麾
帝得聖相相曰度
賊斫不死神扶持
腰懸相印作都統
陰風慘澹天王旗
愬武古通作牙爪
儀曹外郎載筆隨
行軍司馬智且勇
十四萬眾猶虎貔
入蔡縛賊獻太廟
功無與讓恩不訾
帝曰汝度功第一
汝從事愈宜為辭
愈拜稽首蹈且舞
金石刻畫臣能為
古者世稱大手筆
此事不係於職司
當仁自古有不讓
言訖屢頷天子頤
公退齋戒坐小閣
濡染大筆何淋漓
點竄堯典舜典字
塗改清廟生民詩
文成破體書在紙
清晨再拜鋪丹墀
表曰臣愈昧死上
詠神聖功書之碑
碑高三丈字如斗
負以靈鼇蟠以螭
句奇語重喻者少
讒之天子言其私
長繩百尺拽碑倒
麤沙大石相磨治
公之斯文若元氣
先時已入人肝脾
湯盤孔鼎有述作
今無其器存其辭
嗚呼聖皇及聖相
相與烜赫流淳熙
公之斯文不示後
曷與三五相攀追
願書萬本誦萬過
口角流沫右手胝
傳之七十有二代
以為封禪玉檢明堂基

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074 高適 燕歌行並序

開元二十六年，客有從御史大夫張公出塞而還者，
作燕歌行以示適，感征戍之事，因而和焉。

漢家煙塵在東北
漢將辭家破殘賊
男兒本自重橫行
天子非常賜顏色
摐金伐鼓下榆關
旌旆逶迤碣石間
校尉羽書飛瀚海
單于獵火照狼山
山川蕭條極邊土
胡騎憑陵雜風雨
戰士軍前半死生
美人帳下猶歌舞
大漠窮秋塞草衰
孤城落日鬥兵稀
身當恩遇常輕敵
力盡關山未解圍
鐵衣遠戍辛勤久
玉筋應啼別離後
少婦城南欲斷腸
征人薊北空回首
邊庭飄颻那可度
絕域蒼茫更何有
殺氣三時作陣雲
寒聲一夜傳刁斗
相看白刃血紛紛
死節從來豈顧勳
君不見沙場征戰苦
至今猶憶李將軍

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075 李頎 古從軍行

白日登山望烽火
黃昏飲馬傍交河
行人刁斗風沙暗
公主琵琶幽怨多
野雲萬里無城郭
雨雪紛紛連大漠
胡雁哀鳴夜夜飛
胡兒眼淚雙雙落
聞道玉門猶被遮
應將性命逐輕車
年年戰骨埋荒外
空見葡萄入漢家

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076 王維 洛陽女兒行

洛陽女兒對門居
纔可容顏十五餘
良人玉勒乘驄馬
侍女金盤膾鯉魚
畫閣朱樓盡相望
紅桃綠柳垂簷向
羅帷送上七香車
寶扇迎歸九華帳
狂夫富貴在青春
意氣驕奢劇季倫
自憐碧玉親教舞
不惜珊瑚持與人
春窗曙滅九微火
九微片片飛花璅
戲罷曾無理曲時
妝成祇是薰香坐
城中相識盡繁華
日夜經過趙李家
誰憐越女顏如玉
貧賤江頭自浣紗

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077 王維 老將行

少年十五二十時
步行奪得胡馬騎
射殺山中白額虎
肯數鄴下黃鬚兒
一身轉戰三千里
一劍曾當百萬師
漢兵奮迅如霹靂
虜騎崩騰畏蒺藜
衛青不敗由天幸
李廣無功緣數奇
自從棄置便衰朽
世事蹉跎成白首
昔時飛箭無全目
今日垂楊生左肘
路旁時賣故侯瓜
門前學種先生柳
蒼茫古木連窮巷
寥落寒山對虛牖
誓令疏勒出飛泉
不似潁川空使酒
賀蘭山下陣如雲
羽檄交馳日夕聞
節使三河募年少
詔書五道出將軍
試拂鐵衣如雪色
聊持寶劍動星文
願得燕弓射大將
恥令越甲鳴吾君
莫嫌舊日雲中守
猶堪一戰取功勳

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078 王維 桃源行

漁舟逐水愛山春
兩岸桃花夾古津
坐看紅樹不知遠
行盡青溪不見人
山口潛行始隈隩
山開曠望旋平陸
遙看一處攢雲樹
近入千家散花竹
樵客初傳漢姓名
居人未改秦衣服
居人共住武陵源
還從物外起田園
月明松下房櫳靜
日出雲中雞犬喧
驚聞俗客爭來集
競引還家問都邑
平明閭巷掃花開
薄暮漁樵乘水入
初因避地去人間
及至成仙遂不還
峽裡誰知有人事
世中遙望空雲山
不疑靈境難聞見
塵心未盡思鄉縣
出洞無論隔山水
辭家終擬長游衍
自謂經過舊不迷
安知峰壑今來變
當時只記入山深
青溪幾曲到雲林
春來遍是桃花水
不辨仙源何處尋

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079 李白 蜀道難

噫吁戲
危乎高哉
蜀道之難難於上青天
蠶叢及魚鳧
開國何茫然
爾來四萬八千歲
始與秦塞通人煙
西當太白有鳥道
可以橫絕峨眉巔
地崩山摧壯士死
然後天梯石棧方鉤連
上有六龍回日之高標
下有衝波逆折之迴川
黃鶴之飛尚不得
猿猱欲度愁攀援
青泥何盤盤
百步九折縈巖巒
捫參歷井仰脅息
以手撫膺坐長歎
問君西遊何時還
畏途巉巖不可攀
但見悲鳥號古木
雄飛雌從繞林間
又聞子規啼
夜月愁空山
蜀道之難難於上青天
使人聽此凋朱顏
連峰去天不盈尺
枯松倒掛倚絕壁
飛湍瀑流爭喧豗
砯崖轉石萬壑雷
其險也如此
嗟爾遠道之人
胡為乎來哉
劍閣崢嶸而崔嵬
一夫當關
萬夫莫開
所守或匪親
化為狼與豺
朝避猛虎
夕避長蛇
磨牙吮血
殺人如麻
錦城雖云樂
不如早還家
蜀道之難難於上青天
側身西望常咨嗟

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080 李白 長相思二首之一

長相思
在長安
絡緯秋啼金井闌
微霜淒淒簟色寒
孤燈不明思欲絕
卷帷望月空長歎
美人如花隔雲端
上有青冥之長天
下有淥水之波瀾
天長路遠魂飛苦
夢魂不到關山難
長相思
摧心肝

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081 李白 長相思二首之二

日色已盡花含煙
月明欲素愁不眠
趙瑟初停鳳凰柱
蜀琴欲奏鴛鴦絃
此曲有意無人傳
願隨春風寄燕然
憶君迢迢隔青天
昔日橫波目
今成流淚泉
不信妾腸斷
歸來看取明鏡前

English | 上

082 李白 行路難三首之一

金樽清酒斗十千
玉盤珍羞值萬錢
停杯投箸不能食
拔劍四顧心茫然
欲渡黃河冰塞川
將登太行雪暗天
閑來垂釣碧溪上
忽復乘舟夢日邊
行路難
行路難
多歧路
今安在
長風破浪會有時
直挂雲帆濟滄海

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083 李白 行路難三首之二

大道如青天
我獨不得出
羞逐長安社中兒
赤雞白狗賭梨栗
彈劍作歌奏苦聲
曳裾王門不稱情
淮陰市井笑韓信
漢朝公卿忌賈生
君不見
昔時燕家重郭隗
擁篲折節無嫌猜
劇辛樂毅感恩分
輸肝剖膽效英才
昭王白骨縈蔓草
誰人更掃黃金臺
行路難
歸去來

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084 李白 行路難三首之三

有耳莫洗潁川水
有口莫食首陽蕨
含光混世貴無名
何用孤高比雲月
吾觀自古賢達人
功成不退皆殞身
子胥既棄吳江上
屈原終投湘水濱
陸機雄才豈自保
李斯稅駕苦不早
華亭鶴唳詎可聞
上蔡蒼鷹何足道
君不見
吳中張翰稱達生
秋風忽憶江東行
且樂生前一杯酒
何須身後千載名

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085 李白 將進酒

君不見
黃河之水天上來
奔流到海不復回
君不見
高堂明鏡悲白髮
朝如青絲暮成雪
人生得意須盡歡
莫使金樽空對月
天生我材必有用
千金散盡還復來
烹羊宰牛且為樂
會須一飲三百杯
岑夫子
丹丘生
將進酒
君莫停
與君歌一曲
請君為我側耳聽
鐘鼓饌玉不足貴
但願長醉不願醒
古來聖賢皆寂寞
惟有飲者留其名
陳王昔時宴平樂
斗酒十千恣讙謔
主人何為言少錢
徑須沽取對君酌
五花馬
千金裘
呼兒將出換美酒
與爾同消萬古愁

English | 上

086 杜甫 兵車行

車轔轔
馬蕭蕭
行人弓箭各在腰
耶孃妻子走相送
塵埃不見咸陽橋
牽衣頓足攔道哭
哭聲直上干雲霄
道旁過者問行人
行人但云點行頻
或從十五北防河
便至四十西營田
去時里正與裹頭
歸來頭白還戍邊
邊亭流血成海水
武皇開邊意未已
君不聞
漢家山東二百州
千村萬落生荊杞
縱有健婦把鋤犁
禾生隴畝無東西
況復秦兵耐苦戰
被驅不異犬與雞
長者雖有問
役夫敢申恨
且如今年冬
未休關西卒
縣官急索租
租稅從何出
信知生男惡
反是生女好
生女猶得嫁比鄰
生男埋沒隨百草
君不見
青海頭
古來白骨無人收
新鬼煩冤舊鬼哭
天陰雨濕聲啾啾

English | 上

087 杜甫 麗人行

三月三日天氣新
長安水邊多麗人
態濃意遠淑且真
肌理細膩骨肉勻
繡羅衣裳照暮春
蹙金孔雀銀麒麟
頭上何所有
翠微盍葉垂鬢唇
背後何所見
珠壓腰衱穩稱身
就中雲幕椒房親
賜名大國虢與秦
紫駝之峰出翠釜
水精之盤行素鱗
犀箸饜飫久未下
鸞刀縷切空紛綸
黃門飛鞚不動塵
御廚絡繹送八珍
簫鼓哀吟感鬼神
賓從雜遝實要津
後來鞍馬何逡巡
當軒下馬入錦茵
楊花雪落覆白蘋
青鳥飛去銜紅巾
炙手可熱勢絕倫
慎莫近前丞相嗔

English | 上

088 杜甫 哀江頭

少陵野老吞生哭
春日潛行曲江曲
江頭宮殿鎖千門
細柳新蒲為誰綠
憶昔霓旌下南苑
苑中景物生顏色
昭陽殿裡第一人
同輦隨君侍君側
輦前才人帶弓箭
白馬嚼齧黃金勒
翻身向天仰射雲
一箭正墜雙飛翼
明眸皓齒今何在
血污遊魂歸不得
清渭東流劍閣深
去住彼此無消息
人生有情淚沾臆
江水江花豈終極
黃昏胡騎塵滿城
欲往城南望城北

English | 上

089 杜甫 哀王孫

長安城頭頭白烏
夜飛延秋門上呼
又向人家啄大屋
屋底達官走避胡
金鞭斷折九馬死
骨肉不待同馳驅
腰下寶玦青珊瑚
可憐王孫泣路隅
問之不肯道姓名
但道困苦乞為奴
已經百日竄荊棘
身上無有完肌膚
高帝子孫盡隆準
龍種自與常人殊
豺狼在邑龍在野
王孫善保千金軀
不敢長語臨交衢
且為王孫立斯須
昨夜東風吹血腥
東來橐駝滿舊都
朔方健兒好身手
昔何勇銳今何愚
竊聞天子已傳位
聖德北服南單于
花門剺面請雪恥
慎勿出口他人狙
哀哉王孫慎勿疏
五陵佳氣無時無

English | 上

090 唐玄宗 經鄒魯祭孔子而歎之

夫子何為者
栖栖一代中
地猶鄹氏邑
宅即魯王宮
歎鳳嗟身否
傷麟怨道窮
今看兩楹奠
當與夢時同

English | 上

091 張九齡 望月懷遠

海上生明月
天涯共此時
情人怨遙夜
竟夕起相思
滅燭憐光滿
披衣覺露滋
不堪盈手贈
還寢夢佳期

English | 上

092 王勃 送杜少府之任蜀州

城闕輔三秦
風煙望五津
與君離別意
同是宦遊人
海內存知己
天涯若比鄰
無為在歧路
兒女共沾巾

English | 上

093 駱賓王 在獄詠蟬并序

余禁所禁垣西，是法廳事也。有古槐數株焉，雖生
意可知，同殷仲文之古樹，而聽訟斯在，即周召伯
之甘棠。每至夕照低陰，秋蟬疏引，發聲幽息，有
切嘗聞；豈人心異於曩時，將蟲響悲於前聽？嗟乎
！聲以動容，德以象賢，故潔其身也，稟君子達人
之高行；蛻其皮也，有仙都羽化之靈姿。候時而來
，順陰陽之數；應節為變，審藏用之機。有目斯開
，不以道昏而昧其視；有翼自薄，不以俗厚而易其
真。吟喬樹之微風，韻資天縱；飲高秋之墜露，清
畏人知。僕失路艱虞，遭時徽纆，不哀傷而自怨，
未搖落而先衰。聞蟪蛄之流聲，悟平反之已奏；見
螳螂之抱影，怯危機之未安。感而綴詩，貽諸知己
。庶情沿物應，哀弱羽之飄零；道寄人知，憫餘聲
之寂寞。非謂文墨，取代幽憂云爾。

西路蟬聲唱
南冠客思侵
那堪玄鬢影
來對白頭吟
露重飛難進
風多響易沉
無人信高潔
誰為表予心

English | 上

094 杜審言 和晉陵路丞早春遊望

獨有宦遊人
偏驚物候新
雲霞出海曙
梅柳渡江春
淑氣催黃鳥
晴光轉綠蘋
忽聞歌古調
歸思欲霑巾

English | 上

095 沈佺期 雜詩

聞道黃龍戍
頻年不解兵
可憐閨裡月
長在漢家營
少婦今春意
良人昨夜情
誰能將旗鼓
一為取龍城

English | 上

096 宋之問 題大庾嶺北驛

陽月南飛雁
傳聞至此回
我行殊未已
何日復歸來
江靜潮初落
林昏瘴不開
明朝望鄉處
應見隴頭梅

English | 上

097 王灣 次北固山下

客路青山外
行舟綠水前
潮平兩岸闊
風正一帆懸
海日生殘夜
江春入舊年
鄉書何處達
歸雁洛陽邊

English | 上

098 常建 題破山寺後禪院

清晨入古寺
初日照高林
曲徑通幽處
禪房花木深
山光悅鳥性
潭影空人心
萬籟此俱寂
惟餘鐘磬音

English | 上

099 岑參 寄左省杜拾遺

聯步趨丹陛
分曹限紫微
曉隨天仗入
暮惹御香歸
白髮悲花落
青雲羨鳥飛
聖朝無闕事
自覺諫書稀

English | 上

100 李白 贈孟浩然

吾愛孟夫子
風流天下聞
紅顏棄軒冕
白首臥松雲
醉月頻中聖
迷花不事君
高山安可仰
徒此挹清芬

English | 上

101 李白 渡荊門送別

渡遠荊門外
來從楚國遊
山隨平野盡
江入大荒流
月下飛天鏡
雲生結海樓
仍憐故鄉水
萬里送行舟

English | 上

102 李白 送友人

青山橫北郭
白水遶東城
此地一為別
孤蓬萬里征
浮雲游子意
落日故人情
揮手自茲去
蕭蕭班馬鳴

English | 上

103 李白 聽蜀僧濬彈琴

蜀僧抱綠綺
西下峨眉峰
為我一揮手
如聽萬壑松
客心洗流水
餘響入霜鐘
不覺碧山暮
秋雲暗幾重

English | 上

104 李白 夜泊牛渚懷古

牛渚西江夜
青天無片雲
登舟望秋月
空憶謝將軍
余亦能高詠
斯人不可聞
明朝挂帆席
楓葉落紛紛

English | 上

105 杜甫 月夜

今夜鄜州月
閨中只獨看
遙憐小兒女
未解憶長安
香霧雲鬟濕
清輝玉臂寒
何時倚虛幌
雙照淚痕乾

English | 上

106 杜甫 春望

國破山河在
城春草木深
感時花濺淚
恨別鳥驚心
烽火連三月
家書抵萬金
白頭搔更短
渾欲不勝簪

English | 上

107 杜甫 春宿左省

花隱掖垣暮
啾啾棲鳥過
星臨萬戶動
月傍九霄多
不寢聽金鑰
因風想玉珂
明朝有封事
數問夜如何

English | 上

108 杜甫 至德二載甫自京金光門出，問道歸鳳翔。乾元初從左拾遺移華州掾。與親故別，因出此門。有悲往事。

此道昔歸順
西郊胡正繁
至今殘破膽
應有未招魂
近得歸京邑
移官豈至尊
無才日衰老
駐馬望千門

English | 上

109 杜甫 月夜憶舍弟

戍鼓斷人行
秋邊一雁聲
露從今夜白
月是故鄉明
有弟皆分散
無家問死生
寄書長不達
況乃未休兵

English | 上

110 杜甫 天末懷李白

涼風起天末
君子意如何
鴻雁幾時到
江湖秋水多
文章憎命達
魑魅喜人過
應共冤魂語
投詩贈汨羅

English | 上

111 杜甫 奉濟驛重送嚴公四韻

遠送從此別
青山空復情
幾時杯重把
昨夜月同行
列郡謳歌惜
三朝出入榮
將村獨歸處
寂寞養殘生

English | 上

112 杜甫 別房太尉墓

他鄉復行役
駐馬別孤墳
近淚無乾土
低空有斷雲
對棋陪謝傅
把劍覓徐君
唯見林花落
鶯啼送客聞

English | 上

113 杜甫 旅夜書懷

細草微風岸
危檣獨夜舟
星垂平野闊
月湧大江流
名豈文章著
官應老病休
飄飄何所似
天地一沙鷗

English | 上

114 杜甫 登岳陽樓

昔聞洞庭水
今上岳陽樓
吳楚東南坼
乾坤日夜浮
親朋無一字
老病有孤舟
戎馬關山北
憑軒涕泗流

English | 上

115 王維 輞川閑居贈裴秀才迪

寒山轉蒼翠
秋水日潺湲
倚杖柴門外
臨風聽暮蟬
渡頭餘落日
墟里上孤煙
復值接輿醉
狂歌五柳前

English | 上

116 王維 山居秋暝

空山新雨後
天氣晚來秋
明月松間照
清泉石上流
竹喧歸浣女
蓮動下漁舟
隨意春芳歇
王孫自可留

English | 上

117 王維 歸嵩山作

清川帶長薄
車馬去閑閑
流水如有意
暮禽相與還
荒城臨古渡
落日滿秋山
迢遞嵩高下
歸來且閉關

English | 上

118 王維 終南山

太乙近天都
連山接海隅
白雲迴望合
青靄入看無
分野中峰變
陰晴眾壑殊
欲投人處宿
隔水問樵夫

English | 上

119 王維 酬張少府

晚年惟好靜
萬事不關心
自顧無長策
空知返舊林
松風吹解帶
山月照彈琴
君問窮通理
漁歌入浦深

English | 上

120 王維 過香積寺

不知香積寺
數里入雲峰
古木無人徑
深山何處鐘
泉聲咽危石
日色冷青松
薄暮空潭曲
安禪制毒龍

English | 上

121 王維 送梓州李使君

萬壑樹參天
千山響杜鵑
山中一夜雨
樹杪百重泉
漢女輸橦布
巴人訟芋田
文翁翻教授
不敢倚先賢

English | 上

122 王維 漢江臨眺

楚塞三湘接
荊門九派通
江流天地外
山色有無中
郡邑浮前浦
波瀾動遠空
襄陽好風日
留醉與山翁

English | 上

123 王維 終南別業

中歲頗好道
晚家南山陲
興來每獨往
勝事空自知
行到水窮處
坐看雲起時
偶然值林叟
談笑無還期

English | 上

124 孟浩然 望洞庭湖贈張丞相

八月湖水平
涵虛混太清
氣蒸雲夢澤
波撼岳陽城
欲濟無舟楫
端居恥聖明
坐觀垂釣者
空有羨魚情

English | 上

125 孟浩然 與諸子登峴山

人事有代謝
往來成古今
江山留勝跡
我輩復登臨
水落魚梁淺
天寒夢澤深
羊公碑字在
讀罷淚沾襟

English | 上

126 孟浩然 清明日宴梅道士房

林臥愁春盡
開軒覽物華
忽逢青鳥使
邀入赤松家
丹灶初開火
仙桃正發花
童顏若可駐
何惜醉流霞

English | 上

127 孟浩然 歲暮歸南山

北闕休上書
南山歸敝廬
不才明主棄
多病故人疏
白髮催年老
青陽逼歲除
永懷愁不寐
松月夜窗墟

English | 上

128 孟浩然 過故人莊

故人具雞黍
邀我至田家
綠樹村邊合
青山郭外斜
開軒面場圃
把酒話桑麻
待到重陽日
還來就菊花

English | 上

129 孟浩然 秦中感秋寄遠上人

一丘嘗欲臥
三徑苦無資
北土非吾願
東林懷我師
黃金燃桂盡
壯志逐年衰
日夕涼風至
聞蟬但益悲

English | 上

130 孟浩然 宿桐廬江寄廣陵舊遊

山暝聽猿愁
滄江急夜流
風鳴兩岸葉
月照一孤舟
建德非吾土
維揚憶舊遊
還將兩行淚
遙寄海西頭

English | 上

131 孟浩然 留別王侍御維

寂寂竟何待
朝朝空自歸
欲尋芳草去
惜與故人違
當路誰相假
知音世所稀
祗應守寂寞
還掩故園扉

English | 上

132 孟浩然 早寒江上有懷

木落雁南渡
北風江上寒
我家襄水曲
遙隔楚雲端
鄉淚客中盡
孤帆天際看
迷津欲有問
平海夕漫漫

English | 上

133 劉長卿 秋日登吳公臺上寺遠眺

古臺搖落後
秋日望鄉心
野寺人來少
雲峰水隔深
夕陽依舊壘
寒磬滿空林
惆悵南朝事
長江獨至今

English | 上

134 劉常卿 送李中丞歸漢陽別業

流落征南將
曾驅十萬師
罷歸無舊業
老去戀明時
獨立三邊靜
輕生一劍知
茫茫江漢上
日暮復何之

English | 上

135 劉長卿 餞別王十一南遊

望君煙水闊
揮手淚霑巾
飛鳥沒何處
青山空向人
長江一帆遠
落日五湖春
誰見汀洲上
相思愁白蘋

English | 上

136 劉長卿 尋南溪常山道人隱居

一路經行處
莓苔見履痕
白雲依靜渚
春草閉閑門
過雨看松色
隨山到水源
溪花與禪意
相對亦忘言

English | 上

137 劉長卿 新年作

鄉心新歲切
天畔獨潸然
老至居人下
春歸在客先
嶺猿同旦暮
江柳共風煙
已似長沙傅
從今又幾年

English | 上

138 錢起 送僧歸日本

上國隨緣住
來途若夢行
浮天滄海遠
去世法舟輕
水月通禪寂
魚龍聽梵聲
惟憐一燈影
萬里眼中明

English | 上

139 錢起 谷口書齋寄楊補闕

泉壑帶茅茨
雲霞生薜帷
竹憐新雨後
山愛夕陽時
閒鷺棲常早
秋花落更遲
家童掃蘿徑
昨與故人期

English | 上

140 韋應物 淮上喜會梁川故人

江漢曾為客
相逢每醉還
浮雲一別後
流水十年間
歡笑情如舊
蕭疏鬢已斑
何因北歸去
淮上對秋山

English | 上

141 韋應物 賦得暮雨送李冑

楚江微雨裡
建業暮鐘時
漠漠帆來重
冥冥鳥去遲
海門深不見
浦樹遠含滋
相送情無限
沾襟比散絲

English | 上

142 韓翃 酬程延秋夜即事見贈

長簟迎風早
空城澹月華
星河秋一雁
砧杵夜千家
節候看應晚
心期臥亦賒
向來吟秀句
不覺已鳴鴉

English | 上

143 劉脊虛 闕題

道由白雲盡
春與青溪長
時有落花至
遠隋流水香
閑門向山路
深柳讀書堂
幽映每白日
清輝照衣裳

English | 上

144 戴叔倫 江鄉故人偶集客舍

天秋月又滿
城闕夜千重
還作江南會
翻疑夢裡逢
風枝驚暗鵲
露草覆寒蟲
羈旅長堪醉
相留畏曉鐘

English | 上

145 盧綸 李端公

故關衰草遍
離別正堪悲
路出寒雲外
人歸暮雪時
少孤為客早
多難識君遲
掩淚空相向
風塵何處期

English | 上

146 李益 喜見外弟又言別

十年離亂後
長大一相逢
問姓驚初見
稱名憶舊容
別來滄海事
語罷暮天鐘
明日巴陵道
秋山又幾重

English | 上

147 司空曙 雲陽館與韓紳宿別

故人江海別
幾度隔山川
乍見翻疑夢
相悲各問年
孤燈寒照雨
深竹暗浮煙
更有明朝恨
離杯惜共傳

English | 上

148 司空曙 喜外弟盧綸見宿

靜夜四無鄰
荒居舊業貧
雨中黃葉樹
燈下白頭人
以我獨沉久
愧君相訪頻
平生自有分
況是蔡家親

English | 上

149 司空曙 賊平後送人北歸

世亂同南去
時清獨北還
他鄉生白髮
舊國見青山
曉月過殘壘
繁星宿故關
寒禽與衰草
處處伴愁顏

English | 上

150 劉禹錫 蜀先主廟

天地英雄氣
千秋尚凜然
勢分三足鼎
業復五銖錢
得相能開國
生兒不象賢
淒涼蜀故妓
來舞魏宮前