宣州谢朓楼饯别校书叔云
弃我去者，昨日之日不可留；
乱我心者，今日之日多烦忧。
长风万里送秋雁，
对此可以酣高楼。
蓬莱文章建安骨，
中间小谢又清发。
俱怀逸兴壮思飞，
欲上青天揽明月。
抽刀断水水更流，
举杯销愁愁更愁。
人生在世不称意，
明朝散发弄扁舟。
The yesterdays that left me — I cannot hold them fast;
The todays that vex my heart — they bring me grief at last.
The long wind blows ten thousand li, escorting autumn geese;
Facing it, in this high tower, I may drink my fill at ease.
Your writing, like Penglai's, bears proud Jian'an bone and style;
And mine, like young Xie Tiao's, runs fresh and clear the while.
Together we cherish soaring thoughts, our bold dreams take their flight;
We long to scale the azure sky and grasp the moon so bright.
I cut the water with my sword — the water flows the more;
I raise my cup to drown my grief — my grief grows more than before.
Since in this world a man so often fails to have his way,
Tomorrow, hair unbound, I'll drift in a little boat away.
逐句注释
弃我去者，昨日之日不可留；
以散文化的长句起笔，打破律诗的整饬句法。"弃我去者"与"昨日之日"反复强调，写时光流逝、无可挽留的深沉感慨；两个"日"字叠用，形成顿挫的节奏。
The poem opens with a prose-like long line that breaks the regular prosody; the repetition of 'the days' stresses the irrevocable passage of time and the poet's deep sense of loss.
乱我心者，今日之日多烦忧。
与首句对举成文。"乱我心"直抒胸臆，把无形的烦忧拟人化，仿佛忧愁主动来搅扰诗人；"弃我去者"与"乱我心者"构成排比对偶，一往一今，感慨愈深。
Paired with the opening line, 'vex my heart' personifies sorrow as though it came to assail the poet actively; the balanced phrases 'the days that left me' and 'the days that vex me' deepen the lament for past and present alike.
长风万里送秋雁，
由抒情转入写景，笔势一振。"长风万里"气象壮阔，"秋雁"既点明时节，又是漂泊与离别的传统意象，为下句登楼畅饮作铺垫。
Here feeling gives way to scene. The vast 'long wind' and the autumn geese (a seasonal marker and a traditional image of wandering and parting) prepare the ground for the drinking scene that follows.
对此可以酣高楼。
"对此"承上，指万里秋空、长风吹雁之景。"酣高楼"写开怀畅饮，情绪由抑转扬，暂时摆脱烦忧，同时点明"饯别"之事。
'Facing this' links back to the wind-borne geese; drinking freely in the high tower lifts the mood and marks the farewell occasion.
蓬莱文章建安骨，
赞美李云的文章。"蓬莱"本为海上仙山，东汉时用以称宫廷藏书之所，此借指李云所任职的秘书省；"建安骨"指建安文学刚健有力的风骨。一句之中既称许其文采，又称许其气骨。
Praise of Li Yun's writing: splendid as the immortal isle of Penglai (a byword for the imperial library where he served) and vigorous as the 'bones' of the Jian'an style.
中间小谢又清发。
"小谢"指谢朓（与大谢谢灵运相对），此借以自比，谓己诗清新秀发。与上句并提，既推重友人，又自负才情，情辞豪宕而有分寸。
'Young Xie' is Xie Tiao; the poet likens his own verse to his — fresh and sparkling. Praising his friend, he also asserts his own talent, bold yet measured.
俱怀逸兴壮思飞，
"俱怀"总括二人，谓彼此都怀有超逸的兴致、豪壮的思致。"飞"字化抽象情思为可感动态，境界飞动，为下文"上青天"蓄势。
'Both cherish' gathers the two men; 'soaring thoughts' and 'bold vigor' fly — an abstract mood given winged motion, building toward the sky-climbing line below.
欲上青天揽明月。
极写豪情壮志，想象奇伟，是李白典型的浪漫笔法。"揽明月"象征对高洁理想与光明境界的追求，句中暗含虽不得志而志不衰之意。
A supremely bold flight of fancy — to mount the sky and grasp the bright moon; a hallmark of Li Bai's romantic imagination and a symbol of his pursuit of lofty, luminous ideals.
抽刀断水水更流，
以刀断水为喻，水不可断，喻愁不可绝。形象新奇而贴切，把无形难言之愁写得具体可感；"更流"二字已含无可奈何之意。
The knife that cuts water only makes it flow — a striking, apt metaphor for grief that cannot be severed; 'flows the more' already carries a sense of helplessness.
举杯销愁愁更愁。
与上句对仗工整，"抽刀断水"与"举杯销愁"并置，层层递进，写出愁之难遣。两个"愁"字顶真迭出，声情与文情相合，力透纸背。
Neatly parallel to the preceding line: the knife, the cup — each attempt at relief only deepens the sorrow. The repeated 'grief' makes sound echo sense and drives the despair home.
人生在世不称意，
由个人的愁思推及人生普遍的失意，语意直白而沉痛，是全诗情绪的最低处，也是由郁结转向超脱的关节。
From personal sorrow to a general law of life: to live is so often to be thwarted. Plain and bitter, this is the emotional trough of the poem and the hinge to its ending.
明朝散发弄扁舟。
化用范蠡功成泛舟五湖、渔隐江湖的典故。"散发"写弃官归隐、不受簪缨拘束之态；结句由抑转扬，愁中见豪，余韵悠长。
Alluding to Fan Li, who drifted on the Five Lakes after his career, 'hair unbound' images a free life beyond office and cap-strings. The close rebounds from gloom to grandeur, leaving a long resonance.
今日赏析
此诗约作于唐玄宗天宝十二载（753）秋。李白被"赐金放还"、离开长安后，漫游梁宋、齐鲁、宣城等地。是年秋在宣州（今安徽宣城），与族叔李云（时任秘书省校书郎）相遇，同登谢朓楼，李白设宴饯别，即席赋此诗，题一作《陪侍御叔华登楼歌》。谢朓楼为南齐诗人谢朓任宣城太守时所建，李白平生最慕谢朓，故登楼而诗兴、愁思并起。此时距安史之乱爆发仅两年，盛唐气象将尽，诗人自身功业无成、遭谗被逐，故全诗既有万里秋空、青天揽月的壮阔豪情，也有抽刀断水、举杯销愁的深沉失意，抑扬起伏，最能见李白诗风的典型面貌。
The poem was written about the autumn of 753, the twelfth year of the Tianbao era. After being 'sent back with gold' from the capital, Li Bai wandered through the Liang-Song region, Qi-Lu, and Xuanzhou. That autumn in Xuanzhou (modern Xuancheng, Anhui) he met Li Yun, a clan-uncle then serving as a collator in the imperial library; the two climbed Xie Tiao's Tower, where Li Bai held a farewell banquet and composed the poem on the spot (an alternate title reads 'Climbing the Tower with My Uncle Hua, the Censor'). The tower had been built by Xie Tiao, the Southern Qi poet who governed Xuanzhou and whom Li Bai admired above all predecessors — hence the sudden surge of poetic inspiration and of sorrow. Barely two years before the An Lushan Rebellion, with the high Tang already fading and his own political hopes destroyed by slander and dismissal, Li Bai here swings between the grandeur of autumn skies and a moon-grasping ambition, and the bitterness of a grief no knife or cup can dispel — a perfect showcase of his signature rise and fall of feeling.
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