繁簡
作者／出处
元和十年，予左迁九江郡司马。明年秋，送客湓浦口。闻船中夜弹琵琶者。听其音，铮铮然有京都声。问其人，本长安倡女，尝学琵琶于穆、曹二善才。年长色衰，委身为贾人妇。遂命酒，使快弹数曲。元和十年1，予左迁九江郡司马2。明年秋，送客湓浦口3。闻船中夜弹琵琶者。听其音，铮铮然有京都声4。问其人，本长安倡女5，尝学琵琶于穆、曹二善才6。年长色衰，委身为贾人妇7。遂命酒，使快弹数曲。
元和十年，我降职为九江郡司马。第二年秋天，到湓浦口送客，听见船中有夜弹琵琶的人，声音铮铮地，甚带京都韵调。询问之下，才知弹奏的人原是长安艺妓，曾在穆曹两大名手门下学习琵琶，年龄老去，容貌衰谢以后，嫁给了商人，成为良家妇女了。于是叫人排上酒席，请她随意弹奏几曲。
In the tenth year of Yuanhe I was banished and
demoted to be assistant official in Jiujiang.
In the summer of the next year I was seeing a friend leave Penpu and
heard in the midnight from a neighbouring boat a guitar played
in the manner of the capital.
Upon inquiry, I found that the player had formerly been a dancing-girl there and
in her maturity had been married to a merchant.
I invited her to my boat to have her play for us.
曲罢，悯默。自叙少小时欢乐事，今漂沦鹪顇，转徙于江湖间。予出官二年，恬然自安，感斯人言，是夕始觉有迁谪意，因为长句歌以赠之。凡六百一十二言，命曰琵琶行。曲罢，悯默8。自叙少小时欢乐事，今漂沦鹪顇9，转徙10于江湖间。予出官11二年，恬然12自安，感斯人13言，是夕始觉有迁谪意，因为长句歌以赠之。凡六百一十二言14，命曰琵琶行。弹罢，她郁郁地沉默半响，自己谈起年轻时的欢乐情形，如今则是漂泊憔悴，在江湖之间迁移流转而已。我自京师外调，降为郡官，两年以来，非常恬静，颇能安于自己的遭遇。这晚听到这女子的话，才忽然生起贬官失意的落寞之感。于是作成长诗，唱来赠送给她。共六百一十二字，题为「琵琶行」。
She told me her story, heyday and then unhappiness.
Since my departure from the capital I had not felt sad;
but that night, after I left her,
I began to realize my banishment.
And I wrote this long poem --six hundred and twelve characters.
浔阳江头夜送客，枫叶荻花秋索索。主人下马客在船，举酒欲饮无管弦。醉不成欢惨将别，别时茫茫江浸月。忽闻水上琵琶声，主人忘归客不发。浔阳江15头夜送客，枫叶荻花秋索索16。主人下马客在船17，举酒欲饮无管弦18。醉不成欢19惨将别，别时茫茫江浸月。忽闻水上琵琶声，主人忘归客不发。
浔阳江头，送行之夜，枫叶，荻花，冷冷逼人的秋意。主人下了马送客上船，寂寞的酒杯排出了无声的酒筵。凄凉的醉意只使别愁增添沉重，这握别的空虚呵──空虚，如月影在渺渺秋江浮动……呀！有贴水传来的琵琶──是在梦中？让主人忘却归途，让客人解下征篷。
I was bidding a guest farewell, at night on the Xunyang River,
Where maple-leaves and full-grown rushes rustled in the autumn.
I, the host, had dismounted, my guest had boarded his boat,
And we raised our cups and wished to drink-but, alas, there was no music.
For all we had drunk we felt no joy and were parting from each other,
When the river widened mysteriously toward the full moon --
We had heard a sudden sound, a guitar across the water.
Host forgot to turn back home, and guest to go his way.
寻声暗问弹者谁？琵琶声停欲语迟。移船相近邀相见，添酒回灯重开宴。千呼万唤始出来，犹抱琵琶半遮面。寻声暗问弹者谁？琵琶声停欲语迟。移船相近邀相见，添酒回灯20重开宴。千呼万唤始出来，犹抱琵琶半遮面。谛听，追寻，「是谁呀──」轻轻地问，弦音止住了（在为答语踌躇？）久久地沉默不应。靠船过去，致意过去：「请来和司马相见！」重添好酒，重掌华灯，重摆陈这场宵宴。千声的邀请，万遍的催，好容易纔跨出舱门，怀里的琵琶仍遮蔽着女子大半个颜面。
We followed where the melody led and asked the player's name.
The sound broke off...then reluctantly she answered.
We moved our boat near hers, invited her to join us,
Summoned more wine and lanterns to recommence our banquet.
Yet we called and urged a thousand times before she started toward us,
Still hiding half her face from us behind her guitar.
转轴拨弦三两声，未成曲调先有情。弦弦掩抑声声思，似诉平生不得意。低眉信手续续弹，说尽心中无限事。转轴拨弦三两声，未成曲调先有情。弦弦掩抑21声声思，似诉平生不得意。低眉信手22续续弹，说尽心中无限事。紧紧轴，调调弦──听，这零星迸出的咚叮，在未成曲调之先，可不已飘来一缕哀情？弹吧，一根弦沉重过一根弦，一片声幽怨过一片声，彷佛在倾诉，倾诉此生的憔悴风尘；庄重地、从容地、灵活地、琵琶在指下续续颤鸣，无遗漏地表达出了一颗繁复的凄楚的心。
...She turned the tuning-pegs and tested several strings;
We could feel what she was feeling, even before she played:
Each string a meditation, each note a deep thought,
As if she were telling us the ache of her whole life.
She knit her brows, flexed her fingers, then began her music,
Little by little letting her heart share everything with ours.
轻拢慢捻抹复挑，初为霓裳后六么。大弦嘈嘈如急雨，小弦切切如私语。嘈嘈切切错杂弹，大珠小珠落玉盘。间关莺语花底滑，幽咽泉流水下滩。水泉冷涩弦疑绝，疑绝不通声暂歇。轻拢慢捻抹复挑23，初为霓裳后六么24。大弦嘈嘈如急雨25，小弦切切如私语26。嘈嘈切切错杂弹，大珠小珠落玉盘。间关莺语花底滑27，幽咽泉流水下滩。水泉冷涩弦疑绝28，疑绝不通声暂歇。轻敲，慢揉，缓抚，急挑，奏罢了《霓裳羽衣》，更奏出了《六么》。大弦嘈嘈，如盛夏的晴空急雨，小弦切切，如情人的春宵私语，嘈嘈声与切切声错杂相弹，呵──大小珍珠，一颗颗掉落白玉的珠盘。「间关，间关」，有莺语在花底滑转，幽冷，呜咽，有流水在冰下潺湲……──冰那么冷，泉那么涩，弦音凝固，封冻了！
She brushed the strings, twisted them slow, swept them, plucked them --
First the air of The Rainbow Skirt, then The Six Little Ones.
The large strings hummed like rain,
The small strings whispered like a secret,
Hummed, whispered-and then were intermingled
Like a pouring of large and small pearls into a plate of jade.
We heard an oriole, liquid, hidden among flowers.
We heard a brook bitterly sob along a bank of sand...
By the checking of its cold touch, the very string seemed broken
As though it could not pass; and the notes, dying away
别有幽愁暗恨生，此时无声胜有声。银缾乍破水浆迸，铁骑突出刀枪鸣。曲终收拨当心画，四弦一声如裂帛。东舟西舫悄无言，唯见江心秋月白。别有幽愁暗恨生，此时无声胜有声。银缾乍破水浆迸29，铁骑突出刀枪鸣。曲终收拨当心画30，四弦一声如裂帛。东舟西舫悄无言，唯见江心秋月白。四座悄然，尽幻梦在耳边缭绕，美妙的空寂呵，你反使新的哀愁暗暗滋生，这时的声音消失，比充满声音还好。──像银瓶炸破时的喷泉，一下子弦音飞迸，像铁骑冲锋时的战阵，蓦地里剑戟铿鸣，曲子──完了。牙片向当心一划，四弦尖起急收，如绫罗撕成碎帕。满江的船舶寂静忘言，唯见江心的秋月，苍白如画。
Into a depth of sorrow and concealment of lament,
Told even more in silence than they had told in sound...
A silver vase abruptly broke with a gush of water,
And out leapt armored horses and weapons that clashed and smote --
And, before she laid her pick down, she ended with one stroke,
And all four strings made one sound, as of rending silk
There was quiet in the east boat and quiet in the west,
And we saw the white autumnal moon enter the river's heart.
沈吟放拨插弦中，整顿衣裳起敛容，自言本是京城女，家在虾蟇陵下住。十三学得琵琶成，名属教坊第一部。曲罢曾教善才伏，妆成每被秋娘妒。五陵年少争缠头，一曲红绡不知数。钿头云篦击节碎，血色罗裙翻酒污。沈吟放拨插弦中，整顿衣裳起敛容31，自言本是京城女，家在虾蟇陵32下住。十三学得琵琶成，名属教坊第一部33。曲罢曾教善才伏，妆成每被秋娘34妒。五陵年少争缠头35，一曲红绡不知数36。钿头云篦击节碎37，血色罗裙翻酒污38。半晌沉吟，把牙片插置弦中，整衣正色，站起来，诉出了往事重重：「我本是京华的女儿，可逛过虾蟆陵？我家，就在陵下居住。十三岁，我就学成了弹奏琵琶，那时的声名？是的，在教坊中，我列居第一部。奏罢长曲，我曾使旷代的名手不敢批评，匀好新妆，我曾使迟暮的美人满怀羞妒。满都城的公子哥儿抢着赏给我「缠头」，一曲方完，收到的红绡，简直不能计数。镶金的云篦，打节拍打碎了──多么有趣！血红的罗裙，给酒痕污损了──抛掉重做。
...When she had slowly placed the pick back among the strings,
She rose and smoothed her clothing and, formal courteous,
Told us how she had spent her girlhood at the capital,
Living in her parents' house under the Mount of Toads,
And had mastered the guitar at the age of thirteen,
With her name recorded first in the class-roll of musicians,
Her art the admiration even of experts,
Her beauty the envy of all the leading dancers,
How noble youths of Wuling had lavishly competed
And numberless red rolls of silk been given for one song,
And silver combs with shell inlay been snapped by her rhythms,
And skirts the colour of blood been spoiled with stains of wine....
今年欢笑复明年，秋月春风等闲度。弟走从军阿姨死，暮去朝来颜色故，门前冷落鞍马稀，老大嫁作商人妇。今年欢笑复明年，秋月春风等闲度。弟走从军阿姨39死，暮去朝来颜色故40，门前冷落鞍马稀，老大41嫁作商人妇。今年欢笑过去，接着又是明年……璀灿的春，澄朗的秋，就这么轻轻偷度。──弟弟从军去了，阿姨死了，一个个黄昏追赶着一次次黎明，容颜渐暗蒙尘雾；门庭日益冷落，客人的车马日益稀疏，老了！我，嫁给商人，变成了中年主妇。
Season after season, joy had followed joy,
Autumn moons and spring winds had passed without her heeding,
Till first her brother left for the war, and then her aunt died,
And evenings went and evenings came, and her beauty faded --
With ever fewer chariots and horses at her door;
So that finally she gave herself as wife to a merchant
商人重利轻别离，前月浮梁买茶去，去来江口守空船，绕船月明江水寒。夜深忽梦少年事，梦啼妆泪红阑干。商人重利轻别离，前月浮梁42买茶去，去来江口守空船，绕船月明江水寒。夜深忽梦少年事，梦啼妆泪红阑干43。商人舍不得微薄的利润却舍得长远的别离，上月独往浮梁，只为了贾茶前去。走后剩我一人，在江口孤守空船，上面是明月的彻夜清辉，下面是江水的深寒。午夜，忽然梦见年青时候的狂欢，我哭醒了，让泪水洗掉脂粉，让辛酸浸红眼睑……」
Who, prizing money first, careless how he left her,
Had gone, a month before, to Fuliang to buy tea.
And she had been tending an empty boat at the river's mouth,
No company but the bright moon and the cold water.
And sometimes in the deep of night she would dream of her triumphs
And be wakened from her dreams by the scalding of her tears.
我闻琵琶已叹息，又闻此语重唧唧。同是天涯沦落人，相逢何必曾相识。我从去年辞帝京，谪居卧病浔阳城。浔阳小处无音乐，终岁不闻丝竹声。住近湓江地低湿，黄芦苦竹绕宅生。我闻琵琶已叹息，又闻此语重唧唧44。同是天涯沦落人，相逢何必曾相识。我从去年辞帝京，谪居卧病浔阳城45。浔阳小处无音乐，终岁不闻丝竹声。住近湓江地低湿，黄芦苦竹46绕宅生。琵琶中流出的怨情，已使我深深叹息，现在更听到这段哀词，如江岸的秋虫唧唧！「你和我，同是落魄天涯的人，今日这番相逢，何须定要从前相识？我从去年离开帝京，贬官，闹病，一直就枯守在这浔阳小城，这个偏僻的浔阳怎会寻到音乐？终年都听不见弦管的声音。住居又靠近湓江，地势是那么低湿，只黄芦苦竹，绕屋子莽莽滋生。
Her very first guitar-note had started me sighing;
Now, having heard her story, I was sadder still.
"We are both unhappy -- to the sky's end.
We meet. We understand. What does acquaintance matter?
I came, a year ago, away from the capital
And am now a sick exile here in Jiujiang--
And so remote is Jiujiang that I have heard no music,
Neither string nor bamboo, for a whole year.
My quarters, near the River Town, are low and damp,
With bitter reeds and yellowed rushes all about the house.
其间旦暮闻何物？杜鹃啼血猿哀鸣。春江花朝秋月夜，往往取酒还独倾。岂无山歌与村笛？呕哑嘲哳难为听。今夜闻君琵琶语，如听仙乐耳暂明。莫辞更坐弹一曲，为君翻作琵琶行。其间旦暮闻何物？杜鹃啼血47猿哀鸣。春江花朝秋月夜，往往取酒还独倾。岂无山歌与村笛？呕哑嘲哳难为听48。今夜闻君琵琶语，如听仙乐耳暂明。莫辞更坐弹一曲，为君翻作49琵琶行。这些时来，早晚能听到些甚么？杜鹃的悲啼与猿猴的哀鸣。春江花发，秋空月圆，清晨，良宵，拿起酒壶，往往是独饮自斟。当然，这里有山歌，也有村笛，呀，那股咿呜聒噪，只使我掩上耳根！今夜能听到你的琵琶的语言，彷佛仙乐天风，双耳这霎时纔觉爽朗清明。请千万不要推辞，再让大家欣赏一曲，愿替你译作长诗，赠给你『琵琶行』。」
And what is to be heard here, morning and evening? --
The bleeding cry of cuckoos, the whimpering of apes.
On flowery spring mornings and moonlit autumn nights
I have often taken wine up and drunk it all alone,
Of course there are the mountain songs and the village pipes,
But they are crude and-strident, and grate on my ears.
And tonight, when I heard you playing your guitar,
I felt as if my hearing were bright with fairymusic.
Do not leave us. Come, sit down. Play for us again.
And I will write a long song concerning a guitar."
感我此言良久立，却坐促弦弦转急。凄凄不似向前声，满座重闻皆掩泣。座中泣下谁最多，江州司马青衫湿。感我此言良久立，却坐促弦50弦转急。凄凄不似向前声，满座重闻皆掩泣。座中泣下谁最多，江州司马青衫湿51。受到了我的话的感动？静静地站立许久，坐下来，催动弦丝，四条弦忽地雨狂风骤，情调的凄怆不像方纔的圆柔，满座重听的客人全流泪了，一个个掩上衣袖。座上流泪的人，谁流得最多，最悲哀？──江州司马的青衫，早被泪痕湿透。
...Moved by what I said, she stood there for a moment,
Then sat again to her strings-and they sounded even sadder,
Although the tunes were different from those she had played before...
The feasters, all listening, covered their faces.
But who of them all was crying the most?
This Jiujiang official. My blue sleeve was wet.
导赏
白居易除了擅写讽谕诗，他的叙事诗也十分著名，其中最脍炙人口的，是他的史诗式作品《长恨歌》。他有另一首为人熟知的作品《琵琶行》，也是长篇叙事诗，全诗八十八句，六百一十六字。诗中写沦落天涯的琵琶女和被贬江州的诗人偶遇，引发出一个动人的场面。以六百多字写一个晚上的聚会，可见其中的描写十分细致。《琵琶行》诗前有序，说明写这首诗的缘起。白居易说自己出任九江司马时，有一晚送客到江边，听到邻船有人弹奏琵琶，有京都的乐声，便邀请弹奏者过船弹奏。弹奏者说自己年少时本是长安的歌伎，学得一手好琵琶，过着夜夜笙歌的生活，所得赏赐无数；但年长色衰时，只有嫁作商人妇，漂泊江湖之间。白居易听到她的遭遇，忽然感慨起来，对自己被贬谪有所感触，于是写成这诗赠给她。
《琵琶行》用十二句写遇到琵琶女的经过，用二十八句写弹奏琵琶的情况，用二十二句写琵琶女自述身世，用二十句写自己因此勾起被贬谪的感慨而写作此诗，最后六句写再奏一曲时在座者的反应作结。
诗的开头交代诗人在浔阳江头夜送客，宴罢主客将别，忽然听到水上传来琵琶声，于是邀请弹奏之人移船演奏，重新开宴。以下二十八句描写演奏琵琶的情况。头两句「千呼万唤始出来，犹抱琵琶半遮面」先写演奏者的姿态，她迟迟不出来，又以琵琶半遮面，显示了这女子的矜持，也增加了神秘感。下面写演奏开始，最初八句先写弹奏的手法和神态，其中在描写弹奏手法中，穿插写弹奏者的「情」。「未成曲调先有情」、「似诉平生不得志」、「说尽心中无限事」三句，说出弹奏者吸引作者的，是有浓厚的感情倾注在曲调之中。接着十四句由「轻拢慢捻抹复挑」至「此时无声胜有声」写乐声和演奏的技巧。视觉和听觉是不同的感官，要用文字来表达声音并不容易，要写出乐音的美妙难度更高。白居易用大量比喻来写琴音的特点，大的乐音像急雨，小的乐音像人喁喁细语，大小乐音错综起来，有如大和小的珍珠错落地跌落玉制的盘中。以下四句除了以莺语和泉流来比喻琴音，更描绘了不同景色来形容琴音的变化，像是从春天有纾缓喜悦的花间鸟语，变为冬天水泉冷涩而几近凝固，至此声音由渐低至几乎完全停顿。白居易在此点出了乐曲中一些留白的作用，是「此时无声胜有声」。
后面四句写琴音停顿后又陡然迸起，像银瓶忽然爆破，琴音高亢，越来越响，像千军万马刀鎗交并。当声音到达高潮，听众情绪到了高峰时，演奏者忽然在琵琶四条弦线当心一画，以一急速的、像撕裂布帛的声音收结。下面四句写曲终的情况，曲已奏完，但曲终人未散，听者都不动不语，似乎仍未从音乐的振动中恢复过来。这是以听众的反应去衬托琴音的引人入胜，又以一句「唯见江心秋月白」写景，衬托这个忽然寂静的气氛。最后描述演奏者放下琵琶站起，也是演奏的真正结束。
一向以来，以文学形式描写音乐的作品不多，尤其以诗歌的形式来表达的更少。白居易以高超的文字技巧，使读者感受了一场精采的琵琶演奏，如闻其声，如见其人。用今天的分析术语，这可说是以「通感」的方法，让读者用眼睛去「听」音乐。
诗人在描写琵琶演奏完毕后，开始交代演奏者的身世，并以琵琶女自白的方式道出。她自言是京城人士，属教坊中人，十三岁已学得一手好琵琶。「曲罢曾教善才伏」至「秋月春风等闲度」八句写她年少时风光的日子，艺高貌美，富家子弟争相馈赠，夜夜欢宴，笙歌不断。可惜好景不常，在「弟走从军阿姨死，暮去朝来颜色故」这两句转折之后，便是八句强烈对比的沦落生活：年华渐老，门庭冷落，只得嫁作商人妇，以求归宿；但商人经常离家远行，自己独守空船，夜来梦到少年事，只有暗自饮泣。
诗人先受到琵琶演奏的振动，再听了琵琶女的身世，兴起了浓烈的感慨之情：「我闻琵琶已叹息，又闻此语重唧唧。同是天涯沦落人，相逢何必曾相识？」琵琶女自繁华归于平淡，老来嫁作商人妇，本也是这类人物的必然命运，并非特别感人肺腑，为何白居易却对她倾注这样浓烈的感情？这是因为他的感慨并非单纯因外在的因素而来，而是这个外来的因素触动了他内心一直埋藏着的悲情，藉这次听琵琶而一并发泄出来。他表示自己去年贬谪至此，一直卧病。浔阳地处偏僻，终年听不到乐声，只有杜鹃和猿猴的哀鸣，以及难听的山歌和村笛。《琵琶行》作于元和十一年（公元816年）秋。在这之前一年，白居易因宰相武元衡被刺事件开罪了朝廷的权贵，被贬为江州司马。司马是刺史的助手，听起来好像不错，但实际上，在中唐时期这个职位是专门安置「犯罪」官员的，是变相发配到某地去接受监督看管。当时江州（今江西九江市）地势荒僻，环境恶劣，白居易卧病伤怀，四周更无一点开心解闷的东西。当然这是诗人主观心情欠佳，所以举目无可观，声声难入耳。到他遇到琵琶女，首先吸引他的是「京都声」，然后由琵琶女的身世引起他「同是天涯沦落人」的感慨。在苦闷寂寞中，他把琵琶女的琴音当作一种发泄和慰藉，有如得闻仙乐，更要为她写作《琵琶行》。
最后，琵琶女也受到这位知音人感动，不免再奏一曲，琴声却比之前更哀怨，使听众都哭起来。「座中泣下谁最多，江州司马青衫湿。」为何白居易哭得最厉害？已不言而喻了。他把歌咏者与被歌咏者的思想感情融而为一，大家命运相同、息息相关，最后同声一哭，也令到千古读者为之感动。
白居易的《琵琶行》是唐诗的名篇，诗中写琵琶演奏一段，更为历代人所赞赏，被喻为描述音乐的经典。这首诗中很多句子都成了千古传诵的名句，有些我们到今天还经常使用，如「千呼万唤始出来」、「此时无声胜有声」、「同是天涯沦落人，相逢何必曾相识」。这首诗虽然不及《长恨歌》的史诗式爱情故事为人熟悉，流传没有这么广，却有另一角度的欣赏价值。它仔细记载了诗人自己的一个生活片段，遇到一些人，引起一种感慨。他遇到的琵琶女是社会中的小人物，可能被其他人遗忘，但他与这个琵琶女的相遇激起了一种强烈的感情，以诗歌记下了这个动人的片段。文学作品不一定要写很伟大的事，或有很伟大的抱负才可流传千古，只要写得精采，写得深刻，便值得后世人欣赏。
延伸阅读：
查阅次数：54371
資料來源：
朗读：甘玉贞（粤）丶张雅茜（普）
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注释：《中国文学古典精华》，商务印书馆（香港）有限公司
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译文：《友联活叶文选》，友联出版社
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导赏：甘玉贞（文）、甘玉贞（粤）、程广宽（普）
作者／出处
白居易
白居易，生于唐代宗大历七年，卒于唐武宗会昌六年（七七二──八四六）。 字乐天，晚号香山居士，祖籍太原（今山西太原），后迁居下邽（今陕西渭南）。 自幼聪慧，刻苦读书。 唐德宗贞元十六年（七九九）进士，初任校书郎，历任翰林学士、左拾遗，因敢言直谏，上疏亟论宰相武元衡被盗杀事，为当政者所忌，贬为江州（今江西九江）司马。 其后历任忠州、杭州、苏州刺史，官至刑部尚书，晚年退居洛下，崇奉佛法。
白居易是中唐大诗人，与元稹齐名，并称「元白」。 他提倡「文章合为时而著，歌诗合为事而作」，反对「嘲风雪，弄花草」的文学，强调《诗经》的美刺传统和杜甫的创作精神。 白诗的特色是语言浅俗，使老妪、儿童都能解读，讽谕诗《秦中吟》及《新乐府》是其中的代表。 晚年写了不少闲适诗和感伤诗。 有明万历三十四年（一六〇六）马元调刊本《白氏长庆集》传世。
查阅次数：7043
資料來源：
《中国文学古典精华》，商务印书馆（香港）有限公司
创作背景
《琵琶行》選自《全唐詩》卷四百三十五，作於唐憲宗元和十一年（八一六）秋。據白居易自序云，作者於憲宗元和十年（八一五）被貶為九江郡（今江西九江）司馬。次年秋，送客於湓浦口。夜中偶逢琵琶女，從她的漂泊遭遇，想到自己仕途上的失意坎坷，遂寫成《琵琶行》。「同是天涯淪落人」句，是一篇之旨。
資料來源：
《中國文學古典精華》，商務印書館（香港）有限公司
