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宋 Song · 诗 Poem

出守桐庐道中

On the Road to Tonglu on Taking Up My Post

范仲淹

Fan Zhongyan

吏隐Reclusion within office 山水Landscape

妻子相随泛钓舟，溪山行乐此方幽。
爱山深欲成三径，得雨新添一亩畴。

With my wife and children beside me, we drift in a fishing boat;
The streams and hills make merry — here lies a secluded delight.
So deep my love of mountains, I would build the three-fold path;
Fresh rain has added yet one more mu of tilled field.

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Meaning

Written as Fan Zhongyan set out to assume office as prefect of Tonglu, the poem captures the simple joy of a family floating through streams and hills on the journey, and the poet's quiet longing for pastoral retirement. It gently sets the ease of travel against a deeper wish to withdraw into nature and till the soil.

妻子相随泛钓舟，溪山行乐此方幽。爱山深欲成三径，得雨新添一亩畴。

Appreciation

[Plain Paraphrase] The poet and his household drift together in a fishing boat while the streams and hills offer quiet pleasure; his love of mountains moves him to dream of the 'three paths' of seclusion, and fresh rain has just enlarged his field by a mu. [Structure] The first couplet sketches the journey's delight — family, boat, and secluded scenery; the second turns inward to retirement, moving from outward scenery to inner longing, the classic 'travel-to-reclusion' movement of landscape poetry. [Imagery] 'Secluded' (you) anchors the whole mood: it names both the stillness of the place and the leisurely temper of the poet. 'Three paths' invokes Tao Yuanming's garden path, while 'one mu of field' grounds the dream in a tangible plot of earth. The white description is plain yet warm, and the closing detail of rain-fed soil leaves the wish of retirement resting on something real and humble.

【白话串讲】范仲淹写《出守桐庐道中》：“妻子相随泛钓舟，溪山行乐此方幽”——“爱山深欲成三径，得雨新添一亩畴”——他出守桐庐，一路山水为伴。【意象与手法】此诗写山水，以闲适写山水，是范仲淹的名篇。前二句写溪山：「妻子相随泛钓舟，溪山行乐此方幽」写妻子相随泛钓舟、溪山行乐此方幽——写尽溪山行乐的此方幽；后二句写归隐：「爱山深欲成三径，得雨新添一亩畴」写爱山深欲成三径、得雨新添一亩畴——写尽得雨新添的一亩畴。全诗以闲适写山水，写尽溪山行乐的此方幽与得雨新添的一亩畴，是范仲淹的代表作。【情感与主旨】此诗写山水，以闲适写山水，是范仲淹的名篇。此诗为范仲淹出守桐庐之作，写其赴任途中溪山之乐与归隐之思。范仲淹此诗写其桐庐道中的行乐。此诗写妻子相随泛钓舟，溪山行乐此方幽；爱山深欲成三径，得雨新添一亩畴。此诗写溪山：妻子相随泛钓舟，溪山行乐此方幽——写妻子相随泛钓舟、溪山行乐此方幽，写尽溪山行乐的此方幽；爱山深欲成三径，得雨新添一亩畴——写爱山深欲成三径、得雨新添一亩畴，写尽得雨新添的一亩畴。全诗以闲适写山水——那「溪山行乐此方幽」写尽溪山行乐的此方幽，「得雨新添一亩畴」写尽得雨新添的一亩畴，写尽溪山行乐的此方幽与得雨新添的一亩畴，是理解范仲淹山水诗的重要篇章。【名句点睛】常考「妻子相随泛钓舟，溪山行乐此方幽」写溪山行乐的此方幽；「爱山深欲成三径，得雨新添一亩畴」写得雨新添的一亩畴；以及全诗以闲适写山水、以用典写归隐的手法。

Background

Fan Zhongyan (989–1052), style name Xiyan, was a Northern Song statesman, reformer, and man of letters who rose to the post of Grand Councillor and was posthumously honored as Wenzhang. He is famous for the line 'Be the first to bear the world's worry, the last to enjoy its joy.' This poem was composed when he was appointed prefect of Tonglu; en route he passed the Fuchun River site of Yan Ziling's fishing terrace, the Eastern Han hermit's retreat, which naturally stirred thoughts of withdrawal. Tonglu thus becomes a meeting point of official duty and reclusive longing in his mind.

此诗写山水，以闲适写山水，是范仲淹的名篇。范仲淹（989—1052），字希文，苏州吴县（今江苏苏州）人，北宋政治家、文学家，官至参知政事，谥文正，世称「范文正公」，有「先天下之忧而忧，后天下之乐而乐」之名言。此诗为范仲淹出守桐庐之作，写其赴任途中溪山之乐与归隐之思。范仲淹此诗写其桐庐道中的行乐。此诗写妻子相随泛钓舟，溪山行乐此方幽；爱山深欲成三径，得雨新添一亩畴。此诗写溪山：「妻子相随泛钓舟，溪山行乐此方幽」写妻子相随泛钓舟、溪山行乐此方幽——写尽溪山行乐的此方幽（妻子相随泛钓舟，溪山行乐此方幽）；「爱山深欲成三径，得雨新添一亩畴」写爱山深欲成三径、得雨新添一亩畴——写尽得雨新添的一亩畴（爱山深欲成三径，得雨新添一亩畴）。全诗以闲适写山水，写尽溪山行乐的此方幽与得雨新添的一亩畴，是理解范仲淹山水诗的重要篇章。又，桐庐为汉严子陵垂钓隐居之地，富春江畔「严子陵钓台」即在此处；范仲淹出守桐庐，途经其地，自然生出归隐之想。「妻子相随泛钓舟」写举家同乐、浮家泛宅之趣，「溪山行乐此方幽」赞此地之幽胜；「三径」暗用陶渊明「三径就荒」之典，「一亩畴」则是田家实景，诗以游宦之身而念归隐之乐，正见范文正公「处江湖之远则忧其君」之外的另一面。

Art

The art of the poem works on four fronts. First, it uses plain description for pleasure: 'With my wife and children beside me, we drift in a fishing boat' sets the family scene in unadorned lines, and the secluded spot is felt rather than asserted. Second, it turns to allusion for retirement: 'I would build the three-fold path' borrows Tao Yuanming's 'three paths grown wild' to voice the wish to withdraw without stating it outright. Third, it paints the pastoral through scene: 'fresh rain has added one more mu of tilled field' turns the dream into a concrete, weather-worn fact. Fourth, it speaks the quiet delight directly through 'here lies a secluded delight.' The first half renders the journey's pleasure, the second the rain-fed field of retirement; moving from travel to seclusion, it is the characteristic 'write retreat through travel' manner of landscape verse, distilled into four calm lines.

此诗的艺术特色可从四个方面解析。其一，以白描写行乐。「妻子相随泛钓舟」以白描写行乐——那「溪山行乐此方幽」写尽溪山行乐的此方幽，以白描写尽溪山行乐的此方幽。其二，以用典写归隐。「爱山深欲成三径」以用典写归隐——那「得雨新添一亩畴」写尽得雨新添的一亩畴，以用典写尽得雨新添的一亩畴。其三，以写景写田园。「得雨新添一亩畴」以写景写田园——那「溪山行乐」写尽溪山的行乐，以写景写尽得雨新添的一亩畴。其四，以直抒写幽趣。「此方幽」以直抒写幽趣——那「行乐」写尽溪山的行乐，以直抒写尽溪山行乐的此方幽。此外，此诗前写溪山行乐的此方幽，后写得雨新添的一亩畴，由游及隐，正是山水诗「以游写隐」的写法。四重手法，使此诗以闲适写山水，写尽溪山行乐的此方幽与得雨新添的一亩畴，是范仲淹的代表作。又，此诗首句「妻子相随」从家常入手，写一家同舟之乐，语平意真；「溪山行乐此方幽」以「幽」字点出此行之乐在其幽静；转句「爱山深欲成三径」以陶潜之典写归隐之志，一个「深」字见爱山之情之切；结句「得雨新添一亩畴」忽以田家琐事收束，雨后添畴，语浅而味长，把归隐之想落到一亩田畴的实处，正是「以白描见真趣」的写法。

Allusions

The language is rooted in the landscape and leisurely tradition. 'Three paths' (san jing) alludes to Tao Yuanming's 'the three paths are overgrown, yet pine and chrysanthemum remain,' the classical emblem of a hermit's garden. 'Fishing boat' recalls the lone angler of Liu Zongyuan's 'river snow,' while 'love of mountains' echoes Tao's 'by nature I loved the hills.' 'Fresh rain' evokes Du Fu's 'good rain knows the season.' The whole poem weaves these inherited images — family, boat, streams, hills, pleasure, seclusion, mountain-love, three paths, new rain, one mu — into a restrained, white-painted scene, showing Fan Zhongyan's open manner and his kinship with the Tao Yuanming pastoral line of retirement poetry.

此诗的用语深植于山水与闲适传统。「妻子」令人想到「妻子」写家眷的意象——也令人想到「妻子象禽兽」（曹植）的意象；「相随」令人想到「相随」写相随的意象——也令人想到「相随到白头」的意象；「泛钓舟」令人想到「泛钓舟」写钓舟的意象——也令人想到「孤舟蓑笠翁，独钓寒江雪」（柳宗元）的意象；「溪山」令人想到「溪山」写溪山的意象——也令人想到「溪山行乐」的意象；「行乐」令人想到「行乐」写行乐的意象——也令人想到「人生得意须尽欢，莫使金樽空对月」（李白）的意象；「此方幽」令人想到「此方幽」写幽静的意象——也令人想到「幽居在空谷」的意象；「爱山」令人想到「爱山」写爱山的意象——也令人想到「少无适俗韵，性本爱丘山」（陶渊明）的意象；「三径」令人想到「三径」写归隐的意象——也令人想到「三径就荒，松菊犹存」（陶渊明）的意象；「得雨」令人想到「得雨」写新雨的意象——也令人想到「好雨知时节，当春乃发生」（杜甫）的意象；「新添」令人想到「新添」写新添的意象——也令人想到「新添一亩」的意象；「一亩畴」令人想到「一亩畴」写田畴的意象——也令人想到「归园田居」的意象。全诗化用妻子、相随、泛钓舟、溪山、行乐、此方幽、爱山、三径、得雨、新添、一亩畴的意象典故，以闲适写山水，正是范仲淹「开阔」而善白描、承陶渊明田园传统写归隐之本领。

Commentary

The poem has long been praised as a fine landscape piece by Fan Zhongyan and a representative Song poem of official travel and pleasure. Later readers value its 'open, leisurely, and plain' tone; the line 'The streams and hills make merry — here lies a secluded delight' is often cited as its finest couplet. Its special worth lies in compressing both the journey's pleasure and the rain-fed field into a short form: the wife, the boat, the hills, the seclusion, the mountain-love, the three paths, the new rain, the one mu — all belong to Fan's Tonglu road. Read beside his 'Yueyang Tower' with its 'first to worry,' this small poem shows the other side of the man: not the grand statesman but the tranquil traveler who would till a single mu. For modern readers it is a window onto his landscape verse and a classic of Song official-travel poetry.

此诗历来被推为范仲淹山水诗的名篇，也是宋诗写出守行乐的代表。历代论者对此诗评价极高：宋人评此诗「以闲适写山水，开阔闲淡」；近人更指出「妻子相随泛钓舟，溪山行乐此方幽」写溪山行乐的此方幽，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以短章写尽溪山行乐的此方幽与得雨新添的一亩畴——那妻子，那相随，那泛钓舟，那溪山，那行乐，那此方幽，那爱山，那深欲，那成三径，那得雨，那新添，那一亩畴，都写尽了范仲淹笔下的出守桐庐道中；那「爱山深欲成三径」更以用典写尽爱山深的归隐。此诗与范仲淹《岳阳楼记》「先天下之忧而忧」同为名作，一写「不以物喜，不以己悲」的岳阳楼，一写「溪山行乐此方幽」的出守桐庐；一写大，一写小。两作对读，可见范仲淹襟怀的两面。对于今日读者，此诗是理解范仲淹山水诗的窗口，也是宋诗写出守行乐的经典——那得雨新添的一亩畴，穿越千年，仍在诉说着溪山行乐的此方幽。

Prosody

Form Seven-character quatrain (qijue)七言绝句

Rhyme Rhymes on 'secluded' (you) and 'field' (chou), both in the You rhyme group; the first line enters the rhyme.七绝押「幽」「畴」（尤韵），首句入韵

Tone pattern A seven-character quatrain in level-tone rhyme, first line joining the rhyme; its calm, even syllables suit the leisurely landscape mood.此诗为七言绝句，押平声韵，首句入韵，音节闲淡，正合山水的闲淡。

Reading note This is a seven-character quatrain rhyming on level tones (you, chou), the first line entering the rhyme, with a calm, open music. The first half paints the journey's secluded pleasure, the second the rain-fed field of retirement. In four short lines it moves from travel to seclusion, and the closing 'one mu of field' lands the recluse's dream on something tangible — the open, plain manner for which Fan Zhongyan's quatrains are known.此诗为七言绝句——「妻子相随泛钓舟，溪山行乐此方幽。爱山深欲成三径，得雨新添一亩畴」，押平韵（幽、畴），首句入韵，音节闲淡。全诗以闲适写山水：前写溪山行乐的此方幽（妻子相随泛钓舟），后写得雨新添的一亩畴（爱山深欲成三径）。短章四句，前写行乐，后写归隐，以「得雨新添一亩畴」写尽得雨新添的一亩畴，正见范仲淹「开阔」的本色。诵读此诗，宜以闲淡的语调读「溪山行乐此方幽」的行乐，以恬淡的语调读「得雨新添一亩畴」的归隐，结句要读得闲淡而有余韵，方能传达出范仲淹的开阔闲淡。范仲淹绝句以「开阔」著称，此诗正是其山水诗的典范。

Line by line

妻子相随泛钓舟，溪山行乐此方幽

With my wife and children following, we drift in a fishing boat; by these streams and hills our pleasure here is deep and still.

妻子相随泛钓舟，溪山行乐此方幽。

Wife and children follow as I drift in a fishing boat; among streams and hills, this is the secluded place for pleasure.

此二句是全诗写溪山的核心，以妻子相随泛钓舟写泛钓舟，以溪山行乐此方幽写此方幽，写尽溪山行乐的此方幽，是千古名句。「妻子相随泛钓舟」写妻子相随泛钓舟——那「妻子相随」写妻子相随，「泛钓舟」写泛钓舟，写尽妻子相随的泛钓舟；「溪山行乐此方幽」写溪山行乐此方幽——那「溪山行乐」写溪山行乐，「此方幽」写此方幽，写尽溪山行乐的此方幽。这句的深意在于：它以「妻子相随泛钓舟」的泛钓舟与「溪山行乐此方幽」的此方幽，写尽溪山行乐的此方幽——妻子相随泛钓舟，那「妻子相随泛钓舟」写尽妻子相随的泛钓舟——妻子相随泛钓舟，正是举家泛舟的写照，那「泛钓舟」写尽溪山行乐的此方幽；溪山行乐此方幽，那「溪山行乐此方幽」写尽溪山行乐的此方幽——溪山行乐此方幽，正是溪山幽乐的写照，那「此方幽」写尽溪山行乐的此方幽；那「妻子相随泛钓舟」写尽妻子相随的泛钓舟，那「溪山行乐此方幽」写尽溪山行乐的此方幽，一写泛钓舟，一写此方幽，写尽溪山行乐的此方幽——举家泛舟而溪山幽乐，正是行乐的写照；此二句以泛钓舟、此方幽写尽溪山行乐的此方幽，也为下文的成三径作铺垫，也让此二句成为全诗写溪山的核心与千古名句。若换作直说「妻子相随泛着钓舟，在溪山行乐此处幽静」，则失其闲淡；唯以「妻子相随泛钓舟」写泛钓舟、「溪山行乐此方幽」写此方幽，写尽溪山行乐的此方幽，也让此二句成为全诗写溪山的核心。

Fan Zhongyan, the stern reformer, arrives at Tonglu and the poem relaxes. Wife and children follow him as he drifts in a fishing boat—the whole family exiled together, and the exile has become an outing. Among streams and hills, this secluded spot is for pleasure. The word secluded is the verdict: the famous official has found a place where affairs of state cannot reach. It is a deliberately unguarded poem, the warrior's holiday. To have said my family came with me to my post by the river would be a diary; the drifting fishing boat is the release.

爱山深欲成三径，得雨新添一亩畴

So deep my love of mountains, I would make the three-fold path; fresh rain has added one more mu of tilled ground.

爱山深欲成三径，得雨新添一亩畴。

Loving the hills, I long to open the three paths; after rain, a new mu of field is added.

此二句是全诗写归隐的核心，以爱山深欲成三径写成三径，以得雨新添一亩畴写一亩畴，写尽得雨新添的一亩畴，是千古名句。「爱山深欲成三径」写爱山深欲成三径——那「爱山深欲」写爱山深欲，「成三径」写成三径，写尽爱山深欲的成三径；「得雨新添一亩畴」写得雨新添一亩畴——那「得雨新添」写得雨新添，「一亩畴」写一亩畴，写尽得雨新添的一亩畴。这句的深意在于：它以「爱山深欲成三径」的成三径与「得雨新添一亩畴」的一亩畴，写尽得雨新添的一亩畴——爱山深欲成三径，那「爱山深欲成三径」写尽爱山深欲的成三径——爱山深欲成三径，正是欲成三径的写照，那「成三径」写尽得雨新添的一亩畴；得雨新添一亩畴，那「得雨新添一亩畴」写尽得雨新添的一亩畴——得雨新添一亩畴，正是雨添田畴的写照，那「一亩畴」写尽得雨新添的一亩畴；那「爱山深欲成三径」写尽爱山深欲的成三径，那「得雨新添一亩畴」写尽得雨新添的一亩畴，一写成三径，一写一亩畴，写尽得雨新添的一亩畴——爱山欲隐而雨添田畴，正是归隐的写照；此二句以成三径、一亩畴写尽得雨新添的一亩畴，也让此二句成为全诗写归隐的核心与千古名句。若换作直说「爱山深想筑成三径，得雨后新添一亩田畴」，则失其闲远；唯以「爱山深欲成三径」写成三径、「得雨新添一亩畴」写一亩畴，写尽得雨新添的一亩畴，也让此二句成为全诗写归隐的核心。

The couplet turns from boating to settling. Loving the hills, he longs to open the three paths—the classical allusion to Tao Yuanming's retired garden, where only three paths were worn for himself and two friends. Then, after rain, a fresh mu of field is added. The allusion claims retirement; the new mu claims farming. The two together—hermitage and garden—sketch the whole rural life the exiled official is building. To have said I wanted to retire to the countryside would be an intention; the three paths and the new field are the retirement under construction.

Study

Word focus

幽 Secluded / still. In 'here lies a secluded delight' (you) names both the quiet of the streams and hills and the poet's leisurely, detached temper, joining outer scene and inner mood; it is the key word binding the whole landscape mood. 「溪山行乐此方幽」之「幽」字是写溪山关键词，一个「幽」字写尽溪山行乐的此方幽。幽者，幽静、幽深也。范仲淹以「溪山行乐此方幽」写溪山，这个「幽」字至少有双重意味：其一，写境之幽——那「溪山行乐此方幽」写溪山行乐此方幽，那「幽」字写尽溪山行乐的此方幽——此方幽，正是此地幽静的写照，那「幽」字写尽溪山行乐的此方幽；其二，写趣之幽——那「幽」字更是写趣——幽，正见幽人之趣的意味，那「幽」字写尽范仲淹的闲适。以「幽」字写溪山，正是范仲淹写归隐的枢纽——若换作「静」「深」等字，则或失其与「溪山行乐此方幽」「妻子相随泛钓舟」的配合，或失其写幽的意味；唯「幽」字，以溪山行乐此方幽写尽境地之幽静与闲趣之幽远，与「妻子相随泛钓舟」的泛钓舟相合，写尽溪山行乐的此方幽，也让「溪山行乐此方幽」成为全诗写溪山的名句。

添 To add / increase. In 'fresh rain has added one more mu of tilled field' (tian) marks the rain-fed growth of the plot, suggesting the daily renewal of rural life and grounding the poet's retirement wish in a tangible, humble fact. 「得雨新添一亩畴」之「添」字是写归隐关键词，一个「添」字写尽得雨新添的一亩畴。添者，增添、新添也。范仲淹以「得雨新添一亩畴」写归隐，这个「添」字至少有双重意味：其一，写畴之添——那「得雨新添一亩畴」写得雨新添一亩畴，那「添」字写尽得雨新添的一亩畴——新添，正是雨添新畴的写照，那「添」字写尽得雨新添的一亩畴；其二，写居之兴——那「添」字更是写兴——添，正见田园日兴的意味，那「添」字写尽范仲淹的归隐。以「添」字写归隐，正是范仲淹写山水的枢纽——若换作「增」「扩」等字，则或失其与「得雨新添一亩畴」「爱山深欲成三径」的配合，或失其写添的意味；唯「添」字，以得雨新添一亩畴写尽田畴之新添与田园之日兴，与「爱山深欲成三径」的成三径相合，写尽得雨新添的一亩畴，也让「得雨新添一亩畴」成为全诗写归隐的名句。