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宋 Song · 诗 Poem

初夏即事

Early Summer, Something on the Moment

王安石

Wang Anshi

田园Pastoral 初夏Early summer

石梁茅屋有弯碕，流水溅溅度两陂。
晴日暖风生麦气，绿阴幽草胜花时。

A stone bridge and a thatched hut by the winding shore;
Clear water splashes as it passes the two ponds.
In sunny days and warm winds the wheat's breath arises;
Green shade and hidden grass surpass the season of flowers.

Listen

Meaning

Wang Anshi sketches a quiet early-summer countryside — a stone bridge, a thatched hut, splashing water, and the warm scent of wheat — and declares that green shade and secluded grass please him more than the gone season of flowers. It reveals his late-life taste for plain, tranquil nature.

石梁茅屋有弯碕，流水溅溅度两陂。晴日暖风生麦气，绿阴幽草胜花时。

Appreciation

[Plain Paraphrase] A stone bridge and thatched roofs stand by the curving bank; splashing water flows across the two ponds. Warm wind and bright sun breed the wheat's fragrance; green shade and hidden grass outdo the time of flowers. [Structure] The first couplet paints the scene — bridge, hut, water, ponds; the second turns to the early-summer air and the poet's preference, moving from object to feeling. [Imagery] 'Splashing' gives the water a sound; 'wheat's breath' turns scent into life. The closing 'surpass the time of flowers' is a quiet judgment that lifts the plain grass above showy blooms. The white description is fresh and unforced, and the final verdict states a calm preference without rhetoric.

【白话串讲】王安石写《初夏即事》：“石梁茅屋有弯碕，流水溅溅度两陂”——“晴日暖风生麦气，绿阴幽草胜花时”——他说初夏的绿荫幽草比春花还美——他写初夏。【意象与手法】此诗写田园，以初夏写田园，是王安石的名篇。前二句写景物：「石梁茅屋有弯碕，流水溅溅度两陂」写石梁茅屋有弯碕、流水溅溅度两陂——写尽流水溅溅的两陂；后二句写初夏：「晴日暖风生麦气，绿阴幽草胜花时」写晴日暖风生麦气、绿阴幽草胜花时——写尽绿阴幽草的胜花时。全诗以初夏写田园，写尽流水溅溅的两陂与绿阴幽草的胜花时，是王安石的代表作。【情感与主旨】此诗写田园，以初夏写田园，是王安石的名篇。此诗为王安石写其初夏所见田园之景，写其对初夏的喜爱。王安石此诗写初夏的田园风光。此诗写石梁茅屋有弯碕，流水溅溅度两陂；晴日暖风生麦气，绿阴幽草胜花时。此诗写景物：石梁茅屋有弯碕，流水溅溅度两陂——写石梁茅屋有弯碕、流水溅溅度两陂，写尽流水溅溅的两陂；晴日暖风生麦气，绿阴幽草胜花时——写晴日暖风生麦气、绿阴幽草胜花时，写尽绿阴幽草的胜花时。全诗以初夏写田园——那「流水溅溅度两陂」写尽流水溅溅的两陂，「绿阴幽草胜花时」写尽绿阴幽草的胜花时，写尽流水溅溅的两陂与绿阴幽草的胜花时，是理解王安石田园诗的重要篇章。【名句点睛】常考「晴日暖风生麦气，绿阴幽草胜花时」写绿阴幽草的胜花时；「流水溅溅度两陂」写流水溅溅的两陂；以及全诗以初夏写田园、以白描写田园的手法。

Background

Wang Anshi (1021–1086), style name Jiefu, pen name Banshan, was a Northern Song statesman, man of letters, and thinker of Linchuan who rose to Grand Councillor and launched the Xining reforms; he is one of the 'Eight Masters of the Tang and Song.' This poem records the early-summer countryside he saw, and his fondness for the season. The scene — stone bridge, thatched hut, curving bank, ponds, wheat fields, green shade, hidden grass — is the ordinary furniture of a farm. That he prizes 'green shade and hidden grass' above flowers reflects his later, calmer temper: turning from reforming zeal to a tranquil self-restraint, finding natural ease in stillness.

此诗写田园，以初夏写田园，是王安石的名篇。王安石（1021—1086），字介甫，号半山，抚州临川（今江西抚州）人，北宋政治家、文学家、思想家，官至宰相，主持熙宁变法，为「唐宋八大家」之一，世称「王荆公」。此诗为王安石写其初夏所见田园之景，写其对初夏的喜爱。王安石此诗写初夏的田园风光。此诗写石梁茅屋有弯碕，流水溅溅度两陂；晴日暖风生麦气，绿阴幽草胜花时。此诗写景物：「石梁茅屋有弯碕，流水溅溅度两陂」写石梁茅屋有弯碕、流水溅溅度两陂——写尽流水溅溅的两陂（石梁茅屋有弯碕，流水溅溅度两陂）；「晴日暖风生麦气，绿阴幽草胜花时」写晴日暖风生麦气、绿阴幽草胜花时——写尽绿阴幽草的胜花时（晴日暖风生麦气，绿阴幽草胜花时）。全诗以初夏写田园，写尽流水溅溅的两陂与绿阴幽草的胜花时，是理解王安石田园诗的重要篇章。又，此诗所写为王安石退居或任职期间所见的一处田园小景：石桥、茅屋、曲岸、陂塘、麦田、绿阴、幽草，皆是农家寻常物色。诗人独赏「绿阴幽草」而觉其胜过繁花，正见其晚年心境——由热衷新政转而恬淡自守，于幽静中得天然之趣，故笔下初夏不写喧闹而写清和。

Art

The art works on four fronts. First, plain description for the countryside: 'A stone bridge and a thatched hut' sets the farm in bare strokes, fresh to the eye. Second, visual scene for objects: 'In sunny days and warm winds' warms the air, and 'green shade and hidden grass' cools it. Third, contrast for early summer: 'surpass the time of flowers' sets the grass above blooms. Fourth, crafted words for life: 'breath' (sheng) makes the wheat's scent arise, 'passes' (du) moves the water. The first half gives the splashing ponds, the second the grass above flowers, moving from scene to meaning — the 'write idea through scene' manner. The last three words 'surpass the time of flowers' turn a plain preference into a quiet argument, the Song habit of reasoning within scenery, seamless and unforced.

此诗的艺术特色可从四个方面解析。其一，以白描写田园。「石梁茅屋有弯碕」以白描写田园——那「流水溅溅度两陂」写尽流水溅溅的两陂，以白描写尽流水溅溅的两陂。其二，以视觉写景物。「晴日暖风生麦气」以视觉写景物——那「绿阴幽草胜花时」写尽绿阴幽草的胜花时，以视觉写尽绿阴幽草的胜花时。其三，以对比写初夏。「绿阴幽草胜花时」以对比写初夏——那「胜花时」写尽幽草的胜花时，以对比写尽绿阴幽草的胜花时。其四，以炼字写生趣。「生麦气」以炼字写生趣——那「度两陂」写尽流水溅溅的两陂，以炼字写尽流水溅溅的两陂。此外，此诗前写流水溅溅的两陂，后写绿阴幽草的胜花时，由景及意，正是田园诗「以景写意」的写法。四重手法，使此诗以初夏写田园，写尽流水溅溅的两陂与绿阴幽草的胜花时，是王安石的代表作。又，此诗前二句写「石梁茅屋」「弯碕」「流水」「两陂」，句句是农家实景，不着色相而清新在目；后二句以「晴日暖风」之温煦、「麦气」之清香、「绿阴幽草」之清幽层层点染，末以「胜花时」三字一笔翻出议论，把对初夏的偏爱说得平淡而有味，正是宋诗「以理入景」而浑融无迹的笔法。

Allusions

The language is rooted in the pastoral and early-summer tradition. 'Stone bridge' recalls bridge imagery; 'thatched hut' echoes Du Fu's hut; 'winding bank' the curving shore; 'flowing water' the river wisdom of Confucius; 'splashing' the sound of water; 'two ponds' the willow ponds; 'sunny day' and 'warm wind' (the latter recalling Lin Sheng's 'warm wind makes the traveler drunk'); 'wheat's breath' the wheat scent; 'green shade' the spreading shade; 'hidden grass' echoes Wei Yingwu's 'I love the hidden grass by the brook'; 'time of flowers' the flowering season. The poem weaves bridge, hut, bank, water, ponds, sun, wind, wheat, shade, grass, flowers into an early-summer scene, showing Wang Anshi's precise, plain manner and his mastery of the pastoral line.

此诗的用语深植于田园与初夏传统。「石梁」令人想到「石梁」写石桥的意象——也令人想到「石梁飞瀑」的意象；「茅屋」令人想到「茅屋」写茅屋的意象——也令人想到「茅屋为秋风所破」（杜甫）的意象；「弯碕」令人想到「弯碕」写曲岸的意象——也令人想到「碕岸」的意象；「流水」令人想到「流水」写流水的意象——也令人想到「子在川上曰」的意象；「溅溅」令人想到「溅溅」写水声的意象——也令人想到「流水溅溅」的意象；「两陂」令人想到「两陂」写陂塘的意象——也令人想到「陂塘杨柳」的意象；「晴日」令人想到「晴日」写晴日的意象——也令人想到「晴日暖风」的意象；「暖风」令人想到「暖风」写暖风的意象——也令人想到「暖风熏得游人醉」（林升）的意象；「麦气」令人想到「麦气」写麦香的意象——也令人想到「麦秀渐渐」的意象；「绿阴」令人想到「绿阴」写绿阴的意象——也令人想到「绿阴冉冉遍天涯」的意象；「幽草」令人想到「幽草」写幽草的意象——也令人想到「独怜幽草涧边生」（韦应物）的意象；「花时」令人想到「花时」写花期的意象——也令人想到「花时已过」的意象。全诗化用石梁、茅屋、弯碕、流水、溅溅、两陂、晴日、暖风、麦气、绿阴、幽草、花时的意象，以初夏写田园，正是王安石「精严」而善白描、承田园传统写初夏之本领。

Commentary

The poem is praised as a fine pastoral by Wang Anshi and a representative Song early-summer piece. Later readers admire its 'fresh, natural' tone; the line 'green shade and hidden grass surpass the time of flowers' is often cited as its best. Its worth lies in compressing the splashing ponds and the grass above flowers into a short form: the bridge, the hut, the bank, the water, the splash, the ponds, the sun, the wind, the wheat's breath, the shade, the grass, the flower-time — all Wang Anshi's early summer. Read beside his 'On the Wall of Mr. Lake Yin' ('a stream protects the fields with green'), one writes the mountain dwelling, the other the farm; together they show two faces of his pastoral verse. For modern readers it is a window onto his pastoral poetry and a classic of Song early summer.

此诗历来被推为王安石田园诗的名篇，也是宋诗写初夏的代表。历代论者对此诗评价极高：宋人评此诗「以初夏写田园，清丽自然」；近人更指出「晴日暖风生麦气，绿阴幽草胜花时」写绿阴幽草的胜花时，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以短章写尽流水溅溅的两陂与绿阴幽草的胜花时——那石梁，那茅屋，那有弯碕，那流水，那溅溅，那度两陂，那晴日，那暖风，那生麦气，那绿阴，那幽草，那胜花时，都写尽了王安石笔下的初夏即事；那「绿阴幽草胜花时」更以对比写尽绿阴幽草的胜花时。此诗与王安石《书湖阴先生壁》「一水护田将绿绕」同为田园名篇，一写「两山排闼送青来」的书湖阴先生壁，一写「绿阴幽草胜花时」的初夏即事；一写山居，一写田家。两诗对读，可见王安石田园诗的两面。对于今日读者，此诗是理解王安石田园诗的窗口，也是宋诗写初夏的经典——那绿阴幽草的胜花时，穿越千年，仍在诉说着流水溅溅的两陂。

Prosody

Form Seven-character quatrain (qijue)七言绝句

Rhyme Rhymes on 'ponds' (bei) and 'time' (shi), both in the Zhi rhyme group; the first line enters the rhyme.七绝押「陂」「时」（支韵），首句入韵

Tone pattern A seven-character quatrain in level-tone rhyme, first line joining the rhyme; its fresh, even syllables suit the early-summer clarity.此诗为七言绝句，押平声韵，首句入韵，音节清新，正合初夏的清新。

Reading note This is a seven-character quatrain rhyming on level tones (bei, shi), the first line entering the rhyme, with a fresh music. The first half paints the splashing ponds, the second the grass above flowers; the closing 'surpass the time of flowers' lands the poet's calm preference, showing Wang Anshi's precise, plain manner. Read it with a fresh tone on the water and a peaceful tone on the grass.此诗为七言绝句——「石梁茅屋有弯碕，流水溅溅度两陂。晴日暖风生麦气，绿阴幽草胜花时」，押平韵（陂、时），首句入韵，音节清新。全诗以初夏写田园：前写流水溅溅的两陂（石梁茅屋有弯碕），后写绿阴幽草的胜花时（晴日暖风生麦气）。短章四句，前写景物，后写初夏，以「绿阴幽草胜花时」写尽绿阴幽草的胜花时，正见王安石「精严」的本色。诵读此诗，宜以清新的语调读「流水溅溅度两陂」的景物，以平和的语调读「绿阴幽草胜花时」的初夏，结句要读得清新而有余韵，方能传达出王安石的清丽自然。王安石绝句以「精严」著称，此诗正是其田园诗的典范。

Line by line

晴日暖风生麦气，绿阴幽草胜花时

Bright sun and warm wind give birth to the wheat's fragrance; green shade and secluded grass outdo the time of flowers.

晴日暖风生麦气，绿阴幽草胜花时。

Sunny days and a warm breeze raise the scent of ripening wheat; green shade and hidden grass outdo the season of flowers.

此二句是全诗写初夏的核心，以晴日暖风生麦气写麦气，以绿阴幽草胜花时写胜花时，写尽绿阴幽草的胜花时，是千古名句。「晴日暖风生麦气」写晴日暖风生麦气——那「晴日暖风」写晴日暖风，「生麦气」写生麦气，写尽晴日暖风的麦气；「绿阴幽草胜花时」写绿阴幽草胜花时——那「绿阴幽草」写绿阴幽草，「胜花时」写胜花时，写尽绿阴幽草的胜花时。这句的深意在于：它以「晴日暖风生麦气」的麦气与「绿阴幽草胜花时」的胜花时，写尽绿阴幽草的胜花时——晴日暖风生麦气，那「晴日暖风生麦气」写尽晴日暖风的麦气——晴日暖风生麦气，正是暖风麦香的写照，那「麦气」写尽绿阴幽草的胜花时；绿阴幽草胜花时，那「绿阴幽草胜花时」写尽绿阴幽草的胜花时——绿阴幽草胜花时，正是幽草胜花的写照，那「胜花时」写尽绿阴幽草的胜花时；那「晴日暖风生麦气」写尽晴日暖风的麦气，那「绿阴幽草胜花时」写尽绿阴幽草的胜花时，一写麦气，一写胜花时，写尽绿阴幽草的胜花时——暖风麦香而幽草胜花，正是初夏的写照；此二句以麦气、胜花时写尽绿阴幽草的胜花时，也让此二句成为全诗写初夏的核心与千古名句。若换作直说「晴日暖风生起麦香，绿阴幽草胜过花开的时候」，则失其韵味；唯以「晴日暖风生麦气」写麦气、「绿阴幽草胜花时」写胜花时，写尽绿阴幽草的胜花时，也让此二句成为全诗写初夏的核心。

Wang Anshi's early summer is tasted rather than seen. Sunny days and a warm breeze raise the scent of ripening wheat—the famous word for the wheat breath, the green smell of a grain field in early summer. Against it, green shade and hidden grass outdo the season of flowers: the claim is heretical, spring's blossoms being conventionally supreme, but the reformer-poet prefers the maturity of green to the flash of bloom. The poem is a celebration of the season after splendor. To have said early summer smelled of wheat and was greener than spring would be a summary; the wheat scent and the open verdict against flowers are the preference.

石梁茅屋有弯碕，流水溅溅度两陂

Stone beams and thatched roofs stand by the curving bank; splashing waters flow across the two ponds.

石梁茅屋有弯碕，流水溅溅度两陂。

By the stone bridge and thatched hut a winding bank; the splashing current runs over the two weirs.

此二句是全诗写景物的核心，以石梁茅屋有弯碕写弯碕，以流水溅溅度两陂写两陂，写尽流水溅溅的两陂，是千古名句。「石梁茅屋有弯碕」写石梁茅屋有弯碕——那「石梁茅屋」写石梁茅屋，「有弯碕」写有弯碕，写尽石梁茅屋的弯碕；「流水溅溅度两陂」写流水溅溅度两陂——那「流水溅溅」写流水溅溅，「度两陂」写度两陂，写尽流水溅溅的两陂。这句的深意在于：它以「石梁茅屋有弯碕」的弯碕与「流水溅溅度两陂」的两陂，写尽流水溅溅的两陂——石梁茅屋有弯碕，那「石梁茅屋有弯碕」写尽石梁茅屋的弯碕——石梁茅屋有弯碕，正是茅屋临水的写照，那「弯碕」写尽流水溅溅的两陂；流水溅溅度两陂，那「流水溅溅度两陂」写尽流水溅溅的两陂——流水溅溅度两陂，正是水声过陂的写照，那「度两陂」写尽流水溅溅的两陂；那「石梁茅屋有弯碕」写尽石梁茅屋的弯碕，那「流水溅溅度两陂」写尽流水溅溅的两陂，一写弯碕，一写两陂，写尽流水溅溅的两陂——茅屋临水而流水过陂，正是田园的写照；此二句以弯碕、两陂写尽流水溅溅的两陂，也为下文的麦气作铺垫，也让此二句成为全诗写景物的核心与千古名句。若换作直说「石桥茅屋边有弯曲的水岸，流水溅溅地流过两个陂塘」，则失其清新；唯以「石梁茅屋有弯碕」写弯碕、「流水溅溅度两陂」写两陂，写尽流水溅溅的两陂，也让此二句成为全诗写景物的核心。

The opening is a watercolor of a rural bend. By the stone bridge and the thatched hut, a curved bank; the splashing current runs over two weirs. The objects are plain—a bridge, a hut, a winding bank, a noisy stream—and the sound of splashing water is the poem's only music. This is the world the wheat scent rises from: a quiet household by a brook, in the depth of the country. To have said there was a cottage by a stream would be a setting; the curved bank and the splashing water over the two weirs are the place.

Study

Word focus

生 To arise / give birth. In 'the wheat's breath arises' (sheng) makes the fragrance seem born of sun and warm wind, personifying the early-summer air and conveying the poet's quiet joy in the season's vitality. 「晴日暖风生麦气」之「生」字是写初夏关键词，一个「生」字写尽晴日暖风的麦气。生者，生发、滋生也。王安石以「晴日暖风生麦气」写初夏，这个「生」字至少有双重意味：其一，写气之生——那「晴日暖风生麦气」写晴日暖风生麦气，那「生」字写尽晴日暖风的麦气——生麦气，正是麦气升腾的写照，那「生」字写尽晴日暖风的麦气；其二，写春之去——那「生」字更是写生——生，正见生机勃发的意味，那「生」字写尽王安石的喜悦。以「生」字写初夏，正是王安石写田园的枢纽——若换作「起」「吹」等字，则或失其与「晴日暖风生麦气」「绿阴幽草胜花时」的配合，或失其写生的意味；唯「生」字，以晴日暖风生麦气写尽麦气之升腾与生机之勃发，与「绿阴幽草胜花时」的胜花时相合，写尽晴日暖风的麦气，也让「晴日暖风生麦气」成为全诗写初夏的名句。

胜 To surpass / excel. In 'green shade and hidden grass surpass the time of flowers' (sheng) sets the plain grass above the blooms, signaling that tranquil grace outdoes show, and revealing the poet's restrained aesthetic. 「绿阴幽草胜花时」之「胜」字是写初夏关键词，一个「胜」字写尽绿阴幽草的胜花时。胜者，胜过、超越也。王安石以「绿阴幽草胜花时」写初夏，这个「胜」字至少有双重意味：其一，写草之胜——那「绿阴幽草胜花时」写绿阴幽草胜花时，那「胜」字写尽绿阴幽草的胜花时——胜花时，正是胜过花时的写照，那「胜」字写尽绿阴幽草的胜花时；其二，写境之雅——那「胜」字更是写雅——胜，正见幽静胜喧闹的意味，那「胜」字写尽王安石的审美。以「胜」字写初夏，正是王安石写田园的枢纽——若换作「逾」「过」等字，则或失其与「绿阴幽草胜花时」「晴日暖风生麦气」的配合，或失其写胜的意味；唯「胜」字，以绿阴幽草胜花时写尽幽草之胜花与幽静之胜闹，与「晴日暖风生麦气」的麦气相合，写尽绿阴幽草的胜花时，也让「绿阴幽草胜花时」成为全诗写初夏的名句。