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唐 Tang · 诗 Poem

绝句漫兴九首·其一

Quatrains, Written at Random, Nine Poems: The First

杜甫

Du Fu

春愁Spring Melancholy 即兴Impromptu

眼见客愁愁不醒，无赖春色到江亭。
即遣花开深造次，便觉莺语太丁宁。

Before my eyes a traveller's sorrow that will not be roused;
The naughty colours of spring arrive at the riverside pavilion.
Hardly has spring told the flowers to open before they come in such haste;
And the oriole's warbling is far too full of tender chiding.

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Meaning

The poet cannot shake a traveller's melancholy, and the spring that should lift it becomes another thing to object to. No sooner has the season ordered the flowers open than they crowd out in a rush, and the oriole's song is full of endearments that only urge him further. The poem's subject is not the spring but the fact that nothing the season can do is welcome.

眼见客愁愁不醒，无赖春色到江亭。即遣花开深造次，便觉莺语太丁宁。

Appreciation

[Plain Paraphrase] Grief sits on the poet's eyes like a permanent condition; when spring arrives at the pavilion, instead of improving his mood it makes him find the flowers hasty and the birds officious.
[Structure] The four lines step through one feeling in four degrees - sorrow, vexation, irritation, irony - and the progress is almost mathematical: nothing is added, only sharpened.
[Imagery] The spring is personified as a naughty guest who turns up unbidden; the flowers are soldiers sent on too early an order; the oriole is a friend who will not stop advising.
[Technique] Nothing is wrong with the spring in fact. The poem's wit is that the season is behaving exactly as it should and the poet still resents it, which is a sharper observation than any amount of complaining about the weather would be.

【白话串讲】杜甫写《绝句漫兴九首·其一》：“眼见客愁愁不醒，无赖春色到江亭”——“即遣花开深造次，便觉莺语太丁宁”——他客居愁闷，觉得春色无赖——花开得太急，莺语太啰嗦——他写客愁。【意象与手法】此诗写客中春愁，以无赖写春色，是杜甫的名篇。前二句写客愁与春色：「眼见客愁愁不醒」写眼见客愁愁不醒，「无赖春色到江亭」写无赖春色到江亭；后二句写春色的无赖：「即遣花开深造次」写即遣花开深造次，「便觉莺语太丁宁」写便觉莺语太丁宁。全诗以无赖写春色，写尽客中的春愁，是杜甫的代表作。【情感与主旨】此诗写客中春愁，以无赖写春色，是杜甫的名篇。此诗是杜甫《绝句漫兴九首》组诗之一，作于唐肃宗上元二年（761）春，杜甫居成都浣花草堂时。此诗写春愁：眼见客愁愁不醒，无赖春色到江亭——写眼见客愁愁不醒，无赖（可恼）的春色已到江亭；即遣花开深造次，便觉莺语太丁宁——写春色即遣花开得太造次（仓促），便觉莺语太丁宁（絮叨）。全诗以无赖写春色——那「无赖春色到江亭」写尽春色的可恼，「即遣花开深造次，便觉莺语太丁宁」写尽花开莺语的烦人，写尽客中的春愁，是理解杜甫即兴绝句的重要篇章。【名句点睛】常考「无赖春色到江亭」写春色的可恼；「即遣花开深造次，便觉莺语太丁宁」写花开莺语的烦人；以及全诗以无赖写春色、以客愁写春愁的手法。

Background

Du Fu spent 761 in his thatched hut in Chengdu, the second and quietest year of his stay there, and the Quatrains Written at Random were written that spring in groups of from five to nine. He was still restless - the rebellion was not over, and friends were scattered - so the spring that should have pleased him arrived on top of an old grief rather than in place of it. Being a first in the group, this poem sets the tone for the others and shows how far Du Fu's famous seriousness could move toward comedy.

此诗写客中春愁，以无赖写春色，是杜甫的名篇。杜甫（712—770），字子美，巩县（今河南巩义）人，唐代伟大的现实主义诗人，人称「诗圣」。此诗是杜甫《绝句漫兴九首》组诗之一，作于唐肃宗上元二年（761）春，杜甫居成都浣花草堂时。安史之乱未平，杜甫客居成都，对春色本应欣喜，然客愁未解，春色反而添愁。此诗写春愁：「眼见客愁愁不醒，无赖春色到江亭」写眼见客愁愁不醒（愁绪不醒、难解），无赖（可恼）的春色已到江亭——写客愁难解而春色来扰；「即遣花开深造次，便觉莺语太丁宁」写春色即遣花开得太造次（仓促、冒失），便觉莺语太丁宁（絮叨）——写花开莺语的烦人。全诗以无赖写春色——那「无赖春色到江亭」写尽春色的可恼，那「即遣花开深造次，便觉莺语太丁宁」写尽花开莺语的烦人，写尽客中的春愁，是理解杜甫即兴绝句的重要篇章。此诗虽写春愁，然正是「愁」字贯穿全篇——「客愁」起，「无赖」承，「造次」「丁宁」转，「愁不醒」合，章法严整而情致宛转，可见杜甫即兴绝句于不经意处见经营的本领，也是理解安史之乱后杜甫客居心境的重要材料。

Art

The four lines advance four stages of one irritation, and the whole art is that each stage is shorter and more resentful than the last. The first names the sorrow and denies it any relief outright; The second personifies the spring as a naughty child who comes to the pavilion - the word for naughty being the colloquial one for a brat, which is already a joke. The third makes the flowers into slaphappy soldiers, and the fourth gives the oriole a nagging kind voice. Because every step is comic, the underlying misery is not relieved at all; the poet is not amused by his own vexation, and the poem's last irony is that he knows it. The closing line leaves the reader with the sound of birdsong instead of with the poet's complaint, so the mood turns over without a formal closing statement.

此诗的艺术特色可从四个方面解析。其一，以直陈写客愁。起句「眼见客愁愁不醒」以直陈写客愁——那「客愁愁不醒」写尽客愁的难解——愁绪沉沉，无法排解，以直陈写尽客愁。其二，以拟人写春色。「无赖春色到江亭」以拟人写春色——那「无赖春色」写尽春色的可恼——以「无赖」拟人，写春色如无赖般来扰，以拟人写尽春色的可恼。其三，以夸张写烦人。「即遣花开深造次，便觉莺语太丁宁」以夸张写烦人——那「花开深造次」写尽花开得仓促，「莺语太丁宁」写尽莺语太絮叨，以夸张写尽花开莺语的烦人。其四，以反衬写春愁。全诗以春色反衬客愁——那「无赖春色」的美好反衬客愁的深重，以反衬写尽客中的春愁。四重手法，使此诗以无赖写春色，写尽客中的春愁，是杜甫的代表作。再从篇章布局看，此诗四句正是「愁—恼—烦—怨」的层层推进：首句直写客愁之「愁不醒」，是客愁的起点；次句「无赖春色到江亭」以拟人写春色之可恼，是客愁的外化；三句「即遣花开深造次」写花开之造次，是春色恼人的具体化；末句「便觉莺语太丁宁」写莺语之丁宁，是恼人情绪的顶点——由愁而恼、由恼而烦、由烦而怨，层层递进，写尽客中见春色的烦闷心境。这种「以乐景写哀」的反衬手法，正与王夫之「以乐景写哀，以哀景写乐，一倍增其哀乐」之说相合。

Allusions

The word rendered 'naughty' is the same colloquial term that in the Song afterwards comes to mean both mischievous and hateful; here it carries the flavour of plain speech carried into a written poem. 'Hasty' was a word of the day for doing something in a rush without ceremony. The oriole's chiding recalls the line about orioles and swallows announcing the new year, which normally signals pleasure; the poet turns an augury into a rebuke. The pattern of finding sadness in pleasant scenery follows Du Fu's own habit of giving things emotions, and had by his time been stated as a principle: to write grief through joyful scenery doubles the grief.

此诗的用语深植于春愁与客居的传统。「眼见客愁愁不醒」令人想到「客愁」写客居之愁的意象——「客愁新」（张继），也令人想到「愁不醒」写愁绪难解的意象；「无赖春色到江亭」令人想到「无赖」写可恼的意象——「无赖」写春色如无赖般恼人，也令人想到「春色到江亭」写春色到江亭的意象；「即遣花开深造次」令人想到「即遣」写即令的意象，也令人想到「造次」写仓促冒失的意象——「造次」写花开得仓促；「便觉莺语太丁宁」令人想到「莺语」写莺啼的意象——「莺啼燕语报新年」，也令人想到「丁宁」写絮叨的意象——「叮咛」写莺语的絮叨。全诗化用客愁、无赖、造次、丁宁的意象，以无赖写春色，正是杜甫「沉郁顿挫」而善用口语、承春愁传统写客愁的本领。尤可注意的是，「无赖」「造次」「丁宁」皆为当时口语——「无赖」本义为小儿顽皮耍赖，引申为可恼可爱之意；「造次」为仓促冒失之口语；「丁宁」即叮咛，写莺语的絮叨。杜甫以口语入诗，写春色的恼人，正是其「语不惊人死不休」而又能以寻常语写寻常景的功力，也是唐诗口语化、生活化的典范。

Commentary

The first of the Quatrains Written at Random and the poem most often quoted from the group for its tone of half-playful complaint. Qing readers called the use of 'naughty' fresh and natural; later commentators have used the poem to show that Du Fu's seriousness included self-mockery, and that his colloquial vocabulary belongs to the same deliberate plainness as his famous longer poems. The habit of looking at spring through a mood of exile is then carried into later Chinese poetry - the spring complaints of Xin Qiji are the direct descendants.

此诗历来被推为杜甫即兴绝句的名篇，也是唐人写春愁诗的代表。历代论者对此诗评价极高：清人评此诗「以无赖写春色，别致清新」；近人更指出「无赖春色到江亭」写春色的可恼，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽客中的春愁——那愁不醒的客愁，那无赖的春色，那造次的花开，那丁宁的莺语，都写尽了杜甫客中的春愁；那「无赖春色到江亭」更写尽春色的可恼。此诗与杜甫《绝句漫兴九首》组诗同为即兴名篇，一写春愁，一写春色；又与杜甫「感时花溅泪」的移情传统一脉相承，可见杜甫以情观景的传统。对于今日读者，此诗是理解杜甫即兴绝句的窗口，也是中国诗写春愁的经典——那无赖的春色，穿越千年，仍在诉说着客中的春愁。杜甫《绝句漫兴九首》皆以即兴之笔写客居之情，此诗居首，起笔即以「无赖春色」点出全组「愁」的基调，是理解整组诗的门径；其以春景写春愁、以乐景写哀情的写法，对后世影响深远，如辛弃疾「更能消、几番风雨」之写春怨，皆可见此诗遗风。

Prosody

Form Poetry - seven-character quatrain (qi-yan jue-ju)诗·七言绝句

Rhyme Level-tone rhyme on the Qing group - ting (pavilion), ning (chiding); rhyming on lines two and four.七言绝句，押「亭」「宁」韵（下平九青），一韵到底，音节轻快

Tone pattern The rhymes are level and clear, which is at odds with the mood - a light and musical frame around a grumbling poem.此诗为七言绝句，四句，押平声韵，一韵到底，音节轻快，正合即兴的轻快。

Reading note Twenty-eight characters. The rhyme words are 'pavilion' and 'chiding', and the poem rhymes on the two nouns that also carry its irony. The third line is the pivot, breaking the rhyme pattern of the couplet and moving into the two complaints about the flowers. Read with a flick of impatience on 'haste', and longer on 'chiding' so that the last word seems to repeat itself like the birdsong.此诗为七言绝句，四句——「眼见客愁愁不醒，无赖春色到江亭。即遣花开深造次，便觉莺语太丁宁」，押「青」韵（亭、宁），一韵到底，音节轻快。全诗以无赖写春色、以客愁写春愁：前二句写客愁与春色（眼见客愁愁不醒，无赖春色到江亭），后二句写春色的无赖（即遣花开深造次，便觉莺语太丁宁）。诵读此诗，宜以轻快的语调读「无赖春色到江亭」的春色，以烦闷的语调读「即遣花开深造次」的花开，结句「便觉莺语太丁宁」要读得烦闷而有余韵，方能传达出杜甫的客中春愁。杜甫绝句以「沉郁顿挫」著称，此诗正是其即兴绝句的典范。

Line by line

无赖春色到江亭

The naughty colours of spring arrive at the riverside pavilion.

无赖的春色已到江亭。

Impudent spring has arrived at the river pavilion.

此句是全诗写春色的核心，以无赖写春色，写尽春色的可恼，是千古名句。「无赖春色到江亭」写无赖的春色已到江亭——那「无赖春色」写无赖（可恼）的春色，「到江亭」写到江亭，写尽春色如无赖般来扰。这句的深意在于：它以「无赖春色」的拟人，写尽春色的可恼——无赖的春色已到江亭，那「无赖」以拟人写尽春色的可恼——春色本是无情之物，杜甫却以「无赖」写之，正见客愁深重、视春色为无赖来扰；那「春色到江亭」写尽春色的到来——春色已到江亭，正是春光满眼；然客愁未解，春色反而添愁，那「无赖春色」写尽春色的可恼——本应欣喜的春色，在客愁深重的杜甫眼中，成了无赖的来扰；此句以「无赖」拟人写尽春色的可恼，正是全诗写春愁的枢纽——正因为无赖春色到江亭，才有下文花开造次、莺语丁宁的烦人；若换作直说「春天来了」，则失其拟人；唯以「无赖春色」的拟人写尽春色的可恼，写尽客中的春愁，也让此句成为全诗写春色的核心与千古名句。

The impudent spring. Impudent spring has arrived at the river pavilion. The impudent (rascal) spring that arrives at the pavilion is Du Fu's spring-as-nuisance. To have called spring impudent would be a personification; the impudent-spring-arriving-at-the-river-pavilion is the personification.

即遣花开深造次，便觉莺语太丁宁

Hardly has spring told the flowers to open before they come in such haste; and the oriole's warbling is far too full of tender chiding.

即令花开得也太仓促，便觉莺语太絮叨。

It has sent the flowers blooming all too rashly, and the orioles sound altogether too insistent.

此联是全诗的收束，以花开莺语写春色的烦人，写尽客中的春愁，是千古名句。「即遣花开深造次」写即令花开得也太仓促——那「即遣」写即令、派遣，「花开深造次」写花开得太仓促，写尽花开的冒失；「便觉莺语太丁宁」写便觉莺语太絮叨——那「便觉」写便觉得，「莺语太丁宁」写莺语太絮叨，写尽莺语的烦人。这句的深意在于：它以「即遣花开深造次」的花开与「便觉莺语太丁宁」的莺语，写尽春色的烦人与客中的春愁——即令花开得也太仓促，那「即遣花开深造次」写尽花开的冒失——春色既来，便即令花开，开得如此仓促冒失，那「造次」写尽花开的仓促；便觉莺语太絮叨，那「便觉莺语太丁宁」写尽莺语的絮叨——花开已烦，莺语又太絮叨，那「丁宁」写尽莺语的烦人；那「花开深造次」写尽花开的仓促，那「莺语太丁宁」写尽莺语的絮叨，一写花开，一写莺语，写尽春色的烦人与客中的春愁——正因客愁深重，才觉花开造次、莺语丁宁，正是「以我观物，故物皆著我之色彩」；此联以花开莺语收束，写尽春色的烦人，也让此联成为全诗收束的千古名句。若换作直说「春天很烦人」，则失其具体；唯以「即遣花开深造次」写花开、「便觉莺语太丁宁」写莺语，写尽春色的烦人与客愁，也让此联成为全诗的收束。

The rash flowers. It has sent the flowers blooming all too rashly, and the orioles sound altogether too insistent. The rash blooming and the over-insistent orioles are the spring's offense. To have described the blossoms and birds as annoying would be a mood; the sent-the-flowers-blooming-all-too-rashly against the orioles-sounding-altogether-too-insistent is the mood.

Study

Word focus

无赖 'Naughty, teasing, good-for-nothing' - wu lai; originally a child's word for acting up, later also 'hateful'; here a colloquial term for the spring's unbidden insolence. 「无赖春色到江亭」之「无赖」是写春色的关键字，一个「无赖」写尽春色的可恼。无赖者，可恼、恼人也，本指无赖之徒，此处写春色如无赖般恼人。杜甫以「无赖春色」写春色，这个「无赖」至少有双重意味：其一，写春色之恼——那「无赖春色到江亭」写无赖的春色已到江亭，那「无赖」以拟人写尽春色的可恼——春色本美好，而在客愁中反觉其恼；其二，写客愁之深——那「无赖」更是写客愁——视春色为无赖，正见客愁深重，那「无赖」写尽客中的春愁。以「无赖」写春色，正是杜甫写春愁的枢纽——若换作「恼人」「可憎」等词，则或失其口语的生动，或失其与「到江亭」的配合；唯「无赖」二字，以拟人写尽春色的可恼与客愁的深重，与「即遣花开深造次」的造次相合，写尽客中的春愁，也让「无赖春色到江亭」成为全诗写春色的千古名句。

造次 'Hasty, unceremonious' - zao ci; a colloquial phrase for acting in a rush, applied to flowers forced open too soon. 「即遣花开深造次」之「造次」是写花开的形容词，一个「造次」写尽花开的仓促。造次者，仓促、冒失也。杜甫以「深造次」写花开，这个「造次」至少有双重意味：其一，写花开之速——那「即遣花开深造次」写即令花开得太仓促，那「造次」写尽花开得仓促冒失——花开太急，如冒失而来；其二，写春色之恼——那「造次」更是写春色——花开造次，正见春色的恼人，那「造次」写尽春色的烦人。以「造次」写花开，正是杜甫写春愁的枢纽——若换作「急促」「仓促」等词，则或失其口语的生动，或失其与「便觉莺语太丁宁」的对仗；唯「造次」二字，以花开仓促写尽春色的恼人与客愁的深重，与「莺语太丁宁」的丁宁相对照，写尽客中的春愁，也让「即遣花开深造次」成为全诗写春色的名句。