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明 Ming · 诗 Poem

暮发滁阳

Dusk Departure from Chuyang

徐中行

Xu Zhongxing

羁旅travel 山水landscape 思乡Homesickness 写景Scenery

荒城一骑出，落日万峰西。
涧水流人影，松阴散马蹄。
悬崖青欲滴，芳草绿堪迷。
洵美非吾土，翻然忆故溪。

From the wasted city a single rider issues; the setting sun west of ten thousand peaks.
The stream water flows the traveler's shadow; pine shade scatters the horse's hoof.
The cliff's green is about to drip; the sweet grass's green can bewitch.
Truly fair, yet not my own land—suddenly I recall my home stream.

Listen

Meaning

A single rider goes out from the wasted city of Chuyang; the setting sun sinks west of the ten thousand peaks. The mountain stream mirrors the traveler's shadow; in the pine shade the horse's hoofbeats scatter. The cliff's green is as if about to drip; the fragrant grass's green is enough to bewitch. The scene is truly fair, yet not my native soil—suddenly I am moved to recall my home stream.

独骑一马从荒废的滁阳城出发，落日在万峰之西缓缓沉下。山涧的流水映出行人的身影，松林的阴影里散落着马蹄声。悬崖的青翠仿佛要滴落下来，芳草的碧绿令人沉醉迷离。这景色诚然美好，却不是我的故土，猛然间便思念起家乡的溪流。

Appreciation

The whole poem follows the order of travel, led by the word 'issue', shifting scene with each step. 'From the wasted city a single rider issues; the setting sun west of ten thousand peaks' opens with the lone rider and the vast setting sun, already holding loneliness; 'The stream water flows the traveler's shadow; pine shade scatters the horse's hoof' weaves sight and sound, motion within stillness; 'The cliff's green is about to drip; the sweet grass's green can bewitch' carves color like a painting. The first three couplets exhaust Chuyang's beauty, yet the closing turns on 'not my own land', writing sorrow through happy scene, the craft rising and falling, gaining the grace of Wang Can's 'Rhapsody on Climbing the Tower'—true scene, apt words, deep and gentle feeling.

【白话串讲】 “荒城一骑出，落日万峰西”——徐中行暮色中离开滁阳：一骑出荒城，落日西沉万峰。“悬崖青欲滴，芳草绿堪迷”——景色太美。“洵美非吾土，翻然忆故溪”——可再美也不是家乡，他想起了故乡的溪水。【意象与手法】全诗以游踪为序，由「出」字领起，移步换景。「荒城一骑出，落日万峰西」以孤独骑影与苍茫落日开篇，已含寂寥；「涧水流人影，松阴散马蹄」视听交织，静中见动；「悬崖青欲滴，芳草绿堪迷」炼色如画。前三联极写滁阳之美，尾联却以「非吾土」一转，以乐景写哀，章法跌宕，得王粲《登楼赋》之致，景真语切而情致深婉。【情感与主旨】徐中行（1517—1578），字子舆，号龙湾，长兴人，嘉靖二十九年进士，与李攀龙、王世贞等同称后七子。此诗作于宦游或行旅经滁阳之时，于暮色苍茫中独骑出城，一路山光水色入目，而身在异乡的羁旅之感油然而生，遂于篇末以「非吾土」点破乡思。全诗由写景入抒情，景愈美而乡愁愈重，是羁旅诗以乐景写哀的典范，亦见后七子宗唐格调中清远自具的一面。【名句点睛】常考「涧水流人影，松阴散马蹄」的视听结合与「散」字炼字之妙，以及尾联「洵美非吾土，翻然忆故溪」化用王粲《登楼赋》「虽信美而非吾土」的用典与乐景哀情之反转。

Background

Xu Zhongxing, courtesy Ziyu, style Longwan, from Changxing, a jinshi of the twenty-ninth year of Jiajing, ranked with Li Panlong and Wang Shizhen as one of the 'Later Seven Masters'. Chuyang was the old city of the Three Kingdoms Wu, ruins near today's northeast Hefei, abandoned since Sui. This poem was likely written when the poet passed Chuyang in official travel or journey; amid dusk he touched scene and feeling, making a travel-home poem, typically showing the Later Seven Masters' elegant, correct manner of 'prose must be Qin-Han, poetry must be High Tang', and also his own clear, distant, pale face.

徐中行（1517—1578），字子舆，号龙湾，浙江长兴人，嘉靖二十九年进士，官至江西左布政使，与李攀龙、王世贞、谢榛、宗臣、梁有誉、吴国伦并称「后七子」。后七子承前七子李梦阳、何景明之余绪，倡「文必秦汉，诗必盛唐」，然诸人诗风各异：李攀龙矫健，王世贞宏博，徐中行则以雅澹清远著称，胡应麟谓其「句妥律严」，许学夷称其五律「雅澹，颇近王孟」。滁阳为地名，或指今安徽滁州一带（滁水之阳），六朝以来屡为兵家所争，至明已多荒废，故诗称「荒城」；滁州一带山川清丽，琅琊山、酿泉之胜为欧阳修《醉翁亭记》所咏，足见此地自古以山水著称。此诗当作于诗人宦游或行旅经滁阳之时：徐中行嘉靖二十九年中进士后，历官刑部主事、员外郎，后出为江西按察副使、湖广佥事等职，宦辙所至，屡有纪行之作。暮色苍茫中独骑出城，一路山光水色扑面而来，而身在异乡的羁旅之感亦油然而生，遂于篇末点出「非吾土」之叹。诗人早岁尝从阳明后学游，性喜清旷，故能将寻常行役写成清空之境，是后七子宗唐格调下难得的清空之作，亦见诗人于复古潮流中自具的性灵面目。

Art

全诗以游踪为序，由「出」字领起，一路移步换景，至尾联陡转抒情，章法跌宕有致。首联「荒城一骑出，落日万峰西」写出发之景：荒城、孤骑、落日、万峰，四个意象连缀成苍茫的背景，一「出」字写出行旅的孤寂开端，「万峰西」以落日之巨衬行人之微，境界既开，基调已定。颔联「涧水流人影，松阴散马蹄」转写途中近景：涧水如镜，映出行人身影；松阴之下，马蹄声散落林间。前句以水写影，是视觉；后句以声写动，是听觉，视听交织，静中见动，清幽如画，行旅之苦在诗人笔下竟成诗境。颈联「悬崖青欲滴，芳草绿堪迷」纯以炼色取胜：「青欲滴」写悬崖之色浓郁欲流，「绿堪迷」写芳草之色丰润迷人，两个「欲」「堪」字把静态的绿色写活了，春山如染，扑人眉宇。前三联极写滁阳山水之美，尾联「洵美非吾土，翻然忆故溪」却以「非吾土」一语翻转，用乐景写哀，愈美愈悲，羁旅之思沛然而出，全诗由写景转入抒情，章法顿挫，正是律诗「起承转合」的典范。

Allusions

The closing 'truly fair, yet not my own land' synthesizes and transforms the Shi Jing·Zheng Feng line 'truly fair and stately' and Wang Can's 'Rhapsody on Climbing the Tower' 'though truly fair, not my own land'. 'truly fair' means indeed beautiful; 'my own land' means home; 'suddenly' figures the speed of the thought's turn. The poet ties the clear scene before him with the traveler's grief through the former worthies' wording, closing with 'home stream', the allusion leaving no trace yet feeling deep and long, gaining the wonder of the Six Dynasties lyric small poem.

尾联「洵美非吾土，翻然忆故溪」综合化用两个经典出处：「洵美」出自《诗经·郑风·有女同车》「彼美孟姜，洵美且都」，洵训诚然、确实，以「洵美」极言景色之美；「非吾土」则直接承王粲《登楼赋》「虽信美而非吾土兮，曾何足以少留」，王粲避乱荆州，登楼四望，见「华实蔽野，黍稷盈畴」，而叹「虽信美而非吾土」，徐中行化「虽信美」为「洵美」，化「而非吾土」为「非吾土」，几乎不露痕迹，却把王粲千年之前的羁旅之悲移植到自己的马上。两典合用，一以《诗经》写景美之真，一以《登楼赋》写思乡之切，古今之情脉脉相承。此外，「故溪」一词暗含归隐之思，陶渊明「归去来兮，田园将芜胡不归」以后，故园溪山便成为文人乡愁的原型意象。诗人借前贤语意，将眼前清景与羁旅之悲绾合，用典不着痕迹而情致深长，深得六朝抒情小诗之妙，亦是后七子「以汉魏六朝为诗」宗尚的实践。此种以「美而非吾土」写思乡的构思，谢朓「不对芳春酒，还望青山郭」、王维「独在异乡为异客」皆同一机杼，而徐中行将《诗经》之语与王粲之赋并纳于十字之中，取径尤深。

Commentary

The Ming Shi Zong says the Later Seven Masters' poetry is 'grand, beautiful, solemn, and stirring'; Xu Zhongxing's regulated poem is clear and beautiful yet not without elegant strength. Hu Yinglin praises it 'phrases apt, rules strict'; Xu Xueyi says 'Zhongxing's five-character regulated is elegant and pale, quite near Wang and Meng'. This poem is true in scene and apt in words; among the Later Seven Masters' Tang-orthodoxy it holds a distinct clear, distant manner—a fine Ming travel-scene piece, fit to read beside Xie Zhen's and Li Panlong's frontier works.

《明诗综》评后七子诗「宏丽悲壮」，然徐中行于此共性之外独标清雅。胡应麟《诗薮》谓其诗「句妥律严，琢句清整」，许学夷《诗源辩体》称「徐中行五律雅澹，颇近王孟」，皆指出其五律近王维、孟浩然清空一脉的特征。《暮发滁阳》正是这一评价的绝佳例证：写景炼色如画，抒情含蓄深婉，语言洗练，无一字赘余，于后七子宗唐的风习中别具清远一格，是明代纪行写景诗中的佳构。就文学史价值而言，此诗可作两面观：一方面它体现了后七子「诗必盛唐」的取向——五律的工稳、炼字的精审、用典的含蓄，皆有盛唐格调；另一方面它又透出作者个人的性灵——「翻然忆故溪」的真情流露，已暗启晚明性灵文学的先声。若与谢榛、李攀龙的边塞之作并观，更可见后七子内部风格的多元：同一复古阵营，而或雄浑、或清远，各极其致。今人选明诗，多录此篇以为后七子五律的代表；其以乐景写哀的章法，亦为清初王士禛「神韵」说所赏，可见此诗在明清诗学谱系中的承启位置。

Prosody

Form Five-character regulated poem (five-character lü)五言律诗

Rhyme Ping-shui rhyme, upper-level eight qi group (west, hoof, bewitch, stream)押平水韵上平八齐韵，西、蹄、迷、溪四韵一韵到底，首句不入韵，韵脚清亮悠长，与山水行旅的清新明丽之境相称。

Tone pattern First line not entering rhyme, oblique-onset first-line-not-entering-rhyme form首句不入韵，中二联对仗工整：涧水流人影／松阴散马蹄，悬崖青欲滴／芳草绿堪迷，词性、结构、色彩一一相对；首句「荒城一骑出」为平平仄仄仄的拗句（三仄尾），对句「落日万峰西」为仄仄仄平平，拗而不救，音节奇崛而不失流利。

Reading note The middle two couplets are neatly antithetical, carving color like a painting.此诗为五言律诗，首句不入韵，押平水韵上平八齐韵（西、蹄、迷、溪），一韵到底，韵脚清亮悠长，正与山水行旅的清新明丽之境相称。五律一体定型于初唐沈佺期、宋之问，至王维、孟浩然而极清空之境；徐中行此诗严守五律规范：中二联对仗工整，词性、结构、色彩一一相对，且以「流」「散」「欲滴」「堪迷」等炼字入对，句工而意活。平仄上，首句「荒城一骑出」为平平仄仄仄的拗句（三仄尾），对句「落日万峰西」为仄仄仄平平，拗而不救，音节奇崛，正宜写荒城孤骑的苍茫；以下各联平仄相对、粘对合律，音节流利。全诗四联八句，起（荒城落日）承（涧水松阴）转（悬崖芳草）合（非吾土忆故溪），章法完密；五言短句的节奏疏朗明快，与移步换景的游踪相合，诵读之际，如策马山行，一步一景，正是明人五律宗唐而自具清雅的典型，与王维「空山新雨后」一路的清空之境气脉相通。

Line by line

荒城一骑出，落日万峰西。

One rider leaves the ruined town; the setting sun sinks west of ten thousand peaks.

独骑一马从荒废的城郭出发，落日在万峰之西缓缓沉下。

A single rider rides out of the ruined city; the sun sets in the west beyond ten thousand peaks.

首联写出发之景，两句十字，境界已开。「荒城」点出滁阳之荒废，暗含沧桑；「一骑」写独行之孤，「一」字与「万峰」形成数量上的强烈对照，孤骑一人面对莽莽群山，行旅的寂寞与渺小立现。「落日万峰西」写暮色：落日西沉于万峰之下，一个「西」字既指方位，又带出时间的流逝与行程的向晚。荒城、孤骑、落日、万峰，四景连缀，无一字写愁而愁自见。此联以苍茫之景定全诗基调，与尾联「忆故溪」遥相呼应：正因为起笔如此孤寂苍凉，末句的乡思才来得自然。炼字上，「出」字领起全篇游踪，「一」与「万」的对照更见匠心，是五律起句以景开篇、以境定调的典型。

The rider. One rider leaves the ruined town; the setting sun sinks west of ten thousand peaks. The single rider and the ten-thousand-peak sunset are the opening. To have ridden out alone would be a departure; the one-rider-leaves-the-ruined-town-the-setting-sun-sinks-west-of-ten-thousand-peaks is the departure.

涧水流人影，松阴散马蹄。

The ravine stream bears the traveler's shadow; pine shade scatters the hoofbeats.

山涧的流水映出行人的身影，松林的阴影里散落着马蹄声。

The mountain stream mirrors the traveler's figure; under the pines the hoofbeats scatter.

此联写途中最清幽的一景，视听交织，静中见动。「涧水流人影」以水为镜：山涧清澈，行人的身影倒映其中，人马行于水上，如行画中；「松阴散马蹄」以声写影：马蹄踏过松阴，得得之声在林间散开，「散」字将声音化整为零，仿佛蹄声如珠玉般滚落在松影里。前句有色（水影），后句有声（蹄声），前句写静，后句写动，动静相生，清幽如画。更妙在两句皆不言人而人在其中：人影、马蹄，都是行旅者的侧面写照，行色匆匆而不觉其苦，反觉其美，正是「以乐景写行役」的笔法。炼字以「流」「散」最精：「流」写水映人影的流动感，「散」写声音在松阴中的弥漫感，二字皆化实为虚，使画面灵动起来，为尾联「洵美」张本。

The stream. The ravine stream bears the traveler's shadow; pine shade scatters the hoofbeats. The mirrored shadow and the scattered hoofbeats are the quiet way. To have mirrored the shadow in the stream would be a detail; the ravine-stream-bears-the-traveler's-shadow-pine-shade-scatters-the-hoofbeats is the detail.

悬崖青欲滴，芳草绿堪迷。

The cliff's green seems ready to drip; the fragrant grass is green enough to bewitch.

悬崖的青翠仿佛要滴落下来，芳草的碧绿令人沉醉迷离。

The cliff's green is so deep it seems to drip; the fragrant grass is green enough to enchant.

此联纯以炼色取胜，是全诗写景的顶点。「青欲滴」写悬崖：山色浓翠，仿佛饱和得要滴下绿汁来，「欲」字把静态的青色写成动态的将要溢出之势；「绿堪迷」写芳草：草色丰润鲜亮，美得令人迷醉，「堪」字写出绿意的浓度与吸引力。两句对仗工整，「青」对「绿」是色彩对，「欲滴」对「堪迷」是状态对，一写崖之险绝，一写草之平铺，高下相形，层次分明。更妙在炼色的夸张：青与绿本是抽象的色彩词，经「欲滴」「堪迷」的点化，顿成可触可感的实物，正如杜甫「绿垂风折笋，红绽雨肥梅」的以颜色写物。此联极写滁阳春色之美，铺足「洵美」二字，为尾联「非吾土」的反跌蓄势——景愈美，乡愁愈重。

The green. The cliff's green seems ready to drip; the fragrant grass is green enough to bewitch. The green-about-to-drip cliff and the green-enough-to-bewitch grass are the climax of color. To have written the green about to drip would be an exaggeration; the cliff's-green-seems-ready-to-drip-the-fragrant-grass-is-green-enough-to-bewitch is the exaggeration.

洵美非吾土，翻然忆故溪。

Fair indeed, but not my land; on a sudden I think of my native stream.

这景色诚然美好，却不是我的故土；猛然间便思念起家乡的溪流。

Truly fair, but not my native soil; suddenly I long for the stream at home.

尾联是全诗结穴，以「非吾土」三字翻转全篇。「洵美」承前三联，总收滁阳山水之美，「洵」字训诚然，语气恳挚，把美景的赞誉推到顶点；「非吾土」却一笔扫开——美则美矣，可惜不是我的故乡，王粲《登楼赋》「虽信美而非吾土兮，曾何足以少留」的羁旅之悲，于此化为十字。「翻然」写情思转折之速：方才还在赏景，一念之间乡思骤起，「忆故溪」的「故」字与「非吾土」的「非」字相映，故乡与他乡的对照，如电光石火。此联以乐景写哀，景愈美而哀愈深，是律诗「以转作结」的典范；「故溪」不写故乡的繁华而写一条溪流，以小见大，乡愁的具体与深沉尽在其中，余韵悠长。

The stream. Fair indeed, but not my land; on a sudden I think of my native stream. The Wang Can tower-rhapsody not-my-land allusion and the sudden memory of the native stream are the close. To have recalled the native stream would be a homesickness; the fair-indeed-but-not-my-land-on-a-sudden-I-think-of-my-native-stream is the homesickness.

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Word focus

荒城 Points to the ruin of the old city of Chuyang, hinting at vicissitude and loneliness. 「荒城一骑出」之「荒城」，起笔两字便为全诗定调。「荒」字既写滁阳城郭的废弃残破——六朝以来屡经兵燹，草莱丛生，人烟稀少，又暗含历史的沧桑之感，滁阳本为兵家必争之地，如今只剩荒城一座，时间的剥蚀尽在其中；「城」字则点出行旅的起点，一骑出城，从此踏入旷野。二字合观，荒凉的城郭与孤寂的旅人互相映衬：城愈荒，人愈孤。此联以「荒城」对「落日」，荒凉的时间感（落日）与荒凉的空间感（荒城）叠加，共同营造出苍茫的行旅基调。若作「古城」「废城」，或失之泛，或失之实，唯「荒」字兼废墟之形与沧桑之神，为全诗的寂寥氛围埋下伏笔，也与尾联「忆故溪」的乡思暗中呼应。

散 Writes the horse's hoofbeats scattering in the pine shade; writing stillness through sound, lively and vivid. 「松阴散马蹄」之「散」，是全诗炼字的精警处。马蹄声本是连续的、集中的声响，着一「散」字，便如珠落玉盘，得得之声在松阴下向四方铺开、弥漫林间，由点成面，化整为零。「散」字写出三重妙处：一是声音的空间感——松林空阔，蹄声回荡，方能「散」开；二是声音的疏朗感——行旅途中，马蹄悠闲，节奏舒缓，方显得「散」；三是声与景的融合——松阴的静与蹄声的动相映，静中有声，声中有静，清幽之境全出。与上句「流」字相对：「流」写水影之动，「散」写蹄声之动，一动于视觉，一动于听觉，视听交织。若改作「响」「振」，便失之粗暴，唯有「散」字，才配得上松阴的清寂与行旅的从容，最见明人炼字入微的功夫。

欲滴 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「悬崖青欲滴」之「欲滴」，是炼色的神笔。「欲」字写青色的浓度即将饱和的状态——崖色深翠，仿佛再多一分就要凝成液体滴落下来；「滴」字以水的形态写山的颜色，把抽象的「青」变成可触可感的实物。二字合观，写出三重效果：一是色彩的浓，青到欲滴，可见崖色之深；二是光感的润，仿佛崖壁湿润如洗，饱含春水；三是动感的奇，静态的山崖因「欲滴」而有了流动的趋势，如一幅刚泼完墨的画，墨色将滴未滴。此等炼色之法，唐人最擅，杜甫「绿垂风折笋，红绽雨肥梅」、王维「山路元无雨，空翠湿人衣」皆以实写虚、以色生境；徐中行「青欲滴」正承此脉，而「欲」字犹见斟酌，比「湿人衣」更进一层，写足了春山如染、扑面欲流之势。

翻然 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「翻然忆故溪」之「翻然」，写情思转折之迅疾，是尾联的关节字。「翻然」本谓翻转、变动之貌，如翻掌之速，此处写乡思的突然袭来：前一刻还在赏玩「青欲滴」「绿堪迷」的美景，后一刻却猛然想起故乡的溪流，情绪的转向毫无过渡，如翻手之间。「翻」字以动作写心理，把无端的乡愁写得猝不及防——正是这种没有来由的猛然一痛，才见羁旅之思的深重；若作「忽忆」「顿忆」，只是寻常的转折语，而「翻然」兼含「翻覆」之意，仿佛心潮整个翻了个面，从赏景的欣悦翻入思乡的悲凉。与「洵美非吾土」相贯：正因为美到极致而终非吾土，情绪的落差才如此之大，「翻然」正是这落差的情感标记，一字而境界全出。