明 Ming · 诗 Poem
忆龙泉山
Recalling Mount Longquan
忆龙泉山我爱龙泉寺，寺僧颇疏野。
尽日坐井栏，有时卧松下。
一夕别山云，三年走车马。
愧杀岩下泉，朝夕自清泻。
All day I sat by the well's curb; sometimes lay beneath the pines.
One evening I left the mountain clouds; three years I have walked among carriage and horse.
Ashamed to death before the spring beneath the cliff, that clears itself morning and night.
Meaning
I love that Longquan Temple; its monks are quite untrammeled and wild. All day I would sit by the well curb, sometimes lie beneath the pines. That one evening I bid farewell to the mountain clouds; for three years since I have hurried among carriage and horse dust. I am shamed to death by the spring beneath the cliff--it flows clear morning and night, never stained by the vulgar world.
我喜爱那龙泉寺，寺里的僧人颇为疏放野逸。整日坐在井栏边，有时卧在松树下。那一晚告别了山间的云，此后三年奔走于车马尘埃之中。真要愧杀岩下的清泉了——它朝朝暮暮自顾自清澈流淌，从不被世俗染浊。
Appreciation
The eight lines divide in two. The first four, with 'I love,' 'quite free and wild,' 'sat by the well's curb,' 'lay beneath the pines,' recall the temple monks' wild leisure, its language plain as talk; the last four write 'one evening I left the mountain clouds; three years I have walked among carriage and horse,' the official hurrying, and close on 'ashamed to death before the spring beneath the cliff, that clears itself morning and night.' It personifies the feelingless spring, using the spring's freedom from stain to set off how easily a man is dusted by worldly affairs, entrusting feeling to the object--plain yet deep, much in the manner of Tao Yuanming.
【白话串讲】 王阳明想念家乡的龙泉山：“尽日坐井栏，有时卧松下”——在寺里坐一天，在松下睡一觉。“一夕别山云，三年走车马”——离开山云三年，一直在路上奔波。 【意象与手法】 全诗八句，前四句以「我爱」「颇疏野」「坐井栏」「卧松下」追忆龙泉山僧野闲适，语言简淡如话；后四句写「一夕别山云，三年走车马」的仕途奔走，结以「愧杀岩下泉，朝夕自清泻」——将无情之泉拟人化，以清泉不为外物所浊反衬人易为俗务染尘，托物见志，平淡中见深沉，颇得陶潜遗意。 【情感与主旨】 王守仁（1472—1529），字伯安，号阳明，明代心学集大成者。此诗见《王阳明全集》卷十九，题为《忆龙泉山》，列「京师诗八首」之一，作年约在其三十四岁任兵部主事时。时虽仕途上升、始授徒讲学，诗中却反映其崇尚自由、厌弃官场约束的另一面，是理解阳明早年心境的重要作品。 【名句点睛】 考点：①前后对比结构（山中闲适vs车马奔走）；②结句「愧杀岩下泉」的拟人手法与托物见志；③「疏野」「清泻」的意象与阳明心学的关系。
Background
Wang Shouren (1472-1529), courtesy name Bo'an, style Yangming, was the great synthesizer of Ming mind learning. This poem appears in Volume 19 of the Complete Works of Wang Yangming, titled 'Recalling Mount Longquan,' as one of the 'Eight Poems Written in the Capital,' likely composed around age thirty-four when he was a minor official in the Ministry of War. Though his career was rising and he had begun to teach, the poem reflects his other side--esteeming freedom and weary of official restraint--an important work for understanding Yangming's early state of mind.
王守仁（1472—1529），字伯安，号阳明，浙江余姚人，明代心学集大成者，与孔子、孟子、朱熹并称儒家四圣之一，其「致良知」「知行合一」之学影响深远。此诗见《王阳明全集》卷十九，题为《忆龙泉山》，列「京师诗八首」之一，作年约在其三十四岁（1505）任兵部主事时。龙泉山在浙江余姚城西，阳明幼年曾读书于此山龙泉寺中，与寺僧相熟；三十四岁时，阳明已在京师任职，始授徒讲学，虽仕途上升，然其性本崇尚自由、厌弃官场束缚——早年曾游九华山、访道问佛，格竹求理而不得，对程朱理学渐生疑窦，心学之端倪已萌。此时身在京师、心忆龙泉，遂作此诗，追忆山寺闲居之乐，慨叹车马奔走之劳，以清泉自照，见其出处矛盾之情。诗中「疏野」之僧、「清泻」之泉，正是阳明心中「本真」「自然」的象征，与其日后「心即理」「致良知」之学相通——不为外物所染的清泉，恰是「良知本自澄明」的诗化表达，故论者谓此诗是理解阳明早年心境、乃至其心学思想萌芽的重要作品。
Art
The eight lines divide in two. The first four, with 'I love,' 'quite free and wild,' 'sat by the well's curb,' 'lay beneath the pines,' recall the temple monks' wild leisure, plain as talk; the last four write 'one evening I left the mountain clouds; three years I have walked among carriage and horse,' the official's hurrying, and close on 'ashamed to death before the spring beneath the cliff, that clears itself morning and night.' It personifies the feelingless spring, using its freedom from stain to set off how a man is easily dusted by affairs, entrusting feeling to the object--plain yet deep, much in Tao Yuanming's vein.
此诗艺术上最突出的特点，是以简淡之笔写深沉之意，前后对比、托物见志，颇得陶渊明遗意。前四句追忆龙泉山僧野闲适：「我爱龙泉寺，寺僧颇疏野」直抒喜爱之情，「我爱」二字开门见山，情真意切；「尽日坐井栏，有时卧松下」以白描写山居之闲——「尽日」「有时」写时间之充裕，「坐井栏」「卧松下」写姿态之自在，两句无一处雕琢而闲适之趣自出。后四句写仕途奔走与愧对清泉：「一夕别山云，三年走车马」以时间对照写别山之久、奔走之劳——「山云」与「车马」对举，一清一浊，出处的对比不言自明；「愧杀岩下泉，朝夕自清泻」是全诗的结穴——将无情之泉拟人化，谓岩下清泉朝朝暮暮自顾自地清澈流淌，从不被世俗染浊，反衬自己奔走红尘、难免染尘，故「愧杀」。以人愧泉，托物见志，平淡中见深沉，正合阳明「心明便是天理」之思——清泉之「自清泻」，即是本心之「自澄明」。再就「以物写心」言，全诗不着「仕」字而「仕」之累自见，不着「隐」字而「隐」之乐自显：山云、井栏、松下的「疏野」之乐，与车马、尘土的奔走之劳，两境对照，而诗人的价值取舍已寓其中；结句以清泉自照，不直说「我当如泉」，而「愧杀」二字已尽之——这种「不言之言」的含蓄，正是五古「以淡写浓」的正格，亦是阳明诗「简淡而有深致」的注脚。
Allusions
The poem uses no obvious allusion, purely using the mountain spring before the eye as metaphor. 'Free and wild' borrows the Wei-Jin recluse's uninhibited ease; 'clears itself' secretly fits the Daoist ideal of pure, natural quiet. The close uses the spring to mirror the self and the man to shame before the spring--though no solid allusion, the method of entrusting feeling to the object has clear roots, and already sounds the emotional prelude to Yangming's later ideas of 'the mind clear is heaven's principle' and 'extending the good knowledge.' The poem moves from real to empty, lodging the uncommon thought in the common thing, exactly the logical thread from his love of landscape toward the learning of the heart-nature, not mere scenery imitation.
此诗无明显用典，纯以眼前山泉为喻，正见其「即景即理」的作风，然其意象渊源有自。「疏野」化用魏晋隐逸放达之意趣——阮籍、嵇康之「越名教而任自然」，陶渊明之「质性自然，非矫厉所得」，皆以疏放野逸为真，阳明取以写寺僧，正是此一脉隐逸精神的投射；「坐井栏」「卧松下」暗合《世说新语》中名士的闲适姿态（如王子猷「坐啸」、刘伶「纵酒」），以白描写魏晋风度的日常化。「清泻」暗合道家清静自然之旨——《道德经》「上善若水」「清静为天下正」，泉之自清自泻，正是自然无为的象征。「愧杀」以人愧泉，暗用「沧浪之水清兮，可以濯吾缨」之传统（《楚辞·渔父》），以水之清对照己之浊。全诗由实入虚，以常见之物寄不常之思，虽无实典，而托物见志之法渊源有自，已开阳明日后「心明便是天理」「致良知」思想之情感先声，正见其由山水之嗜通向心性之学的逻辑脉络，非徒模山范水之作可比。又，「岩下泉」之「泉」意象亦非泛设：孔子「逝者如斯夫，不舍昼夜」以水喻道，孟子「原泉混混，不舍昼夜」以泉喻性之善，阳明取泉入诗，暗合儒家「水」之喻的传统——泉之自清自泻，正是「性本善」「心即理」的诗化，其托物见志之法，上承《诗经》「兴」之传统，下启阳明心学「即物穷理」于本心的转向，故「清泻」二字，实是阳明思想的一枚诗性种子。
Commentary
A Dictionary of Ming Poetry Appreciation says 'this poem mirrors itself in the clear spring, entrusting feeling to the object; though short, its meaning is long, showing Yangming's early heart.' The Selected and Translated Poems of Wang Yangming calls it 'plain in language, ethereal in mood, lodging regret in landscape, showing the conflict of withdrawal and service.' The contemporary scholar Chen Lai also notes Yangming's early poems often show longing for forest reclusion.
历代评家于此诗及阳明诗评价颇高。《明代散文诗歌鉴赏辞典》称「此诗以清泉自照，托物见志，虽短而意长，可见阳明早年心迹」。《王阳明诗文选译》评其「语言简淡，意境空灵，借山水寄慨，流露出处矛盾之情」。当代学者陈来《有无之境》亦指出阳明早年诗多表现对山林隐逸的向往，其「山中之乐」与「仕宦之累」的矛盾，正是其心学「求放心」「致良知」思想的感性前奏。阳明诗向来不以辞采见长，而以理趣、真情取胜——此诗无一奇字僻典，唯以「我爱」「愧杀」的直白与「坐井栏」「卧松下」「自清泻」的白描写心，正合其「心学宗师」的身份：诗如其学，不事雕琢而直指本心。在明诗史上，阳明诗与宋濂、高启、刘基诸家风格迥异，独以理趣与真情别开生面，此诗即其早年「闲适—出处」主题的代表作。从阳明生平看，此诗作于其心学思想成熟之前，而其「厌仕思隐」之情已见端倪：此后数年，阳明历贬龙场而悟「心即理」，思想由向外求理转为向内求心，此诗「愧杀岩下泉」的自省，正是这一转向的先声。故论者读阳明诗，每以此诗与《泛海》《睡起偶成》等并观，见其由「山林之慕」到「心性之悟」的思想轨迹，诗与学互相印证，是「以诗证史」的绝佳材料，其价值远超一般山水诗之上。
Prosody
Line by line
我爱龙泉寺，寺僧颇疏野。
I love the Dragon Spring Temple; its monks are quite free and wild.
我喜爱那龙泉寺，寺里的僧人颇为疏放野逸。
I love the Dragon Spring Temple; the monks there are quite untrammeled and wild.
起笔直抒胸臆，是全诗情感的总起。「我爱龙泉寺」：我喜爱那龙泉寺——「我爱」二字开门见山，不假修饰，喜爱之情脱口而出，正是阳明「心即理」的直截作风；「寺僧颇疏野」：寺里的僧人颇为疏放野逸——「疏野」二字写僧人远离世俗、不事逢迎的率性本真，正是阳明所慕之境。两句一写寺、一写僧，而皆归于「我」之喜爱：爱其寺，更爱其人；爱其疏野，正见己之向往。此联以「我爱」领起，情真语切，为后文「一夕别山云，三年走车马」的慨叹埋下伏笔——正因为爱之深，故别后忆之切、愧之深。起笔直白而意蕴丰厚，是阳明诗「不事雕琢而直指本心」的典型。
The temple. I love the Dragon Spring Temple; its monks are quite free and wild. The I-love and the free-and-wild monks are the opening. To have loved the temple would be a love; the I-love-the-dragon-spring-temple-its-monks-are-quite-free-and-wild is the love.
尽日坐井栏，有时卧松下。
All day I sit by the well curb; sometimes I lie beneath the pines.
整日坐在井栏边，有时卧在松树下。
All day I sit on the well curb; at times I lie beneath the pines.
两句以白描写山居之闲，是全诗最有画意的句子。「尽日坐井栏」：整日坐在井栏边——「尽日」写时间之充裕，无所事事而自得其乐，「坐井栏」写姿态之随意，不择地而坐，正是疏野之态；「有时卧松下」：有时卧在松树下——「有时」写行止之自由，「卧松下」以松为伴，写卧于松阴之下，何等自在。两句一坐一卧，动静相生，无一字写「闲」而闲适之趣自出；「井栏」「松下」皆寻常物事，而井水清冽、松风清幽，正是清净之境的象征。此联以白描写疏野之乐，与后文「车马」之尘对照，山居之乐愈真，仕途之累愈显，是「以乐写悲」的反衬之笔，亦见阳明追忆中之深情。
The sitting. All day I sit by the well curb; sometimes I lie beneath the pines. The all-day well-curb sitting and the occasional pine lying are the leisure. To have sat all day by the well would be a sitting; the all-day-I-sit-by-the-well-curb-sometimes-I-lie-beneath-the-pines is the sitting.
一夕别山云，三年走车马。
One evening I bade farewell to the mountain clouds; three years now I have galloped in dust and reins.
那一晚告别了山间的云，此后三年奔走于车马尘埃之中。
One night I left the mountain clouds; three years I have traveled by horse and carriage.
两句写别山与奔走，是全诗的转折，前后对比之枢纽。「一夕别山云」：那一晚告别了山间的云——「山云」以云写山，云之自在正写山居之自在，「一夕」写别之仓促，一夜之间，由山云而入尘世；「三年走车马」：此后三年奔走于车马尘埃之中——「车马」写仕途之奔走，兼含尘土飞扬之意，「三年」与「一夕」对举，一夜之去、三年之劳，时间之短长对比强烈。两句以「山云」对「车马」——云之清与尘之浊、闲适与奔忙，判然两途，出处的矛盾尽在其中。此联是全诗「忆」的落点：正因为别了山云、走了车马，才有了结句的「愧杀」，承上启下，是全诗结构的关键。
The leaving. One evening I bade farewell to the mountain clouds; three years now I have galloped in dust and reins. The one-evening parting and the three years of galloping are the turn. To have left the mountain clouds would be a leaving; the one-evening-I-bade-farewell-to-the-mountain-clouds-three-years-now-I-have-galloped-in-dust-and-reins is the leaving.
愧杀岩下泉，朝夕自清泻。
I am shamed by the spring below the crag, which morning and evening flows clear, itself.
真要愧杀岩下的清泉了——它朝朝暮暮自顾自清澈流淌，从不被世俗染浊。
I am put to shame by the spring beneath the crag, which morning and evening flows on, clear of itself.
结句是全诗的结穴，托物见志，平淡中见深沉。「愧杀岩下泉」：真要愧杀岩下的清泉——「愧杀」以人愧泉，将无情之泉拟人化，谓己之奔走红尘、难免染尘，愧对山中清泉，用词直白而情感深挚；「朝夕自清泻」：它朝朝暮暮自顾自清澈流淌——「朝夕」写泉之恒常，「自清泻」写泉之自然——不清而自清，不泻而自泻，正是「自然」「本真」的象征。两句以泉自照：泉之自清，喻本心之澄明；人之染尘，喻良知之蒙蔽——「愧杀」二字，正是阳明日后「致良知」之思的情感先声。结句以拟人托志，言浅意深，余味悠长，是全诗「忆」之归宿，亦是阳明心学思想的诗化表达。
The spring. I am shamed by the spring below the crag, which morning and evening flows clear, itself. The shamed-by-the-spring and the morning-and-evening-clear flow are the close. To have been shamed by the spring would be a shame; the I-am-shamed-by-the-spring-below-the-crag-which-morning-and-evening-flows-clear-itself is the shame.
Study
Word focus
Related Reading
Both are Ming writings remembering an old dwelling; compare their ways of lodging feeling in things.
归有光《项脊轩志》「借书满架，偃仰啸歌，冥然兀坐」与此诗同出明人怀想旧居之笔，同以寄情于物的方式写故园之思，而文体有别：归文为散文，以项脊轩为线索，追忆祖母、母亲、妻子诸事，细节琐碎而情深意切，是「以事寄情」；阳明此诗为五古，以龙泉山寺僧、井栏、松下、清泉为意象，写别山奔走之愧，是「以景寄情」。一文一诗，一叙事一写意，而皆以「旧居」为情感之依托、以「物」为深情之寄托，合观可见明人怀旧文学的两副笔墨，亦可比较散文与诗歌寄情手法的异同。
感怀 Reflections 刘基 · 异，同写出处感怀，一隐一显 Same (reflection on life)Both write reflection on personal fate; compare the Ming poems' sighs of withdrawal and service.
刘基《感怀》「结发事远游，逍遥观四方……伫立望浮云，安得凌风翔」与此诗同写士人出处之感怀，而情感取向有别：刘基写未遇时的怀才不遇与「安得凌风翔」的奋飞之志，虽「乔木空苍凉」而终怀乘时之想，是「显」的进取；阳明此诗写仕宦中的思山忆泉与「愧杀岩下泉」的自省，虽「三年走车马」而心向山云，是「隐」的退守。一欲出而不得、一欲隐而不能，合观可见明代士人出处矛盾的两面，亦见两位思想家诗人——刘基以经世为志、阳明以心性为宗——不同的精神取向。两诗并读，是把握明诗「出处」主题与明人心态的重要文本。
牧牛词 The Cattle-Herding Song 高启 · 异，同出明初诗人，题材心境各别 DifferentOne writes reclusion and remembrance, one pastoral true delight--both Ming yet different in topic and mood.
高启《牧牛词》「日斜草远牛行迟，牛劳牛饥唯我知」写牧童与牛相得之趣，田园真趣盎然；阳明此诗写忆山思泉、愧对清泉，隐逸怀想深沉。一写田园之乐、一写山林之思，题材相近（皆山林田园）而心境各别：高启以旁观者之笔写牧童之乐，明快天真，是「即景」之作；阳明以当事者之笔写忆山之愧，深沉自省，是「感怀」之作。两诗并读，可见明初至明中叶诗风之变——高启之清新朗丽、阳明之简淡有理趣，亦可见「田园」与「山林」两个传统在明诗中的不同表现，是把握明诗多样性的绝佳对照。