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欢愉·节选

Joy (Excerpt) (Huanyu)

郑愁予

Zheng Chouyu

名篇Masterpiece 现代诗Modern Poetry 抒情诗Lyric Poetry 写景Landscape

这是欢愉的下午，阳光在窗前微微地颤动，风在墙外，轻轻地把一片云吹动。

This is the afternoon of joy, the sunlight trembling slightly before the window, and the wind, outside the wall, gently blowing a cloud into motion.

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Meaning

A poem of the Taiwanese poet Zheng Chouyu, this excerpt being the opening of the whole poem. 'This is the afternoon of joy'—the declaration of the joy, the direct point of the theme; 'the sunlight trembling slightly before the window'—the sunlight, the trembling of the light, the stillness and the movement of the afternoon; 'the wind, outside the wall, gently blowing a cloud into motion'—the wind and the cloud, the blowing into motion, the extension of the scene. The whole poem of three lines: the afternoon of joy, the sunlight trembling before the window, and the wind blowing the cloud outside the wall, the three images of the sunlight, the wind, and the cloud, the joy of the quiet afternoon written with the light and the motion, the pure and the clear of the joy.

这是欢愉的下午，阳光在窗前微微地颤动，风在墙外，轻轻地把一片云吹动。

Appreciation

The art of this poem is famous for the 'the precision in the extreme simplicity.' First, the combination of the images: the three images of the whole poem—the sunlight (before the window), the wind (outside the wall), the cloud (in the sky)—one inside, one outside, one far, from the inside of the room to the outside of the window, from the near scene to the far scene, the space clear in layers; the sunlight 'trembling' before the window, the wind blowing the cloud 'into motion,' the two 'moving' characters echoing from afar, the whole poem, on the background of the still afternoon, with the two tiny movements writing the life and the joy of the scene. Second, the lightness of the language: 'this is the afternoon of joy' the direct declaration, 'trembling slightly' and 'gently' the lightness of the degree, the joy of the afternoon written with the light and the soft, without the grand words and the dense images. Third, the purity of the feeling: the whole poem, with the sunlight, the wind, and the cloud, the pure and the clear of the joy, the 'the joy is difficult to write' of the Chinese poetics, the joy written with the pure, the model of the modern lyric.

【白话串讲】郑愁予写《欢愉》：“这是欢愉的下午，阳光在窗前微微地颤动，风在墙外，轻轻地把一片云吹动”——他写一个宁静欢愉的下午。【意象与手法】此诗以极简的意象写极纯的欢愉：阳光（窗前颤动）、风（墙外吹云），内外呼应、动静相生；「微微地颤动」「轻轻地把一片云吹动」以叠词与拟人化的动词，把自然的动感写得温柔可触；「这是欢愉的下午」以直陈式起笔，朴素明朗，如一声舒心的叹息。结构上先总写「欢愉的下午」，再分写阳光与风两个细节，如镜头由室内推至窗外，空间层次分明。【情感与主旨】借一个午后窗前片刻的宁静，写欢愉的具象化：欢愉不在远方，而在阳光的颤动、风的吹拂、云的飘动这些微小的动感之中，是诗人对日常之美的敏锐捕捉与温柔礼赞。【名句点睛】「风在墙外，轻轻地把一片云吹动」以「轻轻」二字写风的温柔，以「一片云」写风之对象，动静之间，把欢愉的下午写得如在目前，是全诗最富韵味的收束。

Background

The 'Joy' is a poem of the Taiwanese poet Zheng Chouyu (1933–, original name Zheng Wentao, ancestral home in Hebei, born in Jinan, Shandong, going to Taiwan with the army in 1949, an important poet of the Taiwanese 'modernist' school, famous for the masterpieces such as the 'Error'), this excerpt being the opening of the whole poem. Zheng Chouyu came from a military family, drifting through the mainland in his youth, and after going to Taiwan worked at the Keelung Harbor Bureau for many years, his poetic style soft and graceful with the rich classical charm, called 'the Chinese poet of the Chinese' (by Yang Mu), famous for the nostalgia and the parting feeling of the 'Error' and the 'Rain Threads.' The 'Joy' is his rare work titled 'Joy,' writing a moment of the afternoon before the window, the sunlight and the wind and the cloud, the pure and the clear of the joy; this excerpt, with the three lines, writing the pure joy of the afternoon, the other side of the usually nostalgic and parting Zheng Chouyu, the 'the joy is difficult to write' of the Chinese poetics, the model of the modern lyric.

《欢愉》为台湾诗人郑愁予（1933—，本名郑文韬，祖籍河北，生于山东济南，1949年随军去台，台湾「现代派」重要诗人，以《错误》等名篇著称）的作品，此节选为全诗开端。郑愁予出身军人家庭，少年流徙于大陆各地，去台后于基隆港务局任职多年，其诗风柔婉而富古典韵味，人称「中国的中国诗人」（杨牧语），以《错误》《雨丝》等写乡愁与离情著称。《欢愉》是其少见的以「欢愉」为题的作品，写一个午后窗前片刻的宁静与喜悦，与其《错误》的怅惘哀婉恰成对照，可见郑愁予诗风「柔婉之外尚有轻快」的另一面。此节选三句，以阳光、风、云三个意象写「欢愉」的具象化，语言清浅而韵味悠长，是研习现代诗意象与节奏的上佳文本。又郑愁予讲究「意象的准确与语言的节制」，此节选三句正是其主张的实践：不铺陈、不议论，唯以阳光、风、云三个意象的微动写欢愉之在，可见其「以少总多」的功力；其诗风又融合中国古典诗歌的意境与西方现代诗的手法，此段之明净空灵，正是中西合璧的产物。

Art

The art is the 'the precision in the extreme simplicity': the three images of the sunlight, the wind, and the cloud, one inside, one outside, one far, the space clear in layers; the two 'moving' characters echoing, the life of the still afternoon; and the 'trembling slightly' and the 'gently' the lightness of the degree, the joy written with the pure and the clear.

此诗的艺术以「极简中的精准」见长。其一是意象的组合：全诗三个意象——阳光（窗前）、风（墙外）、云（天上），一内一外一远，由室内推至窗外、由近景推向远景，空间层次分明；阳光在窗前「颤动」，风把云「吹动」，两个「动」字遥相呼应，全诗在静止的下午背景上，以两处微小的动感写出生机——欢愉正是这「动」的刹那的捕捉。其二是语言的轻柔：「微微地」「轻轻」两个叠词，如轻音乐的音符，把阳光与风的动作写得温柔可触；「颤动」「吹动」的「动」字收尾，音节轻灵，与「欢愉」的轻快主题相谐。其三是直陈式的起笔：「这是欢愉的下午」不设意象、不用比喻，如一声舒心的叹息，开门见山；后两句以「阳光在窗前微微地颤动」的陈述与「风在墙外，轻轻地把一片云吹动」的铺展，把「欢愉」落实为具体的物象——先总后分，先断言后呈现，如镜头由定场推至特写。其四是留白：全诗不写人，而人的欢愉自在其中——阳光的颤动是人所见，云的吹动是人所感，「欢愉」正是人与自然交融时的心境，以景写情、情在景中，深得中国古典诗「无我之境」的妙处。

Allusions

Though this poem is a modern free verse, its cultural import is deeply rooted in the tradition of the classical poetics. First, the source of the motif of the 'joy' in the poetics: the Chinese poetics, with the common saying of 'the words of the joy are difficult to excel, while the words of the sorrow are easy to excel' (Han Yu's 'Preface to the Poems of the Jingtan'), writing the sorrow easy and the joy difficult, and Zheng Chouyu, writing the pure joy with the three lines and being able to convey the spirit, precisely the rare accomplishment of the 'the joy is difficult to write'; second, the aesthetic of the 'the trembling' and the 'the blowing into motion': the two tiny movements of the poem, the sunlight trembling and the wind blowing the cloud, the vitality of the still scene, the ancient aesthetic of the 'the stillness with the motion,' the writing of the life of the scene, the modern expression of the classical poetics.

此诗虽为现代自由诗，其文化意蕴深植于古典诗学传统。其一是「欢愉」母题的诗学渊源：中国诗学以「欢愉之辞难工，而穷苦之言易好」（韩愈《荆潭唱和诗序》）为常论，写愁易而写乐难，郑愁予以三句写纯然的欢愉而能传神，正是「欢愉之辞」的难得之作；「欢愉」之情在古典诗中多以春日、饮酒、友聚出之（陶渊明「欢然酌春酒」、杜甫「白日放歌须纵酒」），郑愁予则从阳光、风、云这些自然的微动中提取欢愉，是「以物写情」传统的现代转化。其二是「阳光」「风」「云」的传统意象：阳光是温暖与光明的象征，风是自由与流动的象征，云是悠然与闲适的象征（陶渊明「云无心以出岫」），三者皆是古典诗中最常见的自然意象，郑愁予以现代口语出之，使古典意象焕发新的生机——「云」之被风「吹动」，正是「云无心以出岫」的现代版本，悠然之意一脉相承。其三是「下午」的时间意蕴：午后是日影初斜、光影最柔的时分，写「欢愉的下午」而选此时刻，暗合中国诗学「以景写时、以时写情」的传统，午后的安闲正是欢愉的底色。全诗三句，古意今写，正是郑愁予「现代诗中之古典」风格的注脚。

Commentary

Though the 'Joy' is not the most famous work of Zheng Chouyu, it is an important text for the understanding of the full picture of his poetic style, and this excerpt, with the shortness of the three lines, writes the purity of the joy, the specimen of the 'the small seeing the great' of the modern poetry. In the poetic value, this poem, with the extremely simple images and the extremely light tone, writes the pure and the clear of the joy, the rare accomplishment of the 'the joy is difficult to write' of the Chinese poetics; and in the understanding of Zheng Chouyu, the usually nostalgic and parting poet, writing the joy of the afternoon, the other side of his lyric, the enrichment of the image of the poet, the 'the pure joy' of the modern lyric.

《欢愉》虽非郑愁予最负盛名的作品，却是理解其诗风全貌的重要文本，此节选更以三句之短写尽欢愉之纯，堪称现代诗「以小见大」的标本。就诗学价值言，此诗以极简的意象、极轻的语感写极纯的欢愉，与韩愈「欢愉之辞难工」的传统命题形成呼应——写欢愉而能不落俗套、不流浮艳，正在于把欢愉落实为阳光颤动、云被吹动的微细动感，情感与物象合一，是「以物观物」的现代诗版本；其语言之清浅、意象之精准、留白之从容，正见郑愁予「柔婉」诗风的成熟。就文学史地位言，郑愁予是台湾现代诗的重要代表，其诗「既有古典的韵味，又有现代的技法」，此诗正体现这种中西合璧的品格，与《错误》的怅惘、《雨丝》的缠绵并观，可见其诗风的多样。就艺术启示言，此诗教人以最平常的眼睛发现美：欢愉不在远方，而在窗前阳光的颤动、墙外风的吹拂——这种对日常之美的珍视，正是现代诗「把诗带回日常生活」的实践，也是此诗虽短而能长久打动读者的原因。

Prosody

Form Free verse (colloquial lyric short poem)自由诗（口语化的抒情短诗）

Rhyme The whole poem of three lines, not rhymed yet with the natural charm: the two 'moving' characters of the 'trembling' and the 'blowing into motion'全诗三句，不押韵而韵致自然：「颤动」「吹动」两个「动」字押韵，一在句二、一在句三，遥相呼应，如轻音乐的两声和弦，构成全诗唯一的音韵支点；「微微地」「轻轻」两个叠词，音调轻软圆转，模拟阳光与风的轻柔，与「欢愉」的轻快主题相谐，读来如浅吟低唱。

Tone pattern The 'this is the afternoon of joy' is light, the 'the sunlight trembling slightly' is soft, and the 'gently blowing a cloud into motion' is calm—the whole from the declaration to the scene, the joy carried by the lightness句式全为口语化的散句，以逗号切分舒缓的节奏：首句「这是欢愉的下午」短促直白，如一声舒心的叹息；次句「阳光在窗前微微地颤动」稍长，如镜头缓缓推近；末句「风在墙外，轻轻地把一片云吹动」以「在墙外」顿挫、「轻轻地」轻吐、「吹动」收束，音节由平实转轻柔，如微风拂面。全诗语调平静、轻快，一唱三叹。

Reading note The lightness of the tone and the two 'moving' characters carry the joy of the afternoon, the model of the modern lyric.作为口语化的自由短诗，此诗的韵律之美在「以极简的音节写极纯的欢愉」。全诗仅三句，不押韵、不分节，而自有内在的节奏：首句「这是欢愉的下午」八字，以「这是」领起，如定场鼓点，宣告主题；次句「阳光在窗前微微地颤动」十一字，音节舒缓，如光影轻移；末句「风在墙外，轻轻地把一片云吹动」十四字，以「在墙外」的停顿、「轻轻地」的叠词轻吐、「吹动」的收束，把风的动作写得如在耳畔。全诗唯一的音韵支点是「颤动」与「吹动」的两个「动」字——两句之末同押「动」韵，如两记轻叩，一写光动、一写云动，把静止的下午写得生机微动；而「微微地」「轻轻」两个叠词，一写光、一写风，音调轻软圆转，如轻音乐的两个音符，共同构成全诗「轻」的听觉印象。这种「以短句为节奏、以叠词为音符、以同字为韵脚」的韵律设计，正是自由诗「不押韵而自有韵致」的典范：不求格律的整饬，而求声情与内容的相谐——「欢愉」的轻快主题，恰以这轻快的节奏出之，声情合一，读来如午后微风拂面，余韵悠长。

Line by line

这是欢愉的下午，阳光在窗前微微地颤动，

This is the afternoon of joy, the sunlight trembling slightly before the window, (The opening: the declaration of the joy and the sunlight, the trembling of the light, the stillness and the movement of the afternoon.)

这是欢愉的下午，阳光在窗前微微地颤动。首句直陈「欢愉的下午」，次句以阳光的颤动写欢愉的具象化，由断言落到细节。

This is an afternoon of joy; the sunlight quivers faintly at the window,

首句「这是欢愉的下午」以直陈式起笔，是全诗的定调之句：「这是」的肯定语气如一声舒心的叹息，开门见山，不设意象、不用比喻，把「欢愉」二字直接说出——敢于直说「欢愉」，正是写欢愉的难处与勇气，韩愈所谓「欢愉之辞难工」，郑愁予偏以最直白的方式起笔，以「直」取胜。「阳光在窗前微微地颤动」把欢愉落实为第一个细节：阳光本是光，无形无色，而「在窗前微微地颤动」写其投射于窗前的光影轻摇，「微微地」三字写颤动的幅度之小，「颤动」写光之动态，如琴弦轻拨，把光写得温柔可触——欢愉不在远方，就在窗前这微小的光之颤动里。两句一总一分的结构，如镜头先定场、后推近，把抽象的「欢愉」化为具体的「阳光颤动」；而「窗前」的室内视角，又暗示抒情者正安坐窗前，享受这午后的宁静，人虽未出，而欢愉的主体已在「这是欢愉的下午」的自白中隐约可见。

The afternoon. This is an afternoon of joy; the sunlight quivers faintly at the window. The afternoon of joy and the faintly quivering sunlight are the opening. To have quivered faintly would be a quivering; the this-is-an-afternoon-of-joy-the-sunlight-quivers-faintly-at-the-window is the quivering.

风在墙外，轻轻地把一片云吹动。

and the wind, outside the wall, gently blowing a cloud into motion. (The extension: the wind and the cloud outside the wall, the gentle blowing into motion, the extension of the scene from the inside to the outside.)

风在墙外，轻轻地把一片云吹动。末句以风与云的互动收束，风在墙外吹动一片云，动静之间，欢愉的下午如在目前。

the wind beyond the wall lightly stirs a single cloud.

末句「风在墙外，轻轻地把一片云吹动」是全诗最富韵味的收束，由室内（窗前）推向窗外（墙外）、由近景（阳光）推向远景（云），空间层次递进，如镜头缓缓摇向远方。「风在墙外」以「在墙外」点出风的方位——风虽在墙外，而「吹动云」的动静却为窗前的人所感知，墙内墙外，隔而不断，正写午后之静：静到能听见墙外的风、看见天上的云。「轻轻地把一片云吹动」是全诗的诗眼：「轻轻」与首句「微微地颤动」的「微微」呼应，两个叠词一写光、一写风，皆取其轻柔，共同构成欢愉的「轻」的质感；「一片云」写云之少而孤，正是晴空午后的景致；「吹动」以「动」字收束全诗，与「颤动」的「动」首尾呼应——全诗写下午之静，而两处以「动」写静，阳光颤动、云被吹动，静中有动、动中愈静，欢愉正是这静境中微动的喜悦。全诗不写人而人的欢愉自在其中：阳光是人所见，云动是人所感，「欢愉」正是人与自然交融时的心境，以景写情、情在景中，三句而意境全出，是现代诗「以小见大」的典范收束。

The cloud. the wind beyond the wall lightly stirs a single cloud. The wind beyond the wall stirring a single cloud is the close. To have stirred a cloud would be a stirring; the the-wind-beyond-the-wall-lightly-stirs-a-single-cloud is the stirring.

Study

Word focus

欢愉 Joy. The word of the title: 'this is the afternoon of joy'—the declaration of the joy, the direct point of the theme, the 'the joy is difficult to write' of the Chinese poetics. 「这是欢愉的下午」之「欢愉」二字，是全诗的题眼，也是全诗情感的总名。「欢愉」意为欢乐、愉悦，与「欢欣」「喜悦」近义而更雅，带有一种从容的、不热烈的喜悦——不是狂喜，而是安闲的满足，正合「下午」的宁静氛围。此词的妙处有三：其一，以直白写难工——韩愈谓「欢愉之辞难工，而穷苦之言易好」，写愁易而写乐难，郑愁予敢于以「欢愉」直陈其情，正是知难而进的勇气；而全诗以阳光颤动、云被吹动落实「欢愉」，使抽象之情化为可感的物象，「欢愉」二字遂有了坚实的依托，不流于空洞的抒情；其二，以雅词写常情——「欢愉」较「开心」「快乐」更为书面化、雅致化，与全诗清浅而韵味悠长的语言风格相谐，也见郑愁予「现代诗中之古典」的用语习惯；其三，以总名写全篇——「欢愉」统领全诗：阳光之颤动、风之吹云，皆是「欢愉」的具象化，二字是全诗情感的纲，纲举而目张。二字之用，直白而不浅露，雅致而不晦涩，正是郑愁予炼词「平中见雅」的体现。

颤动 To tremble. The word of the sunlight: 'the sunlight trembling slightly before the window'—the trembling of the light, the life of the still afternoon, the vitality of the scene. 「阳光在窗前微微地颤动」之「颤动」二字，是全诗第一个动态意象，写阳光投射窗前的光影轻摇。「颤动」本指轻微的抖动，用于阳光之上，写光之流动、影之轻摇——阳光本无形，而「颤动」使光有了可感的动态与温度，如琴弦轻拨，如涟漪微泛；「微微地颤动」更以「微微地」限其幅度，写这颤动之轻、之细，正是午后光影最柔美的一瞬。「颤动」的妙处有三：其一，以动写静——全诗写「欢愉的下午」的宁静，而首处动态即「颤动」，静境之中，一缕微光轻颤，如静水投石，动中愈见其静，欢愉正是这静中的微动；其二，与末句「吹动」呼应——「颤动」写光、「吹动」写云，两个「动」字一前一后，如全诗的两处心跳，使三句短诗有了内在的节奏与呼应；其三，写感觉的精微——「颤动」捕捉的是光与影最微细的变动，正见诗人感觉之敏锐，欢愉不在宏大的景象，而在这些精微的动感之中，是「一沙一世界」的现代诗版本。二字之炼，把午后的光写得如在目前，温柔可触。

轻轻 Gently. The word of the wind: 'gently blowing a cloud into motion'—the gentleness of the wind, the lightness of the degree, the pure and the clear of the joy. 「轻轻地把一片云吹动」之「轻轻」二字，是全诗最温柔的词，写风的轻柔与动作的克制。「轻轻」是叠词，读来轻柔绵软，如一声呢喃；用于「吹动云」之上，写风之力度恰到好处——不疾不徐，恰好把一片云吹动，而不至于吹散，正是午后微风的神韵。此词的妙处有三：其一，与「微微地颤动」呼应——「微微」写光之颤动，「轻轻」写风之吹云，两个叠词一前一后，共同构成全诗「轻」的质感：阳光是微微的，风是轻轻的，欢愉的下午正是这「轻」的世界，重一分则嫌扰，轻一分则无觉；其二，写观察的距离——风在墙外，而「轻轻」的力度为窗前的人所感知，正见午后之静，静到能分辨风的轻重，人与自然的交融在这「轻轻」中完成；其三，暗写抒情者的心境——「轻轻」不仅是风的力度，也是抒情者心境的投影：安闲、从容、与万物轻柔相待，欢愉正是这种心境与自然微动的相遇。二字之用，以叠词的轻柔写风的温柔，以风的温柔写心境的安闲，全诗的情韵尽在「轻轻」二字之中。