All poems

近现代近现代 · 诗 Poem

寻梦者

The Seeker of the Dream (Xunmengzhe)

戴望舒

Dai Wangshu

名篇Masterpiece 象征Symbol 理想Ideal 寻梦Seeking the Dream

梦会开出花来的，梦会开出娇妍的花来的：去求无价的珍宝吧。
在青色的大海里，在青色的大海的底里，深藏着金色的贝一枚。

The dream will bloom flowers, the dream will bloom the delicate and the lovely flowers: go to seek the priceless treasure. In the green great sea, in the bottom of the green great sea, there is deeply hidden one golden shell.

Listen

Meaning

Written in 1932 by Dai Wangshu, collected in the collection 'The Grass of Wangshu' (1933). The excerpt embodies the essence of Dai Wangshu's symbolist art. In structure, the imagery advances by the 'dream, the flower, the treasure, the sea, the shell': first the 'the dream will bloom flowers' points out the beautiful and the promising of the dream, then the 'go to seek the priceless treasure' sends out the call of the seeking, then the 'in the green great sea' and the 'in the bottom of the green great sea' descend layer on layer, pushing the space from the surface of the sea to the bottom of the sea, and finally the 'there is deeply hidden one golden shell' reveals the seat of the treasure—the five layers of the imagery like the five steps, the seeking of the dream written with the continuous descent. The dream will bloom flowers: the dream, the ideal of the poet, will finally bloom the delicate and the lovely flowers, yet must be sought in the bottom of the green great sea, the priceless treasure of the seeking—the dream, the sea, the shell, the symbol of the ideal and the seeking.

梦会开出花来的，梦会开出娇妍美丽的花来的：去吧，去寻求那无价的珍宝吧。在青色的大海里，在青色的大海的深处、海底里，深深地藏着金色的一枚贝。

Appreciation

The poem is a free-verse modern poem, and the excerpt embodies the essence of Dai Wangshu's symbolist art. In structure, the imagery advances by the 'dream, the flower, the treasure, the sea, the shell': first the 'the dream will bloom flowers' points out the beautiful and the promising of the dream, then the 'go to seek the priceless treasure' sends out the call of the seeking, then the 'in the green great sea' and the 'in the bottom of the green great sea' descend layer on layer, pushing the space from the surface of the sea to the bottom of the sea, and finally the 'there is deeply hidden one golden shell' reveals the seat of the treasure—the five layers of the imagery like the five steps, the seeking of the dream written with the continuous descent. In language, the repetition of the 'the dream will bloom flowers, the dream will bloom the delicate and the lovely flowers' and the 'in the green great sea, in the bottom of the green great sea' the refrain of the descent, the rhythm of the seeking; and the 'delicate and the lovely' and the 'golden' the colors of the dream and the treasure, the 'green' and the 'golden' the colors of the sea and the shell, the dream and the seeking written with the colors and the light.

【白话串讲】戴望舒写《寻梦者》：“梦会开出花来的，梦会开出娇妍的花来的”。“在青色的大海里，在青色的大海的底里，深藏着金色的贝一枚”——“你去攀九年的冰山吧，你去航九年的旱海吧”——“你的梦开出娇妍的花来了”——他说寻梦要付出代价。【意象与手法】自由体现代诗，采取“梦—花—珍宝—大海—贝”的意象递进：先以“梦会开出花来的”点出梦的美丽可期，再以“去求无价的珍宝吧”发出求索的呼唤，复以“在青色的大海里”“在青色的大海的底里”层层下探，最后“深藏着金色的贝一枚”揭出宝藏之所在，五层意象如五级台阶，把“寻梦”写得既有方向又有深度。语言上以“梦会……”“在……”的复沓句式回环往复，“娇妍”“无价”“青色”“金色”等色彩词与质地词精心搭配。【情感与主旨】戴望舒前期诗歌的扛鼎之作，以“梦—海—贝”的意象链构筑象征的迷宫，写一代知识分子在黑暗年代对理想的执着求索，是“虽九死其犹未悔”的求索精神的艺术写照。【名句点睛】常考“梦会开出花来的，梦会开出娇妍的花来的”以复沓写梦的美丽可期；“去求无价的珍宝吧”写求索的执着召唤。

Background

The poem was written in 1932 by Dai Wangshu (1905–1950), collected in the collection 'The Grass of Wangshu' (1933). Dai Wangshu, a native of Hangzhou, Zhejiang, the representative poet of the Chinese symbolist poetry, studied at the Aurora University of Shanghai in his early years, and in 1928 became famous with the poem 'The Rainy Alley,' called 'the poet of the rainy alley'; in 1932 he went to France for the study, and after the outbreak of the War of Resistance drifted to Hong Kong, persisting in the anti-Japanese cultural work, and in 1941 was arrested and imprisoned by the Japanese army, writing 'I Use My Maimed Palm,' and died of illness in Beijing in 1950. When writing 'The Seeker of the Dream,' it was after the September 18 Incident, the national peril ever more grave and the poet personally in the period of the bitterness and the wandering, and the 'seeking the priceless treasure' of the poem, the dream and the seeking, the pursuit of the ideal of the poet in the dark age and the depth and the difficulty of the seeking.

《寻梦者》为戴望舒（1905—1950）1932年所作，收入诗集《望舒草》（1933）。戴望舒，浙江杭州人，中国现代象征派诗歌的代表诗人，早年就读于上海震旦大学，1928年因《雨巷》一诗成名，被称为「雨巷诗人」；1932年赴法留学，抗战爆发后辗转香港，坚持抗日文化工作，1941年被日军逮捕入狱，写下《我用残损的手掌》，1950年病逝于北京。写作《寻梦者》时，正值「九一八」事变后民族危亡加剧、诗人个人也处于苦闷彷徨的时期，诗中「求无价的珍宝」「金色的贝」的寻梦意象，既是个体对理想与爱情的追寻，也是一代青年在黑暗中上下求索的写照。全诗以象征手法写成，用「梦—花—珍宝—大海—贝」一串意象，把「寻梦」这一抽象主题化为层层递进的具象过程；本篇节选者为全诗开篇：先言梦会开花，再嘱人去深海求宝，最后揭出「金色的贝一枚」的宝藏所在，为后文「九年的冰山」「九年的旱海」的跋涉张本。此诗是戴望舒象征主义诗艺成熟期的代表作，与《雨巷》的缠绵悱恻不同，更见其理想主义的清亮与执着。

Art

The art is the imagery advance of the 'dream, the flower, the treasure, the sea, and the shell' and the refrain of the descent: the dream blooming the flowers, the priceless treasure, the green great sea, the bottom of the sea, and the golden shell, the five layers of the imagery like the five steps, the seeking of the dream written with the continuous descent, the colors and the light of the 'green' and the 'golden'.

此诗为自由体现代诗，节选部分集中体现了戴望舒象征诗艺的精华。结构上采取「梦—花—珍宝—大海—贝」的意象递进：先以「梦会开出花来的」点出梦的美丽可期，再以「去求无价的珍宝吧」发出求索的呼唤，复以「在青色的大海里」「在青色的大海的底里」层层下探，把空间从海面推向海底，最后「深藏着金色的贝一枚」揭出宝藏之所在——五层意象如五级台阶，把「寻梦」写得既有方向又有深度。语言上，全诗采用「梦会……梦会……」「在……在……」的复沓句式，回环往复，如潮汐拍岸，把执着的语气与绵长的情思融为一体；「娇妍」写梦之美好，「无价」写珍宝之贵重，「青色」写大海之深邃，「金色」写贝之辉煌，色彩词与质地词的精心搭配，使全诗弥漫着梦幻般的华彩。表现手法上，全诗是彻底的象征：梦是理想，花是希望，珍宝是幸福，大海是人生，贝是结晶，抽象的哲理被化为可感可触的意象流；而「你」的呼语（去求吧、深藏着），又把寻梦由诗人个人的独白化为对读者的召唤，抒情性与哲理性在象征中浑然合一。

Allusions

The imagery system of the poem is deeply rooted in the double soil of the Chinese and the Western cultures. For the Chinese tradition, the conjunction of the 'dream' and the 'flower' recalls the philosophical thought of the Zhuangzi's dream of the butterfly ('the equality of things' of the Zhuangzi, 'not knowing whether Zhou dreamed of the butterfly or the butterfly dreamed of Zhou'), the marvel of Li Bai's 'dream-wandering of the Heaven Mother,' and the deep feeling of Tang Xianzu's 'four dreams of Linchuan,' the dream in the Chinese culture both the ideal and the illusion; for the Western tradition, the 'dream' and the 'treasure' and the 'sea' and the 'shell' of the symbolist poetry, the 'seeking the treasure in the deep sea' the symbolist seeking of the truth and the ideal, the conjunction of the Chinese and the Western, the symbolist character of the poem.

《寻梦者》的意象系统，深植于中西文化的双重土壤。就中国传统而言，「梦」与「花」的连用，令人想起庄周梦蝶的哲思（《庄子·齐物论》「不知周之梦为胡蝶与，胡蝶之梦为周与」）、李白「梦游天姥」的瑰奇与汤显祖「临川四梦」的深情，梦在中国文化中既是理想之喻，也是人生无常之叹；而「大海」寻宝的母题，又可上溯《列子》「渤海之东」的神山传说与《西游记》龙宫探宝的叙事，深海的「金色的贝」正是龙宫珍宝意象的现代变奏。「金色的贝」更有其象征谱系：贝在远古是货币与珍宝（《说文》「贝，海介虫也……古者货贝而宝龟」），是财富与价值的原始符号；「金」则象征不朽与至贵。就西方传统而言，此诗明显受法国象征派影响——戴望舒译介过波特莱尔、魏尔伦、果尔蒙，诗中「梦会开出花来」的意象，与波特莱尔「契合论」中物我冥合、通感交感的诗学相通；「深海里藏着贝」的结构，又近于象征派以具体物象暗示抽象理念的手法。诗人熔中西于一炉：以中国式的「梦」与「贝」为骨，以象征派的「契合」为魂，使这首诗既有东方的含蓄隽永，又有西方的朦胧幽深，正是中国现代诗「中西融合」的典范。

Commentary

The poem is the crowning work of Dai Wangshu's early poetry and a classic of the modern Chinese symbolist poetry. In the literary history, the poem marks Dai Wangshu's turn from the musical lyricism of the 'Rainy Alley' to the deep excavation of the imagery and the elevation of the philosophy: no longer relying on the auditory refrain of the 'rainy alley, the lilac, the girl,' but with the 'dream, the flower, the sea, and the shell' the continuous descent of the imagery, the seeking of the ideal written with the depth and the difficulty, the model of the symbolist poetry; and the 'the dream will bloom the delicate and the lovely flowers' the eternal belief of the seeker of the dream, the poem has become the eternal hymn of the Chinese youth's seeking of the ideal.

《寻梦者》是戴望舒前期诗歌的扛鼎之作，也是中国现代象征主义诗歌的经典篇章。从文学史看，此诗标志戴望舒由《雨巷》的音乐性抒情转向意象的深掘与哲理的提升：不再依赖「雨巷—丁香—姑娘」的听觉回环，而是以「梦—海—贝」的意象链构筑象征的迷宫，其诗艺的成熟由此奠定，故施蛰存评其诗「由雨巷而望舒草，由音乐而意象，由情调而哲理」。从思想史看，诗中「去求无价的珍宝吧」的召唤，是一代知识分子在黑暗年代对理想的执着宣言——明知大海深邃、征程漫漫，仍要下潜寻贝，这种「虽九死其犹未悔」的求索精神，与屈原「路漫漫其修远兮，吾将上下而求索」的遗风遥相呼应，是民族忧患意识与个体理想主义的交汇。从接受史看，《寻梦者》因其对「梦」的优美书写，历久弥新，成为现代诗选本与教材的常客，无数青年在诗中读到自己追梦的身影；其「梦会开出花来的」的开篇，更成为新诗中辨识度最高的名句之一。作为经典课文，此诗是学习现代诗意象、象征、复沓手法的最佳范本，其「寻梦」主题的普适性，使一首八十年前的诗至今仍能击中人心。

Prosody

Form Free-verse modern poem (unrhymed free verse)自由体现代诗（无韵自由诗）

Rhyme Unrhymed; the inner rhythm formed by the refrain of the repeated sentence-forms and the unevenness of the syllables within the lines. 'The dream will bloom flowers, the dream will bloom the delicate and the lovely flowers'全诗为自由诗，不押尾韵，而以复沓句式的回环与句内音节的参差形成内在韵律。「梦会开出花来的，梦会开出娇妍的花来的」两句复沓，「梦会」「花来的」重复出现，如音乐的主题句反复奏响；「在青色的大海里，在青色的大海的底里」再次复沓推进，句子的延长与「底里」的收束，形成下潜式的节奏曲线。句内以「的」「了」「吧」等虚词调节语气，舒缓而有弹性，读来如潮水一浪一浪涌来。

Tone pattern The 'the dream will bloom flowers' is light, the 'go to seek the priceless treasure' is eager, the 'in the green great sea' descends, and the 'deeply hidden one golden shell' is deep—the whole from the dream to the shell, the seeking of the dream carried by the rhythm句式以陈述句与祈使句交替：前两句陈述梦之将开，语调轻柔笃定；「去求无价的珍宝吧」转为祈使，语气由柔转促，如召唤；后三句回到陈述，以「在……在……」的复沓铺开空间，语调渐沉渐缓，如潜入深海。全诗以「吧」字点出呼语，以「一枚」收束，语气在召唤与沉潜之间起伏，情感在执着与苍茫之间流转。

Reading note The refrain of the descent and the uneven syllables carry the seeking of the dream, the depth and the difficulty of the ideal.《寻梦者》节选的韵律之美，不在押韵，而在「复沓」与「分行」的呼吸感。戴望舒受法国象征派影响，主张「诗的情绪」是「诗的音乐」的源泉，故其自由诗不倚仗韵脚，而以情绪的起伏调度句子的长短。此节六行，构成两组复沓：前两行「梦会开出花来的，梦会开出娇妍的花来的」以关键词的重复制造咏叹，如歌谣的叠句，节奏舒缓而执着；后三行「在青色的大海里，在青色的大海的底里，深藏着金色的贝一枚」以「在……在……深藏着」的句式层层下探，句子由短而长，音节由明而暗，模拟潜水者一路下沉的节奏，最终在「金色的贝一枚」处停顿聚焦，如探照灯骤亮海底。两组复沓一咏叹、一下潜，一张一弛，构成全诗情感的潮汐。分行上，诗人以长行容纳绵长的情思，以「的」「了」「吧」等语气词调节气息，使自由诗在无韵中获得内在的旋律。这种「以情绪为韵」的写法，正是戴望舒自由诗成熟的标志：寻梦的执着、大海的苍茫、珍宝的辉煌，都化作了声音的起伏，读者不待解读意象，已先为这音乐性的节奏所打动。

Line by line

梦会开出花来的，梦会开出娇妍的花来的：去求无价的珍宝吧。

The dream will bloom flowers, the dream will bloom the delicate and the lovely flowers: go to seek the priceless treasure. (The opening: the dream blooming the flowers, the beautiful and the promising, and the call of the seeking of the priceless treasure.)

梦会开出花来的，梦会开出娇妍美丽的花来的：去吧，去寻求那无价的珍宝吧。

Dreams will flower, dreams will flower into lovely blossoms: go seek the priceless treasure.

开篇两句复沓，是全诗的总起，也是「寻梦」主题的宣言。「梦会开出花来的」——梦本是无形无质的心理活动，诗人却说它会「开出花来」，一个「花」的意象，把梦写得具体可感、芬芳美丽；「梦会开出娇妍的花来的」——第二次复沓加上「娇妍」二字，色彩更亮、情致更浓，语气更笃定，如钟声两叩，一响比一响清越。其妙在「会」字：梦会开花，不是已然，而是必然——这是对理想可实现的坚定信念，为后文「去求」的召唤作了情感的铺垫。第三句「去求无价的珍宝吧」陡转语气，由对梦的赞美转入对人的召唤，一个「吧」字，如朋友相唤、如兄长叮咛，亲切而急切。「梦—花—珍宝」三象相承：梦的美好因花开而可见，花的价值因珍宝而无价，寻梦因此从虚幻的想象转为切实的行动。复沓中见深情，召唤中见执着，开篇已定全诗的抒情基调。

The flowers. Dreams will flower, dreams will flower into lovely blossoms: go seek the priceless treasure. The dreams-flowering and the go-seek-the-priceless-treasure are the opening. To have flowered the dream would be a flowering; the dreams-will-flower-dreams-will-flower-into-lovely-blossoms-go-seek-the-priceless-treasure is the flowering.

在青色的大海里，在青色的大海的底里，深藏着金色的贝一枚。

In the green great sea, in the bottom of the green great sea, there is deeply hidden one golden shell. (The descent: the green great sea and the bottom of the sea, the descent layer on layer, and the golden shell of the treasure, the seat of the dream.)

在青色的大海里，在青色的大海的深处、海底里，深深地藏着金色的一枚贝。

In the blue sea, in the bottom of the blue sea, lies hidden a single golden shell.

三句写珍宝之所在，是「寻梦」的航程图。「在青色的大海里」——大海是人生与世界的象征，一个「青色」，比碧、蓝更冷更远，写尽理想的浩瀚与神秘；「在青色的大海的底里」——复沓推进，空间由海面下探至海底，句子的延长如潜水者的一路深潜，「底里」二字，写寻梦之难——珍宝不在岸边，不在浅滩，而在最深邃处。第三句「深藏着金色的贝一枚」揭出谜底：「深藏」写其隐秘，需要发掘；「金色」写其辉煌，配得上「无价珍宝」之名；「一枚」以量词收束，把千呼万唤的珍宝落实为具体的「一枚贝」，小而珍贵，实而难得。句法的妙处在于「在……在……」的复沓与「一枚」的倒装：主语后置，使「金色的贝」成为全句的焦点，如聚光灯骤亮，宝藏霍然现身。三句由海到底、由底到贝，层层下探、步步聚焦，把「求宝」的方位写得分明，也为后文「九年冰山」「九年旱海」的求索之路设下坐标，象征的清晰与想象的瑰奇在此完美统一。

The shell. In the blue sea, in the bottom of the blue sea, lies hidden a single golden shell. The blue sea and the hidden single golden shell are the close. To have hidden the shell would be a hiding; the in-the-blue-sea-in-the-bottom-of-the-blue-sea-lies-hidden-a-single-golden-shell is the hiding.

Study

Word focus

娇妍 Delicate and lovely. The word of the flowers: 'the dream will bloom the delicate and the lovely flowers'—the delicate and the lovely of the flowers of the dream, the beauty of the ideal, the promising of the dream. 「梦会开出娇妍的花来的」之「娇妍」，是全诗第一个色彩鲜明的修饰词，为「梦之花」注入具体的姿容。「妍」本义为美好、巧慧，多形容女子之美（如「争妍斗艳」）；「娇」写柔美、可爱之态，两字连用，写花的娇美明艳，也写梦的温柔可人。诗人不写「美丽的花」，而写「娇妍的花」，其妙在「妍」字的女性化联想——梦如花，花如人，寻梦由此带上追寻美好之人的深情意味，为全诗增添了柔婉的抒情性。从声音看，「娇妍」二字一阴平一阳平，音节轻柔圆转，读来如花瓣舒展；从结构看，此词是第二次复沓新增的成分，与第一次「开出花来」的朴素形成递进——梦的美不止于「开花」，更在于开「娇妍」之花，愈写愈美，愈美愈令人向往。一词之增，情致倍增，可见戴望舒炼词之细：他以最精省的修饰，把抽象的「梦」写得有色有香、有情有态。

青色 Green. The word of the sea: 'in the green great sea'—the green of the great sea, the color of the depth and the mystery, the space of the seeking of the treasure. 「在青色的大海里」之「青色」，是理解全诗色调的关键词。「青」是中国色彩词中意蕴最丰富的字眼：青天、青山、青史、青丝，兼蓝、绿、黑诸色，含深远、永恒、青春的联想。诗人以「青」写海，不取「蓝」「碧」「苍」，正因「青」之深远苍茫最合大海的神秘与理想的浩瀚；而「青色的大海」一词的复沓出现，又使海之「青」如底色铺展，笼罩全诗的梦境。更深一层，「青」与「金」的对照耐人寻味：青是冷色，写求索之途的苍茫与孤寂；金是暖色，写珍宝之光的辉煌与温暖——从青色大海的深处寻金色之贝，冷与暖、暗与明的张力，正是寻梦者「苦尽甘来」心境的色彩化。一词设色，全诗的光影立现：戴望舒以「青」写海之深、梦之远，使「寻梦」的航程既有方向，又有苍茫的况味。

深藏 Deeply hidden. The word of the shell: 'there is deeply hidden one golden shell'—the golden shell deeply hidden in the bottom of the sea, the treasure of the deep hiding, the depth and the difficulty of the seeking of the dream. 「深藏着金色的贝一枚」之「深藏」，是「寻梦之难」的凝练表达。「深」写空间之幽邃——贝不在水面浮沉，而在海底深藏；「藏」写存在之隐秘——宝藏不是裸露的，需要发掘。「深藏」二字，把珍宝的难得写得层次分明：它既远（在海底），又隐（被深藏），寻梦者须穿越整个大海的深度，才能触及这「一枚」珍宝。其言外之意尤深：凡无价之宝，必深藏不露；凡伟大理想，必经艰难求索——「深藏」是珍宝的姿态，也是命运的考验。与「底里」呼应，「深藏」把「下潜」的动作落实为「宝藏」的存在状态，空间的深度转化为求索的难度，象征的哲理不言自明。若作「藏有」「藏着」，则平直无味；「深藏」以「深」饰「藏」，一个修饰词，写尽大海的幽深与寻梦的艰辛，也写尽宝藏的珍贵与等待的耐心，可见戴望舒用词之精——不着一「难」字，而「难」已深藏其中。

寻梦者