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南北朝 Northern and Southern Dynasties · 诗 Poem

渡青草湖

Crossing the Green Grass Lake

阴铿

Yin Keng

山水Landscape 行旅Theme 抒怀memory

洞庭春溜满，平湖锦帆张。
沅水桃花色，湘流杜若香。
穴去茅山近，江连巫峡长。
带天澄迥碧，映日动浮光。
行舟逗远树，度鸟息危樯。
滔滔不可测，一苇讵能航。

Spring tides fill Dongting's lake full, on calm lake brocade sails pull.
Yuan River with peach blossom hue, Xiang stream with basil fragrance true.
Caves near Maoshan are not far, river joins Wuxia's long bar.
Sky-reflecting blue so deep, sunlit ripples on water leap.
Boats linger by distant trees, crossing birds rest on tall mast ease.
Endless waves unfathomed roll, a single reed cannot the whole.

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Meaning

The poet describes crossing the Green Grass Lake in spring, depicting the vast waters, fragrant rivers, and the difficulty of crossing the boundless lake, evoking awe and the insignificance of human travel.

洞庭春水涨满，平湖之上锦帆高张。沅水泛着桃花之色，湘流飘散杜若之香。山穴离茅山很近，江流连巫峡悠长。水天相接澄澈迥碧，映日泛动浮光。行舟逗留于远树，飞鸟歇息在高樯。江水滔滔不可测度，一叶苇筏岂能通航。

Appreciation

This poem showcases Yin Keng's skill in landscape poetry, blending Chu imagery with refined language. The first six lines grandly depict the lake, while the last four turn to the difficulty of crossing, creating a contrast that highlights the vastness of nature.

【白话串讲】洞庭湖春水满涨，锦帆张起。“带天澄迥碧，映日动浮光”——湖水和天连成一色。南北朝的诗，已经美得像一幅画。【意象与手法】诗前六句铺写湖山壮丽：「洞庭春溜满」总起，「沅水桃花色，湘流杜若香」以色彩嗅觉对举，融《楚辞》香草意象；「带天澄迥碧，映日动浮光」写水天光影，气象开阔。后四句转写行舟飞鸟与渡水之难，「行舟逗远树，度鸟息危樯」炼字精工，「滔滔不可测，一苇讵能航」以《诗经》「一苇杭之」反用收束【情感与主旨】阴铿为南朝梁陈间诗人，与何逊并称「阴何」，以山水行旅诗见长。《渡青草湖》写春渡青草湖（洞庭湖东南）所见壮丽风光，兼含行旅渡水之慨，体现南朝山水诗由谢灵运工笔向唐人律调过渡的特征【名句点睛】常考中间两联的炼字与对仗：①「带天澄迥碧，映日动浮光」的色彩与光影描写；②「行舟逗远树」之「逗」字；③「一苇讵能航」反用《诗经》之典

Background

Yin Keng was a poet between the Liang and Chen dynasties, known for landscape travel poetry. This poem describes spring crossing of Green Grass Lake (southeast of Dongting Lake), reflecting the transition from Xie Lingyun's meticulous style to Tang regulated verse.

阴铿（约511—约563），字子坚，武威姑臧（今甘肃武威）人，南朝梁陈间诗人，与何逊并称「阴何」，以善写山水行旅诗著称。阴铿历仕梁、陈，官至晋陵太守、员外散骑常侍，诗名甚著，杜甫极推重之，自谓「颇学阴何苦用心」。青草湖在湖南岳阳西南，与洞庭湖相连，古称青草湖，水涨时与洞庭合一，为湘江入洞庭的咽喉。此诗写春日渡青草湖所见：洞庭春水满溢，平湖锦帆高张；沅水湘流，或泛桃花之色，或飘杜若之香；水天相接，澄碧无际，映日浮光；行舟逗于远树，飞鸟息于高樯。诗前六句铺写湖山壮丽，后四句转入行旅渡水之慨，以「一苇讵能航」收束，余味邈然。此诗体现了南朝山水诗由谢灵运的工笔刻画向唐人律调的过渡，是阴铿诗风的代表作。史载阴铿尝于夏日宴宾，见行觞者以热酒进客，悯其劳苦，即席以羹飨之，后此人于侯景之乱中救阴铿于危难，其仁厚如此。其诗早年学谢灵运，后与何逊切磋，诗风由繁趋简、由古趋律，为陈代诗坛翘楚。青草湖一名巴丘湖，与洞庭相通，每至春夏水涨，湖面浩渺无涯，与洞庭相接，古人游湘者多由此渡湖，诗题「渡」字即点出行旅之实。

Art

The first six lines paint the lake's grandeur with color and fragrance; the last four shift to boats and birds, using refined words like '逗' (linger) and '息' (rest). The ending reverses a classic allusion to emphasize the lake's immensity.

此诗章法分明，前六句写景，后四句抒情，由景入情、由情入理。起句「洞庭春溜满，平湖锦帆张」总写渡湖：春水满溢，锦帆高张，气象开阔；「沅水桃花色，湘流杜若香」以色彩与嗅觉对举，写湘沅之水——水泛桃花之色，流飘杜若之香，融《楚辞》香草意象，赋水以芬芳；「穴去茅山近，江连巫峡长」以地名远近拓展空间纵深，茅山在东南、巫峡在西南，一近一远，江湖之阔由此而显；「带天澄迥碧，映日动浮光」写水天光影，澄碧连天、浮光耀日，是全景中最出彩的光色描写。后四句「行舟逗远树，度鸟息危樯」以动写静、以静衬动，炼字精工；「滔滔不可测，一苇讵能航」反用《诗经》「一苇杭之」之典，以江湖浩渺收束全篇。全诗对仗工稳、声律近律，是六朝山水诗向律诗过渡的标本。全诗意象组织亦有法度：由「满」「张」的充盈动势，到「色」「香」的通感描绘，再到「带天」「映日」的光色铺展，最后落于「逗」「息」的细微动态，远景、中景、近景层层推移，视觉、嗅觉、光影交相为用，湖上春景如在目前，而「一苇讵能航」的感慨又为这幅壮丽图画平添一层人事的苍茫，情景相生，章法浑成。

Allusions

'Du Ruo fragrance' alludes to Chu Ci's 'cai fang zhou xi du ruo', evoking the incense of the Xiang River. 'Yi wei' from the Shijing's 'He Guang' originally meant a narrow river, but here it is reversed to suggest the lake's uncrossable vastness. Maoshan and Wuxia expand the spatial scope.

此诗用典融于写景，浑然无迹。「杜若香」化用《楚辞·九歌·湘君》「采芳洲兮杜若」：杜若为香草，湘夫人采之以赠所思，阴铿以「湘流杜若香」写湘水飘散着杜若的芬芳，把楚辞的香草传统引入山水诗，赋予湘流以清芬与情思——沅有芷兮澧有兰，楚地之水本与香草相连，此句是实景，更是诗意的文化记忆。「一苇」用《诗经·卫风·河广》「谁谓河广？一苇杭之」：原意谓河并不宽，一束苇筏便可渡过，写思乡之切、归心之迫；阴铿反用其意，言「滔滔不可测，一苇讵能航」——江湖滔滔、深不可测，一叶苇筏岂能渡过，把「河广可渡」翻作「江湖难航」，由乐观的想象翻为现实的浩渺之慨。「茅山」「巫峡」为地名实写，茅山近而巫峡长，以地名对照拓展空间。诸典或化香草、或反用诗经、或实指地名，皆融化于山水白描之中，不见用典痕迹而古意自存。「沅水桃花色」亦有出处：陶渊明《桃花源记》所写桃源即在武陵沅水一带，「桃花」遂成沅水流域的文化符号；湘水则素与湘妃、杜若相连，《九歌·湘夫人》「沅有芷兮澧有兰」，正写沅湘香草。阴铿以「桃花色」「杜若香」写沅湘之水，实是把武陵桃源的仙意与湘妃香草的楚情一并注入春水，水色之艳、水香之清，遂有深厚的人文底蕴。

Commentary

Du Fu praised Yin Keng, saying 'I learned much from Yin and He'. Hu Yinglin noted that Yin Keng's work anticipates Tang regulated verse. Shen Deqian called Yin and He 'the precursors of regulated poetry'.

此诗为南朝山水诗名篇，历代评价集中于其对唐律的开启之功。杜甫自称「颇学阴何苦用心」，明人胡应麟《诗薮》谓阴铿「琢磨之功，已开唐调」，清人沈德潜《古诗源》称「阴何诗乃律诗之前茅」，皆着眼于其声律对仗的成就——此诗五言十二句，对仗工稳、平仄渐谐，已具唐律雏形，是六朝诗向唐代律诗过渡的关键一环。此诗的价值有三：其一，山水诗发展史上，它承谢灵运的工笔刻画而更趋圆熟精炼，又启唐人律调的清丽浑成，是「元嘉体」向「唐律」转变的桥梁；其二，艺术上，「沅水桃花色，湘流杜若香」以色香通感写水、「带天澄迥碧，映日动浮光」以光色层次写湖，皆开唐人山水诗法门，杜甫「星垂平野阔，月涌大江流」一类壮阔写景，正与之一脉相承；其三，「行舟逗远树」的「逗」字炼字之精，为宋人激赏，王安石尝手书此句，可见其艺术生命力。阴铿诗名不及谢、鲍，而其承前启后之功，实不可没。

Prosody

Form Five-character regulated verse (precursor to Tang regulated verse)五言古诗（已具唐律雏形，时称「近律」）

Rhyme Level tone rhyme: 张 (zhāng), 香 (xiāng), 长 (cháng), 光 (guāng), 樯 (qiáng), 航 (háng) – Yang rhyme group押平水韵下平七阳韵：张、香、长、光、樯、航（「满」「色」「近」「碧」「树」「测」仄收不押）

Tone pattern Near regulated, level opening without entering tone, strict parallel couplets平起不入韵式，对仗工稳：颔联「沅水—湘流」、颈联「穴去—江连」、腹联「带天—映日」、尾联前句「行舟—度鸟」皆成对偶，声律渐谐。

Reading note Yin Keng's poem shows the transition from ancient style to regulated verse, with careful parallelism and tonal patterns.此诗为五言古诗而声律近律，是六朝诗向唐律过渡的典型标本。全诗十二句，除首联外，余皆两两对仗：「沅水桃花色，湘流杜若香」以色香对举，「穴去茅山近，江连巫峡长」以地名相对，「带天澄迥碧，映日动浮光」以光影相配，「行舟逗远树，度鸟息危樯」以动静相生，对偶精工而气韵流转，已具律诗「中间两联必对」的雏形。用韵上，押平水韵下平七阳韵，韵脚「张」「香」「长」「光」「樯」「航」皆平声，音色清亮悠长，正合春湖之开阔明朗；「满」「色」「近」「碧」「树」「测」等句以仄声收，平仄相间、节奏起伏，已暗合律诗「平仄相间」的原则。声律上，全诗平仄渐趋谐和，如「洞庭春溜满」（平平平仄仄）、「带天澄迥碧」（仄平平仄仄），与唐人五律的平仄格式已相当接近，故沈德潜谓「阴何诗乃律诗之前茅」。此诗之格律意义，不在于它本身是律诗，而在于它把谢灵运以来山水诗的工笔刻画与声律追求推向成熟，为沈佺期、宋之问完成律诗定型提供了直接准备，杜甫「颇学阴何苦用心」之语，正着眼于此。

Line by line

洞庭春溜满，平湖锦帆张。

Dongting brims with the spring flood; on the still lake brocade sails are spread.

洞庭春水满溢，平湖锦帆高张。

Dongting Lake brims with spring flood; on the level lake brocade sails are spread.

起句总写渡湖之景，气象开阔。「洞庭春溜满」以「满」字写春水涨溢之盛——「溜」指急流，春水融涨、波光流动，一个「满」字写出湖水盈溢、几与岸平的气势；「平湖锦帆张」以「张」字写帆樯高挂、鼓风而行的壮态——「锦帆」点出舟船之华丽，「张」字见出帆满风劲的动势。两句一写水、一写帆，一静一动，春湖的浩荡与行旅的意气并见，为全诗定下开阔明朗的基调。起笔不写渡湖之人而写湖帆之景，视野由水面铺开，正是山水诗「以大景起」的典型笔法，也为后文「滔滔不可测」的浩渺之慨预作铺垫。

The flood. Dongting brims with the spring flood; on the still lake brocade sails are spread. The Dongting-brimming-spring-flood and the brocade-sails-spread are the opening. To have brimmed would be a brimming; the dongting-brims-with-the-spring-flood-on-the-still-lake-brocade-sails-are-spread is the brimming.

沅水桃花色，湘流杜若香。

The Yuan River has the hue of peach blossoms; the Xiang waters carry the fragrance of duru.

沅水泛着桃花之色，湘流飘散杜若之香。

The Yuan River glows peach-blossom pink; the Xiang waters carry the scent of duru.

二句以色香对举写湘沅之水，是全诗最富诗意的对句。上句「沅水桃花色」以桃花之色写水：春水澄澈，映着两岸桃花，水色竟如桃花般绯红——以「色」写水，视觉鲜明；下句「湘流杜若香」以杜若之香写水：湘流之上，飘散着杜若的芬芳——以「香」写水，嗅觉通感。两句一色一香、一沅一湘，把楚地的春水写得既美且芳，融《楚辞》「采芳洲兮杜若」的香草传统于山水写景之中，赋予江水以文化与情感的双重韵味。对仗上「沅水」对「湘流」、「桃花」对「杜若」、「色」对「香」，字字精工而气韵流转，是南朝山水诗「以工笔写神韵」的典范。

The colors. The Yuan River has the hue of peach blossoms; the Xiang waters carry the fragrance of duru. The Yuan-peach-blossom-hue and the Xiang-duru-fragrance are the couplet. To have carried the fragrance would be a carrying; the the-yuan-river-has-the-hue-of-peach-blossoms-the-xiang-waters-carry-the-fragrance-of-duru is the carrying.

穴去茅山近，江连巫峡长。

The cave lies near Mount Maoshan; the river stretches on to the long Wu Gorge.

山穴离茅山很近，江流连巫峡悠长。

The cave is near Mount Maoshan; the river connects with the long Wu Gorge.

此联以地名拓展空间纵深，是写景中的「虚写」之笔。茅山在今江苏句容，为道教名山；巫峡在长江三峡，远在西南。「穴去茅山近」写青草湖一带的洞穴与茅山相近，隐隐有仙踪道迹的联想；「江连巫峡长」写江湖与巫峡相连，水路悠长不尽——一近一远，一在东南一在西南，把读者的视野从眼前的湖面推向千里之外，湖之阔、江之长由此而显。此联不以实景取胜，而以地名唤起空间想象，使全诗的境界由近及远、由实入虚，为下文「带天澄迥碧」的浩渺与「一苇讵能航」的怅惘作了空间上的铺垫，是章法上的巧妙过接。

The gorge. The cave lies near Mount Maoshan; the river stretches on to the long Wu Gorge. The cave-near-Maoshan and the river-to-long-Wu-Gorge are the depth. To have stretched to the gorge would be a stretching; the the-cave-lies-near-mount-maoshan-the-river-stretches-on-to-the-long-wu-gorge is the stretching.

带天澄迥碧，映日动浮光。

It merges with the sky in distant blue; mirrored in the sun, floating light trembles.

水天相接澄澈迥碧，映日泛动浮光。

Water and sky merge in far-off blue; mirrored in the sun, floating light quivers.

此联写水天光影，是全诗光色描写的巅峰。「带天澄迥碧」写水天相接之状：「带」字把湖水与天空连成一片，「澄迥碧」写碧色澄澈而辽远，水天一色、无分彼此，境界开阔至极；「映日动浮光」写日光映照湖面：「动」字写浮光荡漾、波光粼粼的动态，「浮光」写日光在水面跳跃的碎金——一个「动」字，把静止的湖面写得活了起来。两句一写大景之澄碧，一写细景之浮光，静中有动、阔中有细，色彩层次（碧）与光影变化（浮光）兼备，是南朝山水诗写景技法成熟的标志，也直接启发了唐人「气蒸云梦泽，波撼岳阳城」一类光色壮阔的写法。

The light. It merges with the sky in distant blue; mirrored in the sun, floating light trembles. The merged-with-sky-distant-blue and the sun-mirrored-floating-light are the peak. To have merged with the sky would be a merging; the it-merges-with-the-sky-in-distant-blue-mirrored-in-the-sun-floating-light-trembles is the merging.

行舟逗远树，度鸟息危樯。

The moving boat lingers by distant trees; a crossing bird rests on the tall mast.

行舟逗留于远树，飞鸟歇息在高樯。

The boat lingers by distant trees; a crossing bird rests on the tall mast.

此联转写近景，以「逗」「息」二字炼意，动静相生。「行舟逗远树」写舟行水上，仿佛为远处的树影所逗留——「逗」字极妙：既是「停留」之意，写舟行之缓；又有「逗引」之意，写远树似乎在挽留行舟，以静物写动情，拟人化物，趣味横生。王安石极赏此句，正取其「逗」字之巧。「度鸟息危樯」写飞鸟越过湖面，歇息在高高的桅樯之上——「度」写鸟之飞越，「危樯」写樯之高危，一飞一息，以鸟之动衬舟之静，画面顿时生动。两句以舟、树、鸟、樯构成一幅近景图画，与前面的远景大景相映成趣，湖上生机宛然，是写景由远及近、由阔入细的收束。

The boat. The moving boat lingers by distant trees; a crossing bird rests on the tall mast. The boat-lingers-by-distant-trees and the bird-rests-on-tall-mast are the nearness. To have lingered would be a lingering; the the-moving-boat-lingers-by-distant-trees-a-crossing-bird-rests-on-the-tall-mast is the lingering.

滔滔不可测，一苇讵能航。

It rolls on, beyond all measure—how could a single reed ever cross?

江水滔滔不可测度，一叶苇筏岂能通航。

The flood rolls on beyond all measure; how could a single reed ferry across?

结句反用《诗经》之典，以浩渺之慨收束全篇，余味邈然。「滔滔不可测」写江湖之浩大：水势滔滔、深不可测，前六句的壮丽写景至此一转，露出渡水之人的隐忧——湖越美，越见其大；越大，越觉渡之不易。「一苇讵能航」反用《诗经·河广》「谁谓河广，一苇杭之」：河广尚且可渡，此湖滔滔，一叶苇筏岂能渡过？以「讵」字反问，语气怅然，把渡湖的豪兴收作面对浩渺的敬畏与慨叹。此联由景入情、由情入理，以小小的「一苇」对照滔滔的「不可测」，个体之渺小与江湖之浩大尽在其中，言尽而意不尽，是南朝山水诗「以景结情」的绝佳收束。

The reed. It rolls on, beyond all measure—how could a single reed ever cross? The rolls-on-beyond-measure and the single-reed-how-cross are the close. To have rolled beyond measure would be a rolling; the it-rolls-on-beyond-all-measure-how-could-a-single-reed-ever-cross is the rolling.

Study

Word focus

逗 dòu – 'linger' or 'detain', personifying the boat as if held by trees, subtle and vivid. 「行舟逗远树」之「逗」字，是此诗最著名的炼字，宋人王安石极赏之。「逗」本有二义：一为「停留」，写舟行之缓，仿佛被什么留住；一为「逗引」，写远树仿佛在挽留行舟。二字义兼而有之，妙处正在这双重意味：舟行水上，本应疾驰，却因远树之影、或因景物之美的吸引而迟回不前，「逗」字把舟与树的相对关系写得含情脉脉——不是舟不愿行，而是景物不忍放舟去；不是树有留人之意，而是诗人的目光不肯移开。以一字写尽物我相悦的情态，化静为动、化物为人，正是南朝诗人炼字的极致，也可见阴铿对唐人炼字传统的直接启发。

讵 jù – 'how could', rhetorical question intensifying the impossibility. 「一苇讵能航」之「讵」字，是结句的关键虚词，写反问的语气与怅惘的情怀。「讵」即「岂」，此处以反问出之：一叶苇筏，岂能渡过这滔滔的江湖？——问而不答，答案自在其中。此字之妙在于「以问代答」：若直说「一苇不能航」，则语尽意尽；以「讵」字反问，则把「不能航」的判定化为「岂能航」的质疑，语气由断然变为怅然，仿佛在问自己、问江水、问这无边的浩渺，言尽而意不尽。且「讵」为古雅之词，与《诗经》「一苇杭之」的典故相配，更增古意。一个「讵」字，把渡湖的豪兴收作面对浩渺的敬畏，是全诗由景入情、由情入理的点睛之笔。

迥碧 jiǒng bì – 'distant blue', describing the vast blue of sky and water. 「带天澄迥碧」之「迥碧」二字，写碧色之辽远，是全诗色彩描写的精髓。「迥」本指远，「碧」指青绿色，二字连用，写水天一色的碧不是近在眼前的浅碧，而是绵延到天际的深碧——「迥」字把碧色推远，与「带天」相配：湖水连天，碧色遂与天光相接，一直漫延到视野的尽头，境界为之开阔。此字之妙在于以「远」写「色」：不说碧色如何浓，而说碧色如何远，把色彩空间化，使静态的碧有了纵深感；与下句「映日动浮光」的「动」相对，一静一动、一远一近，湖面的澄碧与波光的跃动相映成趣。炼「迥」字而湖天之阔自见，正是南朝山水诗「以虚写实」的技法，也启发了唐人「江流天地外，山色有无中」一类写法。

危樯 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「度鸟息危樯」之「危樯」二字，写樯之高，是此联炼字的又一精到处。「危」本指高（如「危楼高百尺」），此处写船桅之高大耸立；「樯」为船桅，一「危」字写其高耸入云之势。此二字之妙在于以「高」衬「动」：飞鸟越湖，力尽而息，恰停在这高高的桅樯之上——樯愈高，愈见鸟飞之远、力之尽；鸟愈小，愈见樯之高大、湖之开阔。一「度」一「息」，写鸟之飞越与停歇，动态与静态相生；「危」字写樯之耸立，与「行舟逗远树」的「逗」字一静一动，构成一幅生动的湖上近景。「危樯」选字精确而不猎奇，于平常处见功力，正是六朝诗人「炼字而不伤气」的典范。