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南北朝 Northern and Southern Dynasties · 诗 Poem

入彭蠡湖口

Entering the Mouth of Lake Pengli

谢灵运

Xie Lingyun

山水landscape 行旅travel 玄言metaphysical

客游倦水宿，风潮难具论。
洲岛骤回合，圻岸屡崩奔。
乘月听哀狖，浥露馥芳荪。
春晚绿野秀，岩高白云屯。
千念集日夜，万感盈朝昏。
攀崖照石镜，牵叶入松门。
三江事多往，九派理空存。
灵物吝珍怪，异人秘精魂。
金膏灭明光，水碧辍流温。
徒作千里曲，弦绝念弥敦。

Weary of lodging by the water on my travels, the wind and tide are too fierce to tell.
Islets suddenly close and part; the banks often crumble and rush.
Riding the moon I hear the mournful gibbons; dew-wet I smell the fragrant rush.
Late spring, the green fields are fair; high cliffs gather white clouds.
A thousand thoughts gather day and night; ten thousand feelings fill dawn and dusk.
I climb the cliff to mirror in the stone; I draw the leaves to enter the pine gate.
The deeds of the three rivers mostly pass; the principle of the nine branches survives in vain.
Spirit-things begrudge their wonders; strange men hide their essence.
Golden balm loses its bright light; water-jade stops its flowing warmth.
In vain I play the thousand-li tune; the string breaks yet my longing deepens.

Listen

Meaning

Written on a boat trip into the mouth of Lake Pengli, the poem moves through perilous waters, serene spring scenery, and accumulated thought, then laments that spiritual wonders and kindred spirits remain unattainable, ending in lonely longing.

客中游历已倦于水边宿泊，风潮的险恶难以尽述。洲岛忽然聚合又忽然分开，江岸屡屡崩塌奔涌。乘着月色听猿狖哀啼，沾着露水嗅芳荪清香。春深时节绿野秀美，高岩上白云屯聚。千百种念头日夜聚积，万千感慨充溢朝昏。攀上崖壁照见石镜，牵着枝叶进入松门。三江的旧事多已远去，九派的理趣空自留存。灵异之物吝惜它的珍怪，异人隐秘着他的精魂。金膏熄灭了明光，水碧也停了流温。空自奏起千里之曲，琴弦断绝而思念更浓。

Appreciation

The poem turns through three layers—scene, feeling, and principle. It opens with dense landscape writing and closes with metaphysical reflection; the antitheses are neat yet the energy flows. The images of golden balm and water-jade draw the travelogue toward the regret of an unmet Way. Xie's poetry typically stitches metaphysics onto landscape, and here after splendid lake light it settles on 'the string breaks yet longing deepens,' typical of his union of landscape and mystery.

【白话串讲】谢灵运入彭蠡湖口（鄱阳湖）：“客游倦水宿，风潮难具论”——他漂泊倦了。“乘月听哀狖，浥露馥芳荪”——月下听猿啼。“春晚绿野秀，岩高白云屯”——“千念集日夜，万感盈朝昏”——他心里千头万绪。【意象与手法】景、情、理三层递转。以铺写山水起，以玄思结；对仗工切而气势流动。金膏、水碧诸仙物意象，将山水游观引向求道不遇的怅惘。【情感与主旨】既写江山之奇，亦抒怀抱难宣、知音弦绝之悲。谢诗往往山水之中缀以玄理，此篇于壮丽湖光后归于'弦绝念弥敦'，正是其山水玄言合一的典型。【名句点睛】千念集日夜，万感盈朝昏——以对仗总摄游观中所积之情思，炼字凝重，为全篇筋节。

Background

Xie Lingyun, demoted and sent south, traveled the rivers and hills of Jiangnan with rich description, often appending metaphysics at the end. This poem was written on a boat journey into the mouth of Lake Pengli (Poyang) and is one of his representative landscape poems.

谢灵运的《入彭蠡湖口》作于其赴任临川内史途中，舟行鄱阳湖（古称彭蠡）湖口之时。谢灵运为东晋名将谢玄之孙，出身陈郡谢氏，才华横溢却仕途偃蹇，性好山水，每于迁转行旅中纵情搜奇揽胜，并借山水以遣怀。彭蠡湖即今江西鄱阳湖，湖口为赣江汇入长江之处，水势浩渺、洲岛罗列，自古为舟楫险地。此诗正是写诗人逆旅经此，由水宿风潮之险、洲岛崩岸之状，转入月下猿啼、绿野白云的清景，继而千念万感涌集，攀崖牵叶，见三江九派之陈迹，终叹灵物异人不可求、金膏水碧俱灭，空作千里曲而弦绝念深。它典型地体现了谢诗「庄老告退，而山水方滋」的时代特质，于壮丽湖光之后归于求道不遇的怅惘，是山水诗与玄言诗过渡的标本。此诗作于谢灵运赴任临川内史途中，舟行鄱阳湖（古彭蠡）湖口之时。谢为东晋名将谢玄之孙，才华绝代却仕途偃蹇，性好山水，每于迁转中纵情搜奇。彭蠡湖口为赣江入长江之处，水势浩渺、洲岛罗列，自古舟楫险地。此诗典型体现谢诗山水方滋、庄老犹存的过渡特质。

Art

The scenery is dense and gorgeous; narration, description, and argument flow as one breath. He uses antithesis and locational words (three rivers, nine branches, stone mirror, pine gate) to structure space—a typical model of the 'two Xies' landscape craft.

《入彭蠡湖口》的艺术结构可概括为景、情、理三层递转，铺写工细而气势流动。开篇写水宿风潮之险、洲岛崩岸之状，以「骤回合」「屡崩奔」写江湖之动荡，极尽动态；中幅转入「乘月听哀狖，浥露馥芳荪」「春晚绿野秀，岩高白云屯」，以视听嗅多感官铺写清景，由险入幽，由动入静；继而「千念集日夜，万感盈朝昏」总摄游观所积之情思，由景入情；末段攀崖牵叶，见三江九派陈迹，以金膏、水碧诸仙物意象将山水引向求道不遇的玄思，由情入理。全诗对仗工切而自然，炼字凝重（如集、盈、吝、秘、灭、辍），于富丽铺排中见沉郁，是谢灵运山水诗「极貌以写物，穷力而追新」的典型笔法。全诗景情理三层递转：开篇写水宿风潮洲岛崩岸之险，中幅转入月下猿啼、绿野白云之清景，继而千念万感由景入情，末以金膏水碧诸仙物由情入理。对仗工切而自然，炼字凝重，于富丽铺排中见沉郁，是谢灵运极貌以写物、穷力而追新的典型笔法。

Allusions

Stone mirror and pine gate are names of rocks and hills at the lake mouth. Golden balm and water-jade are legendary immortal herbs. The 'thousand-li tune' is a song of parting, also meaning thoughts of the far away.

诗中多用地理与神仙典故，底蕴深厚。「三江」「九派」指长江支流与水系，古以三江九派泛指楚地水系，谢诗借以追怀大禹治水、禹迹茫茫的往古事迹，暗含对古人功业与天地理趣的追慕。「石镜」「松门」为彭蠡湖口一带实有地名与景观，谢客以游踪实写，亦带仙隐色彩。「金膏」「水碧」出自《山海经》等神话，金膏是仙人所用、能照明发的膏脂，水碧是水中玉英、温润生辉的仙物，诗人用以象征可遇不可求的珍奇与至道。「弦绝」则用伯牙子期知音难觅、琴断绝弦之典，喻知音零落、怀抱难宣。这些典故将一段舟行纪游升华为对永恒之道与知音之思的追寻，使山水诗获得玄远的精神纵深。三江、九派泛指楚地水系，借以追怀禹迹茫茫的往古；石镜、松门为湖口实有景观，带仙隐色彩；金膏、水碧出山海经，为仙人膏脂与水中玉英，象征可遇不可求的珍奇至道；弦绝用伯牙子期知音断弦之典，喻怀抱难宣、知音零落，使纪游升华为精神追寻。

Commentary

Xie Lingyun founded the landscape poetry school. This piece is scene-rich and principle-deep, more ornate than Tao Yuanming's naturalness, and paved the way for Yongming tonal prosody.

《入彭蠡湖口》在谢灵运集中以富丽深密著称，历代论者多注意其山水铺写与玄理收束相生相成的结构。沈德潜《古诗源》称谢诗「经营惨淡」，此篇正见其锤炼之工：既穷形尽相地写活了湖口的风涛与清景，又在篇末以「弦绝念弥敦」收束，将山水游观归结为知音难觅、至道难求的孤独之思，余味深长。与谢灵运多数山水诗「叙事—写景—说理」的三段式不同，此诗情（千念万感）与理（灵物异人、金膏水碧）交织得更密，显示出山水诗向抒情与玄思深化的发展趋势。它既满足了时人「极貌写物」的审美，也透露出诗人身处政治边缘、求道无门的深沉苦闷，是理解谢灵运山水玄言合一特质的关键文本。入彭蠡湖口以富丽深密著称，沈德潜古诗源称谢诗经营惨淡，此篇正见锤炼之工。不同于谢多数山水诗的三段式，此诗情（千念万感）与理（灵物异人）交织更密，显示山水诗向抒情玄思深化之趋势。既满足时人极貌写物之审美，亦透出求道无门的苦闷，是理解谢诗山水玄言合一的关键。

Prosody

Form Five-character ancient-style poem (gushi)五言古诗（山水诗）

Rhyme Rhyme category not specified in the source; follows the five-character ancient-style convention.上平十三元韵（论、奔、荪、屯、昏、门、存、魂、温、敦依次押韵，一韵到底）

Tone pattern Makes much use of antithesis; level and oblique tones follow the ancient form.五言古诗，平仄不拘，以散句为主，间有自然对仗

Reading note A ten-couplet five-character ancient poem that moves from the perilous lake mouth and serene spring wilds into accumulated thought and archaic mystery, closing on the broken string and deepening longing—rich in scene yet deep in feeling, the dense beauty of Xie the Recluse's landscape verse.《入彭蠡湖口》是一首五言古诗，而非近体律诗，故不受律诗平仄粘对与对仗的严格约束，而以气脉与铺写见长。全篇二十句，句式以五言为主，间以对仗（如洲岛骤回合对圻岸屡崩奔、乘月听哀狖对浥露馥芳荪、千念集日夜对万感盈朝昏），这些对仗自然工切而不板滞，体现了古诗「对而不律」的特点。用韵方面，全诗押上平十三元韵，论、奔、荪、屯、昏、门、存、魂、温、敦一韵到底，韵部绵长，声气贯通，与诗境的沉郁深密相称。谢灵运的古诗往往篇幅较长、铺排富丽，此诗正典型地展现了晋宋之际山水诗「极貌写物、穷力追新」的声律与结构特征，是研究古诗向律诗过渡的重要标本。

Line by line

洲岛骤回合，圻岸屡崩奔。

Islets suddenly close and open; the banks often crumble and rush.

洲岛忽然聚合又忽然分开，江岸屡屡崩塌奔涌。

Islets suddenly close in and part; the river banks repeatedly crumble and plunge.

「洲岛骤回合，圻岸屡崩奔」以极动态之笔写彭蠡湖口风涛之险，是全诗开篇险景的核心。骤字写变化之倏忽，回合写洲岛随波聚散无常；屡字写频仍，崩奔写江岸崩塌、浪涌奔突之状。两句对仗精切，以名词（洲岛、圻岸）对名词，以副词（骤、屡）对副词，以动词（回合、崩奔）对动词，于工整中见奔放。谢灵运炼此数字，把江湖的不可捉摸与旅人的惊心动魄写得如在目前，为后文由险入幽、由景入情作好铺垫。这种「极貌以写物」的功夫，正是谢诗开启山水一体、区别于玄言诗空谈理趣的关键，于此二句可见其观察之细与用笔之力。

The islets. Islets suddenly close in and part; the river banks repeatedly crumble and plunge. The islets-close-in-part and the banks-crumble-plunge are the peril. To have closed in and parted would be a closing; the islets-suddenly-close-in-and-part-the-river-banks-repeatedly-crumble-and-plunge is the closing.

千念集日夜，万感盈朝昏。

A thousand thoughts gather day and night; ten thousand feelings fill dawn and dusk.

千百种念头日夜聚积，万千感慨充溢朝昏。

A thousand thoughts gather day and night; ten thousand feelings fill morning and dusk.

「千念集日夜，万感盈朝昏」是全书由景入情的关键一联，以对仗总摄游观中所积之情思。千对万，念对感，集对盈，日夜对朝昏，数量词与时间的叠用，把无形的心理活动写得极有体积与密度：念头如尘积聚，感慨如水充盈。这一联上承前面洲岛崩岸、月下猿啼、绿野白云的层层铺写，将外部景观内化为内心的波澜；下启后面攀崖牵叶、三江九派、灵物异人的玄思追寻。它标志着谢诗从「写物」向「写心」的转折，也是全诗筋节所在。谢灵运山水诗往往景密而情隐，此联却将情思正面托出，炼字凝重，使富丽铺排获得深沉的情感根基。

The thoughts. A thousand thoughts gather day and night; ten thousand feelings fill morning and dusk. The thousand-thoughts-day-night and the ten-thousand-feelings-morning-dusk are the inward turn. To have gathered day and night would be a gathering; the a-thousand-thoughts-gather-day-and-night-ten-thousand-feelings-fill-morning-and-dusk is the gathering.

徒作千里曲，弦绝念弥敦。

In vain I play the thousand-li tune; the string snaps yet my longing grows deeper.

空自奏起千里之曲，琴弦断绝而思念更浓。

In vain I play the far-journey tune; the strings snap, yet longing grows stronger.

「徒作千里曲，弦绝念弥敦」是全诗的结句，也是精神归宿所在。千里曲用乐府琴曲典，指抒发远游之思的乐曲；弦绝用伯牙子期知音断弦之典，喻知音零落、怀抱难宣。徒字写奏曲之空，弥敦写思念之厚，一空一厚形成强烈反差：越是知音难觅、琴弦已绝，心中之念反而愈加深浓。这一收束把前面所有的山水奇观、仙物追寻（金膏水碧俱灭）统统归为一种求而不得的怅惘，使全诗由壮阔的纪游升华为孤独的精神独白。谢灵运以此作结，既见其山水之外的深情，也透露出政治边缘人的精神苦闷，余韵悠长，是全篇最耐涵咏之处。

The strings. In vain I play the far-journey tune; the strings snap, yet longing grows stronger. The in-vain-far-journey-tune and the strings-snap-longing-stronger are the close. To have snapped would be a snapping; the in-vain-i-play-the-far-journey-tune-the-strings-snap-yet-longing-grows-stronger is the snapping.

Study

Word focus

骤 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「洲岛骤回合」中的「骤」字，是写景的炼字佳例，分量极重。骤本义为马疾驰，引申为突然、迅疾，此处用来形容湖口洲岛随波聚散之倏忽无常，把江湖气象的不可捉摸写得极有动感与张力。洲岛本为静物，着一骤字而顿生波翻浪涌之势，与下句「屡」字呼应，共同营造出风涛险恶、旅况惊心的氛围。谢灵运炼字向以「穷力追新」著称，此骤字正见其观察之敏锐与用笔之狠健——不写风浪而写洲岛之骤变，侧面烘托，更为有力。这一个字，既写活了彭蠡湖口的实景，也为全诗由险景转入幽情定下动荡不安的基调，是解读谢诗炼字艺术的典型个案。

弥敦 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「弦绝念弥敦」中的「弥敦」二字，是全诗情感的最强音。弥意为更加、愈，敦意为厚、深，弥敦即「更加深厚」之意。诗人写琴弦已绝（知音零落、至道难求），按常理思念当随之中断，他却反用「念弥敦」，说思念反而愈发深浓，这一逆折使情感获得出人意表的厚度与悲剧性。弥敦以平实之词写极深之情，与「徒作」的空落形成一虚一实、一空一厚的对照，把求而不得的怅惘推向极致。谢灵运诗中情语不多，此二字却凝重如金石，既收束了前面金膏水碧俱灭的仙物追寻，也透露出诗人深处孤独的精神底色，是全篇炼字最见性情之处。