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南北朝 Northern and Southern Dynasties · 诗 Poem

新亭渚别范零陵

Seeing Off Fan of Lingling at Xinting Isle

谢朓

Xie Tiao

离别Parting 山水Landscape

洞庭张乐地，潇湘帝子游。
云去苍梧野，水还江汉流。
停骖我怅望，辍棹子夷犹。
广平听方藉，茂陵将见求。
心事俱已矣，江上徒离忧。

Dongting, where the music was spread;
Xiaoxiang, where the imperial son roamed.
Clouds go to the Cangwu wilds;
Waters return to Jiang-Han's flow.
I halt my carriage, gazing in sorrow;
You rest your oar, lingering still.
Guangping's fair name is but rising;
Maoling's talent will soon be sought.
Our hearts' affairs are all spent now -
Only parting-grief remains on the stream.

Listen

Meaning

Dongting is the place where the Yellow Emperor spread his music; Xiaoxiang is where the imperial son roams. Clouds drift to the wilds of Cangwu; waters return and flow to Jiang-Han. I halt my carriage and gaze in sorrow; you rest your oar and linger. The fame of Guangping is just being upheld; the talent of Maoling will soon be sought. Both our hearts' affairs are now spent; only parting sorrow remains upon the river.

洞庭是黄帝张乐之地，潇湘有帝子遨游。云彩飘向苍梧之野，江水回还江汉奔流。我停下车马怅然远望，你停下船桨犹豫滞留。广平的声名正待凭借，茂陵之才将受人访求。彼此心事都已成空，唯余江上徒然的离愁。

Appreciation

Xie Tiao's structure is orderly. The first four lines open in space: 'Dongting', 'Xiaoxiang', 'Cangwu', 'Jiang-Han' move from far to near and from vision to fact, tinting the Xiang lands with the myths of the Yellow Emperor's music and the imperial son's roaming, broad in air yet touched with a misty immortal feel. 'Clouds go to the Cangwu wilds; waters return to Jiang-Han's flow' writes the shifting of clouds and water as the uncertain meeting and parting of men, feeling lodged in scene. The last four lines turn to human affairs, 'I halt my carriage' answering 'you rest your oar', writing both sender and traveller; 'Guangping' and 'Maoling' use allusion to praise the friend and mourn the self. The closing 'Our hearts' affairs are all spent; only parting-grief remains upon the river' gathers deep feeling in pale words, with an endless aftertaste - a typical show of Xie Tiao's restrained, deep grace and clear, rounded beauty.

【白话串讲】 “洞庭张乐地，潇湘帝子游”——谢朓在新亭送别范云去零陵。“停骖我怅望，辍棹子夷犹”——他勒住马怅望，朋友停船徘徊。“心事俱已矣，江上徒离忧”——心事说不尽，只有江上的离愁。【意象与手法】本诗结构井然，前四句以空间展开：「洞庭」「潇湘」「苍梧」「江汉」由远及近又由虚入实，以黄帝张乐、帝子遨游的神话典故点染湘地，气象开阔而带缥缈仙意。「云去苍梧野，水还江汉流」以云水之动写聚散无常，景中寓情。后四句转入人事，「停骖」对「辍棹」，送者行者并写；「广平」「茂陵」用典誉友兼自伤。结句「心事俱已矣，江上徒离忧」以淡语收浓情，余味邈然【情感与主旨】谢朓（464—499），字玄晖，陈郡阳夏人，南朝齐著名诗人，与谢灵运并称「二谢」。范云字彦龙，曾任零陵内史，故称「范零陵」。二人同列竟陵王萧子良「竟陵八友」，交契甚深。此诗作于谢朓于新亭渚送范云赴湘地任所时。南朝士人重交游唱和，西邸文人集团尤盛；此别既是个人的朋友离散，也暗含对宦海浮沉、前途未卜的忧惧，故诗中离忧中见身世之慨【名句点睛】中高考若选此诗，多考景物描写、用典与情感。要点：一、前四句神话典故营造的意境及其与送别的关系；二、「停骖我怅望，辍棹子夷犹」的送者行者对写；三、「心事俱已矣，江上徒离忧」的淡语收浓情

Background

Xie Tiao (464-499), courtesy Xuanhui, was a famous poet of the Southern Qi, listed with Xie Lingyun as the 'Two Xies'. Fan Yun, courtesy Yanlong, served as prefect of Lingling, hence 'Fan of Lingling'. The two were both among the 'Eight Friends of Jingling' under Prince Xiao Ziliang, and were close. This poem was written when Xie Tiao saw Fan Yun off at Xinting Isle (by the river southwest of today's Nanjing) on his way to his post in the Xiang region. Southern-Dynasty men of letters prized fellowship and poetic exchange, and the Western Mansion literary clique was especially flourishing; this parting was both a personal scattering of friends and a hidden fear of the uncertain official career amid the tossing sea of office, so the parting-sorrow also carries a sigh for his own fate.

谢朓（464—499），字玄晖，陈郡阳夏人，南朝齐著名诗人，与谢灵运并称「大小谢」，又与沈约、王融等共游竟陵王萧子良西邸，为「竟陵八友」之一，曾任宣城太守，世称谢宣城。范云字彦龙，南乡舞阴人，亦「竟陵八友」之一，曾任零陵内史，故称「范零陵」；二人同列萧子良门下，交契甚深。此诗作于谢朓于新亭渚（今南京西南临江处）送范云赴湘地任所时。南朝齐武帝永明年间，西邸文人集团诗酒唱和，是齐梁文学最活跃的时期；然政局动荡，皇族倾轧，士人宦海浮沉、前途未卜。此别既是个人的朋友离散，也暗含对宦海浮沉、前途未卜的忧惧，故诗中离忧中见身世之慨。谢朓诗以清丽圆美、含蓄深婉著称，此诗即其送别诗的代表，也是理解齐梁文学与谢朓诗风的重要作品。此诗为齐梁送别诗中的名篇，其「以典写景、以景写情」的构思，为唐人送别诗（如王维《送元二使安西》）提供了直接的艺术借鉴。

Art

The structure is orderly, the first four lines opening in space: 'Dongting', 'Xiaoxiang', 'Cangwu', 'Jiang-Han' move from far to near and from vision to fact, tinting the Xiang lands with the myths of the Yellow Emperor's music and the imperial son's roaming, broad in air yet with a misty immortal feel. 'Clouds go to the Cangwu wilds; waters return to Jiang-Han's flow' writes the shifting of clouds and water as the uncertain meeting and parting of men, feeling in the scene. The last four lines turn to human affairs, 'I halt my carriage' answering 'you rest your oar', sender and traveller both written; 'Guangping' and 'Maoling' use allusion to praise the friend and mourn the self. The closing 'Our hearts' affairs are all spent; only parting-grief remains upon the river' gathers deep feeling in pale words, with an endless aftertaste - typical of Xie Tiao's restrained depth and clear, rounded beauty.

此诗结构井然，前四句以空间展开，后四句转入人事，由远及近、由虚入实。首联「洞庭张乐地，潇湘帝子游」以神话典故点染湘地：洞庭为黄帝张乐之地，潇湘有娥皇女英（帝子）遨游——友人将赴之地，气象开阔而带缥缈仙意。颔联「云去苍梧野，水还江汉流」写云水之动：云飘向苍梧，水回还江汉，以云水之聚散暗喻人世之离合，景中寓情。颈联「停骖我怅望，辍棹子夷犹」送者行者对写：我停下车马怅然远望，你停下船桨犹豫滞留——「怅望」写送者之不舍，「夷犹」出《楚辞·九歌》「君不行兮夷犹」，写行者之迟留，两情依依，宛转如见。尾联「心事俱已矣，江上徒离忧」以淡语收浓情：彼此心事都已成空，唯余江上徒然的离愁——「徒」字见无奈，余味邈然。全诗用典精切、对仗工稳，含蓄深婉，是谢朓「清丽圆美」风格的代表。尤可注意者，颈联「停骖」「辍棹」对写，一陆一水，空间对照鲜明，更见送别之情的深挚。

Allusions

The first couplet 'Dongting, where the music was spread' uses the 'Zhuangzi' tale of the Yellow Emperor playing his music in the wilds of Dongting; 'Xiaoxiang, where the imperial son roamed' transforms the tale of Ehuang and Nüying weeping for Shun at Xiaoxiang and the 'Chu Ci' 'Lady of the Xiang'. 'Cangwu' is the Nine-Doubt Mountain, said to be Shun's burial place, quietly marking the Xiang lands. 'Guangping' refers to Fan Yun (made marquis of Guangping), also echoing worthy men of Guangping of old; 'Maoling' refers to Sima Xiangru (who lived at Maoling), figuring a gifted man being sought. 'Lingering' comes from the 'Nine Songs' of the 'Chu Ci', 'my lord goes not, he lingers', writing reluctance to move. The whole poem uses allusion with precision, the Xiang imagery and the parting feeling fused without a seam.

此诗用典精切，湘地意象与别情浑融无痕。首联「洞庭张乐地」用《庄子·天运》黄帝张《咸池》之乐于洞庭之野事，以洞庭为神圣乐地，写友人赴任之地的灵秀；「潇湘帝子游」化用娥皇女英（尧之二女，舜之二妃，舜崩苍梧，二妃泣于湘江，投水为湘水之神）之典，亦承《楚辞·九歌·湘夫人》「帝子降兮北渚」之句，写湘地之神异与凄美。「苍梧」即九疑山，传为舜葬处，暗点湘地，与「帝子」之典一脉相承。「广平」指范云：范云后封广平县侯，此处以「广平听方藉」预祝其声名日盛——「听」为声望，「藉」为凭借，暗用晋代范逵等广平贤达之典；「茂陵」指司马相如：相如晚年居茂陵，因病免官，此处以「茂陵将见求」喻范云如相如之才，将受人君访求。两典皆以古人况友人，誉其才高将显，兼含自伤不遇之意。全诗用典皆切合湘地、别情与身世，精切而不晦涩，正是齐梁诗「用典精审」的典范。其用典之妙，正在于「典」与「景」「情」三者浑融。

Commentary

Shen Yue said of Xie Tiao 'in two hundred years there has been no such poetry'; Zhong Rong's 'Grading of Poets' placed him in the middle rank yet with the stature of the top, calling him 'strange stanzas and fine lines, often alert and strong'. Li Bai, 'who can say the river is clear as a spread silk, makes one long remember Xie Xuanhui', admired Tiao deeply. This poem is clear, rounded and beautiful yet holds a sombre weight; the Ming writer Hu Yinglin praised its 'strict linecraft'. Modern readers say he turned Qi-Liang ornateness into clarity and distance, opening the way for the Tang regulated poem, one of Xie Tiao's representative five-character works.

沈约称谢朓「二百年来无此诗」，钟嵘《诗品》列谢朓为中品，然谓其「奇章秀句，往往警遒」，李白《金陵城西楼月下吟》「解道澄江净如练，令人长忆谢玄晖」，于朓极倾倒。此诗清丽圆美而含沉郁：前四句写景用典，气象开阔；后四句写情对写，情致宛转。明人胡应麟《诗薮》赞谢朓「句法精严」，此诗正见其句法之精：对仗工稳而不板滞，用典精切而不晦涩，淡语收束而余味不尽。近人评谢朓将齐梁绮靡化为清远，开唐人律诗先声——此诗五言八句、对仗工整、平仄渐谐，已具律诗雏形，是永明体向唐人律诗过渡的关键作品。此诗在文学史上的意义，在于以清丽之笔写送别之情的范式：不写泪、不写悲，而以神话典故、云水意象、停骖辍棹的对写传情，含蓄深婉，为唐人送别诗提供了「以景写别、以典传情」的先声。此诗与《晚登三山还望京邑》并称谢朓山水、送别双璧，足见其在谢诗中的地位。

Prosody

Form Five-character regulated poem (Southern Qi Yongming form, nearing regulated verse)五言律诗（南朝齐永明体，渐近律化）

Rhyme Level-tone you rhyme (roam, flow, still, sought, grief), one rhyme throughout押平声尤韵（游、流、犹、求、忧），一韵到底

Tone pattern Observes level-oblique and antithesis; 'I halt my carriage' answers 'you rest your oar' neatly讲究平仄对仗，「停骖」对「辍棹」工稳，已具律诗雏形

Reading note Already has the shape of regulated verse, showing the Yongming tonal-laws' influence.此诗为五言八句，属南朝齐永明体，渐近律化，是五言律诗形成过程中的关键作品。用韵上，押平声尤韵（游、流、犹、求、忧），一韵到底，首句入韵；尤韵悠长，与送别之情的绵长相称。格律上，永明体讲究「四声八病」，谢朓此诗平仄渐谐，对仗工稳：「洞庭张乐地，潇湘帝子游」以地名对地名、以神话对神话；「云去苍梧野，水还江汉流」以「云去」对「水还」、「苍梧野」对「江汉流」，工整自然；「停骖我怅望，辍棹子夷犹」以「停骖」对「辍棹」、「怅望」对「夷犹」，虚实相对，尤见匠心——此联已成为永明体对仗的典范。结构上，此诗前四句写景（神话、云水），后四句写情（对写、收束），情景交融，已具律诗「起承转合」的雏形。全诗八句五韵，平仄渐谐、对仗工稳，是永明体向唐人律诗过渡的里程碑，体现了谢朓「新体诗」的成就，也预示了唐诗格律的成熟方向。

Line by line

洞庭张乐地，潇湘帝子游

Dongting, where the great music was played; the Xiao-Xiang, where the princesses wandered.

洞庭是黄帝张乐之地，潇湘有帝子遨游

Dongting, the place where the great music was played; the Xiao-Xiang, where the imperial princesses roamed.

首联以神话典故点染湘地，气象开阔而带缥缈仙意，是全诗写景的起点。「洞庭张乐地」用《庄子·天运》之典：黄帝曾张《咸池》之乐于洞庭之野——洞庭古为神圣乐地，写友人赴任之地（湘地）的灵秀神圣，气象阔大；「潇湘帝子游」用娥皇女英之典：帝子（尧女娥皇、女英，舜之二妃）游于潇湘，后投江为湘水之神——潇湘之地本有帝子之游，神异而凄美，与上句的「张乐」相对，一写乐、一写游，一写神圣、一写凄美，将湘地写得既灵秀又含情。此联以典写景，将抽象的地名化为有神话意味的诗境：友人此行赴湘，如赴帝子游处、张乐之地，旅程的远方因神话而有了诗意。起笔即气象不凡，为全诗定下开阔而缥缈的基调。

The music. Dongting, where the great music was played; the Xiao-Xiang, where the princesses wandered. The Dongting-music-played and the Xiao-Xiang-princesses-wandered are the opening. To have been the music place would be a being; the dongting-where-the-great-music-was-played-the-xiao-xiang-where-the-princesses-wandered is the being.

云去苍梧野，水还江汉流

Clouds go toward the Cangwu wilds; waters flow back to the Jiang-Han.

云彩飘向苍梧之野，江水回还江汉奔流

Clouds drift off to the Cangwu wastes; waters flow back, a Jiang-Han stream.

此联写云水之动，以景寓情，是全诗由神话转入现实的过渡。「云去苍梧野」写云之去：白云飘向苍梧之野——苍梧即九疑山，为舜葬处，亦在湘地，云随友人而去，暗含相送之意；「水还江汉流」写水之还：江水回还江汉奔流——江汉为楚地大川，水归其流，暗喻人各有归、聚散有时。云去水还，一去一还、一散一聚，正是人世聚散的写照：友人如云之去，飘向远方；我如江水，流回故地——以云水之聚散暗喻人世之离合，景中寓情，含蓄不露。此联以「去」「还」二字相对，写尽聚散之态：云去无凭，水还有序，一虚一实，正是别离之际送者行者心境的写照，也是齐梁诗「以景写情」的典型笔法。

The clouds. Clouds go toward the Cangwu wilds; waters flow back to the Jiang-Han. The clouds-go-Cangwu-wilds and the waters-flow-back-Jiang-Han are the departure. To have gone toward the wilds would be a going; the clouds-go-toward-the-cangwu-wilds-waters-flow-back-to-the-jiang-han is the going.

停骖我怅望，辍棹子夷犹

I stay my chariot and gaze in sorrow; you rest your oar and linger on.

我停下车马怅然远望，你停下船桨犹豫滞留

I halt my chariot and gaze in sorrow; you lay by your oar and linger unwilling.

此联送者行者对写，是全诗情致的核心，也是写别情最传神的一联。「停骖我怅望」写送者：我停住车马（骖为驾车之马），怅然远望——「停骖」写送者驻足，「怅望」写其不舍，车马已停而目光难收，伫立江畔、目送帆影之态毕现；「辍棹子夷犹」写行者：你停下船桨（棹为船桨），犹豫滞留——「辍棹」写行者停桨，「夷犹」出《楚辞·九歌·湘夫人》「君不行兮夷犹」，写犹豫迟留、欲行又止之态，含情绵长。一停一辍，一望一犹，送者与行者的两情依依，宛然如在目前：船已停、车已驻，人却不忍别、不肯去，离别之难，尽在「怅望」「夷犹」四字。此联以对仗写对写，是齐梁诗中写送别最成功的笔墨之一，也是谢朓「句法精严」的典范。

The chariot. I stay my chariot and gaze in sorrow; you rest your oar and linger on. The stay-chariot-gaze-sorrow and the rest-oar-linger-on are the farewell. To have stayed the chariot would be a staying; the i-stay-my-chariot-and-gaze-in-sorrow-you-rest-your-oar-and-linger-on is the staying.

心事俱已矣，江上徒离忧

All our hopes are ended; on the river, parting sorrow is in vain.

彼此的心事都已成空，唯余江上徒然的离愁

All our heart's concerns are over; on the river, parting sorrow is vain.

尾联以淡语收浓情，是全诗情感的归结，余味邈然。「心事俱已矣」写心事之空：彼此的心事——抱负、期盼、忧惧——都已成空，「已矣」一声长叹，写尽无奈：不是心愿未了，而是心愿已了、已空，宦海浮沉、前途未卜，一切心事皆付流水；「江上徒离忧」写离愁之空：唯余江上徒然的离愁——「徒」字是全诗的诗眼，写尽离愁之无奈：离愁本已够重，而「徒」字更进一层——这离愁也是徒然的，愁而人已去，愁而事已空，唯余江上江水滔滔，离忧漠漠。此联以「已矣」「徒」两个虚字收束，将前文的典故、云水、停骖辍棹尽数化为一声长叹：神话的缥缈、云水的聚散、车船的依依，终归于「心事俱已，江上徒忧」的空茫。淡语收浓情，含蓄不尽，正是谢朓「清丽圆美」而含沉郁的典型收束。

The sorrow. All our hopes are ended; on the river, parting sorrow is in vain. The all-hopes-ended and the on-the-river-parting-sorrow-vain are the close. To have been ended would be an ending; the all-our-hopes-are-ended-on-the-river-parting-sorrow-is-in-vain is the ending.

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Word focus

夷犹 From the 'Nine Songs' of the 'Chu Ci', 'my lord goes not, he lingers' - it describes a hesitant, lingering posture, writing the friend resting his oar, unwilling to leave, with long, tender feeling. 「辍棹子夷犹」之「夷犹」，意为犹豫迟留、徘徊不前，出《楚辞·九歌·湘夫人》「君不行兮夷犹」，是全诗写行者情态的关键词。此词写友人停桨后的迟留之态：船已停、桨已收，人却徘徊不进、欲行又止——「夷犹」二字，将行者临别之际的不舍、迟疑、百感交集写得宛转如见。用「夷犹」而不用「迟疑」「徘徊」，妙有三层：其一，出《楚辞》，承湘地之典（《湘夫人》正写湘水之畔的期待与怅惘），与此诗湘地意象浑然一体；其二，「夷犹」本有从容舒缓之意，写行者之迟留非因怯懦，而是情深难舍，迟留之中见深情；其三，与上句「怅望」相对：送者怅望，行者夷犹，两情对写，欲别还留，离别之难尽在二字。炼词精审而情韵绵长，是谢朓「用典精切」的代表。

徒 An adverb meaning 'only, merely'. 'Only parting-grief' says that all the heart's affairs end in emptiness, leaving only the parting sorrow, intensifying the helplessness and the deep pain. 「江上徒离忧」之「徒」字，为副词，空、徒然之意，是全诗情感的点睛之笔。「徒离忧」言白白地忧愁、徒然地离愁——「徒」字有三重意味：其一，写无奈——离愁既生，而人终将去，愁亦无益，徒然自苦，「徒」字见其无力回天；其二，写空茫——心事俱已，离忧徒存，愁无所依、无所寄，如江上之烟波，空茫一片，「徒」字见其心绪之虚；其三，写淡远——以「徒」字轻描淡写，将浓重的离愁化为一声轻叹，哀而不伤，正是齐梁诗「以淡写浓」的手法。此字与上句「已矣」呼应：心事已矣，故离忧亦徒——一切都空了，唯余江上徒然的离愁，余味邈然，是谢朓「淡语收浓情」的典范炼字。