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南北朝 Northern and Southern Dynasties · 诗 Poem

游东田

An Outing to Dongtian

谢朓

Xie Tiao

山水/禅意landscape and meditative stillness 隐逸/田园reclusion and pastoral life

戚戚苦无悰，携手共行乐。
寻云陟累榭，随山望菌阁。
远树暧阡阡，生烟纷漠漠。
鱼戏新荷动，鸟散余花落。
不对芳春酒，还望青山郭。

Grieving, I suffer for want of joy,
so hand in hand we go out to be merry.
Following the clouds we climb the tiered terraces;
tracing the hills we gaze at the mushroom pavilion.
Far trees are dim and thickly green;
the rising mist spreads wide and blurred.
Fish frolic, and the new lotus stirs;
birds scatter, and the last blossoms fall.
I do not face the fragrant wine of spring,
but turn to look at the wall beneath the green hills.

Listen

Meaning

Full of grief and troubled by having no pleasure, I take a friend's hand and we go out to enjoy ourselves. Following the clouds we climb terrace upon terrace; tracing the hills we gaze at the mushroom-shaped pavilion. The distant trees are dim and thickly green; the rising mist spreads far and blurred. Fish frolic, and the new lotus leaves stir; birds scatter, and the last of the blossoms fall. I do not turn to the fragrant wine of spring, but look back instead at the town wall beneath its green hills.

满怀忧愁苦于没有欢乐，便与友人携手同行，一同出游寻乐。沿着云气登上重重叠叠的台榭，顺着山势遥望那如菌桂般华美的楼阁。远处的树木在暮霭中连绵朦胧，升腾的水气烟霭纷纭弥漫。游鱼嬉戏，新荷随之摇动；飞鸟散去，枝头的残花纷纷飘落。不去面对那芳香的春酒，反而回头遥望青山之外的城郭。

Appreciation

The poem passes from feeling into scene, beginning low with grief at having no pleasure and then lifting at once with the joining of hands to go out. The four middle lines are ordered in clear planes: climbing terraces and gazing at pavilions is the upward look, distant trees and rising mist the far view, frolicking fish and scattering birds the near observation, motion and stillness interwoven and the colouring clear and lovely. 'Fish frolic, and the new lotus stirs; birds scatter, and the last blossoms fall' catches an instant in fine-brush detail, and the choice of 'stirs' and 'fall' shows great ingenuity, a model of the Yongming manner in which a scene must be rendered with exactness.

【白话串讲】 “鱼戏新荷动，鸟散余花落”——谢朓游东田：鱼戏荷动，鸟散花落。“不对芳春酒，还望青山郭”——不喝酒，只想看看青山。南朝诗人的春天，清新得像一场雨。【意象与手法】全诗由情入景，先以「戚戚苦无悰」叠字低起，旋以「携手共行乐」振开，首尾言情、中间写景，章法井然。写景由仰观（寻云陟累榭）、远望（随山望菌阁）、迷景（远树暧阡阡，生烟纷漠漠）到近察特写（鱼戏新荷动，鸟散余花落），远近结合、动静相生；「阡阡」「漠漠」两组叠字状暮景迷茫，设色淡远，景语即情语，愁绪悄然渗入景物之中。【情感与主旨】谢朓（四六四—四九九），字玄晖，南齐诗人，与谢灵运并称大小谢，为竟陵八友之一，永明体代表作家。此诗写与友人同游东田以遣愁怀，山水之乐只是暂慰，末句「还望青山郭」愁绪依然萦绕，可见诗人身处南齐宗室倾轧之世、进退失据之时的隐忧，是永明体山水诗中情与景、忧与乐交织的典范。【名句点睛】「鱼戏新荷动，鸟散余花落」以工笔写瞬间，因果连动、动静相生，炼字精微，是永明体状景必工的标本；「不对芳春酒，还望青山郭」以望山收束，情以景结，言尽而意远，开唐人山水诗以景结情之先声。

Background

Xie Tiao (464-499), styled Xuanhui, was a poet of the Southern Qi, named together with Xie Lingyun as the two Xies. One of the Eight Friends of Jingling, he used to feast and roam at Dongtian, the estate laid out by Crown Prince Wenhui, son of Emperor Wu of Qi. This poem was most likely written during his years at the Western Residence in the Yongming era, describing an outing to Dongtian with friends to dispel his cares. The Qi imperial house held brilliant literary gatherings, but the political scene ran with dark currents, and the poet's opening grief at having no pleasure betrays a hidden anxiety about his own fortunes and the consolation he sought in hills and streams.

谢朓（四六四—四九九），字玄晖，陈郡阳夏（今河南太康）人，南齐诗人，与谢灵运并称「大小谢」。他出身六朝第一流的高门谢氏，少有文名，与沈约、王融、萧衍等同游于竟陵王萧子良门下，号为「竟陵八友」，是永明体声律运动的核心人物；曾出为宣城太守，世称「谢宣城」，后遭始安王萧遥光诬陷，下狱死，年仅三十六。此诗所咏之「东田」，即齐文惠太子萧长懋在京师建康（今南京）钟山脚下所辟的游赏田庄，谢朓居西邸时尝与文友游宴其间，此诗当为永明年间在西邸时期所作，写与友朋同游东田以遣愁怀。时代背景上，永明年间齐武帝在位，文会虽盛、诗坛虽新（永明体讲究四声八病），而宗室猜忌暗流涌动，武帝身后诸王相残，诗人身处其间，「戚戚苦无悰」正透露出对身世与时局的隐忧，山水之游于他不啻精神的慰藉与暂时的逃遁。全诗以「行乐」起、以「望山」终，乐未成而愁已续，正是这种忧乐交织心境的自白。又，东田之游本是文惠太子门下文士风雅生活的一部分，谢朓另有《落日怅望》等作同咏东田，可见此地实为其精神上的清凉世界；此诗「寻云」「望阁」的登临之兴与「还望青山」的怅惘之思，正是这一精神世界的忠实投影。

Art

The poem moves from feeling into scene, opening low with grief at having no joy and then springing open with the taking of hands to go out. The four middle lines set out the view by clear degrees: climbing terraces and gazing at the pavilion is the upward look, the far trees and rising mist the distant prospect, the frolicking fish and scattering birds the close inspection; motion and stillness are interwoven and the colouring is clear and fine. 'Fish frolic, and the new lotus stirs; birds scatter, and the last blossoms fall' renders a passing instant in meticulous strokes, and words such as 'stirs' and 'fall' are marvels of contrivance, exemplary of the Yongming style in which the depiction of a scene must be exact.

此诗章法为「首尾言情、中间写景」，首句「戚戚苦无悰」以叠字低起，定下忧的基调；次句「携手共行乐」陡然振开，忧乐并举，为全诗的情感张力奠基。中间四句写景，层次极为分明：先仰观——「寻云陟累榭」写缘云而上、步步登高，一「寻」字见探幽之兴；继远望——「随山望菌阁」顺山势纵目，一「随」字写步移景换；再拓远景——「远树暧阡阡，生烟纷漠漠」，以两组叠字写暮霭中远树连绵、水烟弥漫的迷茫之景，设色淡远，正与诗人心中那缕挥之不去的愁绪同构；后落近景——「鱼戏新荷动，鸟散余花落」以工笔捕捉水中与空中的瞬间动态。远近相形、俯仰有致、动静相生，构成一幅清丽而略带怅惘的春日游眺图。末二句「不对芳春酒，还望青山郭」回扣开篇，以「不对」反写愁深——美酒不足以解忧，唯山水可托；一个「还」字转出望山之态，情以景结，言尽意远。全诗由情入景、由景归情，情语景语熔于一炉，正是永明体山水诗由大谢的繁富典重转向清丽省净的标志。全诗十句一气流转，无一处闲笔，正是《文心雕龙·明诗》所谓「情必极貌以写物，辞必穷力而追新」的实践。

Allusions

The poem uses no obvious allusion and paints its scene in plain description. Only the mushroom pavilion takes its language from the 'Summons for a Recluse' in the 'Songs of Chu', where pavilions of mushroom and towers of thoroughwort figure the exquisiteness of a building; and the word for pleasure in the opening line comes from the biography of Dongfang Shuo in the 'History of the Han'. Old words are used without leaving a trace, and the whole wins by freshness and naturalness, unlike the weighty erudition of Yan Yanzhi and his kind.

此诗以白描写景为主，用事隐而不露，然细按亦自有渊源。其一，「菌阁」语本《楚辞·招隐士》「菌阁兮蕙楼」之句，菌即菌桂（一说芝菌），旧注以为以香木菌桂饰阁，状楼阁之高洁华美，谢朓化用其字面，兼取楚辞山林高士的隐逸韵味，与全诗「寻云」「陟榭」的幽深之思暗合。其二，「无悰」之「悰」训欢乐，为汉代以来书面雅语（旧注或引《汉书》训诂），谢朓用之以写「苦无悰」的怅惘，语古而意新。其三，「远树暧阡阡」之「阡阡」通「芊芊」，本《广雅》草木盛貌之训，叠字状远树连绵，兼含朦胧之意。其四，「鱼戏新荷动」化用汉乐府《江南》「鱼戏莲叶间」的江南风物传统，将民歌的清新注入士人山水诗。其五，「还望青山郭」之青山意象承谢灵运山水传统与陶渊明「暧暧远人村」的田园余韵，寄归隐之思于远望之中。全诗用古语、古事而不露痕迹，如盐入水，整体以清新自然取胜，与颜延之辈的典重堆砌判然有别，正见永明体「清丽」的审美取向。由是观之，本诗之用典，不在炫学，而在化古为今、以古语写新境，正是六朝后期「用典如己出」的典范。

Commentary

Li Bai admired Xie Tiao greatly, writing that whoever can say the clear river is pure as white silk will long be remembered as Xie Xuanhui. Wang Shizhen praised him for a brilliance that shines in the sun and a clarity that is bright and pure. Shen Yue said there had been no such poetry for two hundred years. Later ages set the lesser Xie beside the greater, granting that his landscape poems are clear, lovely and natural, and that they sound the first note of Tang regulated verse.

谢朓在世时即享盛名，沈约称其诗「二百年来无此诗也」（见《南齐书》本传），虽为过誉，亦见时论之推重。钟嵘《诗品》列谢朓于中品，谓其「一章之中，自有玉石」，既赏其秀句又惜其未能篇篇皆工，然对其「奇章秀句，往往警遒」则无异议。唐代诗人对谢朓倾倒尤甚，李白一生低首谢宣城，「解道澄江净如练，令人长忆谢玄晖」之句直以谢朓为山水诗之典范；杜甫亦谓「谢朓每篇堪讽诵」。清人王士禛称其诗「风华映日，清明澄秀」，沈德潜《古诗源》录其诗而许以「灵心秀口」。就文学史而言，谢朓上承谢灵运山水诗的模山范水，而下开唐人山水诗（王维、孟浩然）之先河，其永明体的声律讲求与清丽语言，直接催生了近体诗；本诗「鱼戏新荷动，鸟散余花落」等句对瞬间动态的精微捕捉，正是严羽《沧浪诗话》所谓谢朓「已有全篇似唐人者」的具体呈现。一首十句的小诗，遂成为六朝诗向唐诗过渡的关键标本。后世学谢者众，李白《秋登宣城谢朓北楼》「谁念北楼上，临风怀谢公」、王维山水诗之空灵，皆可溯源于此，足见谢朓以清丽之笔写山水情思的深远影响。

Prosody

Form Five-character old-style poem (Yongming manner)五言古诗（永明体）

Rhyme Old style, rhyming across the entering-tone groups yao, mo, xi and zhi古体五言，隔句押韵，韵脚为「乐」「阁」「漠」「落」「郭」，皆属平水韵入声十药韵，仄声入韵，收音短促，声情低抑，与游赏之余的怅望之情相合。

Tone pattern Five characters, tending toward tonal regulation, already showing Yongming parallelism五言句式，已具永明体声律讲求：句中双音词平仄交错（如「寻云」「随山」「鱼戏」「鸟散」），中四句两两对仗工稳（「寻云陟累榭」对「随山望菌阁」，「远树暧阡阡」对「生烟纷漠漠」，「鱼戏新荷动」对「鸟散余花落」），音律渐趋和谐，接近律句。

Reading note Xie Tiao's landscape verse, clear, lovely and finely wrought, sounding the first note of Tang regulated poetry.此诗为五言古诗，属永明体，体制上介于汉魏古体与唐代近体之间。永明体由沈约、谢朓、王融等人倡导，讲究四声八病，追求音律的谐美；此诗虽未完全律化，却已明显呈现律化的趋向：句式整齐的五言，中四句两两对仗，韵脚一律押入声药韵，平仄亦渐调谐，故严羽《沧浪诗话》谓谢朓「已有全篇似唐人者」，正指此类作品。入声韵的选用尤值得玩味：乐、阁、漠、落、郭五字皆入声，收音短促急迫，诵读时如击节而歌，与全诗「戚戚」的忧思和「还望」的怅惘声情相合，韵与情谐。全诗十句，语言清丽自然，以白描为主，不堆砌典故，音节流美而不失古意，是永明体山水诗从「模山范水」走向「清丽省净」的代表，也是六朝诗通向唐诗的一座津梁。

Line by line

戚戚苦无悰，携手共行乐

Grieving, I suffer for want of joy; hand in hand we go out to be merry.

满怀忧愁苦于没有欢乐，便与友人携手同行，一同出游寻乐。

Full of cares and weary of joylessness, I take a friend's hand to seek pleasure together.

起句直言情，为全诗定下忧乐交织的基调。「戚戚」叠字连用，写忧思萦怀、不能自已的情状，语出《论语·述而》「君子坦荡荡，小人长戚戚」，暗含对自身处境的省察；「苦无悰」三字以「苦」字加重愁的分量，「悰」训欢乐，谓苦于无乐可遣。次句「携手共行乐」陡然振起，以「共」字写友朋相携之欢，以「行乐」回应「无悰」，一忧一乐、一抑一扬，形成全诗的情感落差。这一起一伏并非简单的情绪转换：正因为「苦无悰」，才须「行乐」以自遣，乐是被忧逼出来的。而全诗结尾「还望青山郭」复归愁绪，恰恰证明山水之乐只是暂慰——起句之「戚戚」实为全诗的情感之根，次句之「行乐」则是暂时浮起的水花，忧乐交织的张力由此贯穿始终。

The cares. Full of cares and weary of joylessness, I take a friend's hand to seek pleasure together. The cares-weary-joylessness and the take-hand-seek-pleasure are the opening. To have been weary of joylessness would be a weary-ness; the full-of-cares-and-weary-of-joylessness-i-take-a-friend's-hand-to-seek-pleasure-together is the weary-ness.

寻云陟累榭，随山望菌阁

Following the clouds we climb the tiered terraces; tracing the hills we gaze at the mushroom pavilion.

沿着云气登上重重叠叠的台榭，顺着山势纵目眺望那如菌桂妆饰般华美的楼阁。

Seeking the clouds I climb the piled terraces; following the hills, I gaze at the parasol pavilions.

此联写登览之乐，是「携手共行乐」的第一次展开，以动态写游兴。「寻云」言云气缭绕、似可追寻，「陟累榭」写缘梯而上、层台历历，「寻」「陟」二字连用，步步升高、探幽访胜之意宛然；「随山望菌阁」则改登为望，一「随」字写视线顺着山势游移，步移景换，如画图次第展开。「菌阁」语本《楚辞·招隐士》，以香木喻楼阁之华美高洁，既写实景，又暗含对高士之境的神往。仰观与远望结合，登临之乐溢于言表；而「寻云」「望阁」的指向皆为高远幽深之处，正见诗人于山水间寻求精神超脱的潜意识，为末句「还望青山郭」的归隐之思预埋线索。

The terraces. Seeking the clouds I climb the piled terraces; following the hills, I gaze at the parasol pavilions. The seeking-clouds-climb-terraces and the following-hills-gaze-pavilions are the ascent. To have climbed the terraces would be a climbing; the seeking-the-clouds-i-climb-the-piled-terraces-following-the-hills-i-gaze-at-the-parasol-pavilions is the climbing.

远树暧阡阡，生烟纷漠漠

Distant trees are dimly thick; rising mists spread far and wide.

远处的树木在暮霭中连绵朦胧，升腾的水气烟霭纷纭弥漫。

Distant trees are dim and endless; rising mists spread far and wide.

此联由近景转远景，是全诗由乐入愁的转折点。「远树」承上「望」字而来，写纵目所及；「暧」字写暮色（或烟霭）笼罩下树木的朦胧，「阡阡」通「芊芊」，叠字状远树连绵无尽之态；「生烟」写水面或山间升腾的水气，「纷漠漠」叠字写烟霭纷纭弥漫、无边无际。两组叠字相对而出，音节舒徐，设色淡远，绘出一派迷茫空阔的暮景。妙在景语即情语：远树的「暧」、烟霭的「漠漠」，与诗人心中那缕挥之不去的隐忧同构——迷茫的不是景物，而是心境。此联以迷茫之景吞没前文的登临之乐，为下文由动转静、由乐转愁蓄势，是章法上承上启下的关键，亦见谢朓善以景写情的功力。

The mists. Distant trees are dimly thick; rising mists spread far and wide. The distant-trees-dimly-thick and the rising-mists-far-wide are the turning. To have spread far and wide would be a spreading; the distant-trees-are-dimly-thick-rising-mists-spread-far-and-wide is the spreading.

鱼戏新荷动，鸟散余花落

Fish frolic, and the new lotus stirs; birds scatter, and the last blossoms fall.

游鱼嬉戏，新荷随之摇动；飞鸟散去，枝头的残花纷纷飘落。

Fish sport, and the new lotuses stir; birds scatter, and the last blossoms fall.

此联是全诗最见工力的工笔特写，以瞬间动态写盎然生机，是永明体「状景必工」的典范。「鱼戏新荷动」写水中：鱼是动的因，新荷是动的果，一「戏」字写鱼之活泼，一「动」字写荷之回应，因果连动、体物入微，仿佛镜头捕捉到鱼尾扫过荷茎的那一瞬；「鸟散余花落」写空中：鸟散是因，花落是果，一「散」一「落」写出惊鸟离枝、残英纷坠的联动画面。两句对仗工整，动中有静、静中有动，色彩上「新荷」之碧对「余花」之红，明丽如画。尤妙在「余花」二字：花开至「余」，春已将暮，乐景中暗含惜春之意，与全诗「戚戚」的愁根悄然接通，使写景不止于写景，而成为忧乐交织情感的有机部分，正是谢朓高出侪辈处。

The fish. Fish sport, and the new lotuses stir; birds scatter, and the last blossoms fall. The fish-sport-lotuses-stir and the birds-scatter-blossoms-fall are the detail. To have sported would be a sporting; the fish-sport-and-the-new-lotuses-stir-birds-scatter-and-the-last-blossoms-fall is the sporting.

不对芳春酒，还望青山郭

I do not face the fragrant wine of spring, but turn to look at the wall beneath the green hills.

不去面对那芳香诱人的春酒，反而回头遥望青山之外的城郭。

I turn from the fragrant spring wine; back I gaze toward the green hills beyond the city.

此联为全诗收束，情以景结，余韵悠长。「不对芳春酒」以反笔写愁深：芳春美景、美酒在侧，本是行乐之具，诗人却偏偏「不对」，一个「不对」写出对酒不能解忧的清醒，也透出愁绪之深非杯酒所能消释；「还望青山郭」则转出正面姿态——宁可回望青山之外的城郭。「还」字下得极妙，既写回头望山的动作，又暗示此前曾久久注目山水、此刻犹恋恋不舍的心绪；「青山郭」由近及远，城郭之外是青山，青山之外是更远的归处，归隐之思尽在不言中。此联回扣首句「戚戚苦无悰」，行乐未能消忧，山水终成寄托，首尾环合，言尽而意远，为唐人山水诗「以景结情」之法导夫先路。

The wine. I turn from the fragrant spring wine; back I gaze toward the green hills beyond the city. The turned-from-fragrant-wine and the back-gaze-green-hills-city are the close. To have turned from the wine would be a turning; the i-turn-from-the-fragrant-spring-wine-back-i-gaze-toward-the-green-hills-beyond-the-city is the turning.

Study

Word focus

戚戚 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「戚戚苦无悰」之「戚戚」叠字，是全诗情感之根。语出《论语·述而》「君子坦荡荡，小人长戚戚」，本写小人多忧之态，谢朓借以自况，暗含对自身处境的省察——身为高门子弟、竟陵宾客，身处宗室倾轧的南齐政局，忧患意识如影随形。叠字连用，音节低回，使抽象的「忧」化为可感的绵密情态，如丝如缕、挥之不去；与下句「携手共行乐」之「乐」字对举，一忧一乐，奠定全诗忧乐交织的基调。「戚戚」又为全诗首二字，先声夺人，为后文山水之游的「暂慰」与「终愁」埋下伏笔，炼字之精，首在立意。

阡阡 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「远树暧阡阡」之「阡阡」通「芊芊」，叠字状草木茂盛、连绵无尽之貌，是全诗写远景的关键字眼。「远树」已写距离之远，「阡阡」再以叠字渲染其绵延不绝，与下句「漠漠」相对成文——一词写树之连绵，一词写烟之弥漫，两组叠字音节舒徐、设色淡远，共同营造出暮霭迷茫的意境。尤妙在「暧」与「阡阡」的配合：单写「阡阡」仅状其盛，冠以「暧」字则树色在暮霭中朦胧隐现，盛而含昧，迷茫之态毕现。而迷茫的又岂止景物？诗人心中挥之不去的隐忧，正借这组叠字悄然渗透出来，景语即情语，故历来论者多拈此联为全诗写景抒情融合的枢纽。

动 'Stirs' catches the moment when the new lotus leaves are moved by the play of fish beneath them; a single verb makes the still scene live, exact and unforced. 「鱼戏新荷动」之「动」字，是全诗炼字最精微的一笔。「鱼戏」本是《江南》「鱼戏莲叶间」的旧意象，谢朓不用「鱼戏莲叶」的惯常写法，而以「新荷动」作结，一「动」字写出鱼尾扫过荷茎、新荷应势轻摇的瞬间动态，因与果在一字之间连动，体物入微，仿佛亲见。此字之妙有三：一在准确，鱼戏是动因、荷动是结果，因果链完整；二在传神，「动」字赋予静态的新荷以活泼的生命感，与下句「鸟散余花落」之「落」对举，一水中一空中、一动一落，写出春景的生机与将暮；三在见情，新荷之「动」是乐景，而「余花落」已带惜春之意，一动一落之间，忧乐悄然转换。炼字如画，正是永明体「状景必工」的最佳注脚。

游东田