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宋 Song · 词 Ci lyric

鹊桥仙·一竿风月

Que Qiao Xian — A Pole of Wind and Moon

陆游

Lu You

隐逸Reclusion 渔父The Fisherman

一竿风月，一蓑烟雨，家在钓台西住。
卖鱼生怕近城门，况肯到、红尘深处。
潮生理棹，潮平系缆，潮落浩歌归去。
时人错把比严光，我自是无名渔父。

One pole of wind and moon,
One coir-raincoat of misty rain,
My home dwells west of the Fishing Terrace.
I sell fish, yet dread to near the city gate —
How much less would I go to the dusty world's depths.
When the tide rises, I loose the oar;
When the tide levels, I moor the cable;
When the tide falls, I sing aloud and go home.
People mistake me for Yan Guang —
But I am but a nameless fisherman.

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Meaning

The poem idealizes a fisherman's life: a pole, a coir cloak, a home by the Fishing Terrace, selling fish yet shunning the city. He follows the tide's rhythm and, refusing comparison with the famous hermit Yan Guang, declares himself merely a nameless fisherman — a statement of pure, unattached reclusion.

一竿风月，一蓑烟雨，家在钓台西住。卖鱼生怕近城门，况肯到、红尘深处。潮生理棹，潮平系缆，潮落浩歌归去。时人错把比严光，我自是无名渔父。

Appreciation

[Plain Paraphrase] Lu You's 'Que Qiao Xian — A Pole of Wind and Moon': 'One pole of wind and moon, one coir-raincoat of misty rain, my home dwells west of the Fishing Terrace' — 'I sell fish, yet dread to near the city gate — how much less would I go to the dusty world's depths' — 'when the tide rises I loose the oar; when the tide levels I moor the cable; when the tide falls I sing aloud and go home' — 'people mistake me for Yan Guang, but I am but a nameless fisherman.' He writes the fisherman — I am but a nameless fisherman. [Imagery] The lyric writes fisher-reclusion through reclusion. The upper part writes the fishing household: one pole of wind and moon, one coir-raincoat of misty rain, home west of the Fishing Terrace, selling fish dreading the city gate — exhausting the household's ease. The lower writes the fisherman: tide-rise loose oar, tide-level moor cable, tide-fall sing and go home, people mistake me for Yan Guang, I am but a nameless fisherman — exhausting the fisherman's transcendence. The whole writes reclusion through fisher-reclusion, exhausting the household's ease and the fisherman's transcendence. [Feeling] Lu You, unrecognized all his life, in his later years often wrote fisher-reclusion aspirations; this lyric writes the nameless fisherman's self-contentment.

【白话串讲】陆游写《鹊桥仙·一竿风月》：“一竿风月，一蓑烟雨，家在钓台西住”——“卖鱼生怕近城门，况肯到、红尘深处”——“潮生理棹，潮平系缆，潮落浩歌归去”——“时人错把比严光，我自是无名渔父”——他写渔父——我自是无名渔父。【意象与手法】此词写渔隐，以隐逸写渔隐，是陆游的名篇。上片写渔家：「一竿风月，一蓑烟雨，家在钓台西住。卖鱼生怕近城门，况肯到、红尘深处」写一竿风月、一蓑烟雨、家在钓台西住、卖鱼生怕近城门——写尽渔家的清闲；下片写渔父：「潮生理棹，潮平系缆，潮落浩歌归去。时人错把比严光，我自是无名渔父」写潮生理棹、潮平系缆、潮落浩歌归去、我自是无名渔父——写尽渔父的超脱。全词以隐逸写渔隐，写尽渔家的清闲与渔父的超脱，是陆游的代表作。【情感与主旨】此词写渔隐，以隐逸写渔隐，是陆游的名篇。此词写陆游对渔父生活的向往与自许。陆游一生怀才不遇，晚年多写渔隐之志，此词即写无名渔父的自得。此词写渔家：一竿风月，一蓑烟雨，家在钓台西住——写一竿风月、一蓑烟雨、家在钓台西住，写尽渔家的清闲；卖鱼生怕近城门，况肯到、红尘深处——写卖鱼生怕近城门、况肯到、红尘深处，写尽渔家的避世；潮生理棹，潮平系缆，潮落浩歌归去——写潮生理棹、潮平系缆、潮落浩歌归去，写尽渔父的随潮；时人错把比严光，我自是无名渔父——写时人错把比严光、我自是无名渔父，写尽渔父的超脱。全词以隐逸写渔隐——那「一竿风月，一蓑烟雨」写尽渔家的清闲，「我自是无名渔父」写尽渔父的超脱，写尽渔家的清闲与渔父的超脱，是理解陆游渔隐词的重要篇章。【名句点睛】常考「一竿风月，一蓑烟雨，家在钓台西住」写渔家的清闲；「潮生理棹，潮平系缆，潮落浩歌归去」写渔父的随潮；以及全词以隐逸写渔隐、以三潮写渔父的手法。

Background

This lyric writes fisher-reclusion through reclusion, a famous piece by Lu You. Lu You (1125–1210), styled Wu-guan, hao Fang-weng, from Shanyin (modern Shaoxing, Zhejiang), was a Southern Song patriotic poet. The lyric writes Lu You's longing for and self-identification with the fisherman's life. Unrecognized all his life, in later years he often wrote fisher-reclusion aspirations; this lyric writes the nameless fisherman's self-contentment. The upper part writes the fishing household's ease; the lower the fisherman's transcendence — from house to father, exactly the fisher-reclusion lyric's 'writing reclusion through the fisher.'

此词写渔隐，以隐逸写渔隐，是陆游的名篇。陆游（1125—1210），字务观，号放翁，越州山阴（今浙江绍兴）人，南宋爱国诗人。此词写陆游对渔父生活的向往与自许。陆游一生怀才不遇，晚年多写渔隐之志，此词即写无名渔父的自得。此词写渔家：「一竿风月，一蓑烟雨，家在钓台西住」写一竿风月、一蓑烟雨、家在钓台西住——写尽渔家的清闲（一竿风月，一蓑烟雨，家在钓台西住）；「卖鱼生怕近城门，况肯到、红尘深处」写卖鱼生怕近城门、况肯到、红尘深处——写尽渔家的避世（卖鱼生怕近城门，况肯到、红尘深处）；「潮生理棹，潮平系缆，潮落浩歌归去」写潮生理棹、潮平系缆、潮落浩歌归去——写尽渔父的随潮（潮生理棹，潮平系缆，潮落浩歌归去）；「时人错把比严光，我自是无名渔父」写时人错把比严光、我自是无名渔父——写尽渔父的超脱（时人错把比严光，我自是无名渔父）。全词以隐逸写渔隐，写尽渔家的清闲与渔父的超脱，是理解陆游渔隐词的重要篇章。

Art

The lyric's art can be read in four aspects. First, plain description of the fishing household: 'one pole of wind and moon, one coir-raincoat of misty rain' writes the household's ease with plain description. Second, contrast for withdrawal: 'I sell fish, yet dread to near the city gate' writes withdrawal through contrast. Third, parallelism for following the tide: 'when the tide rises I loose the oar; when the tide levels I moor the cable; when the tide falls I sing aloud and go home' writes the three tides' recurrence with parallelism. Fourth, argument for transcendence: 'people mistake me for Yan Guang' writes transcendence through argument. Moreover the upper part writes the household's ease, the lower the fisherman's transcendence, from house to father — the fisher-reclusion lyric's 'writing reclusion through the fisher.' Especially notable is the detail 'I sell fish, yet dread to near the city gate' writing the depth of withdrawal — selling fish is a market livelihood, yet dreading the city gate shows the fisherman's deep aversion to the dusty world. And 'mistake' writes the world's misunderstanding — people mistake the nameless fisherman for Yan Guang; one 'mistake' word exhausts Yan Guang's lingering fame-of-refusing-summon yet my higher namelessness.

此词的艺术特色可从四个方面解析。其一，以白描写渔家。「一竿风月，一蓑烟雨」以白描写渔家——那「一竿风月」「一蓑烟雨」写尽渔家的清闲，以白描写尽渔隐的淡泊。其二，以对照写避世。「卖鱼生怕近城门」以对照写避世——那「怕近城门」「红尘深处」写尽渔家的避世，以对照写尽渔隐的志趣。其三，以排比写随潮。「潮生理棹，潮平系缆，潮落浩歌归去」以排比写随潮——那「潮生」「潮平」「潮落」写尽三潮的往复，以排比写尽渔父的随潮。其四，以议论写超脱。「时人错把比严光」以议论写超脱——那「错把」「无名渔父」写尽无名渔父的自得，以议论写尽渔父的超脱。此外，此词上片写渔家的清闲，下片写渔父的超脱，由家及父，正是渔隐词「以渔写隐」的写法。四重手法，使此词以隐逸写渔隐，写尽渔家的清闲与渔父的超脱，是陆游的代表作。此词还善于以「卖鱼生怕近城门」的细节写避世之深——那「卖鱼」本是市井营生，而生怕近城门，正是以细节写渔父畏避红尘的深致。又善以「错把」二字写时人的误解——时人错把无名渔父比作严光，一个「错」字写尽严光尚有钓名之讥、而我更无名的高一层超脱。

Allusions

The lyric's language is deep in the fisher-reclusion and transcendence tradition. 'Fishing Terrace' recalls the Yan Ling Fishing Terrace image — Yan Zi-ling's terrace on the Fuchun River; 'wind and moon' the clear-wind-bright-moon image — also 'clear wind and bright moon have no price'; 'misty rain' the mist-rain image — also Su Shi's 'one coir-raincoat of misty rain, let life be'; 'dusty world' the mortal-dust image; 'Yan Guang' uses the Yan Zi-ling allusion — the Hou Han shu records Yan Guang declining Emperor Guangwu's summons to retire and fish; 'Fishing Terrace' points to Yan Zi-ling's terrace on the Fuchun, where Lu You writes his fisher-reclusion, darkly using the Yan Guang allusion. And 'people mistake me for Yan Guang' turns a further layer — Yan Guang, though reclusive, was still famous for refusing the summons; the nameless fisherman does not even seek a name, exactly the 'perfect man has no self' transcendence, akin to the Zhuangzi's 'perfect man has no self, spirit man no merit, sage no name.'

此词的用语深植于渔隐与超脱传统。「钓台」令人想到「钓台」写严陵钓台的意象——严子陵钓台在富春江上，也令人想到「钓台西住」的意象；「风月」令人想到「风月」写清风明月的意象——也令人想到「清风明月本无价」的意象；「烟雨」令人想到「烟雨」写烟雨的意象——也令人想到「一蓑烟雨任平生」（苏轼）的意象；「红尘」令人想到「红尘」写尘世的意象——也令人想到「红尘万丈」的意象；「严光」令人想到「严光」用严子陵之典——《后汉书》载严光辞光武之召归隐垂钓，也令人想到「严陵濑」的意象。全词化用钓台、风月、烟雨、红尘、严光的意象典故，以隐逸写渔隐，正是陆游「沉郁」之外亦见淡泊、承渔隐传统写超脱之本领。「钓台」指严子陵钓台，在浙江富春江畔，相传严光隐居垂钓于此；陆游以「家在钓台西住」写渔隐之地，正暗用严光之典。而「时人错把比严光」更翻出一层——严光虽隐，尚因拒召而闻名；无名渔父连名也不求，正是「至人无己」的超脱，与《庄子·逍遥游》「至人无己，神人无功，圣人无名」的意旨相通。

Commentary

This lyric has long been praised as a famous fisher-reclusion piece by Lu You and a representative Song lyric on the fisherman. Critics rate it highly: a Qing reader called it 'reclusion through fisher-reclusion, clear and distant, light'; a modern notes 'when the tide rises I loose the oar; when the tide levels I moor the cable; when the tide falls I sing aloud and go home' as a famous line. Its special value: in the double-tune Que Qiao Xian it exhausts the fishing household's ease and the fisherman's transcendence — the one pole, the wind and moon, the one coir, the misty rain, the west of the Fishing Terrace, the selling fish, the city gate, the dusty depths, the tide rise, the tide level, the tide fall, the loud song, the Yan Guang, the nameless fisherman — all Lu You's fisher-reclusion; 'I am but a nameless fisherman' ends transcendence with argument. It pairs with Lu You's 'Zhe Gu Tian (My home by the misty smoke and setting glow)' as reclusion masterpieces — one writes 'after rolling the Huang Ting, lie and watch the hills' (Zhe Gu Tian), one writes 'one pole of wind and moon, one coir-raincoat of misty rain' (Que Qiao Xian); one mountain dwelling, one fisher-reclusion. It continues Zhang Zhi-he's 'Yu Ge Zi' ('slanting wind, fine rain, no need to return') fisherman tradition — showing the Chinese lyric's fisher-reclusion tradition. For today's reader it is a window onto Lu You's fisher-reclusion lyrics and a classic of Chinese fisherman verse — that tide-falling, home-going loud song still speaks, across millennia, the nameless fisherman's transcendence.

此词历来被推为陆游渔隐词的名篇，也是宋词写渔父的代表。历代论者对此词评价极高：清人评此词「以隐逸写渔隐，清旷淡远」；近人更指出「潮生理棹，潮平系缆，潮落浩歌归去」写渔父的随潮，是此词的名句。在词史上，此词的特殊价值在于：它以双调的鹊桥仙写尽渔家的清闲与渔父的超脱——那一竿，那风月，那一蓑，那烟雨，那钓台西，那卖鱼，那城门，那红尘深处，那潮生，那潮平，那潮落，那浩歌，那严光，那无名渔父，都写尽了陆游笔下的渔隐；那「我自是无名渔父」更以议论写尽渔父的超脱。此词与陆游《鹧鸪天·家住苍烟落照间》（「家住苍烟落照间」）同为隐逸名篇，一写「卷罢《黄庭》卧看山」的苍烟（鹧鸪天），一写「一竿风月，一蓑烟雨」的钓台（鹊桥仙）；又与张志和《渔歌子》「斜风细雨不须归」的渔父传统一脉相承，可见中国词写渔隐的传统。对于今日读者，此词是理解陆游渔隐词的窗口，也是中国词写渔父的经典——那潮落归去的浩歌，穿越千年，仍在诉说着无名渔父的超脱。

Prosody

Form Lyric (ci) — Que Qiao Xian (Magpie Bridge Immortal)词·鹊桥仙

Rhyme Rhymes on zhu, chu, qu, fu — all departing-tone (Yu category), one rhyme to the end, a light, distant music.押「住」「处」「去」「父」韵（去声六御），一韵到底，音节淡远

Tone pattern This is the Que Qiao Xian tune, rhyming in oblique (departing) tone, one rhyme to the end, a light, distant music fitting the fisher-reclusion's distance.此词为鹊桥仙词牌，押仄声韵，一韵到底，音节淡远，正合渔隐的淡远。

Reading note Que Qiao Xian is a double-tune. Upper: 'One pole of wind and moon, one coir-raincoat of misty rain, my home dwells west of the Fishing Terrace. I sell fish, yet dread to near the city gate — how much less would I go to the dusty world's depths.' Lower: 'When the tide rises, I loose the oar; when the tide levels, I moor the cable; when the tide falls, I sing aloud and go home. People mistake me for Yan Guang, but I am but a nameless fisherman.' It rhymes in the Yu category (zhu, chu, qu, fu), one rhyme to the end, a light, distant music. The whole writes reclusion through fisher-reclusion: upper the household's ease (one pole of wind and moon, selling fish dreading the city gate), lower the fisherman's transcendence (tide-rise loose oar, I am but a nameless fisherman). The double short lyric first writes household, then fisherman, ending with 'I am but a nameless fisherman' to exhaust the fisherman's transcendence — exactly Lu You's 'deep and grave' yet also light nature. Read it with a light, distant tone on 'one pole of wind and moon, one coir-raincoat of misty rain,' a broad, detached tone on 'when the tide falls I sing aloud and go home,' the closing line light with lingering resonance, to convey Lu You's clear, distant breadth. Lu You's lyrics are famed for 'deep and grave yet bold'; this is a model of his fisher-reclusion lyrics.此词为《鹊桥仙》双调，上片四句、下片四句——「一竿风月，一蓑烟雨，家在钓台西住。卖鱼生怕近城门，况肯到、红尘深处。潮生理棹，潮平系缆，潮落浩歌归去。时人错把比严光，我自是无名渔父」，押「御」韵（住、处、去、父），一韵到底，音节淡远。全词以隐逸写渔隐：上片写渔家的清闲（一竿风月、卖鱼生怕近城门），下片写渔父的超脱（潮生理棹、我自是无名渔父）。双调短章，上写渔家，下写渔父，以「我自是无名渔父」写尽渔父的超脱，正见陆游「沉郁」之外亦见淡泊的本色。诵读此词，宜以淡远的语调读「一竿风月，一蓑烟雨」的清闲，以旷达的语调读「潮落浩歌归去」的超脱，结句要读得淡远而有余韵，方能传达出陆游的清旷淡远。陆游词以「沉郁豪放」著称，此词正是其渔隐词的典范。

Line by line

潮生理棹，潮平系缆，潮落浩歌归去

When the tide rises, I loose the oar; / When the tide levels, I moor the cable; / When the tide falls, I sing aloud and go home.

潮生理棹，潮平系缆，潮落浩歌归去。

When the tide rises he plies the oar; when it stands he ties the cable; when it falls he sings aloud and goes home.

此三句是全词写随潮的核心，以潮生理棹写潮生，以潮平系缆写潮平，以潮落浩歌归去写潮落，写尽渔父的随潮，是千古名句。「潮生理棹」写潮生理棹——那「潮生」写潮生，「理棹」写理棹，写尽潮生的棹动；「潮平系缆」写潮平系缆——那「潮平」写潮平，「系缆」写系缆，写尽潮平的系舟；「潮落浩歌归去」写潮落浩歌归去——那「潮落」写潮落，「浩歌归去」写浩歌归去，写尽潮落的归去。这句的深意在于：它以「潮生理棹」的潮生与「潮平系缆，潮落浩歌归去」的潮平潮落，写尽渔父的随潮——潮生理棹，那「潮生理棹」写尽潮生的棹动——潮生即理棹，正是随潮的写照，那「理棹」写尽渔父的随潮；潮平系缆，那「潮平系缆」写尽潮平的系舟——潮平即系缆，正是候潮的写照，那「系缆」写尽渔父的随潮；潮落浩歌归去，那「潮落浩歌归去」写尽潮落的归去——潮落浩歌而归，正是乘潮的写照，那「浩歌归去」写尽渔父的超脱；那「潮生理棹」写尽潮生的棹动，那「潮平系缆，潮落浩歌归去」写尽潮平潮落的往复，一写潮生，一写潮落，写尽渔父的随潮——生而理棹、平而系缆、落而浩歌，正是随潮进退的写照；此三句以潮生、潮平、潮落写尽渔父的随潮，也为下文的无名作铺垫，也让此三句成为全词写随潮的核心与千古名句。若换作直说「他每天按潮水打鱼回家」，则失其潇洒；唯以「潮生理棹」写潮生、「潮平系缆，潮落浩歌归去」写潮平潮落，写尽渔父的随潮，也让此三句成为全词写随潮的核心。

The three lines are the core of the ci's tide-following, an age-famed passage. When the tide rises he plies the oar: tide rising the flood, plies the oar the boat set in motion. When it stands he ties the cable: tide high the slack water, ties the cable the boat made fast. When it falls he sings aloud and goes home: tide falling the ebb, sings aloud the free return. The hidden art: with the tide's rising he plies the oar, with its standing he makes fast, with its falling he sings his way home; the fisherman's whole life follows the tide's advance and retreat, and the grand song on the ebb writes his detachment. The sequence prepares the nameless that follows; to have said baldly that he fishes and goes home by the tide each day would lose the ease, and the three lines are the heart of the ci.

时人错把比严光，我自是无名渔父

People mistake me for Yan Guang, / But I am but a nameless fisherman.

时人错把比严光，我自是无名渔父。

Men of the time wrongly compare me to Yan Guang; I am simply the nameless fisherman.

此二句是全词写超脱的核心，以时人错把比严光写严光，以我自是无名渔父写无名渔父，写尽渔父的超脱，是千古名句。「时人错把比严光」写时人错把比严光——那「时人错把」写时人错把，「比严光」写比严光，写尽时人的错比；「我自是无名渔父」写我自是无名渔父——那「我自是」写我自是，「无名渔父」写无名渔父，写尽无名的自许。这句的深意在于：它以「时人错把比严光」的严光与「我自是无名渔父」的无名渔父，写尽渔父的超脱——时人错把比严光，那「时人错把比严光」写尽时人的错比——时人错比严光，正是对严光的超越，那「错把」写尽渔父的超脱；我自是无名渔父，那「我自是无名渔父」写尽无名的自许——我自是无名渔父，正是对名位的放下，那「无名渔父」写尽渔父的超脱；那「时人错把比严光」写尽时人的错比，那「我自是无名渔父」写尽无名的自许，一写时人，一写自我，写尽渔父的超脱——错比严光而无名自许，正是超然物外的写照；此二句以严光、无名渔父写尽渔父的超脱，也让此二句成为全词写超脱的核心与千古名句。若换作直说「我就是个打鱼的」，则失其淡远；唯以「时人错把比严光」写严光、「我自是无名渔父」写无名渔父，写尽渔父的超脱，也让此二句成为全词写超脱的核心。

The two lines are the core of the ci's detachment, an age-famed couplet. Men of the time wrongly compare me to Yan Guang: the men of the age the onlookers, compare me to Yan Guang the famous hermit of the Eastern Han. I am simply the nameless fisherman: I am simply the self's claim, the nameless fisherman the rejection of fame. The hidden art: contemporaries compare him to Yan Guang, who left a name by refusing the emperor's favor; but the fisherman goes further than Yan Guang, for he does not even want the fame of the hermit. Wrongly compare and nameless fisherman write a man beyond all name and station, at ease outside the world; to have said baldly that I am just a fisherman would lose the quiet depth, and the couplet is the heart of the ci.

Study

Word focus

一 In 'one pole of wind and moon, one coir-raincoat of misty rain,' the character (yi, 'one') exhausts the fisherman household's simplicity. means 'one rod, one cloak.' Lu You uses 'one pole of wind and moon, one coir-raincoat of misty rain' to write the household: the character carries two senses — first, the simplicity of things: one pole one coir is the portrait of the fisherman's plainness; second, the purity of feeling: shows the mind's purity, exhausting the fisherman's transcendence. Using for the household is the hinge of Lu You's fisher-reclusion — swap for shu or ji and it loses thecoordinate with 'pole of wind and moon, coir-raincoat of misty rain' or the sense of 'one'; only, with 'one pole of wind and moon, one coir-raincoat of misty rain,' exhausts the household's plainness and the mind's purity, joining 'when the tide falls I sing aloud and go home' to exhaust the household's ease, making this line a famous household phrase. 「一竿风月，一蓑烟雨」之「一」字是写渔家的关键词，一个「一」字写尽渔家的淡泊。一者，一根、一件也。陆游以「一竿风月，一蓑烟雨」写渔家，这个「一」字至少有双重意味：其一，写物之简——那「一竿风月，一蓑烟雨」写一竿风月、一蓑烟雨，那「一」字写尽渔家的简朴——一竿一蓑，正是渔家的写照，那「一」字写尽渔隐的淡泊；其二，写情之纯——那「一」字更是写纯——一，正见心境的纯粹，那「一」字写尽渔父的超脱。以「一」字写渔家，正是陆游写渔隐的枢纽——若换作「数」「几」等字，则或失其与「竿风月」「蓑烟雨」的配合，或失其写一的意味；唯「一」字，以一竿风月、一蓑烟雨写尽渔家的简朴与心境的纯粹，与「潮落浩歌归去」的浩歌相合，写尽渔家的清闲，也让「一竿风月，一蓑烟雨」成为全词写渔家的名句。

自 In 'but I am but a nameless fisherman,' the character (zi, 'naturally / of course') exhausts the self-contentment of being nameless. means 'originally, naturally.' Lu You uses 'I am but a nameless fisherman' to write transcendence: the character carries two senses — first, my original nature: 'I am but a nameless fisherman' is the portrait of original namelessness; second, the mind's contentment: shows the ease of self-sufficiency. Using for transcendence is the hinge of Lu You's fisher-reclusion — swap for ben or yuan and it loses thecoordinate with 'I, nameless fisherman' or the sense of 'self'; only, with 'I am but a nameless fisherman,' exhausts the original namelessness and the ease of self-sufficiency, joining 'people mistake me for Yan Guang' to exhaust the fisherman's transcendence, making this line a famous transcendence phrase. 「我自是无名渔父」之「自」字是写超脱的关键词，一个「自」字写尽无名的自许。自者，本来、自然是也。陆游以「我自是无名渔父」写超脱，这个「自」字至少有双重意味：其一，写我之本——那「我自是无名渔父」写我自是无名渔父，那「自」字写尽本来的无名——我自是无名渔父，正是本然的写照，那「自」字写尽渔父的超脱；其二，写心之足——那「自」字更是写足——自，正见自足的安然，那「自」字写尽渔隐的自得。以「自」字写超脱，正是陆游写渔隐的枢纽——若换作「本」「原」等字，则或失其与「我」「无名渔父」的配合，或失其写自的意味；唯「自」字，以我自是无名渔父写尽本来的无名与自足的安然，与「时人错把比严光」的错把相合，写尽渔父的超脱，也让「我自是无名渔父」成为全词写超脱的名句。