All poems

宋 Song · 诗 Poem

陈与义·襄邑道中

On the Road to Xiangyi

陈与义

Chen Yuyi

山水landscape 行旅travel

飞花两岸照船红，百里榆堤半日风。
卧看满天云不动，不知云与我俱东。

Flying petals on both shores shine red on the boat,
A hundred li of elm dyke, half a day's wind afloat.
Lying, I watch the clouds in the sky unmoving,
Not knowing that the clouds and I are eastward together.

Listen

Meaning

The poet travels by boat, enjoying the swift journey with a favorable wind. He observes flying flowers and lying clouds, initially thinking the clouds are still, but realizes they are moving east just like him, capturing a moment of physical insight and leisure.

两岸落花飞舞，映照得船帆一片红艳；沿着百里榆树长堤，半日之间借着顺风疾行。躺卧船中仰望满天白云仿佛凝然不动，却不知那云和我其实都在向东飞驰。

Appreciation

The poem depicts a swift boat journey with vivid imagery and philosophical charm. The first two lines emphasize speed through color and time-distance contrast, while the last two lines play with the illusion of stillness versus relative motion, blending visual experience with rational interest.

【白话串讲】陈与义坐船，两岸飞花映红了船，榆堤百里半天就过了。他躺着看云，“卧看满天云不动，不知云与我俱东”——原来是云和他一起向东走。古人的物理课，这么诗意。【意象与手法】前两句写舟行：「飞花两岸照船红」设色明丽，「百里榆堤半日风」以时空极言风利舟疾，叙事中见轻快。后两句转写卧观：「满天云不动」写视觉错觉之静，「不知云与我俱东」以物理之真破静——云船同速东驶，故相对若静。以静写动、错觉与真相相生，理趣与画趣交融，构思巧妙。【情感与主旨】陈与义（简斋）为江西诗派后期大家，南渡后诗风转为沉郁。此《襄邑道中》作于政和年间（约1113—1117）自洛阳赴汴京途中。时诗人方壮，春风得意，舟行顺风，卧看流云，遂有此轻快即景之作，与其后期《伤春》《登岳阳楼》等家国沉痛之作迥异，可见简斋诗风前后之变。【名句点睛】中高考常考：①画面与意境——飞花映船、顺风疾行、卧看云动的明丽开阔之境；②「云不动」的错觉与「俱东」的真相所蕴含的理趣；③以静写动、虚实相生的手法；④叠词「满天」与炼字「俱」的妙处。

Background

Chen Yuyi was a major poet of the Jiangxi School during the Northern-Southern Song transition. This poem was written in his youth on a journey to the capital, showing his early optimistic and carefree style, in contrast to his later sorrowful works after the fall of the Northern Song.

陈与义（1090—1138），字去非，号简斋，洛阳人，宋代诗人，江西诗派后期大家，与黄庭坚、陈师道并称江西诗派「三宗」。此《襄邑道中》作于宋徽宗政和年间（约1113—1117），时陈与义二十余岁，自洛阳赴汴京（开封）途中，经襄邑（今河南睢县）时所作。时值暮春，诗人乘舟沿汴水东行，两岸飞花、百里榆堤，顺风疾行，心情轻快，遂有此即景之作。陈与义早年学诗于江西诗派，讲究字句锤炼与典故运用，然此诗却纯为舟行即目写生，语言清畅自然，不见江西诗派雕琢之习，正见其早年「态备众体」、取径多元的一面。南渡之后（1127年靖康之变），陈与义诗风骤变，转为沉郁悲壮，多写家国之痛，《伤春》《登岳阳楼》等即是。此诗与其后期诗风迥异，是研究陈与义诗风前后之变的重要作品，也是宋代山水行旅诗中以理趣见长的名篇。又此诗写于汴河舟行途中，汴河为北宋漕运命脉，两岸榆柳成行、村落相望，正是北宋承平时代的典型风物，诗中那一片轻快明丽，实为盛世光影的折射，南渡之后，此景此情皆成追忆，故其史料价值亦为论者所重。

Art

The first two lines use bright colors ('flying flowers reflect red') and temporal-spatial contrast ('a hundred li in half a day') to convey speed. The last two lines shift to a philosophical observation: the clouds seem motionless due to relative motion, cleverly combining visual illusion and physical truth to create intellectual and pictorial interest.

此诗艺术上以「错觉入诗」为最大特色，理趣与画趣交融。前两句写舟行：「飞花两岸照船红」设色明丽——暮春时节，两岸落花纷纷，花瓣映照水面与船身，一片红艳，「照」字化静为动，将飞花与船连成一片红色的流动画面；「百里榆堤半日风」以时空对举极言风利舟疾——百里长堤，半日即过，空间之广与时间之短相形，舟行之速如在目前，叙事中见轻快。后两句是全诗的精彩所在：「卧看满天云不动」写诗人躺卧船中仰望天空，满天白云仿佛凝然不动，这是视觉的错觉——船云同速东驶，相对静止，故看云若不动；「不知云与我俱东」以物理之真破静——诗人猛然醒悟，云不是不动，而是与船同向东行，「俱东」二字点破相对运动的真相。以静写动、错觉与真相相生，前两句写舟行之快，后两句写悟理之趣，理趣与画趣交融，构思巧妙，正是宋代诗歌「以理入诗」的特色。全诗以「快」为骨，而以「静」写快，虚实相生，正是绝句写速度的神来之笔。

Allusions

This poem uses no historical allusions. It is based on direct observation and the principle of relative motion, demonstrating Chen Yuyi's early clear and natural style, free from allegorical or political overtones.

此诗用典极少，纯为舟行即目写生，然个别语汇自有渊源。「飞花」意象承唐人诗绪：杜甫《曲江》「一片花飞减却春」、韩翃「春城无处不飞花」皆以飞花写暮春，陈与义以「飞花两岸」写舟行之景，设色更为明丽。「榆堤」为实写，汴河两岸多植榆柳，柳絮榆钱纷飞，正合暮春时节。「满天云不动」的错觉入诗，与李白《早发白帝城》「朝辞白帝彩云间，千里江陵一日还」写舟行之快相类，然李白以山水写快，陈与义以物理写快，取向不同；又近苏轼「不识庐山真面目，只缘身在此山中」的哲理诗传统，皆从日常景物中悟出理趣。「俱东」直写方向，非用典，然以相对运动之理入诗，实开宋代「物理诗」之先声，体现陈与义早年「态备众体」、清畅自然的一面，与其后来「忧国感慨」之作取径不同，可见简斋诗风之广。又「半日风」之「风」承《庄子·逍遥游》「列子御风而行」之快意意象，暗含乘风而行、御风而游的逍遥之趣，以舟行之快写心境之畅，正是「快意」二字的形象化，其用典不着痕迹，浑然天成。

Commentary

Chen Yuyi's early poems are clear and pleasant. This poem is praised for its blend of scenery and rational interest. Qian Zhongshu noted its 'physical charm'. It is often compared with Li Bai's and Su Shi's travel poems for its clever use of relative motion.

此诗为陈与义早年行旅诗的名篇，历代评价甚高。近人钱锺书《宋诗选注》选录此诗，称其「写舟行错觉，很有理趣」，指出「卧看满天云不动，不知云与我俱东」一联以相对运动的物理现象入诗，是宋诗「以理入诗」的典型例证。陈与义诗早年学杜甫、苏轼，清畅可观，此诗正是其早年风格的代表：语言清丽，意象明快，理趣盎然，不见江西诗派末流的生硬雕琢。论者以为「卧看满天云不动」一联，可与李白「孤帆远影碧空尽」、苏轼「不识庐山真面目」并参，皆得行旅观物之妙。从诗史角度看，此诗以日常物理入诗，体现了宋诗区别于唐诗的特质——唐诗以情韵胜，宋诗以理趣胜，陈与义此作正是宋诗这一特质的生动体现。此诗与《登岳阳楼》《伤春》对照，可见简斋诗风由早年的清畅理趣到晚年的沉郁悲壮的转变轨迹。故论宋诗者常以此诗与苏轼《题西林壁》、朱熹《观书有感》并举，为宋诗「理趣」的三个代表，可见其在文学史上的定评。

Prosody

Form Seven-character quatrain, Song dynasty, Chen Yuyi (Northern/Southern Song transition)七言绝句，宋·陈与义（南北宋之际）

Rhyme Level tone rhyme: hong, feng, dong (Pingshui rhyme category 'east')平水韵·上平一东韵：红、风、东

Tone pattern First line rhyme, level tone start and finish首句入韵，平起平收：「飞花两岸照船红」为平平仄仄仄平平，平仄合律，音节流美

Reading note A quatrain depicting a boat journey and the interest of relative motion, clear and open, showing Chen Yuyi's early style.此诗为七言绝句，首句入韵，平起平收，押平水韵上平一东韵，「红」「风」「东」三字一韵到底。一东韵字音洪亮开阔，与全诗明快开阔的意境相谐。全诗四句：前两句写舟行所见，设色明丽、叙事轻快；后两句写卧观所悟，错觉与真相相生、理趣盎然，起承转合分明。绝句体最重「以小见大」，此诗以二十八字写一次舟行中的物理发现，前两句写景为「实」，后两句悟理为「虚」，虚实相生。尤其「卧看满天云不动，不知云与我俱东」一联，以相对运动的物理现象入诗，打破了一般绝句写景抒情的套路，体现了宋诗「以理入诗」的独特趣味，也是陈与义早年「清畅理趣」诗风的代表，为宋代七绝中别具一格之作。

Line by line

飞花两岸照船红

Flying flowers on both banks reflect the boat red. This line uses vivid color and dynamic imagery to suggest the boat's speed and the beauty of the scene.

两岸落花飞舞，映照得船帆一片红艳。

Flying blossoms on both banks, glowing red on the boat.

「飞花两岸照船红」为全诗首句，七字写尽暮春舟行之美。「飞花」点明时节与动态——暮春时节，落花纷纷，随风飞舞，一个「飞」字写尽落花的轻盈与生机；「两岸」写花之盛——不是一处有花，而是两岸皆是，落花如雨；「照船红」是此句的精彩处：「照」字写落花映照水面、映照船身，花瓣的红色与船帆、水光连成一片，船竟被照得通红。此句设色明丽，红艳夺目，以「照」字化静为动，将飞花、流水、舟船连成一片流动的红色画面，起笔即营造出明快喜悦的基调。一个「照」字，是全句的诗眼，将暮春飞花的视觉冲击力写得如在目前。

Flying blossoms on both banks, glowing red on the boat is the poem's first line, seven words exhausting the beauty of the late-spring boat journey. Flying blossoms marks the season and the motion — late spring, the fallen petals drifting in the wind, the single word flying exhausting the fallen petals' lightness and life; both banks writes the blossoms' abundance — not one bank, but both, the fallen petals like rain; glowing red on the boat is the line's brilliance: the word glowing writes the fallen petals lit on the water and on the boat, the petals' red joined with the sail and the water-light, the boat lit quite red. The line sets color bright, the red striking, the word glowing turning the still into the moving, joining the flying blossoms, the flowing water, the boat into one flowing red picture, fixing at the opening the bright, joyous tone. The single word glowing is the line's eye, writing the visual impact of the late-spring flying blossoms as before the eyes.

百里榆堤半日风

A hundred li of elm dyke, half a day's wind. Contrasting distance (hundred li) and time (half a day) to emphasize the swift journey with a favorable wind.

沿着百里榆树长堤，半日之间借着顺风疾行。

The elm-lined embankment, a hundred li, half a day's following wind.

「百里榆堤半日风」为全诗次句，以时空对举写舟行之速。「百里」写空间之广——沿堤行了百里之遥；「半日」写时间之短——只用半天工夫；「风」点明舟行之凭借——顺风而行，故能疾驰。此句之妙在「百里」与「半日」的强烈对比：百里之路，半日即过，空间之广与时间之短相形，舟行之速、心情之快跃然纸上。「榆堤」点明行舟之所——汴河两岸的榆树长堤，暮春榆钱纷飞，与上句「飞花」呼应。「风」字虽只一个，却是全句的机关——顺风则舟疾，舟疾则半日百里，风是速度的源泉，也是全诗轻快心情的象征。此句叙事中见轻快，与首句写景相映，一画一速，为后两句的卧看云动蓄势。

The elm-lined embankment, a hundred li, half a day's following wind is the poem's second line, writing the boat's speed through the space-time contrast. A hundred li writes the breadth of space — along the embankment a hundred li traveled; half a day writes the shortness of time — only half a day used; wind marks the boat's reliance — the following wind, hence the swift going. The beauty lies in the strong contrast of the hundred li and the half day: the hundred-li road passed in half a day, the breadth of space set against the shortness of time, the boat's speed and the mood's joy leaping onto the paper. The elm embankment marks the boat's way — the elm-lined embankments of the Bian River, the late-spring elm seeds flying, answering the flying blossoms above. The single word wind, though one character, is the line's mechanism — the following wind and the boat swift, the boat swift and the hundred li in half a day, the wind the source of speed, and also the symbol of the poem's light mood. The line shows the lightness in the narration, set against the first line's scene, one picture one speed, storing force for the last two lines' lying-watching the moving clouds.

卧看满天云不动

Lying, I watch the clouds in the sky unmoving. Describes the visual illusion of stillness caused by relative motion, setting up the philosophical twist.

躺卧船中仰望满天白云仿佛凝然不动。

Lying back, I watch the clouds fill the sky and seem not to stir.

「卧看满天云不动」为全诗第三句，由舟行转入卧观，是全诗理趣的发端。「卧看」写观景之态——诗人躺卧船中，仰面看天，姿态闲适，正见其心情之放松；「满天」写云之盛——天上白云朵朵，布满天空；「云不动」写视觉印象——云仿佛凝然不动，静止在那里。此句之妙在于「云不动」三字：以常理言之，云随风动，怎会不动？然诗人此时与云同速东驶，相对静止，故视云若不动，这是典型的相对运动造成的视觉错觉。诗人不写舟行之快，而写云之「不动」，正是以静写动：云之静，反衬舟之快；舟之快，反见云之「静」是错觉。此句为末句「不知云与我俱东」的悟理蓄势，构思巧妙，理趣已伏。

Lying back, I watch the clouds fill the sky and seem not to stir is the poem's third line, turning from the boat's going to the lying gaze, the start of the poem's speculative charm. Lying back writes the bearing of gazing — the poet lying in the boat, looking up at the sky, the posture easy, precisely the mind's relaxation; fill the sky writes the clouds' abundance — the white clouds filling the sky; not to stir writes the visual impression — the clouds seeming frozen, still there. The beauty lies in the three words not to stir: by the common reason, the clouds move with the wind, how could they not stir? Yet the poet now, moving east at the cloud's own speed, relatively still, hence seeing the clouds as not stirring, the visual illusion of typical relative motion. The poet not writing the boat's speed, but writing the clouds' not stirring, precisely the still writing the motion: the clouds' stillness sets off the boat's speed; the boat's speed shows the clouds' stillness as illusion. The line stores force for the closing's not knowing that the clouds and I are both drifting east, the conception clever, the speculative charm already planted.

不知云与我俱东

Not knowing that the clouds and I are eastward together. Reveals the truth of relative motion, combining physical insight with poetic cleverness.

却不知那云和我其实都在向东飞驰。

Not knowing that the clouds and I are both drifting east.

「不知云与我俱东」为全诗结句，点破错觉，是全诗理趣的完成。「不知」二字写恍然大悟前的懵然——诗人起初不知云也在动；「云与我俱东」点破真相——云并非不动，而是与船同向东行，船速云速相同，故相对静止。「俱」字是此句的关键：云与我「俱」东，同向同速，这才是「云不动」的真正原因。此句以物理之真破视觉之静，将「卧看云不动」的错觉与「俱东」的真相并置，错觉与真相相生，理趣盎然。更妙的是，此句兼有言外之趣：云与我俱东，正是舟行之快的最好证明；而诗人悟出此理时的那份会心一笑，也跃然纸上。全诗由景入理，以理收束，构思巧妙，正是宋诗「以理入诗」的典范。

Not knowing that the clouds and I are both drifting east is the poem's closing, breaking the illusion, the completion of the poem's speculative charm. The two words not knowing write the daze before the sudden understanding — the poet at first not knowing the clouds also move; the clouds and I are both drifting east breaks the truth — the clouds not still, but moving east with the boat, the boat's speed the clouds' speed, hence the relative stillness. The single word together is the line's key: the clouds and I together east, same direction same speed, this is the true reason of the clouds' not stirring. The line breaks the visual stillness through the physical truth, setting the illusion of the lying-watching and the truth of the together-east side by side, illusion and truth engendering each other, the speculative charm rich. The more beautiful, the line carries the beyond-the-words charm: the clouds and I together east is precisely the best proof of the boat's speed; and the poet's knowing smile as he grasps it leaps onto the paper. The whole ci from scene to reason, closing in reason, the conception clever, precisely the model of Song poetry's entering reason into verse.

Study

Word focus

照 'shine' or 'reflect'; here it conveys the flowers' light reflecting on the boat, creating a bright, dynamic scene. 「飞花两岸照船红」之「照」字，是全诗首句的诗眼，炼字生动传神。「照」本指光线照射，此处写落花的红色映照水面、映照船身，使船身也染上红色。此字之妙有三：其一，化静为动，落花本是飞动的，「照」字又赋予其光的作用——花瓣的红不仅自身可见，还能「照」亮别物，飞花仿佛成了光源，画面顿时活了起来；其二，连类成画，「照」字将飞花、流水、舟船连成一片，两岸飞花倒映水中，水光又映上船身，红艳一片，色彩明丽；其三，以景写情，「照船红」的明艳正是诗人心情的写照——暮春飞花本易引人伤春，然在顺风行舟的诗人眼中，落花竟是这般明艳喜人，「照」字中透着诗人轻快愉悦的心境。一个「照」字，既写景又写情，设色炼字，俱见功力。

俱 'together' or 'both'; a single word that reveals the shared direction of the clouds and the poet, turning illusion into truth. 「不知云与我俱东」之「俱」字，是全诗点破错觉的关键字，力重而清。「俱」为副词，意为「同、皆」，此处写云与我一同向东。此字之妙有三：其一，点破真相，云并非不动，而是与我「俱」东——同向、同速，故相对静止，一个「俱」字把相对运动的物理真相揭示无遗；其二，写尽快意，「俱」字写云与我同步飞驰，正是舟行之速的最好证明——连天上的云都追不上我，只能与我并行，舟行之快、心情之快尽在其中；其三，物我相谐，「云与我俱东」将云与人并置，云随我行，我与云驰，物我之间有一种相契的和谐，透出诗人与自然相融的喜悦。此字看似平常，实为全诗理趣的枢纽，一字点破，全诗顿生光彩，是宋诗炼字的典范。