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宋 Song · 诗 Poem

卢梅坡·雪梅·其二

Snow Plum II

卢梅坡

Lu Meipo

咏物object-praising 哲理philosophy 冬景Theme

有梅无雪不精神，有雪无诗俗了人。
日暮诗成天又雪，与梅并作十分春。

Plum without snow has no spirit; snow without poem makes one vulgar.
At dusk the poem is done and sky snows again—with the plum it makes a full spring.

Listen

Meaning

Plum needs snow to show spirit, snow needs poem to avoid vulgarity; when poem, snow, and plum meet, they make a perfect spring. A little essay in things-and-principle.

有梅花而没有雪，便显得没有精神；有雪却没有诗，又要让赏雪的人落入俗套。日暮时分诗已写成，天色又飘起雪来，于是与梅花一起，并成了十足的春意。

Appreciation

Opens with two conditional lines 'with…without…not…' stating plum-snow mutual aid and snow-poem mutual birth; the close turns to real scene—poem done, sky snows, plum and all make full spring. Principle becomes spring.

【白话串讲】 “有梅无雪不精神，有雪无诗俗了人”——卢梅坡说：梅花没有雪，就没有精神；雪没有诗，就显得俗。日暮诗成天又雪，梅雪诗三样齐了，才是十分春天。【意象与手法】章法由议论入景语：首联两个「有…无…不…」条件句，先立梅雪相资、雪诗相生之理；尾联陡转实景——「日暮诗成天又雪」，巧合之中梅雪诗三者俱备，「与梅并作十分春」以数词收束，理趣化为盎然春意。【情感与主旨】卢梅坡，名钺，号梅坡，宋末人，生卒籍贯不详，诗名不显而《雪梅》二首脍炙人口。此为其二，约作于隆冬赏雪咏梅、诗思涌发之际，以梅、雪、诗三者互济立论，是宋诗「理趣小品」的代表。【名句点睛】中高考常考：①哲理理解——梅、雪、诗三者互为条件、相得益彰的关系；②「俗了人」的口语化表达与理趣；③由议论转景语的章法。

Background

Lu Meipo, name Yue, Song's end; obscure life, yet 'Snow Plum' two poems beloved. This is the second, from a winter enjoying snow and plum when poem-thought surged. Song poets loved principle in things; this argues plum-snow-poem mutual aid—carrying the Northern-Song object-reasoning manner with a literati gathering's ease.

卢梅坡，名钺，号梅坡，宋末人，生卒籍贯不详，诗名不显而《雪梅》二首脍炙人口，其生平事迹史传无载，仅凭二诗名世。此为其二，约作于隆冬赏雪咏梅、诗思涌发之际。宋人好以理趣入诗，以议论为诗，此篇即以梅、雪、诗三者互济立论，既承北宋咏物说理之风，又带文人雅集清赏之趣。宋代理学昌盛，诗人多以自然物象阐发道理，梅雪相映本为冬日雅事，诗人于赏玩之际悟出「相资相成」之理，遂成此诗。其二与其一「梅须逊雪三分白，雪却输梅一段香」并称，一论梅雪之短长，一论梅雪诗之相济，合观可见卢梅坡以理趣咏物的一贯追求，为宋诗中理趣小品的代表。宋末诗坛承江西诗派与理学诗之余绪，多以议论、理趣入诗，此诗以梅雪诗相济立论，正是这一诗学背景下的产物，亦见民间文人雅趣对宋代诗风的影响。卢梅坡其人史传无载，唯凭《雪梅》二诗名世，诗因人传、人因诗传，正见优秀作品超越生平的生命力。「梅坡」之号以梅自名，其人其诗皆与梅结缘，可见其咏梅非一时兴会，实有终身之好。卢梅坡《雪梅》二首，其一论梅雪短长，其二论三者相济，姊妹篇相映成趣，后人多合而题咏，已成冬日赏雪咏梅的经典话头。

Art

Opens with reasoning then turns to scene: two 'with…without…not' lines state the principle; the close 'at dusk poem done, sky snows' coincidentally completes all three, 'with plum makes full spring' closes with a number word, principle turned to spring. No carving, colloquial logic advancing, playful and full, principle and poem-fun fused, not dry.

章法由议论入景语，是全诗最突出的艺术特色。首联两个「有…无…不…」条件句，先立梅雪相资、雪诗相生之理：有梅无雪则梅失精神，有雪无诗则赏者落俗，层层递进，逻辑谨严而语带诙谐。尾联陡转实景——「日暮诗成天又雪」，巧合之中梅、雪、诗三者一时俱备，诗人日暮吟成咏梅之诗，天公恰好飘下瑞雪，遂与梅「并作十分春」。全篇不事雕绘，以口语化的逻辑推进，俏皮饱满，理趣与诗趣交融而不枯；末句以数词「十分」收束，将抽象的理趣化为具体的满目春意，由理入景、由景见趣，正是宋人「以理为诗而不腐」的典范。首联二句结构相同而意义递进：梅因雪而精神、雪因诗而脱俗，已暗藏三者相济之理；尾联以「日暮诗成天又雪」的巧合成景，将抽象之理落实为眼前之趣，议论与景语浑融无间，正是「理趣」二字的最佳诠释。「有…无…不…」的条件句式，若在唐人笔下或嫌议论，在宋人手中则成理趣之妙，此诗正是宋诗以议论为诗而能不失诗味的代表。「日暮诗成天又雪」以「又」字写天公作美之巧，诗成而雪至，如天随人愿，物我之契跃然纸上，是全诗由理入景的机杼所在。

Allusions

No clear story-allusion; only the traditional images plum, snow, poem rationally combined. 'Full spring' uses the Song poets' common 'full' number word (e.g. Li Qingzhao 'fully this dogwood-chrysanthemum'), not an allusion. The poem reasons (plum-snow-poem as conditions) instead of inherited allusion—Song's 'meaning-first, principle-as-poem' bent, thus clear-empty no allusion yet with principle-fun.

本诗无明显事典，唯取梅、雪、诗三种传统意象加以理性组合。「梅」自六朝以来即为清高雅洁的象征，林逋「疏影横斜」、陆游「驿外断桥」皆其咏梅传统；「雪」为冬令瑞物，与梅相映成趣，自「踏雪寻梅」的雅事而来；「诗」则是文人赏梅玩雪时的必要点缀，暗合「诗酒趁年华」的雅集传统。「十分春」之「十分」为宋人诗词常用完满数词，非用事。全诗以概念推演（梅—雪—诗互为条件）代替代代相传之典，正见宋诗以意为主、以理为诗的取向，故清空无典而自有理趣。「踏雪寻梅」为历代文人雅事，卢梅坡以梅雪诗立论，正承此雅趣传统；「梅坡」之号亦以梅自名，其人其诗，可谓名实相副。「梅雪相映」的审美源于六朝「踏雪寻梅」的雅事，至宋而极盛，苏轼「雪里开花却是迟」、陆游「雪虐风饕愈凛然」皆其流亚，卢梅坡以三者相济立论，正是这一传统的总结。「十分春」以冬写春，暗用「春在枝头已十分」的宋人句意，将隆冬梅雪视为春之先声，理趣中见乐观。梅、雪、诗三者，一为自然之物、一为天象之变、一为人之创造，卢梅坡将三者并提，正见宋人「天人合一」「人文化成」的宇宙观，咏物而通于哲学。

Commentary

The two 'Snow Plum' poems have been chanting since the Song, with 'plum must yield snow three parts white, snow loses plum a bit of fragrance' (I). Later critics call this 'principle into poem yet not stale.' Though Shen Deqian's Qing anthology omits it, later selections keep it as the crown of winter object-reasoning quatrains.

《雪梅》二首自宋以来广为传诵，与「梅须逊雪三分白，雪却输梅一段香」并称，后世咏梅雪者多引其语。近人论宋诗理趣，每举此篇为「以理入诗而不腐」之例：理趣而不失诗味，议论而不堕抽象，正是宋诗区别于唐诗的典型特征。沈德潜《清诗别裁》虽未录，而后世选本必收，以为冬日咏物说理小诗之冠。此诗以二十八字讲清一个相资相成的道理，浅语见深识，与朱熹「问渠那得清如许」的理趣诗同调，可见宋人万物一理的思维方式。此诗与其一「梅须逊雪三分白」同为传世名篇，后世论宋诗理趣必举之；其「相资相成」之理，已超出咏物而通于人生，是宋诗以小见大的典型。此诗以二十八字讲清相资相成之理，浅语见深识，与朱熹「问渠那得清如许」的理趣诗同调，可见宋人万物一理的思维方式。后世凡言「梅须逊雪三分白」者必及此篇，二诗并传，已成咏梅雪说理的经典双璧，其影响及于民间谚语与日常言说。此诗与「梅须逊雪三分白」并传，今人多以「各有千秋」「相得益彰」释之，其「相资相成」之理已化入日常语汇，影响远出诗坛。历代咏梅者众，或以格胜、或以韵胜、或以理胜，卢梅坡以理趣胜而能传诵不衰，正说明好诗不必鸿篇，理趣之诗自有千秋。

Prosody

Form Seven-character quatrain, Song, Lu Meipo七言绝句（七绝）

Rhyme Pingshui rhyme, upper-level Zhen (shen, ren, chun)押《平水韵》上平十一真韵（神、人、春），首句入韵

Tone pattern First line enters rhyme; level-onset, level-ending平起首句入韵式，平仄合律

Reading note A quatrain winning by principle-fun; the plum-snow-poem mutual-aid argument, a Song principle essay.此诗为七言绝句，属近体诗中最短小的体制，二十八字而说理圆融。首句入韵，押「真」韵（神、人、春），韵脚清亮，正合雪梅清雅之趣。平仄为平起首句入韵式，全篇合律，音节流利；前两句以「有…无…不…」的条件句式构成排比，节奏匀称而略有议论之顿挫；后两句转写实景，「日暮诗成天又雪」以五实二虚的节奏推进，「与梅并作十分春」以「十分」二字拖长收束，声情轻快。绝句体最忌说理而枯，此诗却以议论起、以景语结，音节与理趣相谐，正是宋人七绝以理入诗而不伤诗味的代表作。诵读此诗，前二句宜以说理口吻、句句肯定，后二句转快转亮，「十分春」三字放声读出，方见由理入景的顿悟之趣。「神、人、春」三韵皆清亮，读来朗朗上口，理趣小诗亦须声情之美，此诗正两美兼具。

Line by line

有梅无雪不精神

Plum without snow has no spirit.

有梅花而没有雪，便显得没有精神。

With plum blossoms and no snow, there is no spirit.

以条件句立论，起笔即带理趣。「梅」须「雪」衬，方显清峻精神——梅之傲雪凌霜，正在雪中愈见其骨；无雪之梅，孤零零地开着，便失却那份岁寒的清姿。「不精神」三字口语化，亲切自然，将抽象的审美道理说得浅显明白，为全诗定下议论而不枯涩的基调。此句以否定写肯定，梅须雪衬之理不言自明，起笔即见思致。「不精神」三字口语入诗，以否定立论，理趣之中见活泼。起笔即立一「缺」，为后文三者相济之「全」蓄势。

The conditional opening states the case, the reason's charm rising at the first stroke. The plum needs the snow's foil to show its pure spirit — the plum braving frost and snow shows its bone all the more in the snow; the plum without the snow, blooming alone, loses the winter's pure grace. The three words no spirit colloquial, warm and natural, saying the abstract aesthetic rule plainly, setting the poem's tone of argument without dryness. This line writes the affirmation through the negation, the plum-needs-snow truth self-evident, the thought at the first stroke. The colloquial no spirit in the verse, the negation establishing, the liveliness within the reason's charm. Opening with one deficiency, storing ground for the later completeness of the three things' mutual help.

有雪无诗俗了人

Snow without poem makes one vulgar.

有雪而没有诗，便要让赏雪的人落入俗套。

With snow and no poem, the man becomes vulgar.

承上推进，雪须诗咏方脱俗。「俗了人」之「了」作「使…落于」解，口语鲜活；有雪无诗，则赏雪者不过随俗玩景，与凡夫无异。此句将自然之赏升为文人雅趣，强调诗的升华作用，与上句合观：梅因雪而精神，雪因诗而脱俗，层层递进，已暗示三者相济之理。此句由物及人，将审美提升为文化，雪因诗而脱俗之见，最见文人自觉。「俗了人」以俗字说雅，反语见趣，是宋人「以俗为雅」的典型。由物之缺写到人之缺，理趣层层递进，毫不板滞。

Inheriting and advancing, the snow needs the poem to rise above the vulgar. The verb phrase in the line means to make fall into, the colloquial vivid; with snow and no poem, the snow-appreciator but follows the crowd, no different from the ordinary man. This line raises the natural appreciation to the scholar's elegance, emphasizing the poem's elevating power; read with the above: the plum spirits through the snow, the snow rises through the poem, the advancing layers already hinting the three-things mutual-help truth. This line moves from thing to man, raising the aesthetic to the culture, the snow-rises-through-poem insight most showing the scholar's self-consciousness. The vulgar man uses the vulgar word for the elegant, the reverse showing charm, precisely the Song way of making the vulgar elegant. From the thing's deficiency to the man's deficiency, the reason's charm advancing layer on layer, never rigid.

日暮诗成天又雪，与梅并作十分春

At dusk the poem is done and sky snows again—with the plum it makes a full spring.

日暮时分诗已写成，天色又飘起雪来，于是与梅花一起，并成了十足的春意。

As dusk falls the poem is done, and it snows again; together with the plum blossoms, it makes a perfect spring.

由理入景，三者凑泊，是全诗最妙处。「日暮诗成」写诗思涌发、吟成佳作，「天又雪」写天公作美、恰逢飞雪，巧合之中梅、雪、诗三者一时俱备，前文之理得到印证。「与梅并作十分春」以数词「十分」收束，将理趣化为盎然春意——隆冬梅雪，因诗而成满目春色，物我相济、天人合一，俏皮饱满，理趣盎然。此句前六字写人事之巧、后七字写天工之趣，天人凑泊，理趣圆融。「日暮诗成天又雪」一「又」字，写天随人愿之巧，物我之契跃然纸上。

From the reason into the scene, the three things meeting, the poem's most wondrous point. As dusk falls the poem is done writes the poetic thought's surge and the finished poem; and it snows again writes heaven's kindness, the snow's timing, the coincidence where plum, snow, and poem all present at once, the above reason confirmed. Together with the plum, it makes a full ten parts of spring closes in the number word ten parts, turning the reason's charm into the brimming spring — the deep-winter plum and snow, through the poem turned into a spring-filled world, thing and self helping, heaven and man one, the wit full, the reason's charm abundant. This line's first six characters write the human skill, the last seven the heavenly art, heaven and man meeting, the reason's charm round; the one word again in the dusk poem done and snow writes the heaven's answering wish, the thing-self accord as before the eyes.

与梅并作十分春

Together with the plum, it makes a full ten parts of spring.

与梅花一起，并成了十足的春意。

Together with the plum blossoms, it makes a full ten parts of spring.

此句是全诗理趣的落脚点。「与梅并作」写诗人与梅花、雪三者相济相成，人已入画、诗已成景；「十分春」以数词写冬景中的春意，将抽象的相济之理落实为满目生机。前文「不精神」「俗了人」的缺憾，至此一笔补足：梅因雪而精神、雪因诗而脱俗、诗因梅雪而鲜活，三者俱备、圆满无缺，正是宋人理趣的极致。此句以「十分」收束，冬梅雪因诗而成春，正是「诗可以兴」的绝妙诠释。「与梅并作」将人写入画中，诗、人、梅、雪四位一体，正是天人合一的境界。

This line is the landing of the poem's reason charm. Together with the plum writes the poet, plum, and snow's mutual completion, the man already in the picture, the poem already the scene; the ten parts of spring writes the winter-scene spring in the number word, landing the abstract mutual-help truth into the lush vitality. The above no spirit and vulgar man's deficiencies are here made up in one stroke: the plum spirits through the snow, the snow rises through the poem, the poem lives through the plum and snow, the three all present, complete without flaw, precisely the Song reason charm's extreme. This line closes in the ten parts, the winter plum and snow through the poem turned to spring, precisely the wondrous gloss on the poem's power to stir. Together with the plum writes the man into the picture, poem, man, plum, and snow four in one, precisely the realm of heaven-and-man oneness.

Study

Word focus

俗了人 'makes one vulgar'—'liao' means 'cause to fall into'; colloquial and fresh, writing that snow without poem makes the viewer vulgar, contrasting poem's importance. 「有雪无诗俗了人」之「俗了人」，以口语入诗，是全诗最见性灵处。「了」作「使…陷落」解，写出有雪无诗则赏者与俗人无异；「俗」字是文人的自警，也是雅趣的标尺。三个字活画出诗人的自负与俏皮，把抽象的道理说得可亲可感，正是宋诗以俗为雅、以口语说理的典型。「俗」字是文人雅趣的试金石，三字活画出赏雪须诗的自觉，俏皮而深刻。「俗」字是文人雅趣的标尺，以此评赏雪，正见宋人雅俗之辨的自觉。

十分 'full spring' closes with a complete number word, quantifying the plum-snow-poem fun into a full spring; playful and strong, principle turned to poem-fun. 「与梅并作十分春」之「十分」，以完满数词收束，将梅雪诗三者之趣量化为十足的春意。冬日本无春色，因诗之点化、雪之映衬，梅便成了满分的春；「十分」既写春意之完满，更写心境之满足，理趣化为诗趣，俏皮有力，是宋人以数词入诗而生意趣的范例。数词入诗而生意趣，以「十分春」写冬景中的春意，无理而妙，正是宋人理趣诗的本色。以「十分」写春，夸张而见欣喜，数词入诗而情味全出。

精神 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「有梅无雪不精神」之「精神」，生气、神采之意。梅之精神正在傲雪，无雪相衬，则梅失其清峻之神采；以「精神」写梅，将植物拟人化，赋予梅花以气韵风骨。此字是全诗立论的第一块基石——梅之精神须雪而成，由此引出雪诗相济的层层推理，一字而哲理自见，且雅俗共赏，咏物而及人的风神，正是宋诗理趣的通脱处。「精神」一词雅俗共赏，既写梅之神韵，亦暗含人的风神，咏物而及人，正是宋诗理趣的通脱处。