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宋 Song · 诗 Poem

和子由渑池怀旧

Matching My Brother Ziyou's 'Recalling Mianchi'

苏轼

Su Shi

人生Life 感慨Reflections 兄弟Brotherly Love

人生到处知何似，应似飞鸿踏雪泥。
泥上偶然留指爪，鸿飞那复计东西。
老僧已死成新塔，坏壁无由见旧题。
往日崎岖还记否，路长人困蹇驴嘶。

To what can one's life be compared? Like a swan's footprints on the snow.
By chance some prints are left on mud, the swan flies off, not caring where it goes.
The old monk has died, his new pagoda stands; on broken walls no trace of old inscriptions.
Do you recall the rugged road we once traveled? Long, weary men, and a lame donkey's bray.

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Meaning

Using the metaphor of a swan's footprints on snow, this poem expresses the transience and unpredictability of life. It reflects on shared experiences with the poet's brother, lamenting the passage of time and loss of old acquaintances while maintaining a philosophical acceptance of change.

人生漂泊四方究竟像什么呢？应当像那飞翔的鸿雁踏过雪地的泥泞。雪泥上偶然留下爪印，而鸿雁飞去，又怎会计较东西去向？当年接待我们的老僧已经去世，只剩下一座新塔；残破的墙壁上也无从再见昔日的题诗。你可还记得往日路途的崎岖？那时路长人困，跛足的驴也疲惫地嘶鸣。

Appreciation

The opening creates a vivid and profound metaphor—'snowy swan footprints'—which has become a classic idiom. The poem skillfully intertwines philosophical reflection with personal memory, moving from abstract reasoning to concrete details of the past journey. The final couplet evokes shared hardship, deepening emotional resonance. The language is plain yet rich in meaning, exemplifying the Song dynasty's 'rational interest' (理趣).

【白话串讲】 “人生到处知何似，应似飞鸿踏雪泥”——苏轼说人生就像鸿雁在雪地上留下爪印，飞走了，印也很快消失。他写这首诗时才二十几岁，却已看透了大半个人生。【意象与手法】开篇以设问引出「雪泥鸿爪」之喻，将抽象人生哲理化为可感画面，遂成经典意象。中二联由理入事，以老僧死、坏壁残的今昔变迁印证偶然留痕之理。尾联以问句唤起共同记忆，由哲理回归亲情。全诗理、事、情交融，议论而不枯，得宋诗理趣之妙。【情感与主旨】嘉祐六年（1061）苏轼赴凤翔任签判，弟苏辙（子由）送其至郑州，分手后辙作《怀渑池寄子瞻兄》，苏轼遂以此诗相和。此前兄弟二人曾于嘉祐元年随父赴京应试，途经渑池，借宿奉贤僧舍并题诗壁上，此诗即借旧地追忆，写人生聚散与兄弟情深。【名句点睛】「人生到处知何似，应似飞鸿踏雪泥」为千古名句，「雪泥鸿爪」由此成为成语，比喻人生漂泊无定、痕迹偶然易逝，融理趣、友情与身世之感于一炉，是宋诗理趣的巅峰之作。

Background

In 1061, Su Shi was appointed as a judge in Fengxiang and was escorted by his younger brother Su Zhe (Ziyou) to Zhengzhou. After parting, Su Zhe wrote a poem recalling Mianchi, and Su Shi wrote this response. The brothers had passed through Mianchi in 1056 on their way to the capital for exams, staying at a temple and writing poems on its walls. This poem revisits those memories, reflecting on impermanence and brotherly bonds.

嘉祐六年（1061）冬，苏轼赴凤翔府任签判，弟苏辙（子由）送其至郑州西门外，兄弟临别依依，分手后苏辙作《怀渑池寄子瞻兄》诗寄怀，苏轼遂作此诗相和。此前，嘉祐元年（1056）苏轼兄弟曾随父苏洵赴汴京应试，途经渑池，借宿于奉贤僧舍，并曾题诗于壁上，与寺中老僧闲话。五年之后，苏轼旧地重经，而人事已非：老僧已死，葬于新塔之下；壁上旧题亦因墙坏而不可复见。诗中「雪泥鸿爪」之喻，正是由这段具体的人生经历升华而来：人生如飞鸿踏雪，偶然留下痕迹，转瞬即逝，何必执着于东西去向。此诗虽为和诗，却超越了一般的应酬之作，以哲理写兄弟之情，于旷达中见深情，是苏轼早期诗歌中理趣兼备的代表作。又，此诗所和者苏辙原唱《怀渑池寄子瞻兄》有「相携话别郑原上，共道长途怕雪泥」之句，兄弟二人一唱一和，皆以雪泥喻行路，然苏辙写行路之艰，苏轼则翻出新意，以雪泥鸿爪写人生之无常与超脱，和诗能出原唱之右，正见东坡才力之高，也可见兄弟间以诗相勉、以文相和的深厚情谊。

Art

The poem begins with a rhetorical question and an extended metaphor—the swan's footprints on snow—turning an abstract idea into a vivid image. The middle couplets move from reasoning to concrete events: the death of the old monk and the disappearance of wall inscriptions confirm the theme of transient traces. The final couplet, as a question, evokes shared memories and returns from philosophy to familial affection. The poem blends reason, event, and emotion, achieving Song ideal of 'rational interest' without becoming dry.

此诗章法奇妙，前四句纯以议论写理，后四句以实事证理，理、事、情三者交融，是宋诗「以议论为诗」而成功的关键。开篇以设问「人生到处知何似」引出「雪泥鸿爪」之喻，将抽象的人生哲理化为可感的画面，鸿雁踏雪、偶然留爪、鸿飞东西，意象新奇而意蕴深长；「应似」二字以肯定的语气立论，「偶然」「那复」则写痕迹之短暂与心志之超脱。中二联由理入事：「老僧已死成新塔，坏壁无由见旧题」以当年僧舍的今昔变迁，印证「偶然留痕」之理，写来苍凉真切；尾联「往日崎岖还记否，路长人困蹇驴嘶」以问句唤起兄弟共同的行路记忆，由哲理回归亲情，以共同的艰难经历作结，情深意厚。全诗议论而不枯、说理而含情，正是宋诗理趣之妙的高峰。章法上，此诗由设问起笔，以比喻立论，以旧事印证，以问句收束，四联四层而一气贯通：前四句议论如行云流水，后四句叙事如家常话旧，议论不空、叙事不滞，正是宋诗「以议论为诗」而能保住诗味的成功示范，亦是「和诗」一体中情、理、事三者兼美的典范。

Allusions

The image of 'snowy swan footprints' was coined by Su Shi and later became a common idiom. It draws on the Chan Buddhist saying 'a wild goose passes over the sky, its shadow sinks in the cold water' from 'Jingde Chuandeng Lu', and echoes Zhuangzi's concept of wandering without attachment. 'Lame donkey' (蹇驴) comes from Du Fu's poem describing a shabby donkey, suggesting a difficult journey. Writing poems on walls was common among Tang and Song poets.

诗中用典化俗为雅。「雪泥鸿爪」为东坡首创之喻，后世成为成语，其精神渊源可溯至《景德传灯录》天衣义怀禅师「雁过长空，影沉寒水，雁无遗踪之意，水无留影之心」的禅宗话头，以鸿雁过空无痕喻不执着于迹象，苏轼化禅语为诗境，遂成千古名喻；「飞鸿踏雪」又暗合《庄子》萍踪无定、行止随缘之意。「蹇驴」语出杜甫「蹇驴破帽随金鞍」及贾岛「蹇驴」苦吟之典，写困顿行旅之状；「旧题」承古人题壁之风，唐人王维、韩愈皆有题壁诗，苏轼兄弟亦曾题诗渑池僧舍，此处以「旧题」唤起今昔之感。诸典皆融化于叙事说理之中，不露痕迹，正见东坡使事如盐着水的本领。此外，诗中「新塔」一词暗含佛家「舍利塔」之意，老僧死而成塔，正是佛家「涅槃」的具象化，兄弟旧游之地已成佛塔，更添人生无常之感；「蹇驴」则承唐代苦吟诗人贾岛「驴上推敲」的传统，以驴之蹇写行路之困，亦暗合文人清苦之态，诸典层层叠加，使全诗于旷达中见苍凉。

Commentary

Qing critic Ji Yun commented: 'The first four lines enter regulated verse with a single movement, like flowing clouds and water—cannot be imitated.' Modern scholar Chen Yan in 'Essence of Song Poetry' remarked: 'Snowy swan footprints later became a set phrase; this poem is the most representative of rational interest.'

历代论者对此诗推崇备至。清人纪昀评此诗「前四句单行入律，如行云流水，断不能学」，以为前四句以议论单行破律诗对仗之常格，却如行云流水，不可仿效；近人陈衍《宋诗精华录》谓「雪泥鸿爪遂成典故，此诗理趣之最著者也」，点出此诗以理趣著称而又能化理为典的特质。苏轼此诗的价值，在于它为宋诗「以议论为诗」提供了成功的典范：议论而不失诗味，说理而兼有深情，哲理与亲情、人生感悟与具体往事浑然一体。诗中「雪泥鸿爪」一喻，更因其对人生漂泊无常的精准概括而成为汉语的经典成语，影响及于后世无数诗文的表达，足见此诗在思想与艺术上的双重高度。另外，此诗「雪泥鸿爪」之喻的接受史亦颇堪玩味：成语「雪泥鸿爪」至今仍在日常语言中广泛使用，其生命力之强，正说明东坡以比喻说理的成功；苏轼此后屡经贬谪，然观其《定风波》等作，其「随缘自适」的人生态度一以贯之，此诗实为其旷达人生观的最早宣言。

Prosody

Form Seven-character regulated verse (七言律诗)七言律诗

Rhyme 泥、西、题、嘶 (level tone, Upper Ping 8 QI rhyme)泥、西、题、嘶，属平水韵上平八齐韵，首句入韵，一韵到底

Tone pattern Ping-qi pattern with first line rhymed; middle couplets form parallel structure平起首句入韵式；前四句单行入律，中二联后四句对仗，打破律诗常格

Reading note Response to Su Zhe's original poem. 'Snowy swan footprints' became a famous allusion, blending rational insight, brotherly love, and personal experience.此诗为七言律诗，首句入韵，押上平八齐韵，韵脚「泥」「西」「题」「嘶」皆为平声，音韵悠扬。平仄上为平起首句入韵式，全诗平仄合律。此诗最特出处在章法：前四句「人生到处知何似，应似飞鸿踏雪泥。泥上偶然留指爪，鸿飞那复计东西」以议论单行入律，并不对仗，打破了律诗中二联必须对仗的常格；后四句「老僧已死成新塔，坏壁无由见旧题。往日崎岖还记否，路长人困蹇驴嘶」方入对仗，「老僧」对「坏壁」、「已死」对「无由」、「新塔」对「旧题」，工整而不失流动。这种前散后整的结构，是苏轼以文为诗、以议论为诗在格律上的体现，纪昀评其「单行入律，如行云流水，断不能学」，正指出这种破格而自然的章法非大手笔不能为。全诗音韵与内容相谐，理趣与声情并美，是宋诗「以议论为诗」在格律上最成功的实验之一。

Line by line

人生到处知何似，应似飞鸿踏雪泥

A metaphor comparing human life to a swan's footprints on snow, suggesting transience and accidental traces.

人生漂泊各处像什么？应当像那飞翔的鸿雁踏过雪地的泥泞。

Man's going everywhere, do you know what it is like? It should be like the swan's print on the snow-mud.

开篇以设问破题，是全诗立论之纲。「人生到处知何似」一问，将人生漂泊的普遍经验凝为悬问，引人思索；「应似飞鸿踏雪泥」以肯定的语气作答，以飞鸿踏雪为喻：鸿雁飞过雪地，偶然踏下爪印，随即远飞东西，雪泥之痕转瞬即化。这一比喻道出三层人生之理：其一，人生行止无定，如鸿雁漂泊；其二，所留痕迹偶然且短暂，如爪印易消；其三，既知痕迹难留，便不必执着计较，如鸿飞不顾。以具体画面写抽象哲理，喻象新奇而意蕴层深，「雪泥鸿爪」由此成为千古名喻，为全诗定下旷达超脱的基调，也可见东坡善以比喻说理的高超本领。

The opening breaks the theme in the question, the poem's argument outline. Man's going everywhere, do you know what it is like? a question, gathering the universal experience of human drift into the suspense, inviting thought; It should be like the swan's print on the snow-mud answers in the affirmative, figuring the swan treading the snow: the swan over the snow, by chance leaving the claw print, then flying far east and west, the snow-mud trace dissolving in a moment. This metaphor speaks three layers of life truth: first, life's going and staying uncertain, like the drifting swan; second, the left traces accidental and brief, like the easy-to-fade claw print; third, knowing the traces hard to keep, no need to cling and reckon, like the swan flying on without looking back. Writing the abstract philosophy through the concrete picture, the image novel and the meaning layered, the swan-print-on-snow-mud hence becoming the famous metaphor through the ages, setting the poem's detached, free tone, and showing Su Shi's mastery of reasoning through metaphor.

泥上偶然留指爪，鸿飞那复计东西

Further developing the metaphor: the prints are left by chance, and once the swan flies away, it cares not for direction, implying detachment.

雪泥上偶然留下爪印，而鸿雁飞去，又怎会计较东西去向？

On the mud, by chance, the claw print left; the swan flies away, how should it reckon east or west?

此联承上句进一步申说「雪泥鸿爪」之理。「偶然」二字是全句的关键，强调痕迹之出于无意、非人力可期，人生聚散、遇合皆是偶然，故不必以痕迹为念；「那复计东西」以反诘语气写鸿雁飞走之后，既不回顾、也不计较来路去向，正是「鸿飞那复计东西」的超脱之态。两句一正一反，先写留痕之偶然，再写鸿飞之不顾，将「不必执着于过往」的旷达之理层层推进。苏轼此时年仅二十五岁，却已能以如此超脱的眼光看待人生聚散，可见其早慧与胸襟；此联亦成为全诗哲理的核心，为后文以旧事证理作了理论铺垫。

This couplet inherits the above and further argues the snow-swan truth. The two words by chance are the line's key, emphasizing the trace's unintentional, beyond human reckoning, the life's meeting and parting all by chance, hence no need to mind the trace; how should it reckon east or west? in the rhetorical tone writes the swan's flying away, neither looking back nor reckoning the road's east or west, precisely the swan-flying-without-reckoning detachment. Two lines, one positive one reverse, first the trace's chance, then the flight's unheeding, advancing the detached truth of no need to cling to the past layer on layer. Su Shi at this time but twenty-five, and yet already able to view life's meeting and parting in such detached sight, showing his early brightness and breadth; this couplet also becomes the poem's philosophical core, storing the theoretical ground for the below's proving the truth through the old events.

老僧已死成新塔，坏壁无由见旧题

Concrete evidence of impermanence: the old monk died, leaving only a new pagoda; the wall inscriptions are gone.

当年接待我们的老僧已经去世，只剩下一座新塔；残破的墙壁上也无从再见昔日的题诗。

The old monk is dead, a new stupa remains; on the broken wall, no way to see the old inscription.

此联由理入事，以当年渑池僧舍的今昔变迁印证「偶然留痕」之理。「老僧已死成新塔」写当年接待兄弟二人的老僧已然去世，只余坟塔，人事代谢之速令人怅然；「坏壁无由见旧题」写当年题于壁上的旧诗亦因墙坏而不可复见，连题壁的痕迹也荡然无存。五年前兄弟同宿于此、题诗于壁，仿佛犹在目前；如今老僧亡、墙壁坏、题诗失，印证了「泥上偶然留指爪，鸿飞那复计东西」的道理——一切痕迹终将消逝，何必执着。两句以极具体的事实写出极抽象的道理，苍凉真切而不堕入感伤，正见东坡既能深味人生的无常，又能以旷达消解之的胸襟，是全诗由理入事的关键转换。

This couplet turns from the reason to the event, confirming the accidental-trace truth through the present-and-past change at the old Mianchi monk's lodging. The old monk is dead, a new stupa remains writes the old monk who received the two brothers years ago already dead, only the grave stupa left, the human affair's rapid change the more wistful; on the broken wall, no way to see the old inscription writes the old verse inscribed on the wall years ago now beyond sight through the wall's ruin, even the wall-inscription trace vanished. Five years ago the brothers lodging here together and inscribing the wall, as if before the eyes; now the monk dead, the wall ruined, the inscription lost, confirming the truth of the claw-print-on-the-mud and the swan's flying without reckoning — all traces will fade away, why cling. Two lines, writing the most abstract truth through the most concrete fact, the bleakness real and yet not sunk in sentiment, precisely showing Su Shi's breadth both tasting life's impermanence and dissolving it in detachment, the key turn of the poem from reason to event.

往日崎岖还记否，路长人困蹇驴嘶

A direct question to the brother, evoking shared hardship, deepening the emotional bond.

你可还记得往日路途的崎岖？那时路长人困，跛足的驴也疲惫地嘶鸣。

Do you remember the old rugged road? The way long, the man weary, the lame donkey braying.

尾联以问句唤起兄弟共同的记忆，由哲理回归亲情，是全诗情感的高潮。「往日崎岖还记否」以亲切的口吻发问，仿佛兄弟相对话旧，一个「还」字写出记忆的绵长；「路长人困蹇驴嘶」以当年跋涉渑池时的艰辛作结：路途漫长，人困马乏，跛足的驴也疲惫嘶鸣。这共同的艰难经历，正是兄弟之情的基石，也是「人生到处」的又一实证。苏轼以此收束全诗，将前文的哲理落到最具体、最温暖的记忆之上，使议论不流于空疏，说理不失去温度，于旷达中见手足深情，正是此诗「情理交融」的至高所在，读来令人动容。

The tail couplet recalls the brothers' shared memory through the question, returning from philosophy to kinship, the poem's emotional peak. Do you remember the old rugged road? in the affectionate tone, as if the brothers recalling the past together, the one word still writing the memory's length; the way long, the man weary, the lame donkey braying closes in the old hardship of the Mianchi journey: the road long, the man weary, the lame donkey's exhausted bray. This common hard experience is the cornerstone of the brothers' feeling, and another proof of the man's going everywhere. Su Shi closing the poem thus, landing the above philosophy on the most concrete, warmest memory, making the argument not empty, the reasoning not losing warmth, the brotherly affection within the detachment, precisely the poem's highest point of feeling-and-reason fusion, the reading moved.

Study

Word focus

雪泥鸿爪 The core image of the entire poem, comparing human life to a swan's footprints on snow, symbolizing transient and accidental traces; later became a set phrase. 「雪泥鸿爪」是全诗的核心意象，也是东坡首创的千古名喻，后成为汉语成语。此四字以飞鸿踏雪、偶然留爪、转瞬即逝的画面，比喻人生漂泊无定、所留痕迹偶然易逝，将抽象的人生哲理凝练为可感的形象，凝练隽永。其妙处在三层意蕴的叠加：一是写实层面，雪泥、爪印皆眼前可感之物；二是哲理层面，以痕迹之易消写人生之无常；三是态度层面，鸿飞不顾即是不执着于痕迹的超脱。苏轼化禅宗「雁过长空，影沉寒水」的话头为诗境，又注入自己的人生体验，使四字兼有形象之美与哲理之深，故能超越一时一诗，成为汉语中最凝练的人生隐喻之一，其语言创造力可见一斑。

偶然 Emphasizes the unintentional and fleeting nature of the traces, highlighting life's impermanence and the poet's broad-mindedness. 「泥上偶然留指爪」之「偶然」，是全诗说理的关键词，强调痕迹之出于无意与短暂。「偶然」二字，写出人生际遇、聚散、遇合皆非人力所期，如鸿雁踏雪，爪印之留纯属无心，转瞬即化，既不必以此自矜，亦不必以此自伤。苏轼以「偶然」点破人生痕迹的本质，正是其旷达之心的哲学基础：既然一切皆是偶然，便不必执着于得失成败，不必纠结于过往际遇。与下句「鸿飞那复计东西」的反诘相应，「偶然」写留痕之无心，「那复计」写去留之无执，一前一后，将「随缘任运」的人生态度层层道出，此二字虽平易，却是理解全诗旷达主旨的钥匙。

那复 Meaning 'how can it still care about?' Strengthens the rhetorical question, showing the swan's disregard, metaphorically urging not to dwell on the past. 「鸿飞那复计东西」之「那复」，即「哪还能」之意，是全诗反诘语气的枢纽，加强了对执着于痕迹之态的否定。「那复」二字以反问句式写出鸿雁飞走之后绝不回顾、不计来路的姿态，语气坚决而超脱，正喻人生不必纠结于过往、不必执着于去向的道理。若换作「不复」「岂复」，或嫌平淡、或失之生硬，唯「那复」二字兼有反诘的语气与口语的亲切，读来如面对诘问、心领神会。此二字还与上句「偶然」呼应：留痕既偶然，去留便无须计较，一「偶然」一「那复」，将「随缘不执」的旷达之理说得淋漓尽致，是东坡炼字以虚词传神的佳例。

蹇 Meaning 'lame', describing a donkey's exhaustion, adding realistic details to emphasize the hardships of the past journey. 「路长人困蹇驴嘶」之「蹇」字，意为跛足、困顿，是全诗细节真实传神的关键。蹇驴即跛足之驴，以「蹇」写驴之困乏，细节真切，当年兄弟跋涉渑池之艰辛如在目前；「嘶」字写驴疲惫的嘶鸣，以声写境，更添路途的苍凉。此二字与「路长」「人困」相应，共同烘托出当年行旅的艰难：路长、人困、驴蹇而嘶，三种意象叠加，将一段具体的历史记忆写得历历在目。苏轼以此收束全诗，既是唤起兄弟共同的记忆，也是以自身的经历印证前文「人生到处」的漂泊之理。一个「蹇」字，看似平常，却是全诗由理入事、由事见情的最后一环，足见东坡用字之精。