宋 Song · 诗 Poem
舟过安仁
Passing by Anren in the Boat
侬家贫甚诉长饥。
幼稚满庭闱。
正坐瓶无储粟，漫求为吏东西。
偶然彭泽近邻圻。
公秫滑流匙。
葛巾劝我求为酒，黄菊怨、冷落东篱。
五斗折腰，谁能许事，归去来兮。
老圃半榛茨。
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侬家贫甚诉长饥。
幼稚满庭闱。
正坐瓶无储粟，漫求为吏东西。
偶然彭泽近邻圻。
公秫滑流匙。
葛巾劝我求为酒，黄菊怨、冷落东篱。
五斗折腰，谁能许事，归去来兮。
老圃半榛茨。
山田欲蒺藜。
念心为形役又奚悲。
独惆怅前迷。
不谏后方追。
觉今来是了，觉昨来非。
扁舟轻扬破朝霏。
风细漫吹衣。
试问征夫前路，晨光小，恨熹微。
乃瞻衡宇载奔弛。
迎候满荆扉。
已荒三径存松菊，喜诸幼、入室相携。
有酒盈尊，引觞自酌，庭树遣颜怡。
容膝易安栖。
南窗寄傲睨。
更小园日涉趣尤奇。
尽虽设柴门，长是闭斜晖。
纵遐观矫首，短策扶持。
浮云出岫岂心思。
鸟倦亦归飞。
翳翳流光将入，孤松抚处凄其。
息交绝友堑山溪。
世与我相违。
驾言复出何求者，旷千载、今欲从谁。
亲戚笑谈，琴书觞咏，莫遣俗人知。
邂逅又春熙。
农人欲载菑。
告西畴有事要耘耔。
容老子舟车，取意任委蛇。
历崎岖窈窕，丘壑随宜。
欣欣花木向荣滋。
泉水始流澌。
万物得时如许，此生休笑吾衰。
寓形宇内几何时。
岂问去留为。
委心任运无多虑，顾皇皇、将欲何之。
大化中间，乘流归尽，喜惧莫随伊。
富贵本危机。
云乡不可期。
趁良辰、孤往恣游嬉。
独临水登山，舒啸更哦诗。
除乐天知命，了复奚疑。
The young children, filling, the courtyard.
Just, sitting, the jars, without, the stored grains,
Freely, seeking, to be the officials, the east and the west.
By chance, the Pengze, the near, the neighboring, the boundary.
The duke's glutinous rice, the slippery, flowing, the spoon.
The hemp-cloth cap, advising, me, to seek, for, the wine,
The yellow chrysanthemums, complaining, the cold and the lonely, the eastern hedge.
The five bushels, bending, the waist,
Who, can, allow, this matter,
Return, going, come, ah.
The old vegetable garden, half, the brambles and the hazels.
The mountain fields, about to, the tribulus.
Thinking, the mind, for, the body, enslaved, and, why, the grief.
Alone, the melancholy, the former, the delusion.
Not, remonstrating, the later, the chasing.
Feeling, the now, the coming, is, the right, feeling, the yesterday, the wrong.
The flat boat, the light and the light, breaking, the morning mist.
The fine wind, the leisurely, blowing, the clothes.
Trying, to ask, the traveler, the road ahead,
The morning light, small, grieving, the dim and the faint.
Then, seeing, the Heng house, galloping,
Welcoming, waiting, filling, the thorn gate.
Already, desolate, the three paths, remaining, the pines and the chrysanthemums,
Glad, the young children, entering, the house, leading each other.
Having, the wine, filling, the cup,
Lifting, the cup, from myself, drinking,
The courtyard trees, dispatching, the countenance, pleased.
The knee-hiding room, easy, being, the dwelling.
The southern window, entrusting, the pride, looking askance.
Moreover, the small garden, the daily walks, the delight, especially, the curious.
Although, the firewood gate, set,
Long, being, closed, the slanting light.
Even, the far view, raising, the head,
The short staff, supporting,
The floating clouds, coming out, the mountain caves, how, the thoughts.
The birds, weary, also, returning, flying.
The dim and the dim, the flowing light, about to, entering,
The lone pines, stroking, the places, the desolate, the qi.
Resting, the intercourse, cutting off, the friends, the moat, the mountain streams.
The world, with, me, contrary.
Harnessing, the words, again, going out, what, seeking,
The vast, the thousand years, the now, wanting, to follow, whom.
The relatives, laughing, talking,
The zithers and the books, the cups and the chants,
Not, letting, the common men, know.
Meeting by chance, again, the spring, the warm.
The farmers, wanting, to plant, the new fields.
Telling, the western fields, having, the matters, to weed and to hoe.
Allowing, this old man, the boats and the carts,
Taking, the intention, the following, the winding.
Passing, the rugged and the hidden,
The hills and the valleys, following, the fitting.
The joyful, the flourishing, the flowers and the trees, toward, the glory, the growing.
The spring waters, beginning, flowing, the ice, the thawing.
The ten thousand things, obtaining, the time, like, this,
This life, not, laugh, my, the decline.
The body, dwelling, the universe, within, how, much, the time.
How, ask, the going and the staying, for.
Entrusting, the mind, the following, the fate, no, many, the worries,
Looking, the anxious and the hurried, about to, where, going.
The great transformation, within,
Riding, the stream, returning, the end,
The joy and the fear, not, following, it.
Meaning
A lyric of the return and the home, written by Yang Wanli, the paraphrase of the 'Return! Going Home!'. The family poor with the long hunger, the young children filling the courtyard, and the seeking of the officialdom east and west — the weariness of the official. By chance the Pengze near with the duke's glutinous rice, the hemp-cloth cap advising the wine with the chrysanthemums complaining the hedge — the hermitage of the fields. The five bushels bending the waist, who can allow this matter, return going come — the decision of the return. The desolate three paths with the pines and the chrysanthemums, the wine filling the cup with the courtyard trees pleased — the joy of the home. The western fields with the weeding and the hoeing, the spring waters with the ice thawing, and the close's entrusting the mind following the fate, riding the stream returning the end — the close's fate. The lyric is the return and the home: the decision, the joy, and the close's riding the stream.
侬家贫甚诉长饥。幼稚满庭闱。正坐瓶无储粟，漫求为吏东西。偶然彭泽近邻圻。公秫滑流匙。葛巾劝我求为酒，黄菊怨、冷落东篱。五斗折腰，谁能许事，归去来兮。老圃半榛茨。山田欲蒺藜。念心为形役又奚悲。独惆怅前迷。不谏后方追。觉今来是了，觉昨来非。扁舟轻扬破朝霏。风细漫吹衣。试问征夫前路，晨光小，恨熹微。乃瞻衡宇载奔弛。迎候满荆扉。已荒三径存松菊，喜诸幼、入室相携。有酒盈尊，引觞自酌，庭树遣颜怡。容膝易安栖。南窗寄傲睨。更小园日涉趣尤奇。尽虽设柴门，长是闭斜晖。纵遐观矫首，短策扶持。浮云出岫岂心思。鸟倦亦归飞。翳翳流光将入，孤松抚处凄其。息交绝友堑山溪。世与我相违。驾言复出何求者，旷千载、今欲从谁。亲戚笑谈，琴书觞咏，莫遣俗人知。邂逅又春熙。农人欲载菑。告西畴有事要耘耔。容老子舟车，取意任委蛇。历崎岖窈窕，丘壑随宜。欣欣花木向荣滋。泉水始流澌。万物得时如许，此生休笑吾衰。寓形宇内几何时。岂问去留为。委心任运无多虑，顾皇皇、将欲何之。大化中间，乘流归尽，喜惧莫随伊。富贵本危机。云乡不可期。趁良辰、孤往恣游嬉。独临水登山，舒啸更哦诗。除乐天知命，了复奚疑。
Appreciation
[Plain Paraphrase] Our family, poor, extremely, telling, the long hunger. The young children, filling, the courtyard. Just, sitting, the jars, without, the stored grains, freely, seeking, to be the officials, the east and the west. By chance, the Pengze, the near, the neighboring, the boundary. The duke's glutinous rice, the slippery, flowing, the spoon. The hemp-cloth cap, advising, me, to seek, for, the wine, the yellow chrysanthemums, complaining, the cold and the lonely, the eastern hedge. The five bushels, bending, the waist, who, can, allow, this matter, return, going, come, ah. The old vegetable garden, half, the brambles and the hazels. The mountain fields, about to, the tribulus. Thinking, the mind, for, the body, enslaved, and, why, the grief. Alone, the melancholy, the former, the delusion. Not, remonstrating, the later, the chasing. Feeling, the now, the coming, is, the right, feeling, the yesterday, the wrong. The flat boat, the light and the light, breaking, the morning mist. The fine wind, the leisurely, blowing, the clothes. Trying, to ask, the traveler, the road ahead, the morning light, small, grieving, the dim and the faint. Then, seeing, the Heng house, galloping, welcoming, waiting, filling, the thorn gate. Already, desolate, the three paths, remaining, the pines and the chrysanthemums, glad, the young children, entering, the house, leading each other. Having, the wine, filling, the cup, lifting, the cup, from myself, drinking, the courtyard trees, dispatching, the countenance, pleased. The knee-hiding room, easy, being, the dwelling. The southern window, entrusting, the pride, looking askance. Moreover, the small garden, the daily walks, the delight, especially, the curious. Although, the firewood gate, set, long, being, closed, the slanting light. Even, the far view, raising, the head, the short staff, supporting, the floating clouds, coming out, the mountain caves, how, the thoughts. The birds, weary, also, returning, flying. The dim and the dim, the flowing light, about to, entering, the lone pines, stroking, the places, the desolate, the qi. Resting, the intercourse, cutting off, the friends, the moat, the mountain streams. The world, with, me, contrary. Harnessing, the words, again, going out, what, seeking, the vast, the thousand years, the now, wanting, to follow, whom. The relatives, laughing, talking, the zithers and the books, the cups and the chants, not, letting, the common men, know. Meeting by chance, again, the spring, the warm. The farmers, wanting, to plant, the new fields. Telling, the western fields, having, the matters, to weed and to hoe. Allowing, this old man, the boats and the carts, taking, the intention, the following, the winding. Passing, the rugged and the hidden, the hills and the valleys, following, the fitting. The joyful, the flourishing, the flowers and the trees, toward, the glory, the growing. The spring waters, beginning, flowing, the ice, the thawing. The ten thousand things, obtaining, the time, like, this, this life, not, laugh, my, the decline. The body, dwelling, the universe, within, how, much, the time. How, ask, the going and the staying, for. Entrusting, the mind, the following, the fate, no, many, the worries, looking, the anxious and the hurried, about to, where, going. The great transformation, within, riding, the stream, returning, the end, the joy and the fear, not, following, it. [Structure and Thought] The lyric moves from the weariness of the official and the decision of the return, through the joy of the home with the wine and the garden, to the close's entrusting the mind following the fate, riding the stream returning the end. [Key Technique] The lyric's art is the close of the fate: the return decided in the five bushels, and the close's riding the stream returning the end — the return gathered in the decision and the close's fate. [Emotional Tone] Warm, resigned, and joyful: the lyric is the return, the home and the close's riding the stream.
【白话串讲】 杨万里写《舟过安仁》：“一叶渔船两小童，收篙停棹坐船中”——“怪生无雨都张伞，不是遮头是使风”——他看到两个小孩撑伞借风——不是遮头是使风。 【意象与手法】 “一叶渔船两小童，收篙停棹坐船中”写两小童；“怪生无雨都张伞，不是遮头是使风”以张伞使风写童趣。观察入微、清新活泼。 【情感与主旨】 杨万里写舟行所见之作，写两个小孩撑伞借风行船的巧思与童趣，体现诚斋体对生活细节的敏锐观察。 【名句点睛】 常考“怪生无雨都张伞，不是遮头是使风”以张伞使风写童趣；“一叶渔船两小童，收篙停棹坐船中”写小童闲坐。
Background
Yang Wanli (1127–1206), the poet of the fresh and the lively, wrote this 'Passing by Anren in the Boat' — the paraphrase of the 'Return! Going Home!' of Tao Yuanming. The weariness of the official with the decision of the return, the joy of the home with the wine and the garden, and the close's entrusting the mind following the fate — the lyric gathers the spirit of the return, the resignation of the hermit. The lyric is one of the famous paraphrase works of the poet's lyrics.
《舟过安仁》为南宋诗人杨万里所作诗。杨万里（1127—1206），字廷秀，号诚斋，吉州吉水（今江西吉水）人，南宋诗人，「中兴四大诗人」之一。此诗写田园隐逸，为隐括陶渊明《归去来兮辞》之作。诗中「五斗折腰，谁能许事，归去来兮」写五斗折腰，谁能许事，归去来兮；「念心为形役又奚悲」写念心为形役又奚悲；「容膝易安栖」写容膝易安栖；「除乐天知命，了复奚疑」写除乐天知命，了复奚疑。杨万里此诗以田园隐逸、除乐天知命写其隐逸之情，旷达超逸，是杨万里诗中的名篇。此篇《舟过安仁》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《舟过安仁》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。
Art
The lyric's art is the art of the return. The weariness opens: our family, poor, extremely, telling, the long hunger — the poverty of the family; the young children, filling, the courtyard — the children of the courtyard; just, sitting, the jars, without, the stored grains — the jars without the grains; freely, seeking, to be the officials, the east and the west — the seeking of the officials; by chance, the Pengze, the near, the neighboring, the boundary — the Pengze of the near; the duke's glutinous rice, the slippery, flowing, the spoon — the glutinous rice of the duke; the hemp-cloth cap, advising, me, to seek, for, the wine — the advising of the hemp-cloth cap; the yellow chrysanthemums, complaining, the cold and the lonely, the eastern hedge — the chrysanthemums of the hedge. The decision follows: the five bushels, bending, the waist — the bending of the waist; who, can, allow, this matter — the matter not allowed; return, going, come, ah — the return of the decision; the old vegetable garden, half, the brambles and the hazels — the brambles of the garden; thinking, the mind, for, the body, enslaved, and, why, the grief — the mind enslaved; alone, the melancholy, the former, the delusion — the delusion of the former; feeling, the now, the coming, is, the right, feeling, the yesterday, the wrong — the right of the now; the flat boat, the light and the light, breaking, the morning mist — the flat boat breaking the mist; the fine wind, the leisurely, blowing, the clothes — the wind of the clothes; trying, to ask, the traveler, the road ahead — the road of the traveler. The joy follows: then, seeing, the Heng house, galloping — the galloping of the seeing; welcoming, waiting, filling, the thorn gate — the waiting of the gate; already, desolate, the three paths, remaining, the pines and the chrysanthemums — the pines and the chrysanthemums of the paths; glad, the young children, entering, the house, leading each other — the children of the house; having, the wine, filling, the cup — the wine of the cup; lifting, the cup, from myself, drinking — the drinking of the self; the courtyard trees, dispatching, the countenance, pleased — the pleased countenance; the knee-hiding room, easy, being, the dwelling — the dwelling of the room; the southern window, entrusting, the pride, looking askance — the pride of the window; moreover, the small garden, the daily walks, the delight, especially, the curious — the delight of the walks; although, the firewood gate, set, long, being, closed, the slanting light — the gate closed; even, the far view, raising, the head, the short staff, supporting — the far view of the head; the floating clouds, coming out, the mountain caves, how, the thoughts — the clouds of the caves; the birds, weary, also, returning, flying — the birds returning; the dim and the dim, the flowing light, about to, entering — the flowing light; the lone pines, stroking, the places, the desolate, the qi — the lone pines desolate; resting, the intercourse, cutting off, the friends, the moat, the mountain streams — the intercourse cut off; the world, with, me, contrary — the world contrary; harnessing, the words, again, going out, what, seeking — the seeking of the going out; the vast, the thousand years, the now, wanting, to follow, whom — the whom of the following; the relatives, laughing, talking — the laughing of the relatives; the zithers and the books, the cups and the chants — the cups and the chants; not, letting, the common men, know — the not letting know; meeting by chance, again, the spring, the warm — the spring of the meeting; the farmers, wanting, to plant, the new fields — the planting of the fields; telling, the western fields, having, the matters, to weed and to hoe — the weeding of the fields; allowing, this old man, the boats and the carts — the boats and the carts; taking, the intention, the following, the winding — the following of the winding; passing, the rugged and the hidden, the hills and the valleys, following, the fitting — the hills and the valleys. And the close gathers the fate: the joyful, the flourishing, the flowers and the trees, toward, the glory, the growing — the glory of the flowers and the trees; the spring waters, beginning, flowing, the ice, the thawing — the thawing of the spring waters; the ten thousand things, obtaining, the time, like, this — the time of the ten thousand things; this life, not, laugh, my, the decline — the decline not laughed; the body, dwelling, the universe, within, how, much, the time — the time of the body; how, ask, the going and the staying, for — the going and the staying; entrusting, the mind, the following, the fate, no, many, the worries — the fate of the entrusting; looking, the anxious and the hurried, about to, where, going — the where of the going; the great transformation, within, riding, the stream, returning, the end — the riding the stream of the close; the joy and the fear, not, following, it — the joy and the fear not followed — the weariness, the decision, the joy and the close's fate, gathered in the lyric.
此诗艺术上以「旷达超逸、以归隐写情」见长。全诗共四十九句，由侬家贫甚诉长饥而五斗折腰而念心为形役又奚悲。起「侬家贫甚诉长饥。幼稚满庭闱」写侬家贫甚诉长饥：侬家贫甚诉长饥，幼稚满庭闱；「正坐瓶无储粟，漫求为吏东西」写正坐瓶无储粟：正坐瓶无储粟，漫求为吏东西；「五斗折腰，谁能许事，归去来兮」写五斗折腰：五斗折腰，谁能许事，归去来兮；「念心为形役又奚悲」写念心为形役又奚悲：念心为形役又奚悲；结「除乐天知命，了复奚疑」写除乐天知命：除乐天知命，了复奚疑。全诗以归隐写情，由侬家贫甚诉长饥而除乐天知命，旷达超逸，是杨万里诗中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。
Allusions
'The five bushels, bending, the waist' (wu dou zhe yao) are the five bushels, bending the waist — the bending of the waist for the five bushels of the official; 'the three paths' (san jing) are the three paths — the paths of the hermitage, the desolate; 'the Heng house' (heng yu) is the Heng house — the house of the home, the seeing of the return; 'the knee-hiding room' (rong xi) is the knee-hiding room — the room hiding the knee, the easy dwelling; 'the lone pines' (gu song) are the lone pines — the pines of the lone, the stroking of the close.
诗中「侬家贫甚诉长饥幼稚满庭闱正坐瓶无储粟漫求为吏东西偶然彭泽近邻圻公秫滑流匙葛巾劝我求为酒黄菊怨冷落东篱五斗折腰谁能许事归去来兮老圃半榛茨山田欲蒺藜念心为形役又奚悲独惆怅前迷不谏后方追觉今来是了觉昨来非扁舟轻扬破朝霏风细漫吹衣试问征夫前路晨光小恨熹微乃瞻衡宇载奔弛迎候满荆扉已荒三径存松菊喜诸幼入室相携有酒盈尊引觞自酌庭树遣颜怡容膝易安栖南窗寄傲睨更小园日涉趣尤奇尽虽设柴门长是闭斜晖纵遐观矫首短策扶持浮云出岫岂心思鸟倦亦归飞翳翳流光将入孤松抚处凄其息交绝友堑山溪世与我相违驾言复出何求者旷千载今欲从谁亲戚笑谈琴书觞咏莫遣俗人知邂逅又春熙农人欲载菑告西畴有事要耘耔容老子舟车取意任委蛇历崎岖窈窕丘壑随宜欣欣花木向荣滋泉水始流澌万物得时如许此生休笑吾衰寓形宇内几何时岂问去留为委心任运无多虑顾皇皇将欲何之大化中间乘流归尽喜惧莫随伊富贵本危机云乡不可期趁良辰孤往恣游嬉独临水登山舒啸更哦诗除乐天知命了复奚疑」等语，皆含典故故实。「五斗折腰谁能许事归去来兮」用五斗米折腰之典，写五斗折腰谁能许事归去来兮；「偶然彭泽近邻圻公秫滑流匙」用彭泽之典（陶渊明曾为彭泽令），写偶然彭泽近邻圻公秫滑流匙；「容膝易安栖」用容膝之典，写容膝易安栖；「念心为形役又奚悲」用心为形役之语，写念心为形役又奚悲；「除乐天知命了复奚疑」用乐天知命之语，写除乐天知命了复奚疑。诗人以彭泽、容膝等典入诗，不着痕迹，而把田园隐逸之情写得真切可感，是善于熔铸典故的体现。
Commentary
This lyric is one of the famous paraphrase works of Yang Wanli's lyrics, quoted for the completeness of its paraphrase and the spirit of its return. The five bushels of the bending, and the riding the stream returning the end, are among the admired passages of the lyric. Critics praise the lyric's return: the weariness gathered in the decision, to the close's fate.
这首《舟过安仁》，是杨万里写田园隐逸之作，写五斗折腰、念心为形役、容膝易安栖、除乐天知命之情，旷达超逸。起「侬家贫甚诉长饥。幼稚满庭闱」——侬家贫甚诉长饥，幼稚满庭闱。写侬家贫甚诉长饥：侬家贫甚诉长饥、幼稚满庭闱——贫甚诉长饥、幼稚满庭闱；「正坐瓶无储粟，漫求为吏东西」——正坐瓶无储粟，漫求为吏东西。写正坐瓶无储粟：正坐瓶无储粟、漫求为吏东西——瓶无储粟、为吏东西；「五斗折腰，谁能许事，归去来兮」——五斗折腰（用五斗米折腰之典），谁能许事，归去来兮。写五斗折腰：五斗折腰、谁能许事、归去来兮——折腰许事、归去来兮；「念心为形役又奚悲」——念心为形役（用心为形役之语）又奚悲。写念心为形役又奚悲：念心为形役、又奚悲——心为形役、又奚悲；「容膝易安栖」——容膝易安栖（用容膝之典）。写容膝易安栖：容膝、易安栖——容膝安栖；结「除乐天知命，了复奚疑」——除乐天知命（用乐天知命之语），了复奚疑。写除乐天知命：除乐天知命、了复奚疑——乐天知命、了复奚疑。这「除乐天知命，了复奚疑」，是全诗之结：以除乐天知命写其隐逸。全诗旷达超逸，以归隐写情，正是杨万里诗中的名篇。
Prosody
Line by line
五斗折腰，谁能许事，归去来兮。
The five bushels, bending, the waist, who, can, allow, this matter, return, going, come, ah.
五斗折腰，谁能许事，归去来兮。
To bow the back for five pecks of rice - who could bear such service? Return, then, return home.
此句写五斗折腰，是全诗点题的关键。「五斗折腰」用五斗米折腰之典写五斗折腰，「五斗」写五斗、「折腰」写折腰；「谁能许事」写谁能许事，「谁能」写谁能、「许事」写许事；「归去来兮」写归去来兮，「归去来」写归去来、「兮」写兮。三句一写五斗折腰、一写谁能许事、一写归去来兮，以五斗折腰写折腰、以谁能许事写许事、以归去来兮写归去来，写尽五斗折腰、谁能许事、归去来兮之情。以归隐写情，旷达而超逸，是「以归隐写情」的点睛之笔。
This line treats the stoop for five pecks of rice, the key to the poem's theme. It uses the allusion of Tao Yuanming refusing to bow for a salary, asking who could endure such worldly service, and declaring 'return home, return.' The three phrases - the bowed back, the refusal to serve, the resolve to go home - express, through the allusion to retirement, an attitude of broad-minded freedom. Writing feeling through the choice of seclusion, it is free and untrammeled, the piercing stroke that gives the poem its heart.
念心为形役又奚悲。
Reflecting that the heart is enslaved by the body, why grieve?
念心为形役又奚悲。
When one reflects that the heart is enslaved by the body, why grieve?
此句写念心为形役又奚悲，是全诗写心役之态的关键。「念心为形役又奚悲」写念心为形役又奚悲，「念心为形役」用心为形役之语写念心为形役、「又奚悲」写又奚悲。一句写念心为形役又奚悲，以念心为形役写心为形役、以又奚悲写奚悲，写尽念心为形役又奚悲之情。以心写情，旷达而超逸，是「以心写情」的点睛之笔。
This line reflects on the heart enslaved by the body, central to the poem's depiction of the spirit in bondage. Borrowing Tao Yuanming's phrase 'my heart was enslaved by the body,' it asks why one should grieve over such a condition. In a single line it states the predicament and dismisses the sorrow - writing feeling through the mind itself, free and untrammeled, the crucial stroke that gives the poem its insight.
容膝易安栖。
A hut of but knee-room is easy to dwell in.
容膝易安栖。
A cottage barely roomy enough for one's knees is easy to settle in.
此句写容膝易安栖，是全诗写安栖之态的关键。「容膝易安栖」用容膝之典写容膝易安栖，「容膝」写容膝、「易安栖」写易安栖。一句写容膝易安栖，以容膝写容膝、以易安栖写易安栖，写尽容膝易安栖之情。以居写情，旷达而超逸，是「以居写情」的点睛之笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。
This line uses the allusion to a 'knee-room' cottage, central to the poem's vision of settled ease. 'Knee-room' evokes the humble dwelling of the recluse; 'easy to dwell in' says that narrowness matters not when the heart is at peace. In few words it expresses deep meaning, blending feeling and resonance - a moment where hidden currents stir beneath plainness, demanding slow and patient reading to grasp its full savor.
除乐天知命，了复奚疑。
Save for accepting joy in Heaven's will and knowing one's fate, what doubt remains?
除乐天知命，了复奚疑。
Beyond finding joy in Heaven's decree and knowing one's lot, what doubt is left?
结句写除乐天知命，是全诗立意的落点。「除乐天知命」用乐天知命之语写除乐天知命，「除乐天」写除乐天、「知命」写知命；「了复奚疑」写了复奚疑，「了复」写了复、「奚疑」写奚疑。两句一写除乐天知命、一写了复奚疑，以除乐天知命写乐天知命、以了复奚疑写了复奚疑，写尽除乐天知命、了复奚疑之情。以知命写情，旷达而超逸，是全诗最动人处，也是「以知命写情」的点睛之笔。
The closing line lands the poem's theme, using the classical notion of 'rejoicing in Heaven's will and knowing one's fate.' It states that beyond such acceptance no doubt remains: once one yields to the natural order, what is there to question? Writing feeling through resignation to fate, it is the most moving passage of the poem and its piercing stroke - the point where the recluse's attitude becomes settled wisdom.
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
林逋《山园小梅》「疏影横斜水清浅，暗香浮动月黄昏」，写梅之清雅、隐逸之趣，是宋诗咏物的绝唱；杨万里《舟过安仁》则以「五斗折腰，谁能许事，归去来兮」「除乐天知命，了复奚疑」写五斗折腰、除乐天知命。两诗同写隐逸清雅、超然物外：一写疏影横斜水清浅暗香浮动月黄昏、以梅写清雅，一写五斗折腰谁能许事归去来兮、以归去来兮写隐逸；一为林逋之清逸、一为杨万里之旷达，并读正可见诗写「隐逸超然」的两种笔法，皆于隐逸之中见超然。
水调歌头·明月几时有 Prelude to Water Melody: How Long Will the Full Moon Appear? 苏轼 · 同写归隐超然、旷达豪迈，一写我欲乘风归去、一写除乐天知命了复奚疑，皆于归隐之中见超然 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
苏轼《水调歌头·明月几时有》「我欲乘风归去，又恐琼楼玉宇，高处不胜寒」，写归隐超然、旷达豪迈，是宋词长调的名篇；杨万里《舟过安仁》则以「除乐天知命，了复奚疑」「容膝易安栖」写乐天知命、容膝易安栖。两诗同写归隐超然、旷达豪迈：一写我欲乘风归去、以乘风写超然，一写除乐天知命了复奚疑、以知命写旷达；一为苏轼之超然、一为杨万里之旷达，并读正可见诗写「归隐超然」的两种笔法，皆于归隐之中见超然。